The article examines the phenomenological approach to a literary work of art. A basic distinction is made between the phenomenological-objective sense and the semiotic meaning. Then a distinction between phenomenological concretization and the semiotic interpretation is presented. According to the phenomenological approach - mainly Ingarden's theory - phenomenological concretization, which is a process of fulfilling of the spots of indeterminacy, is crucial in aesthetic experience. Concretization can be considered analogically to the process of the phenomenological constitution of the sense of the world. The semiotic interpretation is considered in a broad and in a narrow sense. The first refers to the process that plays a role analogical to concretization: aesthetic experience is an interpretation in the sense that it is a process of grasping the sense of a work of art. But this concept is extraneous to phenomenology. The process of concretization leads to the evident grasping of the aesthetic sense. The semiotic interpretation in the broad sense does not satisfy this demand. In the process of interpretation a new being is created: the interpretation that should be distinguished from the work of art as such. Otherwise, the process of concretization leads to the aesthetic object. The latter is not something extraneous to a work of art, but can be considered as the fulfilled work in itself. The phenomenological approach accepts only the narrow sense of interpretation, which involves understanding the language and having basic reading skills.