=Paper=
{{Paper
|id=Vol-2643/paper15
|storemode=property
|title=Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis
|pdfUrl=https://ceur-ws.org/Vol-2643/paper15.pdf
|volume=Vol-2643
|authors=Rusudan K. Makhachashvili,Svetlana I. Kovpik,Anna O. Bakhtina,Ekaterina O. Shmeltser
}}
==Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis==
https://ceur-ws.org/Vol-2643/paper15.pdf
264
Technology of poetry presentation via Emoji Maker
platform: pedagogical function of graphic mimesis
Rusudan K. Makhachashvili1[0000-0002-4806-6434], Svetlana I. Kovpik2[0000-0001-6455-5572],
Anna O. Bakhtina1[0000-0003-3337-6648] and Ekaterina O. Shmeltser3
1 Borys Grinchenko Kyiv University, 18/2 Bulvarno-Kudriavska Str., Kyiv, 04053, Ukraine
r.makhachashvili@kubg.edu.ua, a.bakhtina@kubg.edu.ua
2 Kryvyi Rih State Pedagogical University, 54 Gagarin Ave., Kryvyi Rih, 50086, Ukraine
kovpiks@ukr.net
3 State University of Economics and Technology,
5 Stepana Tilhy Str., Kryvyi Rih, 50006, Ukraine
shmelka0402@gmail.com
Abstract. The article deals with the technology of visualizing fictional text
(poetry) with the help of emoji symbols in the Emoji Maker platform that not
only activates students’ thinking, but also develops creative attention, makes it
possible to reproduce the meaning of poetry in a succinct way. The application
of this technology has yielded the significance of introducing a computer being
emoji in the study and mastering of literature is absolutely logical: an emoji,
phenomenologically, logically and eidologically installed in the digital
continuum, is separated from the natural language provided by (ethno)logy, and
is implicitly embedded into (cosmo)logy. The technology application object is
the text of the twentieth century Cuban poet José Ángel Buesa. The choice of
poetry was dictated by the appeal to the most important function of emoji – the
expression of feelings, emotions, and mood. It has been discovered that
sensuality can reconstructed with the help of this type of meta-linguistic digital
continuum. It is noted that during the emoji design in the Emoji Maker program,
due to the technical limitations of the platform, it is possible to phenomenologize
one’s own essential-empirical reconstruction of the lyrical image. Creating the
image of the lyrical protagonist sign, it was sensible to apply knowledge in
linguistics, philosophy of language, psychology, psycholinguistics, literary
criticism. By constructing the sign, a special emphasis was placed on the facial
emogram, which also plays an essential role in the transmission of a wide range
of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji
Maker digital platform allowed to create a new model of digital presentation of
fiction, especially considering the psychophysiological characteristics of the
lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit –
a visual iconic sign (smile) – reproduces the polylaterial metalinguistic
multimodality of the sign meaning in fiction. The effectiveness of this approach
is verified by the poly-functional emoji ousia, tested on texts of fiction.
Keywords: technology, lyrical protagonist, emoji, Emoji Maker,
multimodality, computer being (CB), graphic mimesis.
___________________
Copyright © 2020 for this paper by its authors. Use permitted under Creative Commons License
Attribution 4.0 International (CC BY 4.0).
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1 Introduction
Problem statement. Emoji signs are specific Unicode-based ideograms. Nowadays
emotions and impressions of the written and read text can be conveyed in the form of
punctiograms, pictograms and ideograms. Emoji is a multifunctional ideogram that not
only saves one space in correspondence when communicating through social media,
but also conveys shades of emotions, moods, feelings based on what one sees, hears, or
reads. No wonder emoji in the modern world is considered a hieroglyph of the 21st
century.
As modern literary criticism undergoes a process of depressurization, the allure of
digital capabilities of the Emoji Maker platform as a metalinguistic phenomenon to the
study of literary works will increase the interest of students of philology in works of
fiction, developing creative thinking [18]. The specificity of applying emoji to the
analysis of a fictional text is to condense and synergize the result. This is primarily due
to the fact that emoji modeling takes into account only the most basic and key senses.
This avoids the recipient’s own context when interpreting the text and grasps the main
point. That is why the transmission of the content of major genres (stories, novels,
trilogies) is possible by modeling one or more emoji. All this also develops the ability
and skill to create visual texts that will convey the full range of feelings from a read
piece of fiction. This type of visual texts conveys the content of the reading as briefly
as possible, activate memory, critical assessment, attention of students. It is through
emoji that you can translate fiction, film, and other fictional media.
The objective of the article. Development and testing of information and
communication technology application of presentation of different genres of fiction via
the Emojidom Smiley & Emoji Maker [19].
Information and communication technology (ICT), where technology is understood
as a set of methods, tools and implementation by a person of a complex process by
dividing it into a system of sequential interconnected procedures and operations that
are performed more or less uniquely and aim at achieving high efficiency of a certain
activity ([12]), in our study emphasized the role of unified technologies, namely,
software (Emoji Maker). This allowed students to create a model of visual
interpretation of artistic (poetic) text during the experiment. With a limited set of tools
in the program set, students rely on their own essential empirical experience and on a
sensory typology that corresponds to three main types – visual, audio and kinesthetic
[8]. In addition to aforementioned, students, using the color scheme, rely on general
information about the person’s physiognomic characteristics [8], which allows them to
accomplish the task: to model the features of the faces of lyric characters in Emoji
Maker according to contextual events, feelings, phenomena.
Analysis of recent research and publications. According to Svitlana V.
Pidopryhora, “... the invasion of new technologies (computer, Internet) into the sphere
of literature - changes the nature of authorship, the structure of text, the essence of
reading and the form of interaction between the reader and the text, the level of
communication interaction author – reader – text” [18]. Thus, emoji literature
technology enhances the ability of philological students to convey the content of
literature in the most appropriate characters or symbols.
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Emoji researchers are convinced that these characters have great hypertext potential.
For example, there have been attempts to translate the text of Herman Melville’s novel
“Moby Dick” via the appropriate emoji, called “Emoji Dick” [2].
Today, emoji is not only a linguistic tool, but also a psycho-physicalist one. By
modeling this or that facial expression of an emoji, the author gives it the emotional
touch that corresponds to the level of sensuality. The emoji face performs an
informative function, that is, communicates to the interlocutor the emoji author’s
response to a text, which greatly diversifies written communication.
Consequently, by making sense of poetry with the help of a self-designed emoji
corps in Emoji Maker platform, philological students have the opportunity to expand
the range of emotions, moods and experiences that arise in the process of reading poetry
and especially its interpretation. Emoji face expression is a student’s creative approach
to understanding the essence of prose and poetry. After all, all human feelings are
expressed not so much in words as in facial expressions. So, we offer emoji modeling
technique that reproduces the artistic meaning of poetry.
2 Methods
The following methods were used to solve the established problems: empirical – in the
course of conducting an experimental study of emoji modeling in class with students;
applying a systematic approach to consider an object as a system model; functional
approach – to determine the functions performed by the model; pedagogical modeling
[16] – for the study of pedagogical objects (phenomena) by means of modeling of
conceptual, procedural, structural-content and conceptual characteristics and individual
“sides” of the educational process within the defined socio-cultural space at the general
educational level; aspect analysis of the artistic text – for the separation of stanzas and
content clusters; deductive – for sign assembly.
3 Results
Natural language in its ousia is that macrocosm that is reproduced in the continuum of
the world of things (Plato [20]). As we know, the efficacy of this subordination to a
pragmatic world gives natural language the evolutionary status – capable of expansion,
and most importantly capable of simplification. The latter, in turn, has an ontogenetic
function of preserving and extending the human race: “We must simplify grammar until
grammar has simplified us” [4]. It concerns the codification of human consciousness
through language, and more precisely, through its unilateral structure (US) and
polylateral ousia (PO). We emphasize the term ousia, since the term has passed the
stage of modification and in the Greek language the denotation of this concept is absent.
In modern Greek, the term is interpreted to mean the essence and nature of a thing.
However, the “Dictionary of Untranslatables: A Philosophical Lexicon” [3] presents
differences in understanding of concepts by different scholars and in different epochs.
The dictionary emphasizes that the meaning of the word has undergone a radical
transformation between Plato and Aristotle, since the former understood everything in
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the modern sense of “property” and in the philosophical sense of the essence of things,
while the latter added other meanings, identifying ousia with ὑποκείμενον/theme
(causes it to lable εἶδος through ousia sometimes, a type or feature, sometimes the unity
of matter and eidos, and sometimes matter itself). Through the subsequent history of
philosophy, the situation was increasingly complicated, since the Stoics regarded
everything as an indeterminate substrate, thinkers of middle Platonism and Neo-
Platonism returned to the meaning of “essence”, and Christian Christology
approximated уπόστασις with ousia giving the latter more enriched meanings,
nonexistent in modern Greek [3]. It is because of differences in translations and
interpretations that all modern Greek translators have decided to leave the word
untranslatable, taking into account the entire range of interpretations available. The
latter gives us the possibility to use the term “ousia” in the study.
It is worth noting that the unilateralism of the structure is not universal to all
speakers, but is identical to the distinctive thinking (DT) of a person, which, in turn, is
an explanatory factor for the evolution of language. Let us describe this process with
the following formula:
О
where PO is a substantiated exponent, in fact, the material expression of a linguistic
sign.
In the context of language simplification, the work of Ludwig Wittgenstein
“Tractatus Logico-Philosophicus” plays a key role [22]. According to the concept of
the scholar, called “language game”, which correlates, and at the same time contradicts,
the role of natural language in the reflection of the world, it is believed that natural
language is most capable of world reproduction, but the peculiarity of language games
is that there are specific rules that each player can understand differently. However, this
is precisely the reason for the multilateral character of the ousia of a sign. After all, we
are already dealing with the arbitrariness of his understanding (Wilhelm Wundt [23]).
The only field, where a sign synthesizes all its meanings, is exclusively a
metalinguistic environment – one where any linguistic unit is reproduced as a linguistic-
communicative (Ferdinand de Saussure [6], Charles Bally [1], Wilhelm von Humboldt
[10], etc.), and logical and philosophical essence (Ludwig Wittgenstein [22], Gottlob
Frege [9], Charles Sanders Peirce [17] and others). Such a field is computer being (CB)
– a complex, multidimensional sphere of synthesis of reality, human experience and
activity, mediated by digital and information technologies [13]. The linguistic aspect of
CB research is determined by objective historical and geopolitical prerequisites:
cybernetization, globalization, informatization of world society [14, p. 1]. It is in the
continuum of CB, where the language game is the symbolic and semiotic foundation of
Web 2.0 platform testing, that game rules acquire metal-linguistic characteristics and
require special content analysis.
Essential-empirical analysis of computer being as a linguistic universal continuum
uninstalls the following ethno-barriers: folk-mythological arsenal, cultural paradigms,
socio-political discourses, etc. The key to this uninstallation is the phenomenon of
“emoji” – “ideograms or emoticons used in emails and web pages” [7]. The digital
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emoji corps is a technogenetic mimesis of pictographic writing. The function of emoji,
as pictography, is to identify the meaning, the content of which a priori eliminates its
own invariance, transgressively appealing to the logical-eidological plane (Aleksandr
A. Reformatskii [21]). Emoji in CB is a universe, its visualization is exploited by the
macrostructure of technogenesis, which is indicated by the internal unity of its
components at the micro- and macro-levels and in the plane of the sign substrate (formal
and semantic elements and structures) and the synthesis of features of ontological,
cognitive and anthropological substance [14, p. 2].
Thus, the importance of implementing CB emoji in the study and interpretation of
literature is absolutely natural: emoji, phenomenologically, logically and eidologically
installed in the digital continuum, is separated from the natural language predicated by
(ethno)logy, and implicitly embedded in (cosmo)logy. Understanding emoji is not
subordinated to the nationality of the speakers. Another interpretation is that each
speaker interprets the linguistic field in terms of its empirically-essential foundation,
but this premise does not preclude the understanding of emoji.
Emphasizing the iconicity of the emoji corps, we appeal to the concept of modality
and multimodality. Charles Bally noted that modality is the soul of the proposal; like
thought, it is formed predominantly as a result of the active operation of the speaker
who speaks [1]. The scholar distinguished the main content (dictum) and its modal part
(modus), which formulates emotions and intellect of reasoning regarding dictum. And
therefore, modality is expressed in two types: objective and subjective. (Inter)synthesis
of these types also involves multimodality as a way of constructing and reconstructing
concepts and meanings with their integration into a metalinguistic semantic field, in
which, in fact, the hypertext semiotic code is established. Thus, with emoji we get to a
multilevel structure of language – from the phonetic level to the textual level.
Before proceeding to the empirical analysis of poetry modelling, let’s define the
algorithm by which, with the application of the Emoji Maker program, emoji is
constructed taking into account formal and informative factors of a fictional text.
1. At the first stage, students are offered poetry for analysis. Emphasizing that poetry
is imagery, and therefore its analysis must be accompanied by imaginative and
critical thinking.
2. At the second stage, we propose to analyze the text using the Emoji Maker digital
program, having outlined the purpose and tasks before. The program provides
students with a limited list of options for creating emoji, and thus the students’
creative and creative skills, as well as the essential empirical experience that will
allow them to explain and substantiate the color choices of the emoji and its
components, play a special role in the task.
3. At the third stage, we must emphasize to the students: emoji models should correlate
with the content of the poetry, as well as formally reflect the mood and feelings of
both the lyrical hero and the reader.
We shall proceed with the example of the poetry of a twentieth century Cuban poet José
Ángel Buesa. The selection of poetry in this case is to appeal to the most important
function of emoji – the expression of feelings. In his lifetime, Jose Buesa acquired the
status of “enamored poet”, that is, a poet whose poetry is distinguished by sensuality in
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his own metaphor. Therefore, we believe that it is appropriate to reconstruct this
sensibility with the help of the aforementioned metalinguistic digital continuum. We
apply the Emoji Maker digital platform [19]. The program has technical limitations,
which, however, seal the phenomenology of the presentation. These limitations are
specifically available repertoire of tools that cannot be traversed during image
rendering. Emoji Maker contains the following skins: face shape, more shape, eye, eye
brow, mouth, hair, sunglasses, hands, hats, others, background.
We shall further disclose the completion of the sample study task: to recreate the
meaning of the following poem by José Ángel Buesa [11] using self-designed emoji in
Emoji Maker tool.
ACUÉRDATE DE MÍ REMEMBER ME НЕ ЗАБУВАЙ МЕНЕ
I. Cuando vengan las sombras I. When shadows of oblivion I. Коли прибудуть тіні
del olvido advance забуття,
a borrar de mi alma el expunging feeling from my Щоб почуттів в душі спинити
sentimiento, very soul, існування,
no dejes, por Dios, borrar el for God’s sake don’t erase the Благаю Богом, збережи
nido case буття,
donde siempre durmió mi where dwell the thoughts В котрім завжди жило моє
pensamiento. to you I owe. кохання.
II. Si sabes que mi amor jamás II. Should you so know my II. Як знаєш, що любов моя
olvida love fails not, нетлінна,
que no puedo vivir lejos de ti that I can’t live afar from thee, Що жить без тебе – за́ бік
dime que en el sendero de la Do tell me, on thy earthly узбереж,
vida trot Скажи, що на путі життєво
alguna vez te acordarás de mí. you will remember me. цінній
Одного разу мене ти
впом’янеш.
III. Cuando al pasar inclines la III. When you bow your head III. Коли в путі чоло огорне
cabeza passing by, сум,
y yo no pueda recoger tu me unable to dampen your І я не зможу сліз твоїх
llanto, tears, спинити,
en esa soledad de la tristeza in that loneliness gone awry В цій одинокості печальних
te acordarás de aquel que te You’ll remember my love дум
amó tanto. perseveres. Упом’янеш того, хто вмів
любити.
IV. No podrás olvidar que te IV. You cannot forget I’ve IV. Ти не забудеш мого
he adorado adored thee боготворіння,
con ciego y delirante frenesí with blind and delirious frenzy Безумного й сліпого до
y en las confusas sombras del In the shadows of past безтями
pasado, gone hazy, В прожитому, що заплелося
luz de mis ojos, te acordarás delight of my eyes, you’ll тінню,
de mí. recall me. Мене згадаєш за очей
свіча́ми.
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V. El tiempo corre con denso V. Time flies with thick V. Час тяжко простягається
vuelo might, по колу
ya se va adelantando entre los Far ahead separating us І вже випурхує між нас у це
dos two, буття.
no me olvides jamás. ¡Dame Don’t forget me. Deliver a Не забувай! Не забувай мене
un recuerdo! token! ніколи.
y no me digas para siempre and don’t fare me well Не говори мені «Прощай без
adiós. anigh. вороття!»
(José Ángel Buesa) (Translation by (Translation by
Rusudan K. Makhachashvili) Anna O. Bakhtina)
The reconstruction of the poem should begin with its division. The poem contains of
20 lines, divided into 5 quatrains. We take each quatrain individually, so as a result we
have to create 5 emoji characters. We reduce the compilation of the sign to deduction,
that is, for each quatrain we define the universal qualities of emotion (UQE).
I. When shadows of oblivion advance,
expunging feeling from my very soul,
for God’s sake don’t erase the case
where dwell the thoughts
to you I owe.
Lyrical Hero = Love + Memory. So, we create the image of a character – a lyrical
hero who pleads to be remembered be his love. UQE: anxiety, sadness, fear, hope. The
main feature (hereinafter referred to as the “MF”) is the PRAYER.
1. We take the yellow circle as the basis. Yellow in this case – as a symbol of hope, but
at the same time – the sadness of separation.
2. The choice of eyes is justified by the pleading expressed by the lyric hero. The main
feature – mirrored dilated pupils, reminiscent of tears.
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3. The main expression of emotions rests in the eyebrows, because the quatrain
expresses a plea. Therefore, the eyebrows rise to the central frontal part of the eye.
4. The corners of his lips are slightly down, which also testifies to the sadness of the
lyrical hero.
5. The choice of the lyrical hero’s hairstyle correlates with his essence – romantic
nature. Therefore, the hair is blond, not too short, disinfected.
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6. In this quatrain supplications can also be defined by gesture: palms are opened, the
geometry of which involves the coverage of the object of love.
7. In addition, pleading can be emphasized with conditional tears, which gives the
lyrical character the desired effect.
II. Should you so know my love
fails not,
that I can’t live afar from thee,
Do tell me, on thy earthly
trot
you will remember me
Lyrical Hero = love + memory + incorruption. MF – ETERNITY. For the sake of
this quatrain, in order to avoid repetition of images, one can portray a potential fiancée
of a lyrical hero who mentions love. UQE: thoughtfulness, memories.
1. Let us pay attention to the lips of the alleged girl: it ought to be a red, full mouth,
closed, which will indicate the reflections of the heroine, her memories. The pupils
of the eyes will look sideways and downwards, which will again indicate the girl’s
reflections.
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2. Hairstyle is also important because the length of hair, color, style correlates with the
character of the woman. So, based on the limited selection offered by Emoji Maker,
we choose medium length, black hair. With this choice, we visualize a girl as a young
person, ages 23-25.
3. In digital age, communication cannot be imagined without gadgets. With that in
mind, let’s portray a girl with a mobile phone: so we can be interpretatively assumed
that the girl’s memories are symbolically stored on the device (photos, videos, etc.)
– which is easier for students to relate to.
4. We can complete the image with a universal denotation of love – a heart.
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III. When you bow your head
passing by,
me unable to dampen your tears,
in that loneliness
gone awry
You’ll remember my love
perseveres.
Lyrical Hero = Love + Sadness + Memory + Thoughts. MF is loneliness. UQE:
sadness, memories, longing, despair.
1. It is worth noting that in Spanish speaking cultures, green is the color of hope in love
[5, p. 15], and therefore, an emoji experiment with a green smiley is advisable.
Because the hope of memories rests on the subject addressed in the poem by the
lyrical hero, so here we portray the girl.
2. We leave the physiognomic characteristics the same as those in the second quatrain.
And to visualize of the UQE we add the denotation of sorrow – tears.
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IV. You cannot forget I’ve adored thee
with blind and delirious frenzy
In the shadows of past
gone hazy,
delight of my eyes, you’ll
recall me.
Lyrical Hero = Love + Memory + Time. OR is a passion. UQE: madness, passion.
1. Universal characteristic of red color – love, passion; anger. Given the context of the
quatrains, we construct a smiley face of red color, which will symbolize the love of
the lyrical hero, his passionate feelings.
2. The hairstyle of the lyrical hero remains unchanged, as in the previous image,
symbolizing the romantic nature. Lips play a key role in this image. Let us portray
them as half-open, which shows the interest of the lyric hero, his admiration for the
woman.
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3. However, the most fundamental function of the UQE described in this quatrain is
the attribute of love and romance. So let’s depict the lyrical hero in heart-shaped
glasses, a rose, and a brush that characterizes the hero as a dreamer, an artist who, in
his own reminiscence, abstractly depicts the image of a beloved woman.
V. Time flies with thick
might,
Far ahead separating us
two,
Don’t forget me. Deliver a token!
and don’t fare me well
anigh.
Lyrical Hero = Love + Time + Inevitability + Farewell + Memory. MF –
timelessness. UQE: hope, memories, supplications, hopelessness.
1. The last quatrain demonstrates in the most detail the purpose of the lyrical hero as a
kind of prayer to a woman: the feeling of not returning, the inevitability of time
makes the hero appreciate his feelings. He also brings this up with a woman, pleading
with her to remember his feelings as well. The poetic motif is that love will persevere
as long as it is remembered.
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Let’s finish the visualization of poetry in the blue color of the emoticon, where blue is
the universal symbol of hope, the fulfillment of a memory dream in time.
2. A plea not to say “Farewell!” we can depict through another universal sign - muted
lips.
3. We complete the digital reconstruction with symbolic attributes: the pager (obsolete
technology) reproduces the semantic nature of the image of time, the equivalents of
which are being-timelessness-eternity-Cosmos-Eidos.
So, with the help of the Emoji Maker computer program, we introduce a visual
reconstruction of J. A. Buesa’s poem “Remember Me”. This approach simplifies the
isolation of the fundamental factors underlying poetry. First, considering the person’s
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physiology, we tried to single out meanings that suggest the presence of the following
feelings: love, anxiety, sadness, fear, hope, memories, supplication, hopelessness.
Visual affirmation of the senses contributes to a profound awareness of the fundamental
concept of the poem – time, which can be correlated by the micro- and macro-cosmic
elements of being (and in our case, computer being): being-timelessness-eternity-
Cosmos-Eidos.
By recreating poetry through an ICT semiotic tool, students can potentially
reproduce the meaning, imagery and content of the text only through the chain of emoji
created:
Applying the Emoji Maker multimedia program when analyzing a work of art
(poetry) in the classroom, one should adhere to the following guidelines:
1. Before moving on to modeling emoji, it is necessary to outline the main idea of the
text, because it depends on the further characteristics of poetry and its visualization.
2. Describe the lyrical hero, outline his role and function in the text. Describe his mood,
feelings, emotions.
3. It is worth remembering that the reception of the reader can be validated only by the
feeling and emotions of the lyrical hero, but not by the content of poetry.
4. Visualize the appearance of the lyrical hero without departing from the context of
poetry. Imagine the emotions of the hero, hypothetically outlining the
physiognomistic characteristics relevant to the mood and feelings of the lyrical hero.
You can now move to image modeling in Emoji Maker.
5. It should be noted that the choice of options in the program is limited, and therefore,
their use should be qualitative and contextual.
6. Each option used must be defendable – only under this condition the correlation of
ICT tools potential with the content of poetry can be traced.
4 Conclusions and prospects of further research
A multidisciplinary approach to various disciplines (linguistics, literary studies,
philosophy of language, psychophysionics, eye-tracking and text-mining technologies,
etc.) in synthesis with structures of computer being, namely, with an emoji-body on the
Emoji Maker platform allows to create a model of digital semiotic presentation of
fiction. Thus, the reader-interpreter, using a specific technological toolkit, a visual
iconic sign (smiley/emoji) reproduces the multilateral metalinguistic functionality of
the meaning of a sign based on the artistic word. This approach significantly expands
the subject of the study and can be applied in classes of linguistic and literary
disciplines, as well as in classes in critical and analytical reading. Due to the powerful
hyper-cybernetization in the world, research on the topic will acquire more and more
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interpretative layers, the study of which is impossible without a multidisciplinary
approach.
The study outlined the multifunctionality of the computer being emoji corps based
on fiction. The Emoji Maker platform attempts to compile the image of a lyrical hero.
The created images, hieroglyphs of the 21st century, reproduce the multimodal concept
of the metalinguistic field. The sign is both an icon, a symbol and a text. On the verbal
language level emoji convey the meaning (dictum) of the signified, on the non-verbal
level – the meaning (modus) of the signified. Objective and subjective in a sign are
synthesized, and the reproduced image is read through the psycho-physiologist prism,
which reconstructs the essence of graphic mimesis in the pedagogical sphere. The
technical limitations of the Emoji Maker web platform have made it possible to
phenomenologize one’s own essential-empirical reconstruction of the image of a lyric
hero, which allows one to appeal to the cognitive modeling of content and the
development of skills in poetry. The basis of modeling is the theory of similarity, in
which absolute similarity is possible only by replacing one object with another,
identical to the first in form and content. However, as noted above, poetry is an imagery
which understanding depends to a great extent on the recipient’s essential empirical
experience and on its sensory typology, which corresponds to three main types – visual,
audio and kinesthetic [8]. Therefore, simulation of exactly the same results is
impossible, because only under the condition of individual approach of students to
visualized analysis of poetry is it possible to adequately reflect all aspects of
functioning of the studied object with the help of a simulated emoji sign.
Acknowledgements. The study was performed within the framework project of the
Department of Romance Languages and Typology (Borys Grinchenko Kyiv
University, Kyiv) “European Languages and Literatures Development in the
Framework of Intercultural Communication” (registration code 0116U00660) and the
framework project of the Department of Ukrainian and World Literature (Kryvyi Rih
State Pedagogical University, Kryvyi Rih) “Poetics of the Fictional Text”.
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