The category of discursive dialogicality is considered, represented in a literary text that exists on the border of two social discourses – literature and law. The semantic domain of the interdiscourse, as a heterogeneous linguosociocultural space in which two different discourses interact, is open, mobile and dialogically conditioned. The aim of the paper is to reconstruct the cooperative model of dialogical interaction of the stated discourses, i.e. such a model that allows a recipient to bring together two worldviews in the recipient’s mind: legal and artistic. The subject of the research is the implementation of the category of discursive dialogicality in a literary text with a dominant legal storyline, as well as the peculiarity of linguistic means and speechmaking techniques relevant for a social novel – the genre type that allows to reveal the inner dialogicality of formally monological statements, to expose social positions and worldviews. The category in question unites hierarchically organized types: pragma-dialogue (first level), auto-dialogue and dialogue-game (second level) which find expression at the intra-textual, extra-textual and intertextual levels of meaning generation. The category of discursive dialogicality in the novel “Bleak House” by Ch. Dickens is a complex system of several types of dialogicality in which the reader’s personality is formed. The convergence of two conceptual areas in the recipient’s mind – artistic and legal – is carried out at the level of integration of linguistic markers of legal discourse and units of artistic text, cooperation of conventional and individual author’s techniques of artistic expression with elements of official business style. In fact, novel genre displays the category of dialogicality in all its diversity.