The article expounds the results of a research into the mythological and phenomenological codes of artistic conventionality in the work of social and philosophic visionary fiction. The discourse study of the two semiotic paradigms at the levels of the factual contents and the structural organization of the narrative leads to the conclusion that each of them constitutes the epistemological perspective and aesthetic features of the picture of the world at different stages of its creation in the novel considered. While mythological ideograms prefigure objects at the starting position of primary perception, phenomenological concepts represent them on the way experience and give rise to images-ideas at the phase of knowledge, revealing the essential meanings of evident phenomena in the inquiring minds of the characters.