EMOTIVITY AS A METHOD OF FORMATION A COMMUNICATIVE PERSONALITY (ON THE EXAMPLE OF A NON-VERBAL ARTISTIC DISCOURSE)

At the heart of this article, an emotivity is a way to achieve the unity of cognitive and sense-forming activity of consciousness, which is isomorphic in relation to the language as a system. It has been proven that the language is based on interaction of non-verbal and verbal elements. On the one hand, it appears at the level of the information system as an actual self-organizing "device" inherent in any natural organism (linguistic reflex) and responsible for the cognitive process (the Given). On the other hand, the language appears at the level of a conceptual system acting as a potential phenomenon is related to human activity (thought activity) aimed at the reorganizing an information system (the Created) and responsible for the process of a meaning formation (reflection). It has been established, the acquisition of the supra-natural unity of verbal and non-verbal elements is carried out within the framework of the conceptual system and is associated with the following necessity. First, to decode a verbal sign in order to actualize the non-verbal experience (or otherwise, the non-verbalized personal meaning). Second, to encode the non-verbal experiences in order to verbalize the non-verbalized personal meaning. The article shows that the process of decoding verbal elements (like the process of encoding non-verbal elements) is carried out under a sign of the emotivity. By initiating the motivation of the process of meaning, the emotivity conditions the transition from "indifferent meaning" to "meaning for me". At the same time, actual emotives act as markers of the information system, if in them the emotion of the speaking person is expressed either at the level of emotive meaning (bastard, clever, etc.), either at the level of connotation (bunny, sheep). Potential emotives (potentials) act as markers of the conceptual system. The authors refer to a non-verbal discourse used as an example. In the first case, it is the plastic speech of Mikhail Baryshnikov, who enters into artistic communication with the audio recording of Vladimir Vysotsky's song Fastidious Horses. In the second case, it is Andrei Rublev's visual discourse The Trinity icon.