Abstract
Painting and a verbal language can be examples of two semiotic systems that differ as much as possible. It is precisely the reason why cases of their intensive interplay attract particular interest. As a rule, such interaction is possible owing to explicit verbal elements of a picture (in the first place concerning the title), when semantic links between such elements and an image arise and unite them into an integral text. Thereby, each constituent preserves its autonomy and internal structure, inherent to painting or a verbal language.
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