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| Preface | |
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| The Situation: Literary Interpretation: Semantics or Pragmatics? | |
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| Partial Art--Total Interpretation | |
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| Henry James, The Figure in the Carpet, in Place of an Introduction | |
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| The Lingering of the Classical Norm of Interpretation | |
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| The Rudiments of a Theory of Aesthetic Response | |
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| The Reader-Oriented Perspective and Traditional Objections | |
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| Readers and the Concept of the Implied Reader | |
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| Psychoanalytical Theories of Literary Response | |
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| The Reality of Fiction: A Functionalist Model of the Literary Text | |
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| The Repertoire | |
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| Starting Point | |
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| Speech-Act Theory | |
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| Situation-Building | |
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| The Referential System of the Repertoire | |
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| Strategies | |
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| The Task of the Strategies | |
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| The Old Answer: Deviation | |
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| Foreground and Background | |
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| The Structure of Theme and Horizon | |
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| Variations of the Theme-and-Horizon Structure | |
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| Phenomenology of Reading: The Processing of the Literary Text | |
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| Grasping a Text | |
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| Interplay between Text and Reader | |
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| The Wandering Viewpoint | |
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| Correlatives Produced by the Wandering Viewpoint | |
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| Consistency-Building as a Basis for Involvement in the Text as an Event | |
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| The Text as an Event | |
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| Involvement as a Condition of Experience | |
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| Passive Syntheses in the Reading Process | |
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| Mental Images as a Basic Feature of Ideation | |
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| Mental Images Affecting the Reader | |
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| Building Images | |
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| What Happens to the Reader? | |
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| Interaction Between Text and Reader: The Communicatory Structure of the Literary Text | |
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| Asymmetry Between Text and Reader | |
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| Conditions of Interaction | |
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| Ingarden's Concept of Indeterminacy | |
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| How Acts of Constitution Are Stimulated | |
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| Introduction | |
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| The Blank as a Potential Connection | |
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| The Functional Structure of the Blanks | |
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| Historical Differences in the Structure of Interaction | |
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| Negation | |
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| Negativity | |
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| Name and Title Index | |
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| Subject Index | |