Thematische Bibliographien / Literature fiction poetry spanish

Auswahl der wissenschaftlichen Literatur zum Thema „Literature fiction poetry spanish“

Autor: Grafiati

Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Literature fiction poetry spanish"

Díaz Martínez, Jorge. „Xavier Guillén: Poesía domesticada“. Studia Romanistica 23, Nr. 2 (Dezember 2023): 7–28. http://dx.doi.org/10.15452/sr.2023.23.0005.

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The emerging poetry of Xavier Guillén represents an interesting case in the perpetuation of a poetic school that, particularly at an institutional level, has generally been hegemonic in the Spanish literary field from the eighties to nowadays. This article attempts a brief stylistic analysis of the texts from his second book, Amo de casa (2021), revealing his reproduction of the main formal characteristics and his reformulation of the aesthetic-ideological postulates of the tradition of the so called poetry of experience in the Spanish literary field. It particularly emphasizes what Xavier Guillén’s literary work has both of continuity and individuation against that trend. To achieve that, the reader is provided with an introductory presentation about the origins of this school, as well as its main ideas about literary creation: model of poem, method of writing by taking emotional distance, the objectification of the poetic subject, and its concept of poetry as a genre of fiction. Among other things, this paper discusses the internal structure of poetry books, the issue of literature as a professional activity (the idealistic versus the mundane notions of poetry), and the prominence of familial relationships in the second book of this –now not so young– emerging poet.

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Montes-Alcalá, Cecilia. „Code-switching in US Latino literature: The role of biculturalism“. Language and Literature: International Journal of Stylistics 24, Nr. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.

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Lakhtionova, K. „TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS“. PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, Nr. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.

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Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.

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Cortés Jornet, Marina. „Manuela Agnés Rausell i Soriano i el trencament de la tradició narrativa“. SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 22, Nr. 22 (03.12.2023): 128. http://dx.doi.org/10.7203/scripta.22.27822.

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Resum: Manuela Agnés Rausell i Soriano (València, 1839-1918) fou una de les escriptores més rellevants de la Renaixença al País Valencià, que va contribuir al moviment cultural com a mecenes i amb una obra vasta i diversa: poesia, assaig, teatre i narrativa, en valencià i en castellà. És en l’àmbit de la narrativa catalana que es considera una figura trencadora, tenint en compte el panorama narratiu valencià del segle XIX, amb pocs testimonis i de poca ambició literària. Rausell, per la seua banda, aposta per la narrativa històrica i tenim constància de tres llegendes seues: La llegenda del Puig (inèdita), La mort d’en Ramon Boïl (1883) i Centelles i Solers o un amor entre dos odis (1884). Aquestes llegendes es caracteritzen per una sèrie de trets pertanyents al romanticisme històric i mostren els recursos, els temes i el model de llengua culta promoguts pels Jocs Florals. Rausell es proposa produir narrativa seguint les premisses de la poesia culta, en un intent d’innovació del gènere respecte de la narrativa coetània que s’escrivia a Catalunya i en altres llengües europees.Paraules clau: Renaixença valenciana, romanticisme, narrativa històrica, Manuela Agnés Rausell i Soriano, segle XIXAbstract: Manuela Agnés Rausell i Soriano (València, 1839-1918) was one of the most relevant female writers of the Valencian Renaixença, who contributed to this cultural movement as a sponsor and with a vast and diverse work: poetry, essays, drama and prose in Catalan and Spanish. She is considered an innovative figure in Catalan fiction, bearing in mind the outlook of Valencian prose during the 19th century, marked by testimonies of little literary ambition. Rausell wrote historical fiction, and three legends are known to be written by her: La llegenda del Puig (unpublished), La mort d’en Ramon Boïl (1883) and Centelles i Solers o un amor entre dos odis (1884). These legends boast several characteristics typical of historical romanticism and show the resources, themes and model of cultured language promoted by the Jocs Florals contest. Rausell intended to write prose following the premise for learned poetry and this allows to consider her contribution as an attempt to innovate the genre with respect to the contemporary prose written in Catalonia and in other European languages.Keywords: Valencian Renaixença, romanticism, historical fiction, Manuela Agnés Rausell i Soriano, 19th century

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GONZÁLEZ GIL, Isabel. „NUEVOS ENFOQUES TEÓRICOS PARA EL ESTUDIO DE LA POESÍA LÍRICA“. Signa: Revista de la Asociación Española de Semiótica 29 (08.04.2020): 495. http://dx.doi.org/10.5944/signa.vol29.2020.23400.

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Resumen: Este artículo examina dos modelos teóricos recientes ycontrapuestos de estudio del género lírico: el mimético-narratológico y elperformático, que constituyen sendas aportaciones de la crítica literariainternacional al respecto en las dos últimas décadas, pero que han tenidoescasa difusión en la teoría literaria en lengua española. Se trata, por unlado, de las aplicaciones de la narratología al estudio de textos poéticos ylíricos y, por otro lado, la propuesta de Jonathan Culler en su Theory of theLyric, que rechaza la asimilación de la lírica al género narrativo y proponeindagar en su especificidad, no mimética sino performática. Abstract: This paper examines two recent and opposite models for the studyof the lyric genre: mimetic-narratological and performative, two importantcontributions of international literary criticism to the field. Nevertheless,they have had scarcely any repercussions in Spanish literary theory. First,we focus on the narratological applications to the study of poetic and lyrictexts. Second, we address Jonathan Culler’s theoretical proposal developedin his book Theory of the Lyric, in which he rejects the assimilation oflyric poetry to the model of narrative fiction, and he proposes instead toinvestigate its singularity, not imitative but performative.

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ESPLIN, EMRON. „From Poetic Genius to Master of Short Fiction: Edgar Allan Poe's Reception and Influence in Spanish America from the Beginnings through the Boom“. Resources for American Literary Study 31, Nr. 1 (01.01.2006): 31–54. http://dx.doi.org/10.2307/26367027.

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Chatterjee, Debjani, Lakshmi Kannan, P. N. Banerji, K. G. Sankara Pillai, R. Raj Rao, Varavar Rao, Tariq Latif et al. „Fiction and poetry“. Wasafiri 6, Nr. 13 (März 1991): 22–35. http://dx.doi.org/10.1080/02690059108574235.

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Leveson, Marcia, Stephen Gray und Gail Dendy. „Fiction and poetry“. English Academy Review 7, Nr. 1 (Dezember 1990): 118–24. http://dx.doi.org/10.1080/10131759085310111.

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Levin, Adam, Geoffrey Haresnape und Michael Macnamara. „Fiction and poetry“. English Academy Review 8, Nr. 1 (Dezember 1991): 98–108. http://dx.doi.org/10.1080/10131759185310111.

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Dissertationen zum Thema "Literature fiction poetry spanish"

Poyhonen, Alexander J. „Don Quijote lo Interminable: La Cuestión de los Textos Originales y las Emanaciones a Través de Formas Secundarias de Arte“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/522.

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In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.

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Vera, Arias Maria Camila. „Diario de Iowa. correspondencia y poesía“. Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/6321.

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In this creative project, I combine non fiction prose and poetry in an organic way. Prose is framed in the form of letters that I wrote for real people telling them about my life experiences in Iowa City, and some reflections about past events that I came up with while living here. Poems are the result of a more refined way of expressing how I felt about the subjects on the letters. Love, rejection, and my struggle with writing are some of the trending topics the reader will find in this work.

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Wheatley, Carmen. „Donne and Spanish literature“. Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235777.

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Wilkinson, Stephen. „Detective fiction in Cuban society and culture“. Thesis, Queen Mary, University of London, 2000. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1671.

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The object of this thesis is to reach towards an understanding of Cuban society through a study of its detective fiction and more particularly contemporary Cuban society through the novels of the author and critic, Leonardo Padura Fuentes. The method has been to trace the development of Cuban detective writing and to read Padura Fuentes in the light of the work of twentieth century Western European literary critics and philosophers including Raymond Williams, Antonio Gramsci, Terry Eagleton, Roland Barthes, Jean Paul Sartre, Michel Foucault, Jean François Lyotard and Jean Baudrillard in order to gain a better understanding of the social and historical context from which this genre emerged. By concentrating on the literary texts, I have explored readings which lead out into an analysis of the broader philosophical, political and historical issues raised by the Cuban revolution. Since it deals primarily with modes of deviance and notions of legality and justice within the context of the modern state, detective fiction is particularly well suited to this type of investigation. The intention is to show how this is as valid in the Cuban context as it is in advanced capitalist societies where such research has already been carried out with some success. The thesis comprises an introduction, ten chapters and a conclusion. The chapters are divided into three sections. Chapters 1 to 3 attempt a broad theoretical, historical and socio-political analysis of the cultural reality within which the Cuban revolutionary detective genre emerged. Chapters 4 to 6 analyse the Cuban detective narrative from its inception in the early part of the twentieth century until the emergence of Leonardo Padura Fuentes as the foremost exponent of the genre in Cuba after 1991. Chapters 7- 10 concentrate upon the work of Leonardo Padura Fuentes, offering a reading of his detective tetralogy informed by the preceding discussion. The contribution made by the thesis to knowledge of the subject is to build upon the work of Seymour Menton and Amelia S. Simpson on the development of the Cuban detective novel and to provide analyses of the pre-Revolutionary Cuban detective narrative and the work of Leonardo Padura Fuentes for the first time in the English language. The thesis concludes that the study of this popular genre in Cuba is of crucial importance to the scholar who wishes to reach as full an understanding of the social dynamics within that society as possible. In particular, it proves that Cuban detective fiction provides a useful barometer of social change which records the shifts in the Cuban Zeitgeist that have taken place over the past century.

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Palma, Alejandro. „Muestra de la poesia por la red y de la actitud que habitualmente comporta“. Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukyspan2001d00014/palma.pdf.

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Thesis (Ph. D.)--University of Kentucky, 2001.
Title from document title page. Document formatted into pages; contains vi, 179 p. : ill. Includes abstract. Includes bibliographical references (p. 167-179).

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Hart, Christopher. „'Fiction is the mask of history' : contextual readings of Byron's poetry“. Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243001.

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Burke, Debra Pauline. „Pandora's box : sexual fiction by Spanish and Latin-American women from the late 1970's to 2000 /“. Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Saar, Amy L. „Solitary Women Wanderers: Urban Stories of Resistance in Contemporary Spanish Women's Narrative“. Thesis, view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3113027.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 213-219). Also available for download via the World Wide Web; free to University of Oregon users.

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Muñoz, Tracy Manning. „Peripheral visions Spanish women's poetry of the 1980s and 1990s /“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149000160.

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Logan, Aileen Anne. „Memory and exile in the poetry of Luis Cernuda /“. St Andrews, 2007. http://hdl.handle.net/10023/343.

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Bücher zum Thema "Literature fiction poetry spanish"

Robayna, Andrés Sánchez. Cuaderno de las islas. Barcelona: Lumen, 2011.

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Saavedra, Miguel de Cervantes. La Galatea. Madrid: Espasa-Calpe, 1987.

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Unamuno, Miguel de. La Galatea. Madrid: Alianza Editorial con la colaboración del Centro de Estudios Cervantinos, 1996.

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Saavedra, Miguel de Cervantes. La Galatea. Madrid: Cátedra, 1995.

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Saavedra, Miguel de Cervantes. La galatea. Madrid: Real Academia Española, 1985.

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Saavedra, Miguel de Cervantes. La Galatea. Madrid: Real Academia Española, 2014.

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Allan, Poe Edgar. Fiction and poetry: Complete and unabridged. 2. Aufl. New York: Barnes & Noble, 2006.

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Milligan, Bryce, Mary Guerrero Milligan und Angela de Hoyos, Hrsg. Daughters of the Fifth Sun: A Collection of Latina Fiction and Poetry. New York, USA: Riverhead Books, 1995.

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1953-, Milligan Bryce, Milligan Mary Guerrero und De Hoyos Angela, Hrsg. Daughters of the fifth sun: A collection of Latina fiction and poetry. New York: Riverhead Books, 1996.

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Darío, Rubén. Azul. México: Editorial mexicanos unidos, 1999.

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Buchteile zum Thema "Literature fiction poetry spanish"

Kluge, Sofie. „Historical Poetry“. In Literature and Historiography in the Spanish Golden Age, 95–124. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003203575-6.

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Kluge, Sofie. „Theory of Poetry“. In Literature and Historiography in the Spanish Golden Age, 65–94. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003203575-5.

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Longxi, Zhang. „Literary Prose, Fiction, and Late Tang Poetry“. In A History of Chinese Literature, 166–88. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003164173-9.

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Ellis, R. J. „African-American Fiction and Poetry“. In A Companion to the Literature and Culture of the American South, 255–79. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756935.ch15.

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Escourido, Juan. „Textual Games and Virtuality in Spanish Cancionero Poetry“. In Games and Gaming in Medieval Literature, 187–208. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137497529_10.

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Kabalen de Bichara, Donna M. „Self-Representation and the Dual Reality of Identity in the Spanish-Language Poetry of Javier O. Huerta“. In Contemporary U.S. Latinx Literature in Spanish, 35–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02598-4_3.

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Lázaro, Alberto. „The Representation of the Spanish Civil War in Contemporary British Fiction“. In (Re)Writing War in Contemporary Literature and Culture, 181–91. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781032678191-18.

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Mullett, Margaret. „No Drama, No Poetry, No Fiction, No Readership, No Literature“. In A Companion to Byzantium, 225–38. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444320015.ch17.

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Montilla, Patricia M. „Parody and Intertextuality in the Poetry of Twentieth-Century Spanish American Women Writers“. In Postmodern Parody in Latin American Literature, 29–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90430-6_2.

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Tejerizo, Margaret. „Countess Emilia Pardo Bazán (1851-1921)“. In Translating Russian Literature in the Global Context, 281–94. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.16.

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While Countess Emilia Pardo Bazán (1851-1921), a successful novelist, an essayist and a champion of women’s rights in Spain, was not a translator of Russian literature (although she was a very talented linguist and translated from many languages into Spanish), she was the first, and without doubt, the greatest popularizer of Russian literature in Spain and later in Spanish America. Through her three public lectures given in Madrid in 1887, which she later published as a book, she gave, first to her audience and then to Spanish readers in general, an excellent overview of Russian culture and literature––and this in a highly original and creative manner. Wherever possible, Pardo Bazán endeavoured to suggest meaningful and relevant links between the Spanish and Russian literatures; she always provided full and clear biographical materials about the Russian writers she was presenting as well as detailed and lively analyses of their works. Sadly, her valuable contribution to this field has been ignored or, at best, it has been defined as of historical interest only. In 2021, the anniversary of her death, not a single commemorative event in Madrid focussed on her outstanding work as cultural intermediary between Spain and Russia. This essay aims to redress this balance somewhat by showing that Pardo Bazán bequeathed to Spanish readers a well-informed and carefully-researched body of critical studies of Russian literature. Additionally, the influence of certain Russian authors on her own fiction, as I suggest, constitutes an important task for future scholars. Almost entirely due to Pardo Bazán’s pioneering work as the major popularizer of Russian literature in Spain, the first wave of direct translations of Russian writers into Spanish began to appear shortly after the publication of her lectures.

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Konferenzberichte zum Thema "Literature fiction poetry spanish"

Moreno-Jiménez, Luis-Gil, und Juan-Manuel Torres-Moreno. „Megalite: A New Spanish Literature Corpus for NLP Tasks“. In 8th International Conference on Artificial Intelligence and Applications (AIAP 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110109.

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In this work we introduce the Spanish Literary corpus MegaLite, a new corpus well adapted to Natural Language Processing (NLP), Computational Creativity (CC), Text generation and others studies. We address the creation of this corpus of literary documents to evaluate or design algorithms in automatic text generation, classification, stylometry and rhetorical analysis, sentiment detection, among other tasks. We have constituted this corpus manually in order to avoir genre classification errors. Near of 5 200 works on the genres narrative, poetry and plays constitute this corpus. Some statistics and applications of MegaLite corpus are presented and discussed. The MegaLite corpus will be available to the community as a free resource, under several adequate formats.

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Berichte der Organisationen zum Thema "Literature fiction poetry spanish"

Makhachashvili, Rusudan K., Svetlana I. Kovpik, Anna O. Bakhtina und Ekaterina O. Shmeltser. Technology of presentation of literature on the Emoji Maker platform: pedagogical function of graphic mimesis. [б. в.], Juli 2020. http://dx.doi.org/10.31812/123456789/3864.

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The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.

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