This essay is focused on the phenomenological qualification not only - as demonstrated by Elmar Holenstein in particular - of linguistic aspects of the Prague School, but also its literary-studies aspects. One must also take into account the transcendental result of a given impulse, of the determining status of the opposite transcendental gestures of an artistic text. It is useful in this connection to imagine the shifts in the composition of the 'artistic situation', which arise from Mukarovsky's 1943 distinction between the work-thing and the work-sign.
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