3. Information theory and linguistics. The major types of information from a linguo-stylistic prospective.

In terms of information theory the author’s style may be named the stylistics of encode – the language being viewed as the code to shape the information into the message and the supplier of information respectively, the author is the encoder (addresser). The audience in this case plays the part of the decoder of the information contained in the message and the problem connected with the adequate reception of the message without any information loses and deformation that is with adequate decoding other concern of decoding stylistics.

Information, in terms of philosophy, is the inner content of the process of reflection which results in changing the characteristics of some objects due to the influence of other objects they interact with.

Denotative information - is the contential nucleus of a language unit which 1) names the subject-matter of communication; 2) is not predetermined by the communication act; 3) directly or indirectly refers to the object or notion of reality.

Connotative information is the contential periphery of a language unit which: 1) depends upon different aspects of communication act (time, participants, etc). 2) expresses the speaker's attitude to the subject-matter of communication, to the listener os to the social status of the interlocutors.

Message is the information which the speaker intends to transmit to (or, rather, to provoke in) the listener. Signal is the information materialized verbally (e.g. in a sound form) or non-verbally (e.g. dance, a piece of music etc.), as a text etc.

Communication channel is constituted by the physical, situational, cultural, social, economic, or political environment in which the signal is transmitted.

4. The principal model of information transfer. Its constituents.

oral: sender-receiver

literary: the author - the reader

encoding device - coding systems (verbal, non-verbal) - mind - organ of speech (if it is oral speech).

decoding device - message - block of memory of the receiver - the receiver

communication challenges:

1) code inedequacy (other language, unknown word);

2) change of code (changed meaning);

3) cultural changes;

4) physical factors (noise, defects of speech).

5. The principal model of information transfer. Basic processes involved. Information loss and accumulation.

The notions of encoding and decoding

Decoding stylistics is the most recent trend in stylistic research that employs theoretical findings in such areas of science as information theory, psychology, statistical studies in combination with linguistics, literary theory, history of art, literary criticism, etc.

Decoding stylistics makes an attempt to regard the esthetic value of a text based on the interaction of specific textual elements, stylistic devices and compositional structure in delivering the author’s message. This method does not consider the stylistic function of any stylistically important feature separately but only as a part of the whole text. So expressive means and stylistic devices are treated in their interaction and distribution within the text as carriers of the author’s purport and creative idiom.

Decoding stylistics helps the reader in his or her understanding of a literary work by explaining or decoding the information that may be hidden from immediate view in specific allusions, cultural or political parallels, peculiar use of irony or euphemy, etc.

In a rather simplified version this theory presents a creative process in the following mode. The writer receives diverse information from the outside world. Some of it becomes a source for his creative work. He processes this information and recreates it in his own esthetic images that become a vehicle to pass his vision to the addressee, his readers. The process of internalizing of the outside information and translating it into his imagery is called ‘encoding’.. The reader is supposed to decode the information contained in the text of a literary work.

However to encode the information does not mean to have it delivered or passed intact to the recipient. There are more obstacles here than meet the eye. In contrast to the writer who is always concrete the reader who is addressed is in fact an abstract notion, he is any of the thousands of people who may read this book. This abstract reader may not be prepared or willing to decode the message or even take it. The reasons are numerous and various.

From the reader’s point of view the important thing is not what the author wanted to say but what he managed to convey in the text of his work.

That’s why decoding stylistics deals with the notions of stylistics of the author and stylistics of the reader.