Applied Technology of Fiction and Non-ﬁction Conceptual Presentation

via ICT Tools: Pedagogical Function of Graphic Mimesis

Rusudan K. Makhachashvili

1 a

, Svetlana I. Kovpik

2 b

, Anna O. Bakhtina

1 c

Nataliia V. Morze

1 d

and Ekaterina O. Shmeltser

3 e

Borys Grinchenko Kyiv University, 18/2 Bulvarno-Kudryavska Str., Kyiv, 04053, Ukraine

Kryvyi Rih State Pedagogical University, 54 Gagarin Ave., Kryvyi Rih, 50086, Ukraine

State University of Economics and Technology, 5 Stepana Tilhy Str., Kryvyi Rih, 50006, Ukraine

Keywords:

Technology, Lyrical Protagonist, Emoji, Emoji Maker, Multimodality, Computer Being (CB), Graphic

Mimesis, Text Mining.

Abstract:

The article deals with the technology of structuring and visualizing ﬁctional and real life empirical concepts

with the help of emoji symbols in open source digital text mining platforms that not only activates students’

thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a

succinct way, develops comprehensive digital literacy. The application of this technology has yielded the

signiﬁcance of introducing emoji in the study and mastering of literature is absolutely logical: an emoji, phe-

nomenologically, 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 Jos

Angel 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 con-

tinuum. 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. The

experiment with the construction of signs and concepts in the Emoji Maker platform was supplemented by

another experiment involving students in its visualization. The location speciﬁcity of the experimenters and

respondents of the experiment is taken as the basis for generating a sign – the image of Borys Grinchenko as

a patron of the Borys Grinchenko Kyiv University. Consequently, an individual approach to the visualization

of corpus data was tested using the web application Voyant Tools, which works as an open source, providing

text mining data. It is proved that with the support of reading and interpreting texts or corpus, digital analysis

of the text becomes a signiﬁcant linguistic addition to the generated sign. And the visual complement can be

based both on a speciﬁc text (poetry by Jos

Angel Buesa) and on keywords / concepts (the image of Borys

Grinchenko in the context of a speciﬁed location – at Borys Grinchenko Kyiv University).

https://orcid.org/0000-0002-4806-6434

https://orcid.org/0000-0001-6455-5572

https://orcid.org/0000-0003-3337-6648

https://orcid.org/0000-0003-3477-9254

https://orcid.org/0000-0001-6830-8747

1 INTRODUCTION

Problem statement. Emoji signs are speciﬁc

Unicode-based ideograms. Nowadays emotions and

impressions of the written and read text can be con-

Makhachashvili, R., Kovpik, S., Bakhtina, A., Morze, N. and Shmeltser, E.

Applied Technology of Fiction and Non-ﬁction Conceptual Presentation via ICT Tools: Pedagogical Function of Graphic Mimesis.

DOI: 10.5220/0010926700003364

In Proceedings of the 1st Symposium on Advances in Educational Technology (AET 2020) - Volume 1, pages 631-643

ISBN: 978-989-758-558-6

631

veyed 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 con-

veys 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 pro-

cess of depressurization, the allure of digital capabil-

ities of the Emoji Maker platform as a metalinguistic

phenomenon to the study of literary works will in-

crease the interest of students of philology in works

of ﬁction, developing creative thinking (Pidopryhora,

2019). The speciﬁcity of applying emoji to the analy-

sis of a ﬁctional text and, on a larger scale, to empiri-

cal experiences of concept construction by students in

real life is to condense and synergize the result. This

is primarily due to the fact that emoji modeling and

conceptual visualization takes into account only the

most basic and key senses. This avoids the recipient’s

own context when interpreting the text and concept

and grasps the main point. That is why the transmis-

sion 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 vi-

sual 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 pos-

sible, activate memory, critical assessment, attention

of students. It is through emoji that one can trans-

late ﬁction, ﬁlm, other ﬁctional and non-ﬁctional me-

dia, as well as real life experiences. In addition, the

improvement and modernization of the structural and

logical speciﬁcs of the visualization of the artistic im-

age help to increase the efﬁciency of the image, which

consists of the ﬂexibility and clarity of the physiog-

nomic interpretive series in the image. The latter, in

turn, brings the visualized image closer to the origi-

nal. However, this is a problematic ﬁeld, because the

visualization of the image with emoji is impossible

without taking into account mental frames that struc-

turally represent individual (stereotypical) factors of

human consciousness and memory, depending on eth-

nic, national, and cultural systems. The latter, in turn,

encodes in the human mind internal (psychology, pic-

ture of the world) and external (physiognomy) per-

sonality identiﬁers, which are explicated in psychol-

ogy as mental frames. Taking into account all the

above, there is a problem not only in the interpretation

of a verbal text but also in the optical visualization of

the text and/or its images.

The objective of the paper. Development and

testing of information and communication technology

application of presentation of different genres of ﬁc-

tion and contextualized educational concepts via the

Emojidom Smiley, Emoji Maker (PlantPurple Sticker

Apps, 2018) and Voyant Tools (https://voyant-tools.

org/); approbation of the algorithm of visualization of

literary text images on an abstract (non-artistic) image

(the image of the patron of Borys Grinchenko Kyiv

University) within the development of emotional in-

telligence of the student, expressed in the ﬂexibility

of mind with a creative approach to the visualization

of ideas and images.

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

(Kommers et al., 2015), in our study emphasized

the role of uniﬁed technologies, namely, software

(Emoji Maker, Voyant Tools). 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 (Franken, 2007).

In addition to aforementioned, students, using the

color scheme, rely on general information about

the person’s physiognomic characteristics (Franken,

2007), 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 Pidopryhora (Pidopryhora, 2019), “...

the invasion of new technologies (computer, Internet)

into the sphere of literature – changes the nature of au-

thorship, 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” (Pidopryhora, 2019). Thus, emoji liter-

ature technology enhances the ability of philological

students to convey the content of literature in the most

appropriate characters or symbols.

Emoji researchers are convinced that these char-

acters have great hypertext potential. For example,

there have been attempts to translate the text of Her-

man Melville’s novel “Moby Dick” via the appropri-

ate emoji, called “Emoji Dick” (Benenson, 2010).

Lebduska (Lebduska, 2014) concluded that emoji

does not threaten the alphabetic literacy of the stu-

dent, providing instead a means of creative graphic

expression. This sentence is supported by the argu-

AET 2020 - Symposium on Advances in Educational Technology

632

ment that in some cases emojis, on the contrary, help

to explain the intentions or tone of the verbal text, but

not without taking into account the cultural and con-

textual ﬁeld. Therefore, the author of the article ap-

peals to the conclusion of T. J. Mitchell: “In this re-

placing of text, emojis may be perceived as participat-

ing in the “protracted struggle” between the pictorial

and the linguistic that T. J. Mitchell observed, ”the

relationship of subversion, in which language or im-

agery looks into its own heart and ﬁnds lurking there

its opposite number” (Lebduska, 2014).

An emoji researcher Danesi (Danesi, 2016) also

takes up the dichotomous position. The author of-

fers a number of interesting examples of the use of

optical signs, emphasizing the increasing interest in

the technological visualization of verbal texts using

emoji. However, Danesi (Danesi, 2016) questions the

universality of the optical structure of emoji, which,

in turn, also appeals to mental frames in sign genera-

tion.

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 sen-

suality. The emoji face performs an informative func-

tion, that is, communicates to the interlocutor the

emoji author’s response to a text, which greatly di-

versiﬁes 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 experi-

ences 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 feel-

ings 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 RESEARCH METHODOLOGY

The following methods were used to solve the estab-

lished problems: empirical – in the course of con-

ducting an experimental study of emoji modeling in

class with students; applying a systematic approach to

consider an object as a system model; functional ap-

proach – to determine the functions performed by the

model; pedagogical modeling (Ostapenko, 2005) –

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 educa-

tional level; aspect analysis of the artistic text – for the

separation of stanzas and content clusters; deductive

– for sign assembly.

3 RESEARCH RESULTS

Natural language in its ousia is that macrocosm that

is reproduced in the continuum of the world of things

(Plato, 1997). As we know, the efﬁcacy of this subor-

dination 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 gram-

mar until grammar has simpliﬁed us” (Redacci

Centro Gabo, 2018). 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 ou-

sia, since the term has passed the stage of modi-

ﬁcation 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 Untrans-

latables: A Philosophical Lexicon” (Cassin et al.,

2014) presents differences in understanding of con-

cepts 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 ev-

erything in the modern sense of “property” and in the

philosophical sense of the essence of things, while

the latter added other meanings, identifying ousia

with

υπoκε

ιµενoν/theme (causes it to lable ε

ιδoς

through ousia sometimes, a type or feature, some-

times the unity of matter and eidos, and sometimes

matter itself). Through the subsequent history of phi-

losophy, the situation was increasingly complicated,

since the Stoics regarded everything as an indeter-

minate substrate, thinkers of middle Platonism and

Neo-Platonism returned to the meaning of “essence”,

and Christian Christology approximated υπ ´oστασις

with ousia giving the latter more enriched meanings,

nonexistent in modern Greek (Cassin et al., 2014). It

is because of differences in translations and interpre-

tations 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 identi-

Applied Technology of Fiction and Non-ﬁction Conceptual Presentation via ICT Tools: Pedagogical Function of Graphic Mimesis

633

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

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

AET 2020 - Symposium on Advances in Educational Technology

634

ACU

ERDATE DE M

I REMEMBER ME НЕ ЗАБУВАЙ

I. Cuando vengan las som-

bras del olvido

a borrar de mi alma el sen-

timiento,

no dejes, por Dios, borrar el

nido

donde siempre durmi

o mi

pensamiento.

I. When shadows of oblivion ad-

vance

expunging feeling from my very

soul,

for God’s sake don’t erase the

case

where dwell the thoughts to

you I owe.

I. Коли прибудуть тiнi

забуття,

Щоб почуттiв в душi спинити

iснування,

Благаю Богом, збережи буття,

В котрiм завжди жило моє

кохання.

II. Si sabes que mi amor

jam

as olvida

que no puedo vivir lejos de

ti dime que en el sendero de

la vida

alguna vez te acordar

as de

ı.

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.

II. Як знаєш, що любов моя

нетлiнна,

Що жить без тебе – за бiк

узбереж,

Скажи, що на путi життєво

цiннiй

Одного разу мене ти

впом’янеш.

III. Cuando al pasar inclines

la cabeza

y yo no pueda recoger tu

llanto,

en esa soledad de la tristeza

te acordar

as de aquel que te

o tanto.

III. When you bow your head

passing by,

me unable to dampen your

tears,

in that loneliness gone awry

You’ll remember my love perse-

veres.

III. Коли в путi чоло огорне

сум,

I я не зможу слiз твоїх

спинити,

В цiй одинокостi печальних

дум

Упом’янеш того, хто вмiв

любити.

IV. No podr

as olvidar que te

he adorado

con ciego y delirante frenes

y en las confusas sombras

del pasado,

luz de mis ojos, te acordar

de m

ı.

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.

IV. Ти не забудеш мого

боготворiння,

Безумного й слiпого до

безтями

В прожитому, що заплелося

тiнню,

Мене згадаєш за очей

свiчами

V. El tiempo corre con denso

vuelo

ya se va adelantando entre

los dos

no me olvides jam

as. ¡Dame

un recuerdo!

y no me digas para siempre

adi

os.

V. Time flies with thick might,

Far ahead separating us two,

Don’t forget me. Deliver a to-

ken!

and don’t fare me well anigh.

V. Час тяжко простягається по

колу

I вже випурхує мiж нас у це

буття.

Не забувай! Не забувай мене

нiколи.

Не говори менi «Прощай без

вороття!»

(Jos

Angel Buesa)

(Translation by Rusudan

K. Makhachashvili)

(Translation by Anna

O. Bakhtina)

Applied Technology of Fiction and Non-ﬁction Conceptual Presentation via ICT Tools: Pedagogical Function of Graphic Mimesis

635

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 Jos

Angel 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, Jos

e Buesa acquired the sta-

tus of “enamored poet”, that is, a poet whose poetry

is distinguished by sensuality in his own metaphor.

Therefore, we believe that it is appropriate to recon-

struct this sensibility with the help of the aforemen-

tioned metalinguistic digital continuum. We apply

the Emoji Maker digital platform (PlantPurple Sticker

Apps, 2018). The program has technical limitations,

which, however, seal the phenomenology of the pre-

sentation. These limitations are speciﬁcally available

repertoire of tools that cannot be traversed during im-

age 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 Buesa (Buesa, 2020) using self-

designed emoji in Emoji Maker tool (table 1).

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 (ﬁgure 1).

2. The choice of eyes is justiﬁed by the pleading

expressed by the lyric hero. The main feature –

mirrored dilated pupils, reminiscent of tears (ﬁg-

ure 2).

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 (ﬁgure 3).

Figure 1: Creation of the emoji sign #1.

Figure 2: Creation of the emoji sign #1.1.

Figure 3: Creation of the emoji sign #1.2.

4. The corners of his lips are slightly down, which

also testiﬁes to the sadness of the lyrical hero (ﬁg-

ure 4).

Figure 4: Creation of the emoji sign #1.3.

5. The choice of the lyrical hero’s hairstyle corre-

lates with his essence – romantic nature. There-

fore, the hair is blond, not too short, disinfected

(ﬁgure 5).

AET 2020 - Symposium on Advances in Educational Technology

636

Figure 5: Creation of the emoji sign #1.4.

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

(ﬁgure 6).

Figure 6: Creation of the emoji sign #1.5.

7. In addition, pleading can be emphasized with con-

ditional 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

ﬁanc

ee 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 memo-

ries. The pupils of the eyes will look sideways and

downwards, which will again indicate the girl’s

reﬂections (ﬁgure 7).

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 of-

fered by Emoji Maker, we choose medium length,

black hair. With this choice, we visualize a girl as

a young person, ages 23–25 (ﬁgure 8).

Figure 7: Creation of the emoji sign #2.

Figure 8: Creation of the emoji sign #2.1.

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 inter-

pretatively assumed that the girl’s memories are

symbolically stored on the device (photos, videos,

etc.) – which is easier for students to relate to (ﬁg-

ure 9).

Figure 9: Creation of the emoji sign #2.2.

4. We can complete the image with a universal de-

notation of love – a heart (ﬁgure 10).

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, memo-

ries, longing, despair.

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637

Figure 10: Creation of the emoji sign #2.3.

1. It is worth noting that in Spanish speaking cul-

tures, green is the color of hope in love (Chester-

ton, 2007, p. 15), and therefore, an emoji experi-

ment with a green smiley is advisable. Because

the hope of memories rests on the subject ad-

dressed in the poem by the lyrical hero, so here

we portray the girl (ﬁgure 11).

Figure 11: Creation of the emoji sign #3.

2. We leave the physiognomic characteristics the

same as those in the second quatrain. And to visu-

alize of the UQE we add the denotation of sorrow

– tears (ﬁgure 12).

Figure 12: Creation of the emoji sign #3.1.

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, pas-

sion; 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 passion-

ate feelings (ﬁgure 13).

Figure 13: Creation of the emoji sign #4.

2. The hairstyle of the lyrical hero remains un-

changed, 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 (ﬁgure 14).

Figure 14: Creation of the emoji sign #4.1.

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 (ﬁgure 15).

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 +

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638

Figure 15: Creation of the emoji sign #4.2.

Farewell + Memory. MF – timelessness. UQE: hope,

memories, supplications, hopelessness.

1. The last quatrain demonstrates in the most de-

tail 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 appreci-

ate his feelings. He also brings this up with a

woman, pleading with her to remember his feel-

ings as well. The poetic motif is that love will

persevere as long as it is remembered. 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

(ﬁgure 16).

Figure 16: Creation of the emoji sign #5.

2. A plea not to say “Farewell!” we can depict

through another universal sign – muted lips (ﬁg-

ure 17).

3. We complete the digital reconstruction with sym-

bolic attributes: the pager (obsolete technol-

ogy) reproduces the semantic nature of the im-

age of time, the equivalents of which are being-

timelessness-eternity-Cosmos-Eidos (ﬁgure 18).

So, with the help of the Emoji Maker computer

program, we introduce a visual reconstruction of

A. Buesa’s poem “Remember Me”. This approach

simpliﬁes the isolation of the fundamental factors un-

derlying poetry. First, considering the person’s phys-

iology, we tried to single out meanings that suggest

Figure 17: Creation of the emoji sign #5.1.

Figure 18: Creation of the emoji sign #5.2.

the presence of the following feelings: love, anxiety,

sadness, fear, hope, memories, supplication, hope-

lessness. Visual afﬁrmation of the senses contributes

to a profound awareness of the fundamental con-

cept 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, im-

agery and content of the text only through the chain

of emoji created (ﬁgure 19).

Applying the Emoji Maker multimedia program

when analyzing a work of art (poetry) in the class-

room, one should adhere to the following guidelines:

1. Before moving on to modeling emoji, it is neces-

sary 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 with-

out departing from the context of poetry. Imagine

the emotions of the hero, hypothetically outlining

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639

Figure 19: Projected emoji-visualization of J.

A. Buesa’s poem “Remember me”.

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 poten-

tial with the content of poetry can be traced.

Creating a multimodal picture of the world with

emoji is possible not only in the context of ﬁction.

The conceptual ﬁeld of an optical sign, which trans-

gresses its plane of content from a symbol to a full-

ﬂedged text, which the reader-interpreter immanently

“adds” depending on the contextual boundaries, al-

lows the emoji sign to be tested as a phenomenon.

That is, one that is able to replace the letter with the

image of the letter – with its opticality – while pre-

serving the full meaning of what is said.

In order to conﬁrm the above, the authorial

team, together with students, conducted an ex-

periment to design emoji. Students of Borys

Grinchemko Kyiv University at a workshop “MOD-

ERN DIGITAL TECHNOLOGIES OF LINGUISTIC

DATA PROCESSING” (coaches – R. Makhachashvili

and A. Bakhtina), which was conducted as part of

the Grinchenko Decade, joined the design experi-

ment (utilizing the Emoji Maker tool) to construct

the image of the patron of the university – Borys

Grinchenko.

As in the case of ﬁction, the physiognomic and

conceptual features of the creation of the sign were

taken into account. Physiognomic features include fa-

cial features and recognizable highlights of the face,

while conceptual features include the color turquoise

(sea green), which is the customized corporate color

of Borys Grinchenko Kyiv University (ﬁgure 20).

As can be seen, the use of physiognomic and con-

ceptual characteristics (key features) allows to most

accurately reproduce the image using the digital plat-

form Emoji Maker, thus appealing to the digital op-

timization of the linguistic picture of the world. The

rotation of the transgression of the linguistic picture

Figure 20: Visual interpretation of the image of BGKU pa-

tron – Borys D. Grinchenko.

of the world into the linguistic structure of computer

existence modiﬁes the traditional (non-technological)

structures of time and space, which include all fac-

tors of the existential modes of mankind, including

language. The latter acts as the subject of the men-

tioned transgression, undergoing restructuring at the

abstract level of its own ontology. The digital model

of the new linguistic picture of the world, in turn, is

characterized by absolute nonlinearity of cases with

their corresponding defragmentation under the con-

dition of semantization of each of them. The ex-

tralinguistic sign is subject to such semantization as

an adept of a new abstract in time and space meaning

in the linguistic structure of Computer Being (CB).

The new sign in the CB is a cyber-concept isolated

from the traditional meanings ﬁxed in the appropri-

ate time and space, namely – at Borys Grinchenko

Kyiv University with the appropriate corporate stan-

dard (turquoise custom colors). Thus, the generated

sign (image) is fractalized and concludes three fractal

bases – [language] – [emotion] – [feeling].

We conclude that on the one hand, the digitaliza-

tion of the subject is a timeless and extraspatial phe-

nomenon that narrows the levels of language to an op-

tical sign, without losing meaning, on the other hand

– it provides a locational representation of the sign,

which can only be understood by the representatives

of this location. However, let us also argue the latter in

favor of artiﬁcial intelligence. After all, it is obvious

that the concept of location is also used in artiﬁcial

intelligence algorithms, for example, to ﬁnd a way.

This primarily applies to the programming of com-

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640

puter games (Haranin and Moiseienko, 2018; Katsko

and Moiseienko, 2018), but in the case of generating

emoji codiﬁers projection of the illusion of the whole

world (image) and physiognomic and conceptual fea-

tures, which we rely on in creating emoji for ﬁction,

and a speciﬁc image (image of Boris Grinchenko).

Despite the fact that such a digital model is non-

linear, we still single out the anthropic nucleus –

[emotion] – among the fractals as a substrate of psy-

chophysiological causal transition and mimesis from

language to sensation in the mentioned location. The

latter, in turn, synthesizing all the above categories,

crystallizes another anthropic nucleus – [space]. The

speciﬁed kernel on the one hand, frees the subject

from existential restrictions, granting the right to any

semanticization of a sign, on the other hand – it en-

codes the subject in digital reality of Computer Be-

ing, adiaphorizing both internally – structural levels

of language, and externally – the value in social envi-

ronment. That is why any emoji as a CB object is a

signiﬁed and a signiﬁer at the same time, which is not

observed in its non-digital reproduction and meaning.

However, the keyword body (ﬁgure 21) that provides

the generated image has been modiﬁed using the Voy-

ant Tools content analysis and text mining engine,

an open source web application that provides corpus

analysis of text data. It supports the scientiﬁc reading

and interpretation of texts or corpus. Therefore, dig-

ital text analysis is a signiﬁcant linguistic addition to

the generated sign.

Figure 21: Linguistic mapping of Borys Grinchenko as a

corporate concept of the university.

Paying attention to the linguistic complement of

the sign, let us return to the poetry of Jos

Angel

Buesa and try to recreate a similar conceptual con-

struct via the use of digital Voyant Tools:

1) calibrated Word Cirrus for the identiﬁcation of

foregrounded concepts in the corpus (ﬁgure 22);

2) foregrounded concepts trending tool (relative fre-

quency identiﬁcation of foregrounded concepts in

the horizontally segmented corpus) (ﬁgure 23).

Figure 22: Digital corpus identiﬁcation of key concepts of

A. Buesa’s “Remember me”.

Therefore, the transformative dynamics of emoji

at the stage of the conceptual denotation of the cor-

responding set of signs is realized due to following

consequitive developments of the sign meaning con-

struction:

1) the direct vertical expansion to the surface

layers of the signs content plane of the

core representative substantive elements

(|TYPE OF SUBSTANCE: COMPUTER

BEING|, |SUBSTANTIVE DISCRETION:

SPACE|) (Makhachashvili, 2013),

2) the phenomenological implementation of the for-

mer by means of different substrate signiﬁcant el-

ements of the internal form, in particular:

• direct nomination – “FACE / EMOJI / SIGN”;

• secondary, metaphorical and/or metonymic,

nomination as a mechanism of ”computer” se-

manticization – the content of poetry / physiog-

nomy / mentality / conceptuality; the image of

Borys Hrinchenko.

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 tech-

nologies, etc.) in synthesis with structures of com-

puter 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 vi-

sual iconic sign (smiley/emoji) reproduces the multi-

lateral metalinguistic functionality of the meaning of

a sign based on the artistic word. This approach sig-

niﬁcantly expands the subject of the study and can

be applied in classes of linguistic and literary disci-

plines, as well as in classes in critical and analytical

Applied Technology of Fiction and Non-ﬁction Conceptual Presentation via ICT Tools: Pedagogical Function of Graphic Mimesis

641

Figure 23: Relative frequency of poetic concepts identiﬁcation in a horizontally segmented corpus.

reading. Due to the powerful hyper-cybernetization in

the world, research on the topic will acquire more and

more.

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 syn-

thesized, 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 devel-

opment 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 under-

standing depends to a great extent on the recipient’s

essential empirical experience and on its sensory ty-

pology, which corresponds to three main types – vi-

sual, audio and kinesthetic (Franken, 2007). There-

fore, simulation of exactly the same results is impos-

sible, because only under the condition of individual

approach of students to visualized analysis of poetry

is it possible to adequately reﬂect all aspects of func-

tioning of the studied object with the help of a simu-

lated emoji sign. Thus, it is emphasized that during

the visualization of verbal information mental frames

embedded in the minds of each person, and which are

a speciﬁc biological identiﬁer of the individual, are

foregrounded, which explains the mental, ethnic, na-

tional, cultural factors. However, the universality of

the emoji language is due to its structure, which is ex-

pressed in optical speciﬁcity (the shape of a circle, a

limited set of tools), which uniﬁes the optical range

of any sign. Instead, individual features, dependent

on mental or contextual factors, are relevant together

with a verbal explanation of the choice of a tool for

visualization. In the case of a literary text, the expla-

nation procedure is simpliﬁed due to the explicant in

the text itself and the identity of the author. In the

case of abstract images, much attention is paid to the

context. An individual approach to the visualization

of corpus data is also reproduced using the web appli-

cation Voyant Tools, which works with open source,

providing text mining analysis. With the support of

reading and interpreting texts or corpora, digital text

analysis becomes a signiﬁcant linguistic addition to

the generated sign. Moreover, the optical comple-

ment can be based both on a speciﬁc text (poetry by

Jos

Angel Buesa) and on keywords / concepts (the

image of Borys Grinchenko in the context of a spec-

iﬁed location: at the eponymous institution – Borys

Grinchenko Kyiv University).

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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642

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