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cal 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 fol-
lowing formula:
US + DT
PO
,
where PO is a substantiated exponent, in fact, the ma-
terial expression of a linguistic sign.
In the context of language simplification, the
work of Wittgenstein (Wittgenstein, 2007) “Tractatus
Logico-Philosophicus” plays a key role. 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 (Wundt, 1874).
The only field, where a sign synthesizes all its
meanings, is exclusively a metalinguistic environ-
ment – one where any linguistic unit is reproduced as
a linguistic-communicative (Bally, 1965; von Hum-
boldt, 1999; de Saussure, 1971), and logical and
philosophical essence (Frege, 1879; Peirce, 1994;
Wittgenstein, 2007). Such a field is computer being
(CB) – a complex, multidimensional sphere of syn-
thesis of reality, human experience and activity, medi-
ated by digital and information technologies (Kutyrev,
2001). The linguistic aspect of CB research is de-
termined by objective historical and geopolitical pre-
requisites: cybernetization, globalization, informati-
zation of world society (Lebduska, 2014, p. 1). It is
in the continuum of CB, where the language game is
the symbolic and semiotic foundation of Web 2.0 plat-
form 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” (Lexico, 2021). The digital emoji
corps is a technogenetic mimesis of pictographic writ-
ing. The function of emoji, as pictography, is to iden-
tify the meaning, the content of which a priori elim-
inates its own invariance, transgressively appealing
to the logical-eidological plane (Reformatskii, 2004).
Emoji in CB is a universe, its visualization is ex-
ploited 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 ontolog-
ical, cognitive and anthropological substance (Leb-
duska, 2014, p. 2).
Thus, the importance of implementing CB emoji
in the study and interpretation of literature is abso-
lutely 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 na-
tionality 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.
Bally (Bally, 1965) noted that modality is the soul
of the proposal; like thought, it is formed predomi-
nantly as a result of the active operation of the speaker
who speaks. The scholar distinguished the main con-
tent (dictum) and its modal part (modus), which for-
mulates 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 mean-
ings with their integration into a metalinguistic se-
mantic field, in which, in fact, the hypertext semiotic
code is established. Thus, with emoji we get to a mul-
tilevel structure of language – from the phonetic level
to the textual level.
Before proceeding to the empirical analysis of po-
etry 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, hav-
ing 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 essen-
tial 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 stu-
dents: emoji models should correlate with the
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