Interpretation of literary

parts into a whole, as well as the process leading to this state. 
When applied to the text integration denotes a process of uniting 
separate parts into a single whole. Uniting the meaning of separate 
syntactical wholes, the contents of sections and chapters into a single 
whole, integration neutralizes the relative auto semantics (independence) 
of these parts and subordinates them to the general informational purport 
of the literary work. It is just the integration that ensures the consistent 
comprehension of the content-factual information. 
It is necessary to draw a demarcating line between cohesion and 
integration. These concepts are mutually stipulated, but they arc 
different from the point of view of their forms and means of expression. 
Cohesion represents forms of conncction-grammatic, semantic and 
lexical — between separate parts of the text, defining the transition from 
one context-variative segmentation of the text to another. Integration 
represents unification of all parts of the text for the sake of achieving its 
wholeness. Integration can be realized by cohesion means, but can also 

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he based on associative and presupposition relations. Cohesion is a 
category of the logical plane, integration — rather of a psychological 
plane. Cohesion is linear, integration is vertical. 
While analyzing the ways of integration it is important to keep in 
mind, that the united parts of the whole arc not obligatorily su bordinated 
to one another and all of them taken together are not subordinated to the 
most significant one. The force of integration lies in the fact that it 
discloses the interrelation of parts, sometimes placing them into the 
position of equipollent or close by the ethical principles expressed in 
them or by their artistic-aesthetic functions. 
The most important thing in the process of integration is the 
centripetence of the parts in the text. 
The "centre" is the content-conceptual information, which is enclosed in 
small parts within each separately taken span of the text. The process of 
integration itself presupposes selection of parts in the text, of parts most 
essential for the content-conceptual information. 
Integration of a literary work supposes repeated reading of the 
work and each time the addressee should read it from a different point of 
view. The process of text integration is realized in the interrelation of the 
first impression, received by embracing the contents in totality, and 
subsequent impressions, after detailed analysis of the system of stylistic 
devices and semantics of separate parts, constituting the text. 
The results of integrating are connected with the category of 
completeness of the text. The text is considered to be complete only 
then, when from the point of view of the author his message received 
exhausting expression. In other words completeness of the text is the 
function of the author's scheme, placed in the foundation of the work 
and gradually developed in a number of descriptions, reports, narrations, 
meditations, monologues and other forms of communicative process. 
When, according to the opinion of the author, the desirable result is 
achieved by the onward movement of the theme, by its development, the 
text is completed. 
Considering the categories of integration and completeness we 
must demarcate the concepts of completeness and a tail-piece of the text. 
Completeness, as it was pointed out, sets a limit to the unfolding of the 
text, bringing out its content-conceptual information, that is explicitly or 
implicitly expressed in the title. A tailpiece is a concluding episode or a 
description of the last phrase in the development of the plot. In other 
words a tail-piece is a peculiar "full stop" of the text. 

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Thus, the concept of completeness refers to content-conceptual 
information, and a tail-piece refers only to the content-factual in-
formation.