Социокультурный и лингвистический анализ поликодового текста (на материале романа Энтони Берджесса «Заводной апельсин») Sociocultural and Linguistic Analysis of the Polycode Text (Based on Anthony Burgess’s Novel "A Clockwork Orange")

Its narrative proceeds at a slow pace, interrupted from time to time by moralistic commentaries, lyrical digressions and references to historical events and political figures. In lyrical digressions, the author's position is usually neutral.In the historical allusions in the novel Vanity Fair, the author uses vocabulary with powerful connotative meaning. In the following example, the author, explaining Becky Sharp's decision to take on a new companion, makes the following reference:“The right of that inevitable woman in her faded gown hated behind her dear friend in the opera — fox, or occupying the back seat of the barouche, is always a wholesome and moral one to me, as jolly a reminder as that of the Death's head which figured in the repasts of Egyptian dominant, a strange sardonic memorial of Vanity Fair” (WT).The reader perceives the allusion as a completely understandable link to complete and accurate information about the main character of the novel, Rebecca Sharp, who is the embodiment of the spirit of the Fair. Her predatory greed, her contempt for common people, cynical promiscuity in the means - all these qualities that made her in common with the pillars of society like the Osborns [10, p, 235].The main character, Rebecca Sharp, has embodied the features of many rogues and adventurers. Thackeray called her Napoleon in a Skirt, to implement an allusion to this historical figure, a visual image tool was used:Figure 19. Becky as Napoleon, after various portraits both on Elba and St Helena.In addition, it is worth emphasizing that Thackeray the artist, having undertaken to illustrate his novel, depicted its characters in modern costumes, probably because vanity, arrogance, and vanity have not remained in the past. He needed the historical theme mainly in order to affirm the significance of the plot and its reliability, to emphasize the stability of those phenomena that he unites with a figurative name: “Vanity Fair”.In the XXI century. it is difficult to imagine what role mythology has played in the imaginations of writers and readers over the centuries. Gods and goddesses from Olympus, the heroes of ancient legends were also popular among the creators of literature, as popular singers in our time.Names such as Hercules, Prometheus, Jupiter, Venus evoked strong emotions that were associated with the legends in which these mythological characters appeared. Thackeray is a great expert and enthusiastic fan of mythology. Proof of this is his novel Vanity Fair. In the novel, mythology is the main source of allusions.The reader who is not familiar with mythology will hardly be able to adequately appreciate the deep intelligence, subtle humor and perspicacity of the author of the novel. Thackeray deeply feels the vices of the world around him. He skillfully expresses the attitude towards the Fair and its inhabitants with the help of allusions.Almost all allusions based on mythology are full of either light humor, or light irony, and sometimes sarcasm. According to this quality, mythological allusions can be divided into 2 groups: 1) allusions used in lyrical digressions, and 2) allusions used in characterizing characters and describing events.Thackeray's narrative approach in Vanity Fair is very unusual. Its dynamism and plasticity create a large number of lyrical digressions, which the author keeps under control, not allowing a large number of comments. He kind of takes the reader by the sleeve to a corner in order to confidentially comment on everything that is happening around.One of the illustrations depicts Becky as Circe, who turned Odysseus's men into swine, which serves as another way to reflect the character of this heroine:Figure 20. Becky as Circe.It is through the allusions to which the author resorts that readers can understand whether the author approves or disapproves of all this. Here's an example from the novel: “Did not Lord Eldon, the most prudent of men, make a runaway match? Were mot Achilles and Ajax both in love with their servant — maids?And are we to expect a heavy dragoon with strong desires and small brains, who had never controlled a passion in his life to become prudent all of a sudden...”(WT). The author justifies the decision of Rawdon Crowley to marry Rebecca Sharp, the governess: “why not marry a poor orphan”, even if Achilles and Ajax, the heroes of the Iliad, were in love with their maids. The above allusion makes the reader smile.Another example of a literary work where the stylistic technique of allusion with the help of polycode text was actively used are novels“Alice in Wonderland”(LC)and “Alice Through the Looking Glass”(LC1)written by Lewis Carroll. The illusion is achieved by the author through the use of various fonts and non-standard text arrangement:Figure 21. A page from Lewis Carroll's handwritten book Alice's Adventures Underground. In the fairytale “Alice Through the Looking Glass” the idea of ​​mirror symmetry is clearly presented. All asymmetric objects appear “turned out”, or their left and right halves are reversed [26, p.100]. Time also flows “backwards”: for example, pies are first handed out to guests, and then they are cut into pieces, “tomorrow never happens today”(LC1). To quench your thirst, you need to taste dry cookies here; to stand still, you need to run and blood begins to flow from the finger even before it is pricked. Inversion in “Alice” occurs at various levels - from plot (at the trial of Jack the Queen requires first to pronounce a verdict, and then to establish the guilt of the defendant) to structural (when meeting Alice, the Unicorn says that he always considered children to be fabulous creatures) [14, p.221].The principle of mirror reflection is subordinated to the logic of the existence of the Looking Glass. The reflected arrangement of pieces on the chessboard makes the chess game an ideal continuation of the theme of playing cards from the first book. According to Dodgson's recollections, The Hunt for the Snark was written backwards: first the last line, then the last stanza, and then everything else. The game “Doublets” invented by him consisted of rearranging letters in a word. His pseudonym Lewis Carroll is also an inversion: at first he translated his full name - Charles Lutwidge - into Latin, it turned out Carolus Ludovicus, and then back to English - the names were reversed [2, p. 49].The protagonist of “The Alice in Wonderland” and “Alice Through the Looking Glass” is an English language full of idioms and phraseological units of a particular country in a particular historical era.The elements of reality from which the surreal world of Wonderland and Through the Looking Glass is constructed are not limited to people, places and situations. To a much greater extent, this world is created from the elements of language. However, these layers are closely intertwined [13, p. 257].Moreover, there are many references to literary works in Carroll's books. The most obvious thing is frank parodies, primarily altered well-known poems, mainly moralizing. Parodies are not limited to poetry: Carroll ironically plays passages from textbooks and even poems of poets, whom he treated with great respect. The tales of Alice are so filled with literary reminiscences, quotations and semi-quotations that one listing of them makes up weighty volumes. Among the authors cited by Carroll are Virgil, Dante, Milton, Gray, Coleridge, Scott, Keats, Dickens, MacDonald and many others. Shakespeare is quoted especially frequently in Alice.2.3. Results and DiscussionThe phenomenon of semiotically heterogeneous texts wasstudied on the example of the texts of the Charles Dickens’ “The Posthumous Papers of the Pickwick Club” and William Thackeray‘s “Vanity Fair”, Lewis Carroll’s “Alice's Adventures in Wonderland” and “Alice Through the Looking-Glass”, Edward Leer’s poetry. Such artistic texts are a product of the interaction of a writer and an illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes that ensure the transmission of information of a certain artistic value. It is precisely about the interaction and interdependence of these two types of semiotic systems that make up a single whole space in the literature piece. Illustrative inscriptions and symbols often actualize the implicitly or not mentioned moralizing aspect of the narrative. They provide explanations of some of the plot lines, revealing the author's ideas implicitly embedded in the novel. The illustrations are as the author intended, although they are not his creation, at the same time the artist introduces his own details and, offering his interpretation of the novel, creates works of art relatively independent of the writer.The considered works of art show the influence of the dominant iconographic traditions of this era, book emblems and tendencies in art. Authors draw in detail in words what is reflected in painting through visual art, encourage the reader to keep in memory the images captured akin to portrait images. The combination of various semiotic means appears in the mind of the reader as a single organism bearing the imprint of the era.Semiotic tools such as drawings or various fonts allowed the reader to re-immerse themselves in the atmosphere of the time of the creation of a work of art, thanks to the familiar visual images that reappear on the stage of their imagination. Theatricalization continues to be widely represented in the artistic space of the text, manifesting itself in specific artifacts, symbols and gestures presented in the illustrations, while the category itself is characterized by such parameters as: scenario, ritual, deliberate, obsessive, metaphorical, symbolic, presentational emotionogenicity.CHAPTER 3. PRACTICAL RELEVANCE OF POLYCODE TEXT ANALYSIS IN LINGUISTIC SCIENCIES 3.1.Practical Usage of the ResearchResults in SemioticsThe term “semiotics” comes from “semeion” - a sign, and is unfamiliar to a wide range of people, but, despite this, it penetrates into all spheres of society. This is due to the subject of study of this branch of scientific knowledge - a sign. This science is based on the development of concepts such as sign, symbol, linguistic sign, etc., i.e. what is used in everyday life when studying any industry.The semiotic component is to a certain extent a broad area of our activity, its properties and terminology are regularly used, often not suspecting that they are part of semiotics as a science. In general, semiotics could be defined as the science of signs and sign systems, the functions of which are to analyze the nature, properties and functions of signs, to classify them, and also to study the path of their development.The sign is the central concept of semiotics and is understood by this science in a broad sense, as a material object that, when a certain number of conditions are met, carries a certain meaning, which can be both a real and a fictional object, phenomenon, process, being, or even an abstract concept [17, p.371].One of the most important properties of a sign is the fact that it can designate and replace not a single, specific object or phenomenon, but a whole group of objects and phenomena. This leads to the emergence of such a concept as the volume of a sign. Obviously, the more objects or phenomena a sign represents, the greater its volume. So, for example, the linguistic sign “flower” has a much larger volume than the linguistic sign “dandelion”. The entire set of objects designated by the sign is called its denotation.Semiotics includes three sections, each of which deals with the study of signs and sign systems from a certain point of view: syntactics, semantics and pragmatics. The first of them deals with the study of the structure of signs, the rules for their construction and the composition of combinations from them.Semantics studies the semantic content of signs and their combinations.The subject of the study of pragmatics is the peculiarities of the use of signs in the process of communication; this branch of semiotics also establishes the rules for the action of the recipient of a sign in the context of a particular sign situation.Communicative acts in the semiosphere become possible only if the participants in communication have a certain semiotic and cultural experience. Based on this, language is understood as a clot of Semitic space with blurred boundaries. The blurring of boundaries is due to the fact that something that serves as a message for one is not a message for another. The semiosphere is filled with many languages ​​that differ in nature. Different languages ​​can be completely mutually translatable and completely untranslatable [17, p.368].The semiosphere is characterized by the following features: binarity, asymmetry, limitation and heterogeneity.Polycode texts are texts that combine semiotically heterogeneous components of a verbal text in oral or written form, including images and signs of a different nature, in a single sign space.The polycode fictional text represents the result of the work of a writer and an illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes that ensure the transfer of information of a certain artistic value in the author-illustrator-reader triad. The iconic part is based on the artist's analytical and synthetic processing of information from the original text. An illustration and a caricature as part of a polycode text act as an independent carrier of information, they are associated with the verbal text, forming a thematic, semantic and structural unity with it. Perform a function in the communicative-semiotic complement of a literary text.The communicative space of a polycode text as an integral work is formed by such communication participants as a publisher, an author, an illustrator, and a general reader. The publisher acts as an initiator and mediator of communication in accordance with the pragmatic goal of maximizing the readership. The author (addressee) forms the original artistic message, which is sent to the illustrator (addressee-relayer) for subsequent transformation (re-encoding). The task of the final addressee is a complex interpretation of a work of art, consisting of the original message and its iconographic reflection.A polycode fictional text represents the result of the work of a writer and an illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes that ensure the transfer of information of a certain artistic value in the author-illustrator-reader triad. The iconic part is based on the artist's analytical and synthetic processing of information from the original text. An illustration and a caricature as part of a polycode text act as an independent carrier of information, they are associated with the verbal text, forming a thematic, semantic and structural unity with it. Perform a function in the communicative-semiotic complement of a literary text.The presence of universal elements of the iconic level of coding in a literary text ensures the expansion of the interpretational semiotic field of the text, its enrichment with specific units of an ethnocultural nature. The interpretability of a polycode text as a unit of literary and artistic communication involves considering the aspect of the conjugation of the textual activity of the author, illustrator and reader, taking into account the correlation of the background knowledge of the participants in communication, the ethnocultural context and the existing artistic conventions.The complementary-orienting function of the illustrative semiotic system of a polycode text is represented by a set of precedent visual images transmitted in accordance with the content of the verbal component, and precedent visual phenomena introduced by the illustrator taking into account the emotional and semantic dominant of the text.The emergence of the comic effect of the plot composition of the caricature is facilitated by pictorial and expressive verbal-iconic stylistic means, among which such stylistic figures and tropes as hyperbole, oxymoron, double actualization, emphasis, comparison, metaphor receive the most frequent representation.In the development of the process of generating a polycode text, iconic attractors, acting as supporting elements of interpretation, take an active part; the degree of their conventionality can vary the result of decoding (understanding of the text). The attractor can act as an element of overcoming the cognitive lacunarity of a polycode text, but it can also be its source.All in all, the direction of interpretation is set by the pictorial component, which is due to its semiotic features: iconic signs have a more universal character, they are less conventional. At the same time, the specificity of semantic processing is ahead of the comprehension of the verbal component. In the process of meaningful interpretation of the iconic part, some associative connections are strengthened, while others are inhibited, thereby inhibiting or limiting the possibilities of generating meaning.3.2.  Practical Usage of the ResearchResults in StylisticsThe question of the nomination of texts with a structure complicated by coding elements that are not linguistic per se does not have a single solution at the moment and seems to us debatable. In this regard, we will designate at the beginning the initial definitions necessary for the following evidential analysis. We believe it is possible to call the result of the interaction of a writer and an illustrator by a polycode artistic text (hereinafter - PCT). Usually, such a text is expressed by a set of verbal and iconic signs and codes that provide the transfer of artistic and value information in the well-known triad “author-illustrator-reader”.The question of the likelihood of a different understanding of pictures and text arises already at the “author-illustrator” level, it is due to the fact that, although illustrations are created in close cooperation between the writer and the artist, they are released exclusively after the author's (that is, the writer) approval. The object of observation in this case for us is the polycode of a literary text, understood as a factor in the general generation of meaning. It is possible to resolve this issue by clarifying the features of the interaction of the heterogeneous components of a polycode literary text: verbal and iconic.The specificity of the studied polycode texts is that the perception, and, consequently, the interpretation of its components occur sequentially, but not simultaneously. This is due to the relatively large volume of verbal text. Strictly speaking, the pictorial series does not have a decisive role, it only models imaginative perception and forms communicative codes in cases where verbal interpretation is hampered by the presence of informational and cultural gaps. Thus, the pictorial series performs a complementary orienting function. The illustration here is a representative of the artistic image created by the metaphorical units of the language of art at the junction of the dominant iconographic conventions and the artist's subjective vision.The primary objective of the study was to identify significant units of analysis that could be considered in parallel at the verbal and iconic levels of the text. As a manifestation of the dialogical character of a literary text, the categories of precedence, along with intertextuality, act as the most important tools in the analysis of the ways of actualizing concepts and the study of the parallelism of techniques from the standpoint of semiotics and mechanisms of interaction of sign systems.So, for example, visual intertextuality is manifested through the links between the iconic components of the text, which allow them to refer to each other. We are talking about specific ways of actualizing the objective world by the artist. In the illustrations we study, intertextuality is manifested through.Unlike the verbal component of the text (both written and oral), the image, as a rule, is perceived by the recipient almost instantly (simultaneously), that is, the perception of the image is similar to the perception of objects in the surrounding reality. In this regard, the term image itself requires a clear formulation.It is known that a person's eyes move almost non-stop, and the perception of an object begins with its recognition, which, in turn, is divided into two stages: discrimination (the process of highlighting the shape of an object) and recognition (transition to the process of identification). According to scientists, when the object is perceived, the mechanism of past experience and thinking is triggered, highlighting the most informative places in the perceived image. if the text is written, then it is already complicated by paralinguistic means, not to mention a separate image that can accompany the text.The novel by Charles Dickens “The Pickwick Papers” serves as an example of the harmonious coexistence of the iconic and verbal components of the text. In the caricature, a kind of equivalent is given to the described event or situation, but with a transfer to a different pictorial plane. The image therefore becomes another signifier for the original signified (images, plot, event, situation). The illustrations were created in parallel with the writing of the text of the novel, which avoids false interpretations that the illustrator can sometimes impose on readers. The artist in our case is the first reader and co-author. We mark separately existing verbal and iconic images, together forming a kind of unified field that in two ways represents the main author's conceptual intention.The artistic language of the work also corresponds to the structural features of the organization of the poetic world of “Alice “, which makes it possible to apply the concept of "play poetics" to these texts. This made it possible to interpret the author's style of narration as a playful one and to single out two main principles of its formation: the creation of unusual linguistic material and its non-standard (non-linear) organization in the text. Carroll's fictional text shifts the usual emphasis for everyday speech to the informativeness of the statement and emphasizes its external, stylistic side. Puns and language play are not ignored, as is the case in ordinary speech, where these phenomena often interfere with direct information exchange; on the contrary, the purpose of the narrative is to go from pun to pun. All levels of the language are played out: phonetic, morphological, lexical, etc., and violation of the rules at one level is compensated by a clear system at others.This narrative structure points to an important analogy between play poetics and Carroll's style of writing: both poetic and stylistic, the metagame attitude is preserved, and attention is drawn to the rule-making process itself. The author's interpretation of the language game presents the latter as a cipher, the solution of which is possible when the laws that determined its creation are discovered.The language plays as a feature of Carroll's style fulfills two important functions in his texts. On the one hand, language is the main weapon of the competing parties in the game he simulates, and her position in these worlds directly depends on Alice's virtuosity in verbal battles with the natives of the Wonderland / Through the Looking Glass. On the other hand, the language game, and especially the formation of neologisms, seems to Carroll one of the most effective ways to create a new, original text in literature that is the product of language - a system consisting of a finite number of elements. The game transformations of the artistic language become a means of overcoming the framework of the game space and its inherent isolation, and, consequently, the exhaustion of potentially possible combinations of its elements.Thus, the diversity of the poetic and stylistic levels of Carroll's texts is due to the thoughtful and systematic adherence to the general play principle for them. Such a text has a different aesthetic impact on the reader than other types of storytelling. There is a "switching" of thought and interpretation mechanisms, as a result of which what is happening is perceived as a game. In addition, the very process of this switching is exposed, the author draws the reader's attention to how the text-game is created. Such an attitude towards reflection indicates the presence in Carroll's books of features that are currently associated by literary criticism with the concept of “metaprose”.3.3. Results and RecommendationsThe study revealed the specifics of the functioning of polycode in literary and artistic communication; clarification of the principles of interpretability of polycode literary texts and the corresponding role of the iconic component; the results can be further used to develop the theory of polycode text, in research on general text linguistics, cognitive linguistics, and linguistic semiotics.Moreover, the results of the research can be used in lecture courses on text linguistics, communication theory, cognitive linguistics, special courses in ethnolinguistics, linguistics, text analysis and interpretation, intercultural communication, as well as in practical classes in English, focused on the formation and development of communication and analytical skills.Conjugation in one text of the verbal and the figurative gives the researcher the opportunity to assess to what extent certain phenomena of the language are connected with the extra-linguistic ones (with the kinetic and mimic modalities of speech, other components presented in the frame). However, first of all, verbal-pictographic works are of interest for the “external”linguistics: those areas of linguistics that study language through the prism of its functioning in society, as sociolinguistics does, and in its relation to mental processes, studied by psycholinguistics. For the latter, the text, functioning together with the non-verbal components of the visual work, allows one to make another attempt to reveal the mechanism of the “black box” of mental activity no longer based on the analysis of the perception of a linear verbal work, but taking into account the “extralinguistic” components of the speech situation. The analysis of such texts is also of considerable interest for cognitively oriented linguistics. The emergence of new technologies that make it possible to combine written text, drawing, sound, animation, raises many theoretical questions regarding the impact on the individual of each of the individual components, regarding the cognitive mechanisms of their unification, regarding the individual's ability to interact with them! walkie-talkies and many others. In addition, when combining knowledge about the world and knowledge about a language on the basis of the generality and teaching of the processes of storing and processing information, the question of the relationship between linguistic and non-linguistic cognitive structures is actualized.The main result of the work is to establish the patterns of formation of polycode sign systems and to determine the originality of the mechanisms of their understanding. The paper proposes an original model for understanding polycode text, which is a certain contribution to the general theory of text understanding. Revealing the regularities of the functioning of PT components and discovering the specifics of the mechanisms of their understanding can be widely used in the development of polycode texts of a very different (didactic, propaganda, informational, etc.) orientationCONCLUSIONIn our work we have studied the term of the “polycode text”, its linguistic features, the means of its working in fiction. We have analyzed the “Vanity Fair” (1848) by William Thackeray; “The Posthumous Papers of the Pickwick Club” (1836) by Charles Dickens; limericks by Edward Lear published in “Book of Nonsense” (1846) and “More Nonsense, Pictures, Rhymes, Botany”, etc. (1872); “Alice's Adventures in Wonderland” (1865) and “Alice Through the Looking-Glass” (1872) by Lewis Carroll.Firstly, nowadays, in the time of modern technologies, a person is faced with a mass of new information, which sometimes he simply does not have time to perceive in the general information flow. That is why message senders strive to ensure that information is perceived quickly, easily and at the same time evokes a response from the recipient. It is logical to assume that due to the impact on several channels of perception at once, the information will have more chances to gain a foothold in the mind of the recipient. Based on this fact, senders more and more often create and offer recipients so-called polycode messages, which are recognized as the most effective in terms of perception.In general, creolized texts include modern advertising texts, comics, posters, video clips, musicals, films, etc. With an increasing frequency, people now use the Internet, read news websites, which, in turn, are polycode texts. News websitescould include verbal, pictorial, audio information, which allows you to call such a text multimodal. So, on news sites, you can often find news summaries that are presented not in the form of verbal written text, but in the form of video (which, as everyone knows, is a combination of oral speech (quasi-oral, to be more precise) and a dynamic image - video).No doubts that within a polycode text, the image and the verbal component inevitably interact with each other and form a single complex, a single whole. If we take into account the fact that it is the illustration that is perceived first, then we can say that the primary image that appears in the recipient's head is associated with it. However, when reading the text that accompanies the illustration, a person may begin to consider the image, its elements, thereby destroying the integral image of the illustration.Perception as a whole is a multidimensional phenomenon and the perception of the world through each of the existing sensory modalities can be considered separately. However, the perception of the world through several channels at once is a more effective and efficient way to cognize reality, since the information received by us through different channels forms one way or another an integral image in our consciousness, despite the fact that information of different types is assimilated by us in different ways. In this regard, the value of polycode texts increases, in which we can find verbal, pictorial and audio components. The combination of several types of information in one text ensures the perception of at least some elements of such a text, which is sometimes enough to attract the attention of the recipient, and the perception of these components in a complex allows the author to convey as accurately as possible all the ideas that he wanted to embody in this text. Thus, the use of such texts both in advertising and in the Internet space is quite understandable and justified. Knowledge of the possibilities and methods of interaction between image and word is an important factor in increasing the effectiveness of the influence of the media and propaganda in the process of their work on shaping public opinion.Secondly, the phenomenon of semiotically heterogeneous texts is investigated on the example of the polycode text of the novels“Vanity Fair” by William Thackeray; “The Posthumous Papers of the Pickwick Club” by Charles Dickens;“Alice's Adventures in Wonderland” and “Alice Through the Looking-Glass by Lewis Carroll”; limericks by Edward Lear published in “Book of Nonsense and More Nonsense, Pictures, Rhymes, Botany”.Such polycode texts are a product of the interaction of a writer and an illustrator, expressed in a meaningful sequence of verbal and iconic signs and codes that ensure the transmission of information of a certain artistic value in the “author-illustrator” triad. We are talking precisely about the interaction and interdependence of these two types of arts and two artists that make up a single whole space.The increased degree of influence of polycode texts on the recipient is due to the fact that iconic signs have a more universal character in comparison with verbal ones, they are less conventionally, therefore, their interpretation requires possession of codes of a more general order. Strictly speaking, the pictorial series does not have a decisive role, but it models imaginative perception and forms communicative codes in cases where verbal interpretation is hampered by the remoteness of the era under study.The formation of the artistic language and individual style of writers was influenced by the general position of the writer in literature, biography, the historical era in which they lived. In this connection, the task of reconstructing the author's meaning is transferred to the plane of the ideal reader, and the method, in our opinion, can be built using the achievements of the psycholinguistic concept of the emotional-semantic dominant of the text, while the text is considered as a dynamic self-organizing system: open and nonlinear. The openness and nonlinearity of the text are associated with its inclusion in the conceptual system of the producer and recipient, as a result of which the synergetic process of generating meaning unfolds. The concept of a creative attractor seems to be productive for this research, which, on the one hand, sets the way of perceiving the text, narrows it, and on the other hand, allows to involve in its interpretation an almost unlimited number of semantic elements in any way connected with the dominant meaning. Under its influence, the self-organization of the elements included in the structure of the text occurs, and thereby the level of its entropy decreases. At the same time, it is the attractor that continues to destabilize the system, participating in the formation of the emotional-semantic dominant of the text. The question of which textual elements, or, more broadly, their totality, are considered to be attractors, is ambiguous and depends on the research position. However, it is noted that the most powerful cyclical attractor of the text is such a creative beginning, the dominant meaning of the text.Thirdly, a work of art belongs to different levels in the corresponding structure of semiotics. In fictional prose, the main unit of narration is the artistic image (display of a person, event, landscape, interior), and the finished work is a specific story, story (narration). 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