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The problem of the reader occupies the leading position in the modern literary criticism discourse and becomes a focus of increasingly active interest, undergoing dynamic transformation in terms of research methodology and projections on the framework of a literary text. In terms of cognitive aspects of artistic and aesthetic phenomenon, the sequence of presentation of all conceptual elements occurs as a self-sufficient communicative process. At the same time, its integrity and authenticity is ensured, above all, by the reader, who is ready for an appropriate aesthetic dialogue. Hence, the problem of the reader / reading is particularly relevant in the context of developing a methodology, in particular, for the cognitive and narratological study of both individual literary works and the author’s style or certain parameters of poetics. The unfolding of a plot or significant problematics has a temporal and spatial paradigm characteristic of the literary world. The kaleidoscopic change of depicted images and the transition from one temporal projection to the next one occur primarily due to the personalization of the world of the literary work in the mind of the reader. The cognitive aspect implies that, in accordance with the general precept, “sentences of utterances that appear in a literary work” that “are not proper judgments, but only quasijudgments, whose function is to give the depicted objects only a certain aspect of reality, should be perceived, without stamping them with reality” 1 . The temporal plane of a literary work is phenomenally implemented in the imagination of the reader, where events or different perceptions of one event are gradually overlaid. The cognitive process is aimed at performance of an integral image of the development of some phenomenon and it acquires a semantic completeness in the artistic work when synchronizing all events transformations, existing in the text or ascribed by the reader. Thus, the literary continuum from the fictional

THE READER’S DISCOURSE IN THE COGNITIVE AND NARRATIVE STRUCTURE OF A LITERTARY WRITING: RECEPTION AND INTERPRETATION IN THE AESTHETIC DIALOGUE