Linguoesthetic and idiodiscursive dimensions of artistic modelling

The study addresses the issue of the linguistic analysis of artistic discourse in the aesthetic projection of idiodiscursive language modelling, where artistic discourse is understood as a particular aesthetic and ethno-cultural worldview formed through the intellectual and creative interaction between the artist (author) and the recipient (reader). The purpose of this work is to clarify the dimensions of the linguistic aesthetic model of the author's set of techniques and tools based on the linguistic discursive practices of the contemporary Chinese literature (the turn of the XX-XXI centuries). The study analyses six popular works of prose in the form of a lengthy novels by Mo Yan, Liu Zhenyun, Yu Hua, Jia Pingwa, Wang Anyi and Moxiang Tongxiu, comprising a total of about three million hieroglyphs. The study employs a comprehensive methodology underpinned by the concepts of integral linguistics, text linguistics, pragmatics, cognitive and suggestive linguistics, which consequently engenders an interdisciplinary approach. The paper sets out to analyse the influence of ethnocultural features on the formation of a nationally oriented artistic discourse. The concept of national culture is identified through the realms of the linguistic picture of the world, which act as a cultural code or cultural marker. The author’s linguistic personality is regarded as a modelling projection of the national language and ethnocultural features. The results of the study demonstrate that the parameters of the linguoesthetic model of the author’s linguistic consciousness include: the individual author’s linguistic features, which are subjective and syntagmatic in nature; the ethnonational and sociocultural-cognitive author’s attitudes; the use of intermediate tools of cognitive-pragmatic psychology to attract multidimensional matrix attention, thereby helping to obtain aesthetic perception from fictitious interaction with the artistic world; the emotive density at points of structural tension; the linguoesthetic discursive markers; the integration of cultural, historical and ethnonational realities. The proposed dimensions require further expansion and detail, but in this form, they allow us to apply them in the methodology of analyzing artistic discourse on the issue of identifying ideodiscursive and linguoesthetic features in the use of writing practices.