This article defines the concept of auditivity in literary texts, both in the narrower sense of the term (the physically audible properties of a text) and in its wider sense (the potential ability of a text to create an auditive image in the mind of the recipient, thus conveying information in an aesthetic form, or contributing to this process). The article also investigates the possibilities of an intermedia typology of auditivity incorporating music and literature. This idea is built on the fact that both literature and music work with sound; they thus function as art forms which are close to their base material (Novák 2005: 26–34). I draw on a typology of literary/musical intermediality developed by Wolf (2011: 62–85), and I reach the conclusion that auditivity is a complex and complicated intermedia phenomenon which incorporates several intermedia types. The most explicit manifestation of the auditive properties of a text is on the level of structural plurimediality (sound poetry). Sound is also manifested implicitly in literary texts via intermedia imitations of acoustic structures (intermedia references in the form of imitations), which are very frequently accompanied by intermedia thematization. Auditivity in the process of literary communication has been investigated in the phases of auditivization (the deliberate creation of auditory properties in a literary work), reproduction and reception of literary texts. It has been determined that writers not only use traditional elements of poetic phonetics and phonology, but also engage in pure sonic experimentation. I reach the conclusion that the process of auditory emancipation of language is directly proportional to the loss of semantic properties by a text; literature thus comes close to the universality of musical communication.

中文翻译：

---

文学文本中的声音

本文定义了文学文本中听觉的概念，包括狭义的术语（文本的物理听觉特性）和广义的（文本在人们脑海中创造听觉图像的潜在能力）。接收者，从而以审美形式传达信息，或促进这一过程）。本文还调查了将音乐和文学结合起来的听觉中介类型学的可能性。这个想法建立在文学和音乐都与声音有关的事实之上。因此，它们作为接近其基础材料的艺术形式发挥作用（Novák 2005：26-34）。我借鉴了 Wolf (2011: 62–85) 开发的文学/音乐中介类型学，我得出的结论是，听觉是一种复杂而复杂的中间媒体现象，它包含了多种中间媒体类型。文本听觉特性的最明确表现是在结构多元性（有声诗歌）的层面上。声音也在文学文本中通过声学结构的中间模仿（模仿形式的中间引用）隐含地表现出来，这经常伴随着中间主题化。文学传播过程中的听觉已经从听觉化（文学作品中有意创造听觉特性）、复制和接受文学文本三个阶段进行了研究。已经确定，作家不仅使用诗歌语音学和音韵学的传统元素，但也从事纯声波实验。我得出的结论是，语言的听觉解放过程与文本语义属性的损失成正比；因此，文学接近于音乐传播的普遍性。