“图式化视域”和“图式化体貌”这两个词在茵迦登那里都是同义词。按照茵迦登的看法,一件文学作品的存在方式既不是纯客观的,也不是纯主观的。他把文学作品分成几个层次:(一)字音之建立在字音基础上的语音结构层;(二)各种等级的意义单元层;(三)图式化视域或图式化体貌(Ansichten)及其连续系列层;(四)各种再现的客体及其变化层。这种层次差异使整个作品不是一种单一系统(montonic formation),而是一种复调 The terms “Schematic Sight” and “Stylistic Appearance” are synonyms in Renjagad. According to Yinjia Deng’s view, the existence of a literary work is neither purely objective nor purely subjective. He divides literary works into several levels: (1) the phonetic structure of phonetic structures based on phonetic sounds; (2) the unit layers of meaning at various levels; (3) the stylized or stylized features (Ansichten ) And its succession of layers; (iv) various objects of reproduction and their changing layers. This level of difference makes the entire work not a monolithic formation, but a polyphony