МИНИСТЕРСТВО ОБРАЗОВАНИЯ И НАУКИ РОССИЙСКОЙ

ФЕДЕРАЦИИ
ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ АВТОНОМНОЕ
ОБРАЗОВАТЕЛЬНОЕ
УЧРЕЖДЕНИЕ ВЫСШЕГО ОБРАЗОВАНИЯ
«РОССИЙСКИЙ УНИВЕРСИТЕТ ДРУЖБЫ НАРОДОВ»

Институт иностранных языков

Кафедра теории и практики иностранных языков

«Допустить к защите»

Зав. кафедрой
теории и практики иностранных языков
_____________________ Н.Л. Соколова
«______»_______________2021 г.

Выпускная квалификационная работа бакалавра

Направление 45.03.02 «Лингвистика»

профиль «Теория и методика преподавания иностранных языков и культур»

КОММУНИКАТИВНЫЕ ОСОБЕННОСТИ ПОЛИКОДОВОГО ХУДОЖЕСТВЕННОГО

ТЕКСТА (НА МАТЕРИАЛЕ ПРОИЗВЕДЕНИЙ АНГЛОЯЗЫЧНЫХ АВТОРОВ).

Выполнил студент Ефимьева Мария Александровна

Группа ЯлнбД 03-17 Руководитель выпускной

квалификационной работы
Студенческий билет № Нагорнова Е.В., кандидат филологических
1032170754 наук , доцент

____________________________________
_
подпись

Автор_______________________________
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подпись

г. Москва
2021
 MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN
FEDERATION
THE FEDERAL STATE AUTONOMOUS EDUCATIONAL INSTITUTION
OF HIGHER EDUCATION
"PEOPLES' FRIENDSHIP UNIVERSITY OF RUSSIA"

Institute of Foreign Languages

Department of Foreign Languages in Theory and Practice

APPROVED FOR PRESENTATION

The Head of the Department of Foreign
Languages in Theory and Practice
______________________________
N.L.Sokolova

“_____”_______________2021

GRADUATION BACHELOR PAPER

45.03.02 – Linguistics

“Theory and Methods of Foreign Languages and Cultures Teaching”

COMMUNICATIVE FEATURES OF THE POLYCODE ARTISTIC TEXT (BASED

ON ENGLISH-LANGUAGE FICTION).

Submitted by Maria Alexandrovna Efimieva

Full-time course, group Graduation Bachelor Paper Advisor

ЯлнбД 03-17
E.V. Nagornova , PhD, Associate Professor
Student’s ID № 1032170754
____________________________________

Author ______________________________

Moscow
2021
 Федеральное Государственное Автономное Образовательное
Учреждение Высшего Образования
«Российский Университет Дружбы Народов»
АННОТАЦИЯ
Выпускной квалификационной работы

Ефимьевой Марии Александровны

на тему: КОММУНИКАТИВНЫЕ ОСОБЕННОСТИ ПОЛИКОДОВОГО

ХУДОЖЕСТВЕННОГО ТЕКСТА (НА МАТЕРИАЛЕ ПРОИЗВЕДЕНИЙ
АНГЛОЯЗЫЧНЫХ АВТОРОВ).

Выпускная квалификационная работа посвящена изучению

коммуникативных особенностей поликодового художественного текста с
иконическим компонентом. В качестве художественных текстов,
представленных нами как поликодовые и рассматриваемые в ходе работы
избраны следующие произведения: роман Ч. Диккенса «Посмертные записки
Пиквикского клуба», роман В. Теккерея «Ярмарка Тщеславия», романы
Л.Кэролла «Алиса в Стране Чудес» и «Алиса в Зазеркалье», поэтические
произведения – лимерики Э.Лира.
В результате исследования было установлено, что поликодовый
художественный текст представляет собой результат взаимодействия
писателя и художника-иллюстратора, выраженный в осмысленной
последовательности вербальных и иконических знаков и кодов,
обеспечивающих передачу информации, имеющей определенную
художественную ценность. Иллюстрации, каррикатуры, различные шрифты в
поликодовом тексте выполняют функцию самостоятельного источника
информации. Наличие в художественном тексте универсальных элементов
иконического уровня кодирования обеспечивает расширение
интерпретационного поля текста, его обогащение специфическими единицами
этнокультурного характера.
АВТОР ВКР _____________ _______________
 The Federal Autonomous Institution of Higher Education
“Peoples’ Friendship University of Russia”
ABSTRACT
OF THE GRADUATION BACHELOR PAPER
SUBMITTED BY Maria Efimieva
ENTITLED «Communicative Features of the Polycode a
Artistic Text (Based on English-Language Fiction).
The final qualifying work is devoted to the study of the communicative
features of a polycode literary text with an iconic component. The following works
were selected as literary texts presented by us as polycode and considered in the
course of the work: the novel by Charles Dickens “The Posthumous Papers of the
Pickwick Club”, the novel by W. Thackeray “Vanity Fair”, the novels of L. Carroll
“Alice in Wonderland” and “Alice Through the Looking Glass” , poetry - limericks
by E. Lear.
As a result of the study, it was found that a polycode literary text is the result
of the interaction of a writer and an illustrator, expressed in a meaningful sequence
of verbal and iconic signs and codes that ensure the transfer of information that has
a certain artistic value. Illustrations, caricatures, various fonts in polycode text serve
as an independent source of information. The presence of universal elements of the
iconic level of coding in a literary text provides an expansion of the interpretational
field of the text, its enrichment with specific units of an ethnocultural nature.

AUTHOR _____________ ___________________

(signature) (name)
 CONTENTS
INTRODUCTION .................................................................................................. 3

CHAPTER 1. THEORETICAL ASPECTS OF THE POLYCODE TEXT IN

MODERN LINGUISTICS ..................................................................................... 7

1.1. The Concept of the Polycode Text in the Theoretical Aspect .................. 7

1.2. Linguistic Basis of the Polycode Text Analysis ..................................... 14

1.3. Linguistic and Cultural Aspects of the Polycode Text ........................... 16

1.4. Artistic Texts as an Example of the Polycode Text ................................ 24

CHAPTER 2. POLYCODE ARTISTIC TEXT AS A MEAN OF

COMMUNICATION ........................................................................................... 26

2.1. Polycode Artistic Text as a Complex Semiotic Unit ................................... 26

2.2. Sociocultural Analysis of the English Polycode Artistic Text .................... 47

2.3. Results and Discussion ................................................................................ 59

CHAPTER 3. PRACTICAL RELEVANCE OF POLYCODE TEXT

ANALYSIS IN LINGUISTIC SCIENCIES ....................................................... 60

3.1. Practical Usage of the Research Results in Semiotics ................................. 60

3.2. Practical Usage of the Research Results in Stylistics ................................ 63

3.3. Results and Recommendations .................................................................... 66

CONCLUSION ................................................................................................. 68

REFERENCES ..................................................................................................... 71

APPENDIX ............................................................................................................ 77

2
 INTRODUCTION
Over the past century, in the depths of civilization, many specific polycode
systems were born, built on the combination of texts of different semiotic nature.
First, photography, loans, and television have quickly become major tools for
building public awareness and an integral part of modern social life. When these
mass media cartoons, magazine advertisements, outdoor or television editions, mass
computerization, and the dwindling virtual Internet network are added, it is very
certain that interfaith imagery multimodality will play a significant role in the new
millennium culture.
Visual information is becoming more and more widespread in human-created
and consumed texts, breaking the monopoly of the printed word. As P. Vaillant
rightly notes, operating instructions are increasingly reminiscent of comics, wall
safety rules - children's coloring instructions and control panels for household
appliances often only contain ideograms. Under the influence of television and the
Internet, printed texts are disappearing, and newspapers and magazines themselves
continue to increase their share of visual information in the materials provided.
At the same time, it is difficult to agree with those researchers who talk about
revolutionary changes associated with the use of polycode texts. Achieving
maximum inattention and clarity of meaning is difficult to attribute to the specific
characteristics of modern social communication. At any time, the portrait logo on
typography is the first choice, whether it is on a poster in front of a merchant’s shop,
or in a craftsman’s workshop, on the ordinary coat of the nobility, in the Christian
culture, like a religion to the masses in glory Evils as important as education are
based on icon-based murals or church stained glass windows
Thus, only the achievements of technical progress that open up new
possibilities for structuring visual iconic information can be considered
revolutionary, but not a striving for its widespread use.
The relevance of this study is the need for an unambiguous definition of such
a term as "polycode text", which is currently defined rather unclearly, as well as to
determine its place in linguistics.
3
 The relevance of the study is determined by the general persistent interest in
the issues of interaction and mutual influence of verbal and iconic signs, as well as,
more broadly, by the “iconic turn” associated with the change in the role of visuality
in the field of communication. Insufficient development of the methodology for the
complex interpretation of polycode works also determined the relevance of the work.
It is important to refer to culturally significant texts that reflect the national picture
of the world. The approach to these problems lies in the area of intersection and
integration of linguistics, semiotics, text theory and semantics of the context of a
work of art.
The scientific novelty of the work lies in the fact that for the first time a
complex multifaceted analysis of the verbal iconic communicative characteristics of
a culturally significant polycode literary text is carried out. Polycode in work is
studied as a form of artistic communication; as a factor in the general generation of
meaning; as a parameter that actualizes the dialogic nature of a literary text and
contributes to filling information and cultural gaps.
The theoretical significance of the study consists in identifying the specifics
of the functioning of polycode in literary and artistic communication; clarification
of the principles of interpretativeness of polycode literary texts and the
corresponding role of the iconic component; in the possibility of further using the
theoretical conclusions of the work in the subsequent development of the theory of
polycode text, in research on general text linguistics, cognitive linguistics,
linguosemiotics.
The practical value of the work comes from the possibility of using the
research results in lecture courses on text linguistics, communication theory,
cognitive linguistics, special courses on ethnolinguistics, linguistics, text analysis
and interpretation, intercultural communication, as well as in practical classes in
English, focused on the formation and development of communicative and analytical
skills.
The object of the research is polycode of literary text as a factor in generating
meaning.
4
 The subject of this research is communicative and pragmatic features of the
interaction of verbal and iconic signs and methods of their actualization within the
framework of a polycode literary text.
The objective of this study is to study the features of the functioning and
mutual influence of verbal and iconic components in literary and artistic
communication.
The subject, object and objective of the research led to the formulation of the
following research tasks:
1. To consider the theoretical concepts that form the basis ideas about the
functioning and perception of polycode texts;
2. To determine the features of language code functioning and iconic
levels in the structure of the polycode fiction text;
3. To analyze the features of the implementation of polycode as a form of
fiction communication;
4. To reveal the specifics of actualization of the verbal and iconic
figurative meanings of the national culture;
5. To determine the role of the iconic component in the formation of the
integral space of a work of art;
6. To determine the significance of the of polycode texts study for
semiotics and stylistics.
The scientific novelty of the research is the study of the concept of a polycode
text as a special phenomenon that includes various components of semiotic systems.
Modern linguists began to pay increased attention to one of the most
noticeable (literally and figuratively) semiotic codes - the iconic one - which has
become one of the representations of the so-called non-verbal communication.
Among the numerous studies on the linguistics of the text (in the broad sense of this
term), studies of semiotically complicated, video-verbal, composite, contaminated,
polycode, creolized text began to appear，the researches, who work in this field are
E.E. Anisimova , Yu.M , Sergeeva , S.Yu.Pavlina, T.E. Nikolskaya , O. V.

5
Poimanova , A.G. Sonin , Yu.A. Sorokin, E.F. Tarasov, E.Wilson , V.Wild ,
A.Paivio , N.Goodman , G.Kress and others.
Especially significant for the work is “Commentary on the Posthumous Papers
of the Pickwick Club” by G.G. Shpet. In this unique historical and social
commentary, conclusions of the 7th plane are especially important. Author's position
Comments in the work “The internal form of a word. Etudes and Variations on
Themes of Humboldt”, which is based on the study of one of the methods of the
psychology of social life.
The source study base of the research was made up of works of fiction in
English literature: “Vanity Fair” (1848) by William Thackeray; “The Posthumous
Papers of the Pickwick Club” (1836) by Charles Dickens; limericks by Edward Lear
published in “Book of Nonsense” (1846) and “More Nonsense, Pictures, Rhymes,
Botany”, etc. (1872); “Alice's Adventures in Wonderland” (1865) and “Alice
Through the Looking-Glass” (1872) by Lewis Carroll.
The methodological basis of the study was the methods inherent in
philological knowledge - primarily comparative-historical and genre-typological. A
combination of literary, linguistic and aesthetic approaches to the study of linguistic
problems is used. The choice of specific techniques is determined by the specific
tasks of each section and the originality of each of the analyzed in the work.
In order to achieve the research objectives, the following structure of the work
is determined: introduction, three chapters, conclusion, list of references and
appendix.

6
 CHAPTER 1. THEORETICAL ASPECTS OF THE POLYCODE TEXT IN
MODERN LINGUISTICS
1.1. The Concept of the Polycode Text in the Theoretical Aspect
At present, the linguistic sciences are studying the synthesis and special
phenomena of different cultural and cognitive fields, as well as various systems. The
emergence and effect of this phenomenon is the result of certain development of
cultural synthesis. This development has been observed for more than 10 years. This
phenomenon also includes the multidisciplinary text under consideration, formed as
a synthesis of various semiotic texts. Usually, this text includes natural language or
non-verbal elements, but its key function is to be able to include elements from any
symbolic system, such as: auditory-music or song, dynamic-dance, culture-any
element related to certain traditions, etc. [ 8 , p.49] .
Researchers include music videos as a system containing elements of various
sign systems such as: verbal, iconic. News texts are also included, in which different
systems are involved, and the announcer delivers information so that listeners can
perceive it as quickly and clearly as possible. Examples of the use of various sign
systems also include comics, films and television. If we consider certain scientific
texts, then in them the code field is a method of expanding the didactic effect. The
most common method of using polycode text is advertising. All texts used in the
media are polycodes, which is quite logical if we consider that a huge number of
cultural texts are also polycodes. Poly codes that are used in advertising usually
differ in their purpose of using this phenomenon to manipulate the perception of the
buyer. [ 18 , p.93] .
At this stage, a huge number of sciences are studying the phenomenon of the
field of code, such sciences are: literature, art, music, etc. Of course, most often
polycode text is studied by linguistics, since with its help it is possible on the
determinant of this phenomenon, it is clear and correct. [ 4 , p.103] . Of course,
most often polycode text is studied by linguistics, since with its help it is possible on
the determinant of this phenomenon, it is clear and correct. This is primarily due to

7
the presence of a huge number of certain linguistic methods for analyzing such
phenomena, I Anna with a predominance of the verbal component.
When considering the field code from the standpoint of cognitive linguistics,
the poplar code is regarded as a definite system, which consists of various
heterogeneous elements (cognitive systems). [ 27 , p . 130] . By mastering such
systems, I create and improve the reader's perception of the world. Certain verbal
components of such polycode structures, I, form a connection with those cognitive
systems that already exist, as a result, completely new cognitive systems are formed.
Studying polycode texts, linguists pay the most attention to the process of
correct perception by their addressees. researchers are studying a particularly
important moment of complex perception that a person faces in an attempt to process
new information, which is presented in the form of a code text field., and seeks to
develop mechanisms for understanding various levels of polycode education from
the standpoint of cognitive linguistics [ 3 , p. .15] .In the process of perception and
understanding of polycode texts, the individual's assistants are presuppositions, T.E.
Nikolskaya and S.Yu. Pavlina note “the existence in the space of intercultural
artistic communication of nationally determined aspects of the perception of
polycode texts” [21, p.141]. The most important elements of code texts are the codes
included in them, as well as the necessary methods for decoding them. A certain
feature of the Pole texts is also the presence of certain differences in the codes of
different cultures . In the event of such a problem, the correct perception is not
available to the addressee, as a result of which the meaning laid down by the author
is considered lost.
Based on the foregoing, we can conclude that the problem of dropped code
texts is currently being studied by a huge number of sciences, art, literature, music,
and so on, but the most significant field of study of the phenomenon of polycode
texts is linguistics
A polycode text is an artificial cultural system, within which the interaction
of various components occurs, such as: verbal (text), visual (pictures, video),
auditory (speech, songs), etc. [ 42 p.180] .
8
 The development of the study of the theory of polycode texts is due to certain
discoveries in various fields of semiotics, as well as the consolidation of ideas in
science and the presence of different sign systems that are used to transmit
information.
The use of colloquial units from various semiotic groups has always been
important, but with the advancement of modern technologies, this factor is becoming
even more important and is beginning to be used everywhere. As mentioned earlier,
polycode text is used in various fields such as: the Internet, cinema, television, films,
etc. [ 4 8 , p. 97 ] . Currently everywhere there is a polycode advertising.
The use of the field of code texts is used in order to maximize the effective
manipulation of potential buyers of the proposed product, as well as to increase its
activity as a buyer . Polycode text and are interesting for scientists primarily from a
typological and stylistic point of view. However, today yin-yang remains unresolved
many questions regarding the theory of the text itself. At the present moment,
scientists have not fully defined the concept of "text". Also, today there is no
definition of the term "type of text" [ 56 , p.97] .
At that moment when the books began to be published, text became a special
formed speech formation, isolated, with the presence of my own specific features
such as isolation, consistency and linear structure. Since about the 20th century, an
active study of the concept and specificity of the text began, many of its aspects
began to be revised. In the works of M.M. Bakhtina : “the possibility was shown to
consider a written text in a new way, to perceive it as open, in dialogical relations
with other texts, echoing with them, responding to them. Thus, a separate text loses
its closed character, it becomes part of a vast whole” [6, p.15]. J. Derrida believes
that “linearity weakens its oppression, since it is no longer fruitful. Modern thinking
is becoming more and more non-linear, and this is reflected in the forms of writing,
in new types of text” [54, p.13]. The use of the principle of nonlinearity in the text
allows you to use all its versatility and breadth of thought, and also opens up new
horizons and dimensions. Exploring the Text As an open source and structured

9
source requires a completely different approach. A linear text can be studied exactly
as it is written, due to its sequence.
When studying a linear text, the information contained in it could be
dissolved. Studying a non-linear text, it could be interesting AND unknown. You
can read books as you like from left to right, right to left or from top to bottom, this
choice is individual for everyone, however, one thing is clear in order to read a book,
you need to turn the pages. To mark such a thing as hypertext, which is one of the
types of nonlinear texts, a branched system, characterized by the connection of any
point with another point in the text. [ 51 , p. 49] .
The main distinguishing quality of any nonlinear text is the tremendous ability
to structure information, considering it from all sorts of points of view. The elements
of each nonlinear text are not closed since they all belong to the same sphere, which
is determined by the initial information. In contrast to nonlinear text, linear text has
the properties of closure, there are boundaries in it. Nonlinear text is a spatial flow
of information. [40, p.109] .
To non-linear text does not have significant differences from a homogeneous
verbal text, I have all the same specific elements, such as: coherence, integrity, etc.,
all elements of such texts are dependent on each other. When considering the various
elements of the text from the standpoint of syntagmatics, Jack's tattoo is considered
in relation to other elements.
When defining the characteristics of a nonlinear text, a number of its inherent
characteristics of self should also be noted: intertextuality, hypertextuality and
creolization.
Intertextuality is the formation of the meaning of a text by another text. It is
the relationship between similar or related literary works that reflect and influence
the interpretation of the text by the audience. Intertextuality is a relationship between
texts that is created using quotes and hints. [1] Intertextual figures include: hint,
quotation, calculation, plagiarism, translation, stylization and parody [ 4 , p.100] .
Hypertextuality is a postmodern theory of the interconnectedness of all
literary works and their interpretation. The prefix "hyper" comes from the Greek
10
"above, outside or outside". Thus, hypertext began to describe text that provides a
network of links to other texts that are "outside, outside and above themselves." [ 3
, p.16] .
Creolization is a term referring to the process by which elements from
different cultures are mixed together to create a new culture. The word creole was
first attested in Spanish in 1590 and meant "a Spaniard born in the New World." In
the 1970s, the term was widely adopted by linguists, who used it to refer to the
contact language, or pidgin, which later generations would speak as the first
language. Since then, creolization has become an important paradigm for the social
sciences. Today it is used in different ways by anthropologists, ethnographers and
archaeologists working on multicultural adaptation in a wide range of colonial and
postcolonial contexts . [ 53 , p.28] .
Before starting the study of nonlinear texts directly, first of all, it is necessary
to note one characteristic feature. Non-linear text can be represented as a semiotic
homogeneous system. An example of such a system would be an encyclopedia or
dictionary. However, even such a nonlinear text can be filled with various codes of
several sign systems, for example: a movie or a guidebook. [ 1 9 , p.73] .
Recently, there has been a sharp leap in the increase in the amount of
information, which has become more informative and capacious, and also has great
potential in comparison with verbal information. In this case, a see-hear scheme is
used. This method is becoming more and more widespread in modern life. Despite
certain well-established principles of transmitting information in the text. Printed
products are losing their positions under the onslaught of television and the Internet.
Print media can no longer compete with television, cinema, advertising, and
so on. By analyzing the passed stage of development of communications, you can
find the natural development of its volume and structure. The study of semiotic texts
initiated the investigation of the image as a tool of a unique sign system, as well as
methods for its practical application. [ 55 , p.98] .
So, combining all of the above, we can state that a nonlinear text can consist
of various elements of other semiotic systems, in other words, a nonlinear text can
11
be semiotically complex. However, this factor is not obligatory, due to the fact that
definitely non-linear texts can only consist of elements of a certain semiotic system,
for example, a verbal one. If this happens, then this text can be considered
homogeneous.
Studying non-linear text, you should distinguish between 3 types, namely:
mana code, creolized and polycode text. The data differentiation allows you to study
in more detail the features of nonlinear text.
Monocode text can be a linear or non-linear system, I consisting of code
belonging to only one semiotic group, most often this is understood as a written
form. Examples of monocode nonlinear text are intertext and hypertext. Each
monocode text is interconnected with the rest of the texts by no dialogical links. “A
work is a link in the chain of verbal communication; like a replica of a dialogue, it
is associated with other works-utterances: both with those to which it responds, and
with those that respond to it” [18, p.101]. Any statement can be as much monological
as you like, but with the help of it it is impossible to unequivocally give an answer
to what has already been said on this issue. In their works, Yuri Lotman and his
colleagues are studying the problem in the same direction. The traditional concept
of text in the text is considered by the pilot in the following way: if a foreign text is
added to the main text, not only the included text but also the main one is changed.
To a certain part of the text, which until then was not independent, are now
considered part of the general system, thus creating a new text with a certain artificial
integrity. [ 15 , p.76] .
How, in the case when before an earlier text is included in a later one, Perhaps
not even by the will of the author himself, one can observe certain similarities
between these different texts. The similarity can be reflected in elements such as:
plot, composition, and so on. It can also manifest itself based on the characteristics
of the speech elements used.
It turns out that the intertext is a kind of interaction of several texts, I may
belong to different authors, written in different time intervals, divided into an earlier
and later one. Based on this, it is possible to define intertext as a special monocode
12
element, since I and the main and included text are texts belonging to the same
semiotic system.
For a long time, creolized texts did not attract the attention of linguists. The
traditionally narrow approach to the text, limiting its nature to only verbal means,
led to the fact that The investigation of creolized texts was limited to separate
observations of the use of images in advertising, posters, and the role of captions
under photographs in the press and cartoons. The term «creolized texts» belongs to
the Russian psycholinguists Y.A. Sorokin and E.F. Tarasov: “creolized texts are
texts whose texture consists of two inhomogeneous parts: verbal (linguistic / speech)
and non-verbal (belonging to other sign systems than natural language)” [35, p.182].
Usually, such elements as film text, radio, posters and so on are used as confirmation.
Many researchers now use the concept of creolized text, which defines the presence
of two codes at once, usually verbal and iconic. As a result of their interaction, the
necessary integrity and coherence of the text is achieved, as well as its effective
communicative effect. In modern science, the concept of polycode text is relevant
and actively used
Cases of a natural language code being combined with the code of another
semiotic system (image, music, etc.) should be classified as polycode texts in the
broad semiotic sense.
In the structure of polycode texts, it is customary to distinguish between verbal
and non-verbal elements. usually involved are the five senses that perform certain
semiotic functions in human consciousness. However, a huge number of socially
necessary and significant familiar systems are aimed at using only sight and hearing.
This explains the presence of a large number of different interactions between the
ordinary and the specific language system (auditory, oral and visual), with some
other auditory and visual sign systems. [ 34 , p. 171 ] . Also, if we take into
account the fact that in the modern world the writing components are used much
more strongly than before, the increased interest in this phenomenon is quite easy to
explain. It is also customary to distinguish polycode texts by the presence in them
of a different number of sign systems.
13
 An example of a heterogeneous polycode text is a video clip. A video clip is
an example of a non-uniform code text field. In this case, a video clip is an audio-
visual product that includes certain vocal and instrumental components in
conjunction with certain images. In this case, the video is a reflection of a certain
musical direction, as well as its performer. The video clip is a reflection of the
director's idea. Nowadays, a good clip is not those simple special effects decorations
like the eighties, but the presence of good special effects, a plot that includes a certain
story that not only appears in front of the audience on the screen, but also conveys
certain feelings. We can say with complete confidence that the clip includes all the
main features of modern culture in full. Taking into account the peculiarities of the
heterogeneous social structure, as well as its breaks, I can nevertheless say that a
certain interaction of the compatible with the incompatible creates a special virtual
world where the Impossible becomes possible. At the same time, the clip with the
presence of its specific features in the form of partly Nastya and fragmentation can
be defined as a kind of metaphor for the current state of modern society and people's
consciousness. [ 36 , p. 21 6] .
So, as it seems to us, it is possible to say with confidence that the future of art
lies in polycode texts.
1.2. Linguistic Basis of the Polycode Text Analysis
In practice, special static verbal-visual phenomena are usually used, such as:
posters, leaflets, as well as dynamic visual elements - video clips, films, etc. Usually,
the verbal and visual elements of such works stop at the content, content-
compositional and content-linguistic level. The purpose of the expert analysis of the
creolized text is an objective linguistic confirmation of the ideological and thematic
content of such a work as a complexly organized verbal-visual semantic complex.
Depending on the content-semantic structure, the main types of correlation of
verbal and visual information in texts of this type are: 1) “text + image” (T + I), 2)
“image + text” (I + T), 3) “image = text” (I = T). In the texts of the first group (T +
I) the relationship between verbal and pictorial elements, there is the so-called intra-
text semantic interactions. The verbal part carries out the transmission of the main
14
meaning, it is autonomous, with its own independence, does not belong to the visual
context. In this case, the image is an optional component, rather it performs a
secondary task, increases the semantic content of the verbal element. It is not
difficult for me to identify the presence of semantic relationships between verbal
figurative elements in the texts of the second group. In this case, the image plays the
main role, it is the main component of the text. This semantic dependence of 1
element in relation to the second can be increased through the use of certain
linguistic tools in the verbal part.These markers can correlate the verbal component
with the pictorial one both explicitly and indirectly (implicitly) through complex
semantic (semantic) links, references [8, p.50].
Usually, the study of creolized texts of the first and third groups does not cause
serious difficulties for researchers, since the verbal part in this case is dominant and
isolated, and therefore, there is no need to study in detail the meaning inherent in the
visual element. Considering the text of the second group, in which the image is
prevalent, the verbal element is not isolated, I need to analyze the images as the only
method of research and highlighting the information contained in the verbal element
[ 3 , p . 13] .
In order to conduct a qualitative analysis of creolized texts of the second type,
one must first determine the type of semantic relationship between its elements,
followed by decoding. In this situation, the image can be considered an implicit
method of expressing meaning, a source of some information. In this case, the
linguist needs to first determine this information and translate it from visual to
verbal. Translation of information, which is enclosed in a sign system that differs
from the linguistic one, is determined by interpreting the image for and its verbal
description, is determining the content and meaning of the visual image. [29, p. .45]
.
When analyzing the content of an image, it is necessary to fix the objective
situation reflected in it, to highlight the main, essential and sufficient information
(semantic) component to understand the meaning of the verbal part, without
overloading the study with a description of secondary details. It is required to
15
determine the color scheme, composition, etc. However, in the case when the minor
details do not change the original meaning, but on the contrary seems inappropriate,
there is a possibility to omit the minor details in order to reduce the risk of the
author's subjective elements. [ 52 , p.133] .
Based on the foregoing, we can note the existence of certain principles of
visual transmission and verbalization of the meaning of images included in the text,
which are applicable to dynamic verbal visual texts. In case of a problem of
processing a large amount of information at once, you can apply the decomposition
method, which is the division of a large amount into certain semantic parts. Thus, it
is possible to distinguish the verbal and visual components [22, p.12] .
Summing up all of the above, we can say that the analysis of objects requires
from a specialist not only theoretical knowledge, but also certain creative abilities
for the study of the visual component. Open questions in modern linguistic science
include questions related to the choice of methodology for the study of visual
images, as well as the development of certain tools for image interpretation. In order
to solve these problems, the introduction and study of modern scientific research
into the already established linguistic models is required.
1.3. Linguistic and Cultural Aspects of the Polycode Text
Currently, the society makes updated requirements for obtaining information
and the method of its dissemination. There is a change in the role of communication
and its transformation. To the emerging issues related to the need for a
comprehensive study of the communicative features that arise in the process of
communication. Thus, there is a need to study certain problems in the field of
semiotics. After all, the success of communication largely depends on its semiotic
support.
In time, the study of sign systems is currently central to the question of the
relationship of addressees to each other, as well as a certain set of conditions under
which interaction occurs. Therefore, we can say that in the communication process
the most important thing is not the choice of the labeling system, but its conformity
with cultural characteristics. We can conclude that the correct understanding of the
16
text is determined by a complex analysis of all its components, which can be divided
into text and non-verbal. [60, p.61].
Another phenomenon that discovers the components of various symbolic
structural systems is the so-called Creole text. The beginning of the study of this
phenomenon was established due to certain studies in the field of semiotics.
Scientists call the creolized text a video- verbal, isoverbal complex; polycode,
semiotically complex text; syncretic message and others . Therefore, the basis of this
phenomenon can be defined as text consisting of a certain number of heterogeneous
elements and is both verbal and non-verbal. a feature of such a creolized semiotic
text is its ability to enrich meaning, the self and the visual series become the reasons
for influencing the perception of the text as a whole. To summarize and say what a
study of the text is, it cannot be considered only verbally, without taking into account
the non-verbal components. [ 27 , p. 133 ] .
What kind of text can be found anywhere: advertisements, cinemas, etc., the
vast majority of text now includes implementation components that improve the
ability to convey information as efficiently as possible.
If we look at multicode text from a linguistic point of view, they contain some
parameters inherent in any text, starting with connectivity and integrity. However, it
is worth noting that these parameters depend in large part on the culture of their
creator and recipient, or on a culture.
According to the research results of I.V. Vashunina “the assessment of the text
also depends on the gender of the recipient. Moreover, the perception of an
inhomogeneous text is influenced not only by gender, but also by age characteristics,
peculiarities of world outlook, outlook, nationality, etc” [3, p.159].
The reason for this ambiguity in creolized text lies in its discourse. If we
consider a simple text, then in it the Information will be perceived regardless of the
method of information transmission. In a semiotically rich text, the general meaning
of the text will depend on the choice of non-verbal components.
In the event of a certain aggressive image with a text inscription, the
manifestation of certain cultural conflicts is possible.
17
 As a result, I am just such an ambiguity and includes polycode text along with
linguistic cultural public space. Cases of using special cultural foundations, using
paralinguistic means, there is an increase in the volume of transmitted information
about the author of the text, as well as the ability to influence perception. [57, p.271]
. These manipulative techniques are especially actively used in the media. since
hidden hints can have a stronger psychological effect on the addressee, who is
involved in the interpretation process, and his conclusions are personalized.
The use of polygons has become firmly established in communicative
communication, and is daily used in all areas of life, which contributes to more
detailed study. On the way to studying this problem, researchers are faced with a
large amount of unclear information. A problem of a dualistic nature has appeared,
from now on the addressee must either perceive the information and extract its
hidden meaning or not do it. [ 51 , p. 193] .
Research tools should be included in complex text analysis. Polycode text
cannot be considered the same ancient technology because it is frequently difficult
to perceive and may result in contradictory interpretations of content. Because the
text was created using language and cultural norms, language and cultural analysis
are required to correctly understand and complete the text.
This type of analysis differs from "language" in that it clearly includes cultural
information to explain facts and separate units of language. [ 54 , p.41] .
Text research allows you to extract all of the author's information. Due to the
exclusion of cultural methods, it is impossible to determine all connotations by
understanding the individual cultural traditions and subcultures of the entire society.
As a result, incomplete reflections on the shadow of the sentiment or judgment of
the statement are produced, which is frequently critical.
This in-depth analysis is often worthwhile when examining extremist texts.
Because they are illegal, public calls to overthrow the foundations of constitutional
order or incite racial, social, racial, or religious hatred are rarely exploited. Hidden
calls with correct language and cultural analysis, on the other hand, can be found in
the text, which is initially neutral. Use fonts in the text, including specific numbers,
18
logos, symbols, color combinations, personal photos, etc. Avoid the true meaning of
beginners, but update those familiar with these subcultures.
Also, remember that the potential intentions of the author are not always fully
understood by the public. The cultural characteristics of the different audiences can
vary greatly, which means that it can negatively affect any comic effect that the
writer desires. Therefore, this analysis should be regarded as a necessary analysis in
judicial practice, and the court should determine the crimes of defamation, libel and
extremism as appropriate. The methodology for such analysis should be developed
and defined in the legal field in order to exclude the conclusions of the survey. In
addition to solving practical industrial problems, in particular legal languages,
linguistic and cultural analysis of texts can perform some scientific tasksCreole
texts, as a result of the analysis of the main types of information transmission, can
be used not only for the creation of media texts, but also in the field of educational
technology, collaborating with children at various stages of development. [41, p. 78].
The polycode text combined with various symbolic elements to allow the
reader to provide a complete thinking of the author and language and cultural
research materials, the results can be used as a basis for developing interdisciplinary
problems to solve the practical solution.Methods Applied in the Polycode Text
Analysis
Russian and foreign linguists, such as T.E.Nikolskaya , S.Yu.Pavlina ,
S.M.Pautova , Yu.M.Sergeeva , E.A.Uvarova , Yu.A.Sorokin , E.F.Tarasov , A.
Paivio and others proceed from the provisions on the activity of the recipient, the
purposefulness and phased understanding of the text, as well as its dependence on
linguistic and cultural affiliation, existing experience, knowledge of the subject, etc.
Within the framework of linguistics, the text is considered primarily as a kind of
“communicant”.
The emergence and active dissemination of new polycode texts connecting
verbal and non-verbal components, as a result of technological progress and new
methods of social interaction, has led to the need to study the cognitive mechanisms
that an individual use in the process of reading them. In this context, researchers
19
must determine the specific content of the motivations, cognitions, and other
mechanisms used by recipients to understand polycode texts, as well as the
effectiveness and appropriateness of their use in various areas. [50, p.129].
Considering the nature of the material being compared, three main areas of
research on polycode texts can be distinguished:
1) comparison of the verbal text and its illustrated version;
2) comparing two differently illustrated versions of the same verbal text;
3) identification of differences between the influence on the recipient of each
separately taken heterogeneous component of the polycode text, i.e. the
impact of pictorial information is compared with the impact of verbal text.
The lack of a validated cognitive model of interaction between language and
visual components, as well as the lack of experimental basis for constructing such
models, has led researchers to propose all important interactions only based on
scientific intuition and theoretical analysis of the structural features of polycode texts
hypothesis [37, p. 194].
That is why in the scientific literature one could find various and even sometimes
contradictory views on the role of the non-verbal component in the perception of the
integrity of a polycode text.
For instance, O.V. Poimanova recognizes “the leading role of the verbal element
in the perception of a polycode text, since the iconic message allows many variants
of “reading”. However, in the process of communication, the author tries to achieve
not any act of “reading” the message by the recipient corresponding to the purpose
of communication. With the help of the verbal component, the addressee's efforts
seem to get a certain direction. It follows from this statement that it is the verbal
element that provides the necessary direction for the interpretation of the text” [22,
p.24].
The point of view of E.E. Anisimova is the opposite: “the researcher believes that
the addition of an image imposes restrictions on the perception of the text, leads to
a restructuring of the recipient's semantic code in the direction of narrowing his
conceptual field, while the possibilities for interpreting the text decrease. If this
20
statement is accepted, then it is possible to conclude that it is the non-verbal
component that can lead to the most accurate interpretation of the content, imposing
restrictions on the possible multiple interpretations of the verbal text” [3, p.20].
One of the key theories describing the mechanisms of understanding polycode
texts is the theory of double coding, developed by A. Paivio. This theory is based on
"the existence of two information processing systems interacting with each other.
The two types of representations are characterized by specific structural and
functional features:
1) a system of figurative representations, the development of which is associated
with the experience of specific interactions with the environment (its use is
usually determined by situations in which an individual processes information
about specific objects and events);
2) a system of verbal representations associated with the experience of verbal
communication and less dependent on the concreteness / abstractness of the
situation (its significance is the higher the more abstract the task facing the
individual).
According to A. Paivio , “human cognition is unique in that it has backcomme
specialized for dealing simultaneously with language and with nonverbal objects and
events. Moreover, the language system is peculiar in that it deals directly with
linguistic input and output (in the form of speech or writing) while at the same theme
serving a symbolic function with respect to nonverbal objects, events, and behaviors.
Ani representational theory must accommodate this dual functionality” [58, p.56].
The two information processing systems interact with each other at three levels
within each of these systems.
At the first level of representations, the sensory footprint activates symbolic
representation in long-term memory. Words activate logogens, i.e. verbal
representations, while non-verbal components, perceptual stimuli, activate imagens,
or figurative representations.
At the second reference level, symbolic representations of one system activate
representations of another. In other words, the word activates not only the verbal
21
representation itself, but also the figurative one through the reference connection
between the corresponding logogen and the imagine.
At the third stage, associative connections are made between images, verbal
representations, or between both. As a result of the existence of two parallel and
interconnected forms of representations and information processing systems, when
extracting an image concept, it is "superimposed" on the concept of a verbal text,
and the interaction of both concepts contributes to the creation of a single general
concept of a polycode text. According to A. Paivio , it is precisely due to the
“redundancy” of polycode texts that their most stable memorization by the recipient
occurs [5, p.102].
The theory of double coding in understanding polymodal, polycode texts was
reflected in the research of R. Mayer. The researcher relies on the provision on the
limited resources that at the same time can be used by the cognitive system for the
purpose of processing incoming information, as well as on the provision on the
active nature of information assimilation, which implies that meaningful
assimilation of the material by the recipient is impossible without his vigorous
activity directed to draw attention to important points of text and images.
In Russian science, a significant contribution to the study of the mechanisms of
understanding polycode texts was made by A.G. Sonin . Based on the data collected
during the experiments, the researcher attempts to establish differences in the
cognitive processing of the components of the polycode text and contends that there
are no significant differences in the processes of meaning generation except in the
process of primary identification of verbal and pictorial stimuli. The differences are
manifested in the processes that occur after the primary processing of information
by the recipient. These differences lie in the fact that each component of a polycode
text can be subjected to both lexical and semantic processing after their initial
identification, but the sequence of operations may differ [33, p.168].
An artistic text (literary work) is based on an artistic image - a concrete and at
the same time generalized picture of being, reflecting to one degree or another the
artist's worldview of the word, created by him with the help of verbal means and
22
artistic compositional techniques and having aesthetic significance. It has been
proved that polycode text is a special type of text, therefore, it can be argued that it
is also based on an artistic image. The difference lies only in the means of creation.
If, as mentioned earlier, the author of a literary text creates images using words and
compositional techniques, then the author of a polycode text also uses signs from
other systems - iconic, melodic and verbal (in oral form).
Considering that a single parameter - an image - is the basis of a polycode and
literary text leads to the conclusion that it is possible to apply a single research
method - a philological one when analyzing the above types of texts. The
philological analysis of the text involves the involvement of historical, cultural and
other layers in interaction with linguopoetic analysis, which is founded on literary
and linguistic approaches developed in the twentieth century. The main method that
was applied in our research is philological analysis, that includes also analysis of the
image of a character in a literary text, introduction, portrait and speech
characteristics the hero and the author's attitude [10, p.116].
The speech characteristic (speech portrait) of a character in literary texts is
understood as the selection of words and expressions that are specific for each
character of a literary work as a means of artistic depiction of heroes. When
analyzing the speech of a character in a feature film, words and expressions will also
be considered in conjunction with his appearance and manner of pronunciation
(distortion of words, intonation).
In conclusion, a polycode text, as a work of verbal and artistic creativity, can be
an object of philological analysis designed to investigate it in its entirety. Here it will
be appropriate to apply the method of thematic layering of the text, the main
parameters of which are the introduction of the character, his portrait and speech
characteristics and the author's attitude to him. The difference between the analysis
of fictional and polycodic text lies in the sign systems: the verbal component and
techniques of artistic composition or the iconic, melodic and oral verbal components
are analyzed, respectively.

23
 1.4. Artistic Texts as an Example of the Polycode Text
Literature and art Communication is a dialogue expressed through linguistic
symbols and text structures, as a language mechanism, about the meaning of the
information conveyed by the author as the author of the work and the meaning of
the information conveyed by the reader as text material for the person who receives
it and understands how to generate, transmit, and understand it. The eucalyptus of
the works of art reflects and preserves the fundamental features of the world around
us and focuses on the necessary assessments, reflections and properties, but they are
likely to be integrated into the framework of national ideas for the creation of the
arts. The spiritual community that arises from the production and perception of
artistic texts translates artistic and literary exchanges into dialogue and works
together to find answers to certain pressing and practical questions related to the
communicators.
The form of dialogue between author and reader is composed of several key
elements of the algorithm: the creation of art, the collection of materials, the thinking
plot, the heroic image and ideological content of the text, the creation of literary
works, increasing the motivation of literary Works, reading text, the aesthetic
pleasure in works of art, the perception of historical and factual information,
strengthen the basic knowledge of the information provided, coding and personal
perception of the emotional evaluation of the work's content, the acceptance or
rejection of copyright emotions and evaluations, and the conception of the art world
to learn more about the information received, explaining the process of revealing the
meaning of basic meaningful content and dividing it into the different units of
meaning that make it up, and transforming the text from a frozen and objective iconic
By absorbing certain values, norms and ideals, as well as the life experiences of
artistic heroes, physical activity is transformed into a spirit.
To analyze the perception and understanding of the text to be deciphered, the
concept of the " cultural code " is extremely important. When it comes to cultural
regulations, the cultural information they contain is critical. There are no clear

24
boundaries to the term "cultural code". This also includes the systematic of cultural
regulations.
Each text can be viewed from the perspective of the five codes that are present
in it: explanatory, it represents a certain square, semiotic, with the help of plot
conjectures, which helps to reveal the meaning of the text, the symbol that stands for
the text allocated space is responsible, pro-areretic , which prescribes a certain
sequence of the plot to the text and cultural, which is the “code of human
knowledge”. Code is understood as system that establishes a repertoire of symbols
with their meanings and rules governing their combination [30, p. 63].
In our view, the most important parameters of the semantic content of a text
material in a work of art are: If one takes the emotional conceptual content of the
text as the author's main semantics and evaluation attempt and the author's attempt
to convey to the audience the content that is presented in his works;
Following the recommendations above, the code in this study should be seen
as a way to represent information using vocabulary, grammar, and other units of text,
and by interpreting this information, the reader can use prior knowledge and
experience to comprehend the significance of the identifying information presented
to the author in the text . The main codes that are the general way to render
meaningful content are:
the emotional-conceptual code, through which the basic emotional-conceptual
parameters of both the fiction piece and the characters are transmitted;
1) Personally, identifiable code that combines the basic characteristics of the
character;
2) Event behavior code depicting the eventful nature of the novel to convey
the characters' information.
All three codes are closely related because the rules that make up the
combination of text elements are limited by the specificity of their use, which closely
links the meaning and meaning of the text to the linguistic status that the author has
by defining each language unit has set. Therefore, the complex process of analyzing

25
and decoding these semantic content representation methods should examine the
author's plan. [61, p. 179]
A comprehensive intellectual, emotional and constructive understanding of
works of art creates new interpretations of reality, creates the conditions for a re-
examination of reality, understands reality, strengthens the ideals and value
orientations presented, defines new aspects of social development and defines the
processes and events that take place or have taken place, as well as the nature of
permeation phenomena. The present view shows the complexity of understanding
the artistic text, a cognitive process in which the content of the text is assimilated
not only through the recognition of the linguistic means of the text expression, but
also through the revelation of the meaning. This means that a semantic connection
is established between elements that perceive text, from which more information can
be extracted than is contained in the language class.

CHAPTER 2. POLYCODE ARTISTIC TEXT AS A MEAN OF

COMMUNICATION
2.1. Polycode Artistic Text as a Complex Semiotic Unit
Cognitive studies of fiction discourse show that there is mutual penetration of
mental spaces, a convergence of mental worlds, in the process of speech interaction
by introducing alien concepts into their own world and their concepts into an alien
world. Thus, the mental space expands and changes, and understanding is considered
as the acceptance of other people's concepts as their own. Thus, the author of a work
of art appears in the text in accordance with his inherent vision of the world and in
accordance with motivational and pragmatic attitudes. In a fiction text, language
26
skills are regarded as a definite (linguistic) correlate of the traits of the spiritual
appearance of an integral personality, reflecting in a specific, linguistic form its
social, ethical components, that is, objectifying the main elements of the artistic
image in speech action. The principle of the author's selection of linguistic material
for modeling the linguistic personality of a literary hero is also highlighted as a
separate issue.
The literary personality is a combination of the individualized structure of the
writer's linguistic personality, the way of his creative thought-speech activity and
the ideological component. The concept of a literary personality determines the
individual author's perception of reality and the manifestation of the linguistic,
textual and communicative sub competencies of a native speaker, as well as a
historical socio-cultural parameter, concentrating in the literary and artistic form of
the representation of the collective linguistic personality of an ethnic group [5, p.65].
The author's artistic style thus represents the actualization of the writer's
linguistic personality in the form of an individual combination of extralinguistic and
intralinguistic parameters that serve as the foundation for creating a literary text.
Extra-linguistic parameters are a structure of dependencies that reveals the
individual creative code of a person, depending on his way of thinking.
Intralinguistic parameters, according to Yu.M. Lotman , are associated with general
trends in the evolution of individual creative systems [15, p.146].
By summarizing the above in relation to the English fictional prose of the
analyzed period), its vivid accusatory orientation is singled out, reflecting the
national worldview and national character prone to rhetoric: "The Englishman is
prone to ridicule, but this ridicule always has a shade of moral teaching". The
favorite role of an era representative is that of a judge, who can rise above the
interests of different parties and find a compromise solution, and thus the desire for
a compromise, the “golden mean,” is defined as a British national character trait [65,
p.94].
Dickens's authorial style is brightly emotional: the reader literally hears his
laughter and anger, feels a smile and indignation. His dialogue with readers and
27
characters organically fits into the objective picture of life drawn by the author [27,
p.88].
As an example demonstrating the specifics of reflection of the national picture
of the world, consider the following illustration (Figure 1) and the corresponding
passage, characterized by a change in the general orientation of the author's narrative,
its language, intonation and style:

Figure 1. Christmas Eve at Mr. Wardle’s

- “And numerous indeed are the hearts to which Christmas brings a brief season of
happiness and enjoyment. How many families, whose members have been dispersed
and scattered far and wide, in the restless struggles of life, are then reunited, and
meet once again in that happy state of companionship and mutual good-will, which
is a source of such pure and unalloyed delight, and one so incompatible with the
cares and sorrows of the world, that the religious belief of the most civilized nations,
and the rude traditions of the roughest savages, alike number it among the first joys
of a future condition of existence, provided for the blessed and happy! How many
old recollections, and how many dormant sympathies, does Christmas time
awaken!” (CHD).
The illustration titled “Christmas Eve at Mr. Wardle's” is less caricature than
the other illustrations in the novel. The reader gets used to a certain image scheme,

28
since the caricature assumes one or another measure of distortion of reality with
altered physical features of the characters. The illustration shows the joyful faces of
the people, and Mr. Pickwick does not seem to us as awkward as the reader is used
to seeing him.
The illustration shows a kitchen in which guests gathered on the third day of
the celebration of Christmas and the wedding of young people. Above the ceiling,
alongside the smoked meats, hangs the mistletoe, which old Wardle has carefully
hung and which has caused merry fuss and commotion. According to the old custom,
a kiss awaited a couple trapped in a mistletoe. The situation may look comical for
the reader expecting to see the misadventures of the characters depicted in the usual
grotesque manner, but both the illustration and the author's assessment correspond
to the intention of benevolence. It is essential to note some details. Firstly, already
at the beginning of the narrative, Dickens sets the reader in an elevated mood, using
book vocabulary: unalloyed, dormant. Secondly author uses inversion: And
numerous indeed are [23, p. 99].
Overall, the deep pragmatics of the author's dialogical narrative are
manifested in the dialogue between the author and the reader.
The author's dialogue, aimed at reducing the communicative distance between
the author and the reader, brings the story to the level of universal human values,
which became the basis of the chapter. Thus, the absence of a pronounced comic
component is not accidental, the artist reflects the author's intention: Dickens
describes the atmosphere of happiness and joy, friendship, uniting people, their
families at Christmas and provoking a pleasure that is incompatible with the worries
and sorrows of the world. So the writer invites the reader into the memories of
Christmas, which cause positive emotions in most of English people [38, p.300].
Another important feature is that the illustration reads the same as the text: from top
to bottom and from left to right; the artist, in full accordance with the author's
intention, conveys not only the external content, but also the scheme of image
movement in the reader's mind. The value aspect of communication is related to the
common places, cultural concepts of a given ethnos or society. Their analysis makes
29
it possible to establish the value picture of the world, which is distinguished by
analyzing the connotative dominant of the text.
Visual expression plays an important role in the construction of Charles
Dickens' artistic world, according to researchers of his literary works. N.L. Potanina,
for example, mentions “Dickens’s world is not so much wide as detailed, his picture
is extremely detailed” [39, p.28].
An interesting feature of the “Papers” themselves is the presence of a large
number of anachronisms in it. The writer as a whole "does not consider the
chronology too much," despite the fact that he specifies the starting date of the events
as May 12, 1827, and the end date is about fifteen months later, in the fall of 1828.
It allows us to conclude that the novelist was not interested in the historical and
chronological accuracy of events, but in their content and meticulous description
down to the smallest detail [7, p.102].
Irony plays an extremely important role in the aesthetic and literary-artistic
layers of this fiction piece. As a means of actualizing the individual evaluative
modality, irony is an artistic form of the writer's evaluative position. The role of
irony, its place in the structure of a work of fiction was studied both in literary and
linguistic works. Playing like a form of evaluative reflection of reality, irony
correlates with the author's worldview, his creative position, playing an important
role in the writer's idiostyle. Ch. Dickens' criticism of society is mainly directed to
morality, and the target for him is not so much society as a whole, but human nature.
The peculiarity of Charles Dickens' creativity is that he fills the real space with
fantastic images that reflect social psychology [44, p.78].
Successful communication depends on technology designed to stimulate
interest in the transmission of information and keep the recipient's attention. The
addition of illustrations in the book and its architectural changes are a means of
positioning readers, a visual content table. W. Thackeray and Ch. Dickens became
the founders of a special genre, the illustrated novel, despite the fact that both began
with a series of accidents. The formation of the figurative and linguistic means

30
(metaphor, allusion, analogy) of these writers was served by the same book symbols
and satirical engravings [65, p.76].
W. Thackeray himself was an illustrator of his novels, he most often resorted
to engraving the capital letters and conclusions to the chapters. His novels were
published monthly, with two prints per issue. For example, the motive of the Vanity
Fair is hidden on the title page and in accompanying images: puppets, a clock with
the emblem of the victim of Iphigenia (Osborne's daughter sacrificed her happiness
in favor of her father's selfish desires). The motive appears first in the text and only
then in the illustrations:

Figure 2. The title page of the 1848 first edition of Vanity Fair: A Novel without a Hero.
The first edition's cover of Thackeray's novel depicts the Jester at the fair, a
self-portrait that is presented as a person capable of reflecting the bitter truth that is
hidden from them. A peculiar Jester moralist who believes that everything in this
world is vanity. However, at the same time, this illustration shows that all the words
emanating from this judgment should not be taken as truth. Obviously, the facial
expressions of the Theatrical Mask and the narrator himself are completely opposite:
when the mask is cheerful, the narrator is sad and vice versa. To this very same self-
portrait, it seems, shows that in fact, a lively ironic tone conveys not at all positive
emotions. [45, p. 196] .

31
 Almost all illustrations depicting Becky Sharp are a complete contradiction of
the characteristics that the author gives her. The author portrays Becky as some kind
of adventurer, but readers should not be fooled by this. in the illustrations, this
heroine is depicted as an unprincipled person who will do anything to achieve her
goals.

Figure 3. Becky as a mermaid, an image substantially developed by Thackeray

- “There are things we do and know perfectly well in Vanity Fair, though we never
speak them... In describing this syren, singing and smiling, coaxing and cajoling, the
author, with modest pride, asks his readers all around, has he once forgotten the laws
of politeness, and showed the monster's hideous tale above water? No! Those who
like may peep down under waves that are pretty transparent, and see it writhing and
twirling, diabolically hideous and slimy, flapping amongst bones, or curling round
corpses; but above the water-line, I ask, has not everything been proper, agreeable,
and decorous...?” (WT).
Comparing the author's true opinion with the estimates he gives in the text is
not the only function of the illustration in the novel. Many drawings played a
reinforcing role and clearly confirmed the features of the authors illustrations in the
text are typically used to explain some of the author's reported facts. They display,
for example, character costumes. It is worth noting that Tekkerey intends to
introduce his modern fashion into the novel rather than the time described, despite
32
the fact that they are half a century apart. His explanation boiled down to his aversion
to replicating the inactive clothing of the leftist era. The reason, however, is that
"Vanity Fair" is not a historical novel, nor does it intend to accurately reproduce
historical events and signs of the times. On the contrary, the novel is clearly social,
moral satire, the characters depicted in the text at the beginning of the 19th century
are the characteristics of the author's time, but also the characteristics of our
modernity. [ 45 , p.195] .
In summary, it can be built on the fact that the illustrations in the novel Vanity
Fair are one of the means of creating goals because they help the reader to participate
more emotionally in the events depicted and to form his or her proper understanding
of the writer's plans.
In the novels of Charles Dickens, similar details are found in illustrations by
H.N. Brown, who skillfully weaves symbolic allusions into the scenes depicted. As
for Charles Dickens, it is known that initially he gave detailed instructions to
illustrators as to what should be depicted in the caricature. This concerned not only
and not so much the choice of the plot, but also the location of the characters, the
presence of certain details, environment, background, etc. Later, when the process
of co-creation became more familiar, the artist had the opportunity to show greater
independence. The illustrations are as the author intended, despite the fact that they
are not his creation; however, the artist introduces his own details, attempting to
visualize what the author intended. Similarly to how the translator interprets the
work, it is likely that the artist creates works of art that are relatively independent of
the writer. The main task of Dickens's readers is to read the text together with
illustrations. Ch. Dickens in “The Pickwick Papers” draws in detail in words what
is reflected in painting through visual art, urging the reader to keep these images in
memory [62].
The full title of the first issue of the Notes was: “The Posthumous Papers of
the Pickwick Club, containing a True Account of Investigations, Dangerous
Enterprises, Travels, Adventures and Hunting Adventures of Members of the
Correspondent Society, edited by Bose”. The title was framed with hunting
33
equipment and fishing tackle, as well as a picture of Mr. Pickwick with a fishing rod
and line in a boat, and Mr. Winkle with a gun. There are no such episodes in the
“Papers”, but the traits communicated by the illustrator (R. Seymour) to both
Pickwickists are preserved in the narrative and are repeated by the illustrators,
transforming the drawn images into types perceived akin to portrait images.

Figure 4. The Election at Eatanswill

The image is divided into two levels: top and bottom. The cartoon depicts a
scene from the chapter on the “ancient, loyal and patriotic” city of Etenswill , where
two opposing parties - the Blues and the Yellows - coexist. Representatives of each
party do not miss the opportunity to accuse the enemy of unworthy behavior and
extol their own.
The assembled crowd must listen to the man from the balcony who so eagerly
praised Mr. Slumky from the balcony that his face turned crimson. However, the
crowd has a life of its own. This is evident in the illustration, and it is supported by
the author's text: “Coming out of the carriage, the members of the Pickwick club
found themselves among the honest and independent, immediately emitting three
deafening cheers, which, being picked up by the whole crowd (because the crowd
does not need to know what caused the screams), grew into such a triumphant roar,
which silenced even the red-faced man on the balcony” (CHD).
It is important to draw attention to the metaphor used by Dickens to describe
the crowd in which the Pickwicks find themselves and the speaker: “And then there
34
was another roaring, like that of a whole menagerie when the elephant has rung the
bell for the cold meat” (CHD). The illustrator supports the metaphor by handing the
bell in his right hand to the “tucker on the balcony”, showing the viewer an elephant
demanding breakfast, while the crowd itself resembles a chaotic menagerie.
The concept of “crowd” often appears on both levels: visual and verbal. In
English, it is represented by a synonymous series of words crowd, throng, horde,
press, crush, swarm, jam, mob, rout. The crowd in English evokes negative
associations. As a contrast, the crowd in one form or another is used by both the
writer and the artist to highlight and separate the image of Mr. Pickwick, as a hero
and Don Quixote of his time, from the rest of the imperfect world with all its flaws
and vices [11, p.48].
The lower level of the illustration depicts people lying on the ground: drunks
or those who were knocked down by opponents. At the same time, it is clear that the
crowd gets pleasure from what is happening. In the foreground, you can see a
pickpocket thief, taking advantage of the opportunity to get into the fat man's pocket.
What is happening is explained by the verbal part of the text: all the hotels were
occupied by the Blues, while only the pubs remained for Yellow.
An example is the illustration to the "Papers" which is called "the discovery
of the jungle in the navy." The text of this novel does not mention a particularly
important detail, which at first glance seems imperceptible, but clearly conveys the
emotional state of Mr. Pickwick. This illustration especially accurately portrays the
negative atmosphere within the Navy prison, with its inmates, shown to Mr.
Pickwick. However, the artist makes a small change - this is a poster from the one
in the upper corner, which depicts a slave in chains. Contemporaries recognized it
as a reference to medallion badges by the famous British ceramist Josiah Wedgwood,
distributed since 1787 as part of the campaign against the slave trade. These
medallions were framed with the slogan “Am I Not a Man And a Brother?” Of
course, the details refer to the appearance of two skinny cheaters, Jingle and Trotley ,
whose imprisonment even earlier impressed Mr. Pickwick, but whose heartbreak

35
makes the hero think and feel his blood relationship with them as brothers:

Figure 5. The Discovery of Jingle in the Fleet

Figure 6. Left side: J. Wedgwood's medallion; right side: poster engraved by H.N. Brown
As shown above, in the works of C. Dickens and H.N. Brown traces the
influence of the dominant iconographic traditions of this era, mainly the book
emblem and the moralizing art of W. Hogarth. Characteristic is the desire to capture
all possible details, which is associated with the emergence of a new era's
problematic - a reflection of modernity's drama, the unique look of the time. These
problems are also clearly expressed in the need for theatricalization of artistic space,
which will be discussed below.

36
 As a product of cultural exchange, the text of a novel is the embodiment of
the author's conceptual image of the world. As a manifestation of the dialogue nature
of literary texts, priority categories and intertextuality are the most important tools
for researching technical parallelism and the interaction mechanism of semiotic
systems, as well as analyzing semiotic updates of concepts.
The phenomenon of intertextuality implies the presence of a multidimensional
connection between texts and their involvement in the field of culture. The narrative
is always constituted as a dialogical matrix, and is constituted by the recipient to
whom this narration is addressed.
According to the author, the recipient of the text plays the most important role
in the construction of the above model. It should be noted that the concept of
intertextuality has been rethought numerous times since its inception.
Any text can be presented as a “mosaic of citations” - the result of absorption
and transformation of other texts. Thus, any text is a reference to other, alien texts
and itself is a way of reading previous literary texts. Intertextuality blurs the
boundaries of the text, deprives it of its closeness; the text is a process of the
production of meanings in the deployment and in the interaction of heterogeneous
semiotic spaces and structures, the practice of meaning in pure becoming [24, p. 10].
Such an understanding of intertextuality turns the text into a discourse, which
is characterized by the absence of boundaries between the texts of individual authors,
between the individual literary text and the macrotext of tradition, between the text
and the reader, and, finally, between the text and reality.
The most common technique of verbal intertextuality in “Papers” is the
author's remarks. They create a special stylistic effect, recreating the atmosphere of
the theater and the reaction of the audience [23, p. 64]. An example is the very first
minutes of the meeting of the Pickwickist club, built in the form of a monologue
with the author's notes:
“Mr. Pickwick would not put up to be put down by clamour. He had alluded
to the honorable gentleman. (Great excitement) Mr. Blotton would only say then,
that he repelled the hon. gent’s false and scurrilous accusation, with profound
37
contempt. (Great cheering) The hon. gent. was a humbug. (Immense confusion, and
loud cries of “chair”, and “order”)” (CHD).
Visual intertextuality manifests itself through connections between iconic text
components that allow them to refer to each other. First of all, it means specific ways
of actualization by the artist of the objective world. In the illustrations of the
“Pickwick Papers”, intertextuality is manifested in the following parameters:
1. Mise-en-scene is a general parameter of illustrations that is included in the
category of theatricality discussed in Chapter II. All illustrations represent
a frozen moment of theatrical action, carrying a semantic load;
2. Gesture, which serves as an indication that behavior receives some super-
everyday meaning, and not the actions themselves are evaluated, but their
symbolic meaning. This parameter is also cross-cutting for the studied
illustrations and carries the function of attunement to communication;
3. Caricature as an aesthetic category ensures the preservation of the general
comic spirit of the studied polycode text;
4. Symbolism allows you to convey additional semantic volumes, expanding
the interpretation capabilities of images.
Thus, in the studied polycode literary text, the following parameters of visual
intertextuality are distinguished: mise-en-scene, gesture, caricature and symbolism.
The parallels drawn with the work of other writers and illustrators of the era
under study help to trace and reveal the colossal impacting potential of a new form
of artistic communication. It is impossible to ignore another example of the
successful use of illustrations as part of polycode text. The great example of which
is obviously Edward Lear's limericks.
With the help of Edward Lear’s poetry, the limericks set off on their victorious
march around the world, establishing the canons of true English humor [31, p. 12].
Funny five-verses were accompanied by drawings: long-nosed eccentrics, fat cats,
dumbfounded owls. The illustrations matched the new genre of absurdity:

38
 Figure 7. A Book of Nonsense (c. 1875 James Miller edition) by Edward Lear
The talent of a draftsman allowed Edward to earn a living from the age of 15,
creating prints, painting screens and fans, as well as sketching diseased organs for
doctors. But the first success was brought to him by skillfully drawn birds - parrots,
pheasants, toucans and many others. The 20-year-old animal painter was invited to
capture his menagerie by the Earl of Derby. For the children of Count Lear, he wrote
and painted his first nonsenses - this is how he called fantasies clothed in the strictest
form [63, p. 107].
Lear did not organize a kind of nonsense, but brought development to popular
motifs scattered in different collections. He came up with a kind of brain game that
kids and the best adults like. Furthermore, he became the only poet whose legacy is
often called "pure" nonsense. Lear not only showed himself to be a master of paradox,
deadly accurate rhyme, and brilliant nickname, but also a subtle lyricist. His ballads
and elegance, irony and love, rethink the Victorian heritage and skillfully bid
farewell to it [49, p. 146].
The main means of his absurd poetics - the combination of symbols and
grotesque, his enlightenment, bitterness, and some absurdity - are always unexpected.
The man in Lear's poem looks strange and does something crazy [32, p. 131].
Limestone rarity embodies the upheaval of the playful initial life that is arranged on
top, all deformations, even the body, becoming part of the poetic absurdity as
derivatives of the mask:
1. “There was Yong Lady whose chin, resembled the point of pin”

39
 Figure 8.
2. “There was an Old Man of th’ Abruzzi, so blind that he couldn’t his
foot see”

Figure 9.
3. “There was an Old Man of the East, who gave all hos children a feast;
But they all ate so much, and their conduct was such;
That it killed that Old Man of the East.

40
 Figure 10.
Similar code in the poetics of E. Lear (deformations, images of a dismembered
body) is a sign of an illogical world. The atmosphere of black humor, the “macabre”
effect allows you to make the object of parody death itself [1, p.43].
The grotesqueness of Lear dates back to carnival, which is based on the idea
of life-giving chaos: the poet destroys the outside world, finding meaning in the
absurd, "deactivating" the familiar, attracting phantasmagoria. Laughter, which is
the essence of the grotesque carnival, is destructive and creative at the same time,
energizes the movement of life, enriches with hope, since "the feeling of chaos is a
longing for meaning": "Absurd is not only nonsense, absurd, nonsense, but also - in
the etymological sense - something really disharmonious, but full of the prospect of
harmonization. " Characters such as a "man wig", an old man who "flies in his city
on a fly on a fly", a young woman with an incredible nose ("the nose grew and grew
day and night - and was lost from sight") (EL ), attract the attention of readers
because of their incompatibility with the obsessive moralization so characteristic of
Victorian authors [12, p. 291]. Masks grow in the face of absurd heroes,
eccentricities become their public position. Illustrations are intended to emphasize
the grotesqueness of poetry:

41
 Figure 11. There was a Young Lady whose nose, was so long that it reached to her toes.
The polysemy characteristic of the symbol allows E. Lear to build a mobile,
contradictory, living world, in which there is beauty and ugliness. Interpretation of
the symbol is often spoken of as a dialogic form of knowledge. The creator of
nonsense (limericks) E. Lear leads to the knowledge of the truths, the farce high
mythopoetic symbols and reduce romantic pathos. Since the meaning of eternal or
universal symbols is inexhaustible, the symbol is characterized by semantic fluidity.
The syntagmatic development of the text in the ballads of E. Lear is combined with
the paradigmatic (archetypal). By engaging in a dialogue with the cultural context,
the poet verbalizes the semantic space of his absurdities, thus ordering the chaos that
surrounds him [26, p. 332]. Behind the game and the absurd - the search for the
meaning of life, a magical land, to which “I want to get, at least in the Reshet” (EL).
Lear writes about the love that lives in the heart of a poet (although he is an absurd
villain with a red lantern in his nose), about the resurrection of the soul, about the
salvation of the demons of the night with the help of a fabulous “silver swarm of
Bees”.
Another great example of the polycode text is novels written by Lewis Carroll:
“Alice in Wonderland” and “Alice Through the Looking Glass”. Here
expressiveness is manifested in the use of linguistic units with a deviation from the
norm, which gives expressiveness and unusualness to the statement. This is what
42
affects the perception of the text by the reader, to maintain attention and interest in
what is happening. This type of language game contributes to understanding the
hidden meaning of the statement and its role in the text.
The artistic style of Carroll’s novels is characterized by the use of linguistic
means. Carroll creates a great amount of neologisms, which are not only used to give
a name to the new reality, but also to make the reader feel a kind of novelty and
uniqueness of the work. A neologism is a new lexical unit that is introduced into a
language to give a name to a new, previously unknown phenomenon. The main
feature of the author's neologism is that it exists only within the framework of a
given work, since the word was invented by a certain author for the purpose of using
it in a specific context. So, quite freely writers give names to specific realities of the
fictional world [20, p.48].
In addition to various types of wordplay, Lewis Carroll also uses graphic
means to convey a particular thought or idea. The task of decorating text has given
rise to the emergence of various types of font used in the novels. With the help of
graphic resources, the direct informational and semantic meaning of the word has
received additional meanings, even the outline of individual letters, the arrangement
of lines could serve as carriers of pragmatic information and ways of intrusion into
the field of semantics [28, p. 194].
Lewis Carroll highlighted words in the text of the novels in capital letters.
Such a technique that attracts the reader's attention by focusing it on the development
of events is called capitalization. Capitalization is the spelling of a part of a word or
the whole word with a capital letter to give expressiveness. In such a type of use of
capital letters as capitalization, all lowercase letters in a word are completely
replaced, and not only the first. It should be noted that capitalization is a rather
uncommon graphological technique. Along with other graphic means, the author
uses capitalization to achieve the required stylistic effect.
The author also widely uses italics. The expressiveness of the statement and
the emotionality of speech are indicated by emphatic stress. That is, if there is a need
to strengthen any part of the statement, then emphatic italics are used. So, against
43
the background of ordinary text, the highlighted word immediately catches the eye.
The font also depends on the intonation; therefore, the font selection gets the word
on which the emphasis falls. Emphasis is understood as stress, which conveys the
speaker's special desire to highlight certain words emotionally.
The author can italicize words that are usually unstressed, but in a certain
context they require emphasis, since they are important in meaning or imply some
kind of opposition. This tool is used for the logical or emotional amplification of
thoughts, for example, to convey the emotion of the character, special pleasure, to
create a humorous effect. The latter is achieved due to the contrast between the
graphic emphasis of the statement, which implies its special significance, and the
elementary character of the expressed thought. What requires amplification in the
text (quotes, poetic inserts, epigraphs, words of another language) can be italicized
[59, p.242].
Italics allows author to create a second plan of the narrative dedicated to the
inner experiences, thoughts of the hero; also see the point of view of the main
character of the work, or other characters. In addition to expressing the
intensification of subjectivation, italics contributes to the compositional organization
of the text, that is, the unfolding graphic verbal series:

Figure 12. First edition of Alice's Adventures in Wonderland (1865)

44
 Another graphic technique is concrete poetry. The term that is used in relation
to these verses directly indicates the form of their arrangement, that is, the text is
located in the form of a figure, which usually corresponds to the theme of this
fragment:

Figure 13. The mouse tale shaped poem, appeared in Alice's Adventures in Wonderland
It should be noted that concrete poetry is not an invention of new poetry. This
technique was widely used by other writers as well. A.A. Milne, author of the novel
“Winnie-the-Pooh” (1926), used a curly stipe in his work to describe how a kangaroo
jumps:

45
 Figure 14. Concrete poetry, appeared in Winnie-the-Pooh by Alan Alexander Milne
The next graphic technique used by the author is the use of a hyphen:
- “The Gryphon lifted up both its paws in surprise.
«What! Never heard of uglifying!» it exclaimed.
«You know what to beautify is, I suppose?»
«Yes,» said Alice doubtfully: «it means-to-make-anything-prettier.»” (LC).
In this context, Alice defines the word “beautify”, and the use of hyphens
suggests the heroine's hesitations and doubts. Each transmits a pause, which Alice
makes after each word. However, if the word “doubtfully” were not included there,
the reader would have a harder time deciphering the meaning of the hyphens. The
use of hyphens in Alice's speeches occurs quite often throughout the entire novel,
and each time a hyphen between words indicates her insecurity during a conversation.
Graphology also manifests itself in punctuation, which is sometimes
unnecessary, but such errors are intentional. So, in the next remark of the Hatter, the
author uses an atypical setting of a comma before the conjunction “and”, which
indicates the author's desire to pause:
- “What a funny watch! It tells the day of the month, and doesn’t tell what
o’clock it is!” (LC).
Thus, we can conclude that Lewis Carroll managed to convey the intonation,
as well as the features of the characters' speech in writing. That is, the use of graphic
techniques helped to most clearly reveal the characters of the heroes of the tale. The
most commonly used graphological techniques are italics, capitalization, as well as
author's neologisms, which give the work their own uniqueness.
All in all, Lewis Carroll managed to create an absolute masterpiece, which is
based on the unique organization of the text, accurately conveying the idea of the
writer. This work attracts the attention of not only young readers, but also an adult
audience. This is due to the fact that the writer possessed not only linguistic
knowledge, but also knowledge in other areas, which he transferred to the pages of
his work. Therefore, “Alice” is the object of many studies not only in the field of
linguistics, but also psychology, physics.
46
 In conclusion, illustration is formed taking into account the need to reduce the
communicative distance between the author and the general reader, his ability to
interact with the text. Illustration as a visual reflection of the concept of works of art,
as a means of locating readers, as a visual table of contents. In a single composite
image, the artist tries to reflect the author's intentions in every way.
The model of the communicative space of a polycode literary text as an
integral work includes several stages. At the preparatory stage, the publisher creates
a communication channel for the author and the artist. At an intermediate stage, the
author (addressee) transmits a verbal message to the artist (relay addressee) for
subsequent interpretation. The artist's task is to transcode the received verbal
message into an iconic message through the language of artistic thinking. The
function of delivering the final work to the general reader is carried out by the
publisher. Finally, the task of the final addressee within the framework of artistic
communication is a complex interpretation of a work of art.
The illustrations, on which the key scenes of the narrative unfold, serve as
guidelines for the communicative space of the artistic text.
2.2. Sociocultural Analysis of the English Polycode Artistic Text
Fiction piece is a collection of artistic concepts. The artistic concept is
understood as component of the conceptual sphere of the author's artistic text, which
includes those mental signs and phenomena that are reflected in the minds of the
people and are cognitively pragmatically significant within the framework of the
storyline of the work set by the author.
Charles Dickens's art world was formed on the basis of the basic concept of
English national culture and expressed the main idea of British national identity in
the Victorian period. Moreover, thanks to the literary talent, these concepts
concretized the dominant national values in the minds of contemporaries. National
identity in the works of Dickens is represented in images associated with concepts
that are significant for English culture: home, fair play, gentleman, which are
fundamental concepts for understanding the phenomenon of “Englishness” [7,
p.103].
47
 These concepts focus on the issues of ethnocultural self-identification of the
British as a nation, understanding the fundamental issues of national axiology:
personal freedom, the value of family ties and home, justice, respect and self-esteem
of a person, personal and universal, national and global, one's own and another's.
Dickens` artistically embodied picture of the world. Dickens's fiction is
largely determined by a special Victorian variety of the British mentality, in which
optimism and anxiety about the future, conservatism, and a desire for progress,
religiosity, and atheism collided and related.
It is worth-mentioning the importance of the concept of a presentation as an
instrument of linguistic description, which is defined as the smallest information unit
of influence, which is a complex linguo-semiotic (sign) complex consisting of
concepts and images of the surrounding world cognitively mastered by the subject
and transmitted to another subject during communication with this subject for the
purpose of influence on him. The communication process can be represented in the
form of a sequence unfolding in time and space by a presentation both purely
semiotic (visually) and discursively (mainly verbally).
The presentation is, first of all, a complex sign that has a linguo-semiotic basic
principle of its selection. This principle makes it possible to designate groups of
concepts and images, signs and symbols that are among themselves in some
relationship and juxtaposed with each other. The main function of the presentation
is the transmission and fixation in the consciousness of the object of cognitive
influence of the idea of concepts and images inherent in the subject of cognitive
influence.
The illustration titled “Mrs. Bardell faints in Mr. Pickwick's arms” is needed
to be studied:

48
 Figure 15. Mrs. Bardell faints in Mr. Pickwick's arms
In the center of the illustration above the fireplace there is a painting that
clearly implies a variation of Venus and Cupid: Venus on the right, Cupid aiming at
her on the left. Recall that Cupid in ancient mythology is the god of love, passion
and an inseparable companion and assistant of Venus. His calling is to unite the gods
into marriage pairs. Among other options for its origin, the forces of Chaos are also
indicated, coupled with Heaven or Earth. The illustration depicts him in a
recognizable heraldic appearance and a clear meaning of conveying romantic
feelings.
The next accent is the mirror hanging between the painting and the
mantelpiece. The function of a mirror is reflection, and what exactly it reflects can
be seen at the bottom of the illustration. Here it not so much reflects as distorts events.
Below, on the mantelpiece, a clock is depicted, over which a figure with a
scythe, which is none other than the Gray Time, traditionally depicted as an elderly
man in a cassock and with a scythe; a figure that combines the features of Chronos
and Death. In the illustration, he separates the upper plane of the “past” from the
lower “present”. It may also serve as an indication that the no longer young Mr.
Pickwick and Mrs. Bardle are destined to be bound by love.
With regard to the illustration under consideration, it is possible to emphasize
that visual images can also carry an intonation function. Having read the illustration

49
in this way from top to bottom and from left to right, the reader stops at the trinity
on the right - even to Pickwick's friends, the situation seems suspicious. It is essential
to turn to the verbal part of the text:
The title uses sublime lexical means to describe an essentially trivial action:
Chapter XII Descriptive of a very important proceeding on the part of Mr. Pickwick;
no less an epoch in his life, than in this history.
The verbal part draws the reader's attention to the behavior of Mr. Pickwick:
“He paced the room to and fro with hurried steps, popped his head out of the window
at intervals of about three minutes each, constantly referred to his watch, and
exhibited many other manifestations of impatience very unusual with him. It was
evident that something of great importance was in contemplation, but what that
something was, not even Mrs. Bardell had been enabled to discover” (CHD)
Lexical repetitions are used by author: «Mrs. Bardell 'Do you think it a much
greater expense to keep two people, than to keep one?' 'La, Mr. Pickwick,' said Mrs.
Bardell, colouring up to the very border of her cap, as she fancied she observed a
species of matrimonial twinkle in the eyes of her lodger; 'La, Mr. Pickwick, what a
question! » (CHD).
Iconic part: Actually iconic precedent visual phenomenon of illustration is a
reproduction of the painting “Venus and Cupid”, which is a secondary graphic text
that carries the intonation function of re-designation.
In linguistic science, it is customary to define paths and figures as means that
create and fill claims, which, based on the research conducted, are also a means of
visual expression. Analysis of the illustrations shows that the recipient's
interpretation of the plot composition of the caricature and the appearance of the
comic effect directly depend on the influence of pictorial-expressive verbal-visual
stylistic means.
As an example the illustration called “Mrs. Leo Hunter's Fancy-Dress
Dejeuner” is considered:

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 Figure 16. Mrs. Leo Hunter's Fancy-Dress Dejeuner
The Pickwickists go to a fancy-dress breakfast hosted by Mrs. Leo Hunter,
where she invites only people who are famous for their works and talents. It is easy
to find Mr. Pickwick, who was allowed to come “in his own costume, not a fancy
dress” (CHD). Other heroes could be identified by attributes that have verbal
matches.
The illustration corresponds exactly to the author's text, which ridicules such
poetic gatherings, coupled with their tasteless poetry. It is also noteworthy that the
illustration does not mention in the text “half a dozen lions from London - writers,
real writers who wrote entire books and then published, but here you could
contemplate them” (CHD).
Examples of visual emphasis are found in "The First Appearance of Sam
Weller." Mr. Pickwick looked curiously at Sam, whose carelessness and ease
surprised him so much that the hero decided to hire him as a servant. Character is
very important: Also, it is understood that the publisher has just appeared in the
newspapers after a significant increase in sales. HN Brown showed all the other
details of the description particularly accurately, adding a dog next to Mr. Pickwick,
repeating his own action visually: the animals look at Pickwick curiously, highlight
the reader's attention and focus on this interest particular:
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 Figure 17. The First Appearance of Sam Weller
Interpretive analysis of the polycode text of the novel “The Pickwick Papers”
made it possible to reveal the presence of parallelism in expressive techniques used
by the author and the artist. Hyperbolic images and trajectories such as hyperbolic
curves, contradictions, double realizations, accents, comparisons, metaphors, etc. are
visualized in language. In the language paradigm, traditional imagery refers to the
formation of an instrumental, eloquent means of sadness (emotional expression) of
linguistic value, as the results of the study show, also accept a kind of language-
visual expression. Analysis of the illustrations shows that the recipient's
interpretation of the plot composition of the caricature and the appearance of the
comic effect directly depend on the influence of the pictorial-expressive verbal-
visual stylistic means [46, p.88].
In W. Thackeray's novel Vanity Fair , allusion is widely used as a stylistic
means. Hints relate to historical events; Literature, myths, biblical characters and
storylines; and everyday facts. As a stylistic technique, allusions are not
accompanied by references to sources. Understanding the meaning, the role of this
reception in the text, means that the reader has special preparation in all aspects of
52
life. Allusion only becomes a combination of words when it is viewed as an allusion,
ie in relation to the work and events that originally appeared.
The four main sources of tips are history, myth, Bible, and literature. It is
important to identify both the source of the innuendo and the purpose of using this
link.
The first edition of Vanity Fair, printed from January 1847 to July 1848 in
nineteen yellow monthly issues, featured Thackeray's drawing of a jester on a barrel
in front of a group of fellow jesters on the cover. Each of the 67 chapters began with
a comic headpiece, often of a fantastic nature; individual episodes of the novel were
accompanied by illustrations with captions. Thackeray represented the heroes in all
guises, what was not agreed in the text became clear in his illustrations. After all, his
characters do not pour out their souls in long monologues, their inner life is shown
sparingly, only in hints and details, the main means of revealing the essence of the
actions and thoughts of the participants in the “puppet comedy” is dialogue:

Figure 18. The cover of Vanity Fair: Pen and Pencil Sketches of English Society

53
 Allusions remain a very common stylistic device in all kinds of speech styles,
such as science, poetry, and journalism.
The author uses historical data to show his position and assessment of the facts
of the narrative. His narrative was slow, punctuated from time to time by moral
comments, extra-lyrical themes, and references to historical and political events. In
the case of lyrical aliens, the author's position is usually neutral.
In the historical allusion to the novel Vanity Fair, the author uses words with
strong connotations. In the following example, the author explains Becky Sharp's
decision to become a new partner , makes the following reference: “The right of that
inevitable woman in her faded gown hated behind her dear friend in the opera —
fox, or occupying the back seat of the barouche, is always a wholesome and moral
one to me, as jolly a reminder as that of the Death's head which figured in the repasts
of Egyptian dominant, a strange sardonic memorial of Vanity Fair” (WT).
The readers perceive the request as a perfectly understandable reference to the
complete and reliable information of the protagonist of the novel, Rebecca Sharp,
who is the embodiment of the spirit of the fair. Their predatory greed, their contempt
for common people, their cynical promiscuity - all these qualities which made it
common with such pillars of society , as the Osborne [10 to 235] .
The main character, Rebecca Sharp, has embodied the features of many
rogues and adventurers. Thackeray called her Napoleon in a Skirt, to implement an
allusion to this historical figure, a visual image tool was used:

54
 Figure 19. Becky as Napoleon, after various portraits both on Elba and St Helena.
In addition, it is worth emphasizing that Thackeray the artist, having
undertaken to illustrate his novel, depicted its characters in modern costumes,
probably because vanity, arrogance, and vanity have not remained in the past. He
needed the historical theme mainly in order to affirm the significance of the plot and
its reliability, to emphasize the stability of those phenomena that he unites with a
figurative name: “Vanity Fair”.
In the XXI century, the role of myth in the imagination of writers and readers
has been unimaginable for centuries. Olympus godmother, the hero of old legends,
is also popular with writers as a pop singer of our time.
Names like Hercules, Prometheus, Jupiter, and Venus evoke strong emotions
and are related to legends that appear in these mythological figures. Tekkerey is a
great connoisseur and passionate about mythology. It is his novel Vanity Fair that
proves this. In fiction, the main source of the innuendo is myth.
A reader unfamiliar with myths is unlikely to be able to fully appreciate the
author's deep spirit, subtle humor, and vision. Tecre felt the vices of the world around

55
him deeply. With the help of allusions, he subtly expressed his attitude towards the
fair and its residents.
Almost allusions are full of light humor or irony, sometimes with irony.
Because of this quality, mythological allusions can be divided into 2 groups: 1)
allusions to lyrical indentations and 2) allusions to characters and descriptions of
events.
Thackeray's story in Vanity Fair is unusual. Its vitality and plasticity have led
to a large number of lyrical deviations, which the author constantly controls and
prevents many comments. He kind of left the reader on the sidelines and secretly
commented on what was going on around him.
One of the illustrations depicts Becky as Circe, who turned Odysseus's men
into swine, which serves as another way to reflect the character of this heroine:

Figure 20. Becky as Circe.

It is through the allusions to which the author resorts that readers can
understand whether the author approves or disapproves of all this. Here's an example
from the novel: “Did not Lord Eldon, the most prudent of men, make a runaway

56
match? Were mot Achilles and Ajax both in love with their servant — maids? And
are we to expect a heavy dragoon with strong desires and small brains, who had
never controlled a passion in his life to become prudent all of a sudden...” (WT).
The author defends Rawdon Crowley's decision to marry teacher Rebecca
Sharp: "Why not marry a poor orphan", even though Iliad's heroes Achilles and Ajax
fall in love with their maid.The above allusion makes the reader smile.
Another example of a literary work where the stylistic technique of allusion
with the help of polycode text was actively used are novels “Alice in Wonderland”
(LC) and “Alice Through the Looking Glass” (LC1) written by Lewis Carroll. The
illusion is achieved by the author through the use of various fonts and non-standard
text arrangement:

Figure 21. A page from Lewis Carroll's handwritten book Alice's Adventures Underground.
In the fairytale “Alice Through the Looking Glass” the idea of mirror
symmetry is clearly presented. All asymmetric objects appear “turned out”, or their
left and right halves are reversed [26, p.100]. Time also flows “backwards”: for
example, pies are first handed out to guests, and then they are cut into pieces,
“tomorrow never happens today” (LC1). To quench your thirst, you need to taste dry
cookies here; to stand still, you need to run and blood begins to flow from the finger
57
even before it is pricked. Inversion in “Alice” occurs at various levels - from plot (at
the trial of Jack the Queen requires first to pronounce a verdict, and then to establish
the guilt of the defendant) to structural (when meeting Alice, the Unicorn says that
he always considered children to be fabulous creatures) [14, p.221].
The principle of mirror reflection is subordinated to the logic of the existence
of the Looking Glass. The reflected arrangement of pieces on the chessboard makes
the chess game an ideal continuation of the theme of playing cards from the first
book. According to Dodgson's recollections, The Hunt for the Snark was written
backwards: first the last line, then the last stanza, and then everything else. The game
“Doublets” invented by him consisted of rearranging letters in a word. His
pseudonym Lewis Carroll is also an inversion: at first he translated his full name -
Charles Lutwidge - into Latin, it turned out Carolus Ludovicus, and then back to
English - the names were reversed [2, p. 49].
The protagonist of “The Alice in Wonderland” and “Alice Through the
Looking Glass” is an English language full of idioms and phraseological units of a
particular country in a particular historical era.
The elements of reality from which the surreal world of Wonderland and
Through the Looking Glass is constructed are not limited to people, places and
situations. To a much greater extent, this world is created from the elements of
language. However, these layers are closely intertwined [13, p. 257].
Moreover, there are many references to literary works in Carroll's books. The
most obvious thing is frank parodies, primarily altered well-known poems, mainly
moralizing. Parodies are not limited to poetry: Carroll ironically plays passages from
textbooks and even poems of poets, whom he treated with great respect. The tales of
Alice are so filled with literary reminiscences, quotations and semi-quotations that
one listing of them makes up weighty volumes. Among the authors cited by Carroll
are Virgil, Dante, Milton, Gray, Coleridge, Scott, Keats, Dickens, MacDonald and
many others. Shakespeare is quoted especially frequently in Alice.

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 2.3. Results and Discussion
The phenomenon of semiotically heterogeneous texts was studied on the
example of the texts of the Charles Dickens’ “The Posthumous Papers of the
Pickwick Club” and William Thackeray‘s “Vanity Fair”, Lewis Carroll’s “Alice's
Adventures in Wonderland” and “Alice Through the Looking-Glass”, Edward
Leer’s poetry. Such artistic texts are a product of the interaction of a writer and an
illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes
that ensure the transmission of information of a certain artistic value. It is precisely
about the interaction and interdependence of these two types of semiotic systems
that make up a single whole space in the literature piece. Descriptive inscriptions
and symbols often update moral aspects that are implicit or implicitly mentioned in
the narrative. They explain some of the stories and reveal ideas that the author
suggests in the novel. The illustrations were based on the author's intentions,
although not his own, and the artist entered his own details and provided his
interpretation of the novel, thus creating art relatively independent of the author.
The considered works of art show the influence of the dominant iconographic
traditions of this era, book emblems and tendencies in art. Authors draw in detail in
words what is reflected in painting through visual art, encourage the reader to keep
in memory the images captured akin to portrait images. The combination of various
semiotic means appears in the mind of the reader as a single organism bearing the
imprint of the era. Semiotic tools such as drawings or various fonts allowed the
reader to re-immerse themselves in the atmosphere of the time of the creation of a
work of art, thanks to the familiar visual images that reappear on the stage of their
imagination. Theatricalization continues to be widely represented in the artistic
space of the text, manifesting itself in specific artifacts, symbols and gestures
presented in the illustrations, while the category itself is characterized by such
parameters as: scenario, ritual, deliberate, obsessive, metaphorical, symbolic,
presentational emotionogenicity.

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 CHAPTER 3. PRACTICAL RELEVANCE OF POLYCODE TEXT
ANALYSIS IN LINGUISTIC SCIENCIES
3.1. Practical Usage of the Research Results in Semiotics
The term “semiotics” comes from “semeion” - a sign, and is unfamiliar to a
wide range of people, but, despite this, it penetrates into all spheres of society. This
is due to the subject of study of this branch of scientific knowledge - a sign. This
science is based on the development of concepts such as sign, symbol, linguistic
sign, etc., i.e. what is used in everyday life when studying any industry.
The semiotic component is to a certain extent a broad area of our activity, its
properties and terminology are regularly used, often not suspecting that they are part
of semiotics as a science. In general, semiotics could be defined as the science of
signs and sign systems, the functions of which are to analyze the nature, properties
and functions of signs, to classify them, and also to study the path of their
development.
The sign is the central concept of semiotics and is understood by this science
in a broad sense, as a material object that, when a certain number of conditions are
met, carries a certain meaning, which can be both a real and a fictional object,
phenomenon, process, being, or even an abstract concept [17, p.371].
One of the most important properties of a sign is the fact that it can designate
and replace not a single, specific object or phenomenon, but a whole group of objects
and phenomena. This leads to the emergence of such a concept as the volume of a
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sign. Obviously, the more objects or phenomena a sign represents, the greater its
volume. So, for example, the linguistic sign “flower” has a much larger volume than
the linguistic sign “dandelion”. The entire set of objects designated by the sign is
called its denotation.
Semiotics includes three sections, each of which deals with the study of signs
and sign systems from a certain point of view: syntactics, semantics and pragmatics.
The first of them deals with the study of the structure of signs, the rules for their
construction and the composition of combinations from them.
Semantics studies the semantic content of signs and their combinations.
The subject of the study of pragmatics is the peculiarities of the use of signs
in the process of communication; this branch of semiotics also establishes the rules
for the action of the recipient of a sign in the context of a particular sign situation.
Communicative acts in the semiosphere become possible only if the
participants in communication have a certain semiotic and cultural experience.
Based on this, language is understood as a clot of Semitic space with blurred
boundaries. The blurring of boundaries is due to the fact that something that serves
as a message for one is not a message for another. The semiosphere is filled with
many languages that differ in nature. Different languages can be completely
mutually translatable and completely untranslatable [17, p.368].
The semiosphere is characterized by the following features: binarity,
asymmetry, limitation and heterogeneity.
Polycode texts are texts that combine semiotically heterogeneous components
of a verbal text in oral or written form, including images and signs of a different
nature, in a single sign space.
The polycode fictional text represents the result of the work of a writer and an
illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes
that ensure the transfer of information of a certain artistic value in the author-
illustrator-reader triad. The iconic part is based on the artist's analytical and synthetic
processing of information from the original text. An illustration and a caricature as
part of a polycode text act as an independent carrier of information, they are
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associated with the verbal text, forming a thematic, semantic and structural unity
with it. Perform a function in the communicative-semiotic complement of a literary
text.
The communicative space of a polycode text as an integral work is formed by
such communication participants as a publisher, an author, an illustrator, and a
general reader. The publisher acts as an initiator and mediator of communication in
accordance with the pragmatic goal of maximizing the readership. The author
(addressee) forms the original artistic message, which is sent to the illustrator
(addressee-relayer) for subsequent transformation (re-encoding). The task of the
final addressee is a complex interpretation of a work of art, consisting of the original
message and its iconographic reflection.
A polycode fictional text represents the result of the work of a writer and an
illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes
that ensure the transfer of information of a certain artistic value in the author-
illustrator-reader triad. The iconic part is based on the artist's analytical and synthetic
processing of information from the original text. An illustration and a caricature as
part of a polycode text act as an independent carrier of information, they are
associated with the verbal text, forming a thematic, semantic and structural unity
with it. Perform a function in the communicative-semiotic complement of a literary
text.
The existence of universal elements with an iconic coding level in literary
texts guarantees the expansion of the field of the notation of interpretation of the
text, which enriches specific units with a national cultural character. The
interpretability of the text of various codes as a unit of literary and artistic
communication implies considering the combination of the activities of author,
illustrator and reader, taking into account the relevance of the dissemination of
background knowledge of the participants, national cultural background and existing
artistic practices.
The complementary-orienting function of the illustrative semiotic system of a
polycode text is represented by a set of precedent visual images transmitted in
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accordance with the content of the verbal component, and precedent visual
phenomena introduced by the illustrator taking into account the emotional and
semantic dominant of the text.
The emergence of the comic effect of the plot composition of the caricature is
facilitated by pictorial and expressive verbal-iconic stylistic means, among which
such stylistic figures and tropes as hyperbole, oxymoron, double actualization,
emphasis, comparison, metaphor receive the most frequent representation.
In the development of the process of generating a polycode text, iconic
attractors, acting as supporting elements of interpretation, take an active part; the
degree of their conventionality can vary the result of decoding (understanding of the
text). The attractor can act as an element of overcoming the cognitive lacunarity of
a polycode text, but it can also be its source.
All in all, the direction of interpretation is determined by the graphic
components on the basis of their symbolic properties: iconic symbols have more
general characteristics, and they are less traditional. At the same time, the peculiarity
of semantic processing is ahead of the understanding of language components. In
meaningful interpretation of iconic parts, some associations are reinforced while
others are suppressed, thereby suppressing or limiting the possibility of meaning.
3.2. Practical Usage of the Research Results in Stylistics
The question of the nomination of complex texts, coupled with the fact that
the coding is not an element of the language itself, currently has no single solution,
which seems controversial to us. With this in mind, we will first outline the
preliminary definitions required for future analysis of the evidence.
We believe that the results of the interaction between authors and illustrators
can be referred to as multimodal art texts (hereinafter referred to as -PCT). Typically
this text is represented by a series of language and iconic characters and codes to
ensure that artistic and value-related information is conveyed in the well-known triad
of "author-illustrator-reader".
At the Author-Illustrator level, the possibility of different understandings of
images and texts arises, since illustrations are created in close collaboration with
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authors and artists, but only with the consent of authors (that is, authors). In this case,
our object of observation is the multi-mode of art texts, which is understood as a
factor of general importance.
It is possible to resolve this issue by clarifying the features of the interaction
of the heterogeneous components of a polycode literary text: verbal and iconic.
The peculiarity of the examined polycode text is perception, and therefore its
composition is interpreted sequentially and not simultaneously. This is due to the
large amount of oral text. Strictly speaking, the series of paintings does not play a
decisive role, only the presence of information and cultural gaps hinder the
interpretation of language, the modeling of image perception, the formation of
communication codes. Therefore, a number of images perform additional orientation
functions. The illustration here represents an artistic image created through the
metaphorical unification of artistic language at the interface between the dominant
image convention and the artist's subjective vision.
The main objective of the study is to identify important analytical elements
that can be considered simultaneously at the oral and symbolic levels of the text.
As an expression of the dialogue character of artistic text, priority category
and intertextry are the most important tools for analyzing the concept renewal
method and research parallel to technology from the perspective of semiotics and
psychology. The mechanism by which the symbology interacts.
We're talking about specific ways artists can achieve an objective world.
Intertexality is demonstrated in the illustrations we examined.
Unlike the verbal part of the text (written and spoken), the image is usually
received by the recipient almost immediately (simultaneously), that is, the
perception of the image is similar to the perception of objects in the surrounding
reality. Therefore, the word "image" itself needs clear language.
As we all know, human eyes move almost frequently. The perception of
objects starts from the recognition of objects. Recognizing objects is divided into
two stages: discrimination (the process of selecting the shape of the object) and
recognition (transition to the recognition process).Scientists say that past
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experiences and thought mechanisms play a role in the perception of objects,
highlighting the most informative aspects of the perceived images. When the text is
being written, it is already complicated by language barriers, not to mention
individual images that can accompany the text. The novel by Charles Dickens “The
Pickwick Papers” serves as an example of the harmonious coexistence of the iconic
and verbal components of the text. In the caricature, a kind of equivalent is given to
the described event or situation, but with a transfer to a different pictorial plane. The
image therefore becomes another signifier for the original signified (images, plot,
event, situation). The illustrations were created in parallel with the writing of the text
of the novel, which avoids false interpretations that the illustrator can sometimes
impose on readers. The artist in our case is the first reader and co-author. We mark
separately existing verbal and iconic images, together forming a kind of unified field
that in two ways represents the main author's conceptual intention.
The artistic language of the work also corresponds to the structural features of
the organization of the poetic world of “Alice “, which makes it possible to apply
the concept of "play poetics" to these texts. This allows the author's narrative style
to be interpreted as a game and emphasizes two main principles of its creation:
Create unusual language material and non-standard (non-linear) text organizations.
In Carol's artistic texts, the usual focus of everyday language turns to the
informational features presented and emphasizes their external and stylistic aspects.
Punk and language games cannot be ignored, like regular language, which often
disrupts the direct communication of information: languages at all levels are
language, form, vocabulary, etc., while violations of the rules of first level are
compensated by an explicit system at another level.
This narrative structure shows an important analogy between the poetics of
the game and Carol's writing style: both poetic and stylistic, retaining the attitude of
the meta-game and drawing attention to the rule-making process. The author's
interpretation of the language game represents a kind of password, and when the law
of its creation is discovered, its solution is possible.

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 Language plays as a feature of Carroll's style and fulfills two important
functions in his texts. For one thing, language is the opponent's main weapon in her
simulated play, and her place in these worlds is directly dependent on Alice's
virtuosity in oral battles with the natives of wonderland / spy mirror. On the other
hand, language games, especially the formation of new words, according to Carroll,
are one of the most effective ways of creating a new original in literature, a product
of language - a system with a limited number of elements. . The playful
transformation of artistic language becomes a means of overcoming the framework
of space and its inherent intimacy and thus exhausting the possible combination of
its elements.
Therefore, the diversity of the poetic and stylistic levels of Carol's work is
related to the consideration and systematic adherence to the general principles of her
game. Such a text has a different aesthetic effect on the reader than other types of
narrative. There is a "transformation" of thought and the mechanisms of
interpretation so that what is happening is seen as a game. Furthermore, the process
of this transformation is revealed and the author draws the reader's attention to how
text games are made.
This attitude of reflection shows that there are features in Carol's book that
literary criticism is currently associated with the concept of the "meta-intersection".
3.3. Results and Recommendations
The study revealed the specifics of the functioning of polycode in literary and
artistic communication; clarification of the principles of interpretability of polycode
literary texts and the corresponding role of the iconic component; the results can be
further used to develop the theory of polycode text, in research on general text
linguistics, cognitive linguistics, and linguistic semiotics.
Moreover, the results of the research can be used in lecture courses on text
linguistics, communication theory, cognitive linguistics, special courses in
ethnolinguistics, linguistics, text analysis and interpretation, intercultural
communication, as well as in practical classes in English, focused on the formation
and development of communication and analytical skills.
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 The conjugate in a text of language and metaphor gives researchers the
opportunity to assess the extent to which certain language phenomena are related to
phenomena outside of language (dynamic and simulated language patterns, other
components shown in the frame). First, however, linguistic hieroglyphs are
interested in "external" linguistics: those who study the linguistic field of language
through the prism of the role of sociolinguism in society and its relationship to the
psychological process of psycholinguistic research. For the latter, the text works
with the non-verbal components of visual work so that a person can make another
attempt to reveal the mechanism of the "black box" of psychological activity, which
is no longer based on the analysis of the perception of the linear language, but taking
into account the "non-linguistic" components of language. The analysis of such texts
is also of considerable interest to cognitive linguistics. The advent of new
technologies combining text, painting, sound and animation raises many theoretical
questions about the effects of each component on individuals, their uniform
cognitive mechanisms and their ability to interact with them! Walkie talkies, etc. In
addition, when combining knowledge about the world and knowledge about a
language on the basis of the generality and teaching of the processes of storing and
processing information, the question of the relationship between linguistic and non-
linguistic cognitive structures is actualized.
The main result of this work is to establish the mode of formation of the multi-
code symbol system and to determine the originality of its understanding
mechanism. This work proposes a primitive model to understand multi-code text,
which contributes to the general theory of text comprehension. Reveal the law of
functions of the PT component and find the details of its understanding mechanism.
It can be widely used in the development of multi-code text with very different
directions (dogma, propaganda, information, etc.)

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 CONCLUSION
In our work we have studied the term of the “polycode text”, its linguistic
features, the means of its working in fiction. We have analyzed the “Vanity Fair”
(1848) by William Thackeray; “The Posthumous Papers of the Pickwick Club”
(1836) by Charles Dickens; limericks by Edward Lear published in “Book of
Nonsense” (1846) and “More Nonsense, Pictures, Rhymes, Botany”, etc. (1872);
“Alice's Adventures in Wonderland” (1865) and “Alice Through the Looking-
Glass” (1872) by Lewis Carroll.
First of all, in our time, in the modern technological age, a person is confronted
with a large amount of new information, he sometimes does not have time to
perceive the general flow of information. For this reason, message senders want
information to be replied to recipients quickly, easily, and simultaneously. It is
logical to assume that information has a greater chance of gaining a foothold in the
recipient's mind because of the effects it has on multiple perceived channels. On this
basis, senders increasingly create and deliver so-called polycode messages, which
are considered to be the most effective in terms of perception.
Overall, Creolized Text includes modern copywriting, comics, posters, video
clips, musicals, movies, and much more. Increasingly, people are using the Internet
to read news sites that are poly-text. News pages may contain verbal, graphic or
audio information that allows this text to be referred to as multimodal transport. So,
on news sites, you can often find news notes that are not verbal but rather video (as
68
we all know, this is a combination of spoken language (spoken, more precisely) and
dynamic image-video).
There is no doubt that in polycode texts, image and voice components
inevitably interact to form a whole. If we consider the fact that the illustration is
recognized first, we can say that the main image displayed on the recipient's head is
related to it. However, by reading the text that accompanies the illustration, you can
begin to view the image and its elements, thereby destroying the general picture of
the illustration.
Perception as a whole is a multidimensional phenomenon, which can be
viewed individually through any existing sensory template. However, perceiving the
world through various channels is a more effective and effective way to understand
reality, because in any case, the information we receive through various channels
creates a whole picture in our hearts, even if we conduct different types of
information classification. In this sense, the importance of multimodal text has
increased, where we can find voice, image and sound components. Combining
different types of information into text requires at least an understanding of certain
elements of the text, sometimes enough to attract the attention of the recipient, and
the perception of these elements in the complexity allows the author to understand
all his ideas in this article, so as to simulate the article’s Transmit it as accurately as
possible. Secondly, the phenomenon of semiotically heterogeneous texts is
investigated on the example of the polycode text of the novels “Vanity Fair” by
William Thackeray; “The Posthumous Papers of the Pickwick Club” by Charles
Dickens; “Alice's Adventures in Wonderland” and “Alice Through the Looking-
Glass by Lewis Carroll”; limericks by Edward Lear published in “Book of
Nonsense and More Nonsense, Pictures, Rhymes, Botany”.
Such polycode texts are a product of the interaction of a writer and an
illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes
that ensure the transmission of information of a certain artistic value in the “author-
illustrator” triad. We are talking precisely about the interaction and interdependence
of these two types of arts and two artists that make up a single whole space.
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 The reason for the greater impact of multi-code text on recipients is that iconic
symbols are more common and less conditional than verbal symbols, so their
interpretation requires more common-sense code. In a strict sense, this series of
images does not play a decisive role, but rather simulates metaphorical perception,
forming communicative codes by studying distant obstacles to the interpretation of
language.
The formation of the artistic language and personal style of a writer is
influenced by the universal position of the writer in the historical period of literature,
biography and life. In this regard, the author's task of meaning reconstruction is
transferred to the ideal reading level, we believe that this method can be constructed
using the results of the psycholinguistic concept of linguistics, and the text is viewed
as a dynamic self-organizing system: open and non-linear. The openness and non-
linearity of the text is related to its inclusion in the conceptual system of the creator
and recipient so that the collaborative process of meaning formation can be carried
out. For this study, the concept of creative attraction seems to be fruitful in that it
decides how text is perceived, limiting the scope of the text, and allowing you to use
an almost infinite number of semantic elements in the interpretation used in the text.
Elements that are related in some way to the dominant meaning. Under its influence,
the elements of the text structure self-organize, reducing the level of entropy. At the
same time, it is the attraction that constantly destroys the stability of the system and
participates in the formation of the emotional semantics of the text. The question of
which elements of the text or more are generally considered attractive in general is
ambiguous, depending on the position of the study. It is worth noting, however, that
the most powerful circular attraction of text is such a creative beginning, the
predominant meaning of the text.
Third, works of art belong to different levels in the corresponding structure of
semiotics. In art prose, the main unit of storytelling is the artistic image (depicting a
person, events, landscape, interior), and the finished work is a specific story, story
(narrative). Artistic images emerge through creative awareness and ability of the
author, are exposed, there on the contents of artistic text, its reflection is formed in
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the individual consciousness of the viewer (viewer, listener, reader). In polycode
text, such images have material characterization and become visual art images. The
obtained results of the work give reason to believe that the subsequent verification
experimental analysis of the meaning-generating potential of the iconic sign in
literary and artistic communication may be promising.
The conclusions of the study are applicable to the problems of interpretability
of polycode text, as well as the mechanisms for implementing the functions of
encoding and decoding.
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 APPENDIX
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the-Looking-Glass (date of access:10.01.2021).
• (CHD) Dickens, Ch. The Pickwick Papers // Charles Dickens Online
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• (EL) Lear, E. A Book of Nonsense // Edward Lear Home Page [Electronic
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• (WT) Thackerey, W. Vanity Fair // Planet PDF [Electronic resource]. – URL:
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