Some features of secondary texts and characters images in intersemiotic context (based on O. Wildesand Jane Austens prose)

The article deals with peculiar features of secondary texts such as recognisibility, the attitude of a new writer to the authentictext and its author, while the reader is expected to realize the impact and decipher the vertical context of the secondary text. The sampleof such deciphering is illustrated by the picture - features - inner world - personality - individuality lexico-logical word chainstudy based on The Picture of Dorian Gray and some tales by O. Wilde compared to Jane Austens Pride and Prejudice characters. Theauthors outlooks differ and reflect their attitude towards reality surrounding. In O. Wildes works one can trace the images of reallyexisting pictures created by Diego Velasquez known for his portraits of the Spanish court. But in O. Wildes books the reader perceivesthese luxurious picture models as ugly and heartless. Their fine faces and clothes hide egoism and reflect the authors idea that life destructseverlasting arts. This reflection exists on the level of visual perception when an unhappy Dwarf sees his ugliness in the mirror. Itcan be the portrait of the main character in The Picture of Dorian Gray that like a mirror reflects his disgusting nature. The pictures oflife in O. Wildes books are not as beautiful as fine arts. Jane Austens realistic art portrays life as it is. Jane Austens novels often containwords picture, performance, play, curtain. The author herself says that she creates the pictures of domestic life with playfulness andepigrammatism of the general style. Her novels are often dramatized and filmed as they contain such realistic pictures. While O. Wildetries to prove by his characters that the real world has disgusting features and the only everlasting beauty is the pictorial art for arts sake(Dorians picture, Infanta and her father portrayed etc.), Jane Austen, on the contrary, depicted her invented personalities, their features,inner world and characters so real and typical that their portraits could be found in a picture gallery. Austens characters (sometimeseven caricatures) are true to life and recognizable because of her realistic manner of writing, since O. Wilde is a decadent aesthete. Theirdifference is clearly shown through the intersemiotic context, that is the images of belles letters style are interpreted by means of anothernon-verbal, in our case - pictorial, art, like mirrors reflecting the features, actions, inner world of the writers personages and their outlooks.So picture is seen in this article in different meanings of this word and both as one of the characteristics of style and as the key tounderstanding of the authors message. That is it is also investigated as one of the elements of the vertical context (like its constituents:realia, allusions, idioms and citations) without which the recognition of the idea of literature is impossible. All these bring grounds forphilological studies of so-called secondary texts and all sorts of stylisations by means of some other kinds of arts, such as theatrical,cinematographic, TV etc. which are based on primarily literary sources (protoslov) through intersemiotic contexts.

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