Sender centred proposals are approaches which try and define the aesthetic object (Dahl's writing) from the perspective of the sender (Dahl). This approach could centre on either the writer's activity or intention.

Activity of the writer specifically refers to his or her CREATIVITY. This is a combination of the uniqueness and imaginativeness of the writing. Dahl's writing is both imaginative and unique and written in a very distinctive style ' this is what gives his writing aesthetic value.

Intention of the writer as a factor for assessing aesthetic value means that the writer deliberately intended to write a story that would be considered appealing and enjoyable. Dahl pursued and was successful in a career as a writer. He clearly had the intention of writing, and writing well because he chose to make a career out of it. He also knew that he couldn't just write any old rubbish ' his stories had to be good. Whether he spent hours crafting his art, or if it streamed forth from him in the first attempt is unknown ' but what is clear is that he intended to write and it so happens that his writing is good, according to the majority of his readers.

Message centred proposals focus on the writing itself and judges the aesthetic value of writing solely on the intrinsic and extrinsic factors surrounding the writing.

Intrinsic factors in Dahl's writing include his style of writing, the plot of a story and the humour within the story itself. Extrinsic factors include things external to the writing itself, such as the writer's age, when the story was written, at what location and over which time period ' extrinsic factors do not relate to the actual writing itself but rather to the conditions in which the writing was created. Was Dahl poor and starving when he wrote his stories mocking the rich? This may be why his stories are written as they are ' the extrinsic factors have an impact on the intrinsic result of the writing process.

Message centred proposals also focus on the form and content of the writing. The form of the writing is the typographical layout and structure of the writing. There is nothing remarkable or outstanding about the form Dahl's writing appears in ' the stories are laid out in a conventional manner, as many other stories. It is not due to any outstanding or unique form that Dahl's writing has aesthetic value, but rather the writing itself ' its meaning and its style.

The receiver centred proposal for defining an aesthetic object puts forth the idea that it is the reader, not the writer, who is responsible for adding aesthetic value. Although it is critical to have a reader who enjoys Dahl's style of writing before it can be defined as having aesthetic value, it is not the actions of the reader that actually makes his writing good. Dahl's writing is good, and readers who enjoy his writing reflect this fact, but do not actually make his writing good in themselves ' they are mirrors. Seen from the context of someone who does not enjoy Dahl's work, it could be argued that because someone doesn't like his writing it is not good. The evidence is however against this minority, so it cannot be argued that the receiver centred proposal is the best method of defining Dahl's writing as an aesthetic object.

Lastly, context centred proposals for defining the aesthetic propose that a piece of writing is only considered to be good within a particular context, and if removed from that context would lose its aesthetic value. This has been proven to be the incorrect model for assessing Dahl's work, as his writing has been enjoyable and loved for over 46 years, and around the globe in very many contexts and situations.

The best proposal for defining Dahl's writing as having aesthetic value would therefore seem to be the message-centred proposal. Dahl's work is of itself enjoyable to read ' no other factors need to be considered before his stories can be considered to be good.

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