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
1
Borys Grinchenko Kyiv University, 18/2 Bulvarno-Kudryavska Str., Kyiv, 04053, Ukraine
2
Kryvyi Rih State Pedagogical University, 54 Gagarin Ave., Kryvyi Rih, 50086, Ukraine
3
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
´
e
´
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
´
e
´
Angel Buesa) and on keywords / concepts (the image of Borys
Grinchenko in the context of a specified location – at Borys Grinchenko Kyiv University).
a
https://orcid.org/0000-0002-4806-6434
b
https://orcid.org/0000-0001-6455-5572
c
https://orcid.org/0000-0003-3337-6648
d
https://orcid.org/0000-0003-3477-9254
e
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
Copyright
c
2022 by SCITEPRESS – Science and Technology Publications, Lda. All rights reserved
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
´
on
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
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
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
m
´
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
am
´
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
´
ı
y en las confusas sombras
del pasado,
luz de mis ojos, te acordar
´
as
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
´
e
´
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
´
e
´
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.
Applied Technology of Fiction and Non-fiction Conceptual Presentation via ICT Tools: Pedagogical Function of Graphic Mimesis
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
J.
´
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-
AET 2020 - Symposium on Advances in Educational Technology
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
´
e
´
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
J.
´
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
´
e
´
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”.
AET 2020 - Symposium on Advances in Educational Technology
642
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