Multimodality of the category EMOTIONS in art discourse: a fractal semiotics perspective
This article focuses on revealing the ontological peculiarities of multimodal nature verbally represented category EMOTIONS in ecology art discourse. On grounds philosophy emotion, psychology art, cognitive theories emotion and B. Mandelbrot’s theory fractals to complement linguocognitive, cognitive-discursive semiotics approaches, we elaborate an integrative evidence framework fractality circumflex its conceptual components JOY, SADNESS, INTEREST, SURPRISE, ANGER, FEAR, DISGUST as natural fractals, actualized modern discourse matrices their features EXPERIENCE STIMULUS, APPRAISAL, EMERGENCE TIME, DIRECTION. A special emphasis has been laid both essence discourse, implying discourses being environment conceptualizing verbalizing aesthetic emotions, role mechanisms metaphors metonymies objectivizations visual arts music (installations tone painting). The relation between cognition, semiotics, language specified. As a result analysis based core research concepts modes, semiotic resource, modal affordance intersemiotic relations have found out that verbalized ingredients are anchored perception, acquiring fractal representation clusters modalities. latter comprise alethic, deontic, axiological, temporal, spatial, epistemic ones, getting recursively realized verbally, visually, aurally, linked with synesthesia, including chromesthesia, ideasthesia, spatial sequence, triggered by conceptualized feeling experience response. With this work demonstrate value approach heuristic device study categories.