Den talande bokens poetik - Doria

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listeners preferred one voice because it helped them to focus and keep up their
interest in listening more. The informants were disturbed by two voices reading.
An orally presented text is already an interpreted text and if two voices interpret
it there seems to be little room left over for the listener’s own interpretations,
which was frustrating for many of the listeners. The neutral presentation and the
version with sound effects also affected the listeners in a negative way. Their
interpretations were more superficial because they had to distance themselves
from listening and from going in to the text-world. A naked presentation without
sound effects on the contrary helps the listeners to enter the envisionments and
make their own discoveries there. An oral presentation that is empathic and
emotional encourages the listeners to make deep interpretations that touch
existential questions in the listeners’ own life. A neutral presentation without
engagement makes the listeners tired and unmotivated to process the text and
elaborate deep interpretations.
The analysis of reception in an aesthetic perspective rendered 24 concentrated
narrative constructions that described the pattern of understanding in the
interpretative reading in the two groups of listeners. Two different discourses
could also be identified. The informants in the reference group interpreted
according to an aesthetic discourse. They owned an aesthetic competence, where
readiness to distance themselves from fiction was of decisive importance. They
could stick to the contract of fiction and had no difficulties in separating fiction
and reality. Their cultural schema had a real impact on their interpretations. This
concerned particularly the feminine and masculine perspectives. Their earlier
experiences of reading fiction and patterns for interpretation gained there had an
impact on their current interpretations. In the terms of Rosenblatt, they read in an
aesthetic way, where the personal and emotional, their own values and cultural
understanding could be parts of the interpretation but still not result in a totally
subjective interpretation without reference to the fictive text that was the starting
point of the interpretation. The informants in the special group interpreted
according to a discourse that could be called a life world discourse. They were
touched by the existential themes that the different short stories opened up for.
Through the protection of the fiction they became co-writers, but they wrote
texts on texts where their own concrete life experiences heavily affected their
interpretations, as did the norms handed down to them from their upbringing and
the cultural experience of being part of an interpretation community of young
adults with a function disability in the form of (mild) mental retardation. The
importance of self-esteem could also be identified as a pattern for interpretation
for the special group.
The analysis of the aesthetic perspective showed that all versions of the oral
presentations in the audio books had sufficient artistic qualities: no version was
totally condemned by the listeners. All the informants also regarded aesthetic
reading as that defined according to Iser, Rosenblatt and Langer. The reception
analysis also showed that the conversations about literature and the guiding and
support that the informants received in the conversations were very important for
the meaning making. The questions in the conversations about literature directed