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Лингвокреативность в рекламном и поэтическом дискурсахстатья
- Автор: Соколова О.В.
- Сборник: Лингвокреативность в дискурсах разных типов: Пределы и возможности: коллективная монография
- Редактор: ЗЫКОВА ИРИНА ВЛАДИМИРОВНА
- Глава в коллективной монографии
- Год издания: 2021
- Место издания: Москва: Р.Валент
- Первая страница: 258
- Последняя страница: 362
- Аннотация: The chapter undertakes a parametric analysis of advertising and poetic (as well as artistic) discourses. Building on R.O. Jacobson’s conception of language functions and J.L. Austin’s and J.R. Searle’s speech act theories, we compare these discourses in terms of linguistic creativity. Synthesis of functional, communicative, and discursive approaches makes it possible to identify the constitutive features of each of these discourses separately, considering macro- and micro-discourse parameters. The study also exposes the interdiscursive parameters of these discourses. Comparison of advertising and poetic discourses stems from the fact that they represent “polar” types of discourses, which refer to different language functions, such as appellative, namely addressee-oriented, and poetic, namely message-oriented. However, they have a number of common features, which are associated with the genetic and typological connections between advertising and avant-garde artistic discourse. The chapter discusses that the participation of the artistic avant-garde of the 1920s in the creating of advertising discourse underlies the key features of this discourse and allows for analysis advertising in terms of linguistic creativity. It also makes it possible to compare advertising with contemporary poetry, which develops the traditions of the language experiment of the early avant-garde.Drawing on different approaches to linguistic creativity, the chapter provides theoretical frameworks of this concept and outlines the main boundaries of this theory. It distinguishes between two types of creativity: linguistic and discursive. This opposition builds on Ferdinand de Saussure’s dichotomy of “langue” and “parole” and Grigory O. Vinokurs’ idea of “linguistic” and “style innovation”. Within the theoretical branch, the paper also opposes the concepts of linguistic creativity and stereotype. Further, we consider each of the two discourses in detail. We introduce the definitions of advertising and poetic discourses and enumerate their macro-discursive parameters. Within the overall project, the research compiles representative corpora for the analysis. The advertising corpus includes subcorpora of commercial, social, political, and avant-garde advertising in Russian and English, and covers the period from the late 19th century to 2021. The poetry corpus covers the period of the 1990s – 2010s in Russian and English.Investigating the micro-discursive parameters, we give a summary of the parameters at all linguistic levels. Then, we dwell upon semantics and pragmatics as the most relevant aspect of advertising and poetic discourses analysis. Since contemporary advertising genetically goes back to the artistic avant-garde, we explore separately the peculiarity of creativity in the avant-garde advertising and propaganda of the 1910s – 1920s. The study of (anti-)viral advertising in the era of a pandemic reveals the relevant processes in advertising discourse. In poetic discourse, we analyze in detail such a pragma-semantic phenomenon as “resemantization” of discourse markers. In the end, the study formulates the main interdiscursive parameters of poetic, as well as artistic, and advertising discourses. Both discourses create innovations in the field of word-formation, syntax, semantics, and pragmatics. Therefore, these parameters belong to the area of interdiscursivity. In poetic and artistic discourses these innovations refer to linguistic creativity, which is based on a poetic function, that is the transformation of message per se and creation of a new language. Unlike, in advertising discourse, these innovations underlie the aim of appealing to the addressee as part of the strategy of discursive creativity, that is not the changing of the language, but the attraction of an addressee’s perception.Thus, exploring the specifics of linguistic creativity in terms of linguistic functions and communication goals, we can conclude that the strategy of “de-automatized” perception is a characteristic feature of poetic discourse, achieved by focusing the message for its own sake (considering the poetic function). In advertising discourse, on the contrary, the message should be as intelligible as possible and easily perceived by an addressee (considering the appellative function). Advertising discourse not so much focuses attention on the text as on the action that the recipient must perform over the reference object, i.e. object of advertising, agitation, or propaganda. Accordingly, poetic discourse builds on linguistic creativity, whereas advertising discourse is based on discursive creativity.
- Добавил в систему: Соколова Ольга Викторовна