Содержание
- 2. «Стилистика декодирования — раздел стилистики, который рассматривает способы толкования художественного текста для достижения наиболее полного и
- 3. 2.1. The Theory of Information as one of the cornerstones of Decoding Stylistics The use of
- 4. 2.1. The Theory of Information as one of the cornerstones of Decoding Stylistics Applications of fundamental
- 5. 2.2. The Process of Communication The process of communication is studied not only in Linguistics but
- 6. The first scholars to mention the importance of Information Theory for linguistics were not linguists but
- 7. 2.2. The Process of Communication A.N. Kolmogorov I.R. Galperin R. Jakobson J.M. Lotman A. Moles M.
- 8. 2.2. The Process of Communication Information Theory makes use of such terms as information, message, code,
- 9. Message Message Source of noise 2.2. The Process of Communication The Scheme of Communication Offered by
- 10. Code Context Message Roman Jakobson adapted the scheme of communication for linguistics in the following form:
- 11. Ivor Richards gave a more elaborate variant, considering not the participants or means of communication but
- 12. 2.2. The Process of Communication Encoded content is the actual meaning attached to certain expressions, arrived
- 13. For H.P. Grice, these distinctions can explain at least three different possible varieties of expression: 1.
- 14. 2.3. Basic Terms As developed by Cl. Shannon himself and others this theory became of fundamental
- 15. 2.3. Basic Terms In I.V. Arnold’s opinion the very general concept of information and the linguistic
- 16. Художественный текст можно рассматривать с точки зрения его генезиса, т.е. творческого метода писателя. Лексический состав произведений,
- 17. 2.3. Basic Terms. The next step is the choice of images. As we read the elements
- 18. Помимо языка художественная информация в литературе не передается. В ее передаче участвуют все уровни языка. Более
- 19. This model permits Decoding Stylistics to give a correct representation, reflecting the active role of literature
- 20. 2.4. Adaptation of Shannon's Model To be operative the verbal message requires: a code fully or
- 21. The Adaptation of the Scheme of Communication Offered by Claude Shannon to Literary Communication Signal Signal
- 22. 2.4. Adaptation of Shannon's Model
- 24. In the original scheme as used in engineering, the source of information and the addressee may
- 25. Если рассматривать творчество как процесс передачи информации, то художественный текст является сообщением, в котором эта информация
- 26. On Another’s Sorrow Can I see another’s woe, And not be in sorrow too? Can I
- 28. Скачать презентацию
«Стилистика декодирования — раздел стилистики, который рассматривает способы толкования художественного текста
«Стилистика декодирования — раздел стилистики, который рассматривает способы толкования художественного текста
Под декодированием понимается восстановление сообщения на основе знания кодовых комбинаций. Кодом называется такой набор значимых единиц и правил их соединения, или фиксированных ограничений для их соединений, который позволяет передавать некоторые сообщения».
И.В. Арнольд,
Теоретические основы стилистики декодирования
«Термин «стилистика декодирования» удобен потому, что показывает на связь этого раздела стилистики с теорией информации и на тот участок процесса общения, который является его предметом, а именно на участок «текст — читатель». Использование этого термина не означает, что у стилистики декодирования нет связей с другими разделами стилистики, поэтики, теории и истории литературы. Напротив, эти связи существуют и играют основную роль в установлении кодов. Так, например, вся система известных традиционной стилистике тропов и фигур может рассматриваться либо как набор кодовых комбинаций, либо как отдельный самостоятельный код».
И.В. Арнольд,
Теоретические основы стилистики декодирования
2.1. The Theory of Information as one of the cornerstones of
2.1. The Theory of Information as one of the cornerstones of
The use of the approaches from Information Theory, which is an exact science, is another example of inter-disciplinary connections in contemporary linguistics. Information Theory as such is a branch of applied mathematics and electrical engineering involving the quantification of information. Information Theory was developed by Claude E. Shannon to find fundamental limits on signal processing operations such as compressing data and on reliably storing and communicating data. Since its inception it has broadened to find applications in many other areas, including statistical inference, natural language processing, cryptography generally, networks other than communication networks — as in neurobiology, the evolution and function of molecular codes, model selection in ecology, thermal physics, quantum computing, plagiarism detection and other forms of data analysis.
2.1. The Theory of Information as one of the cornerstones of
2.1. The Theory of Information as one of the cornerstones of
Applications of fundamental topics of Information Theory include lossless data compression (e.g. ZIP files), lossy data compression (e.g. MP3s and JPGs), and channel coding (e.g. for DSL lines). The field is at the intersection of mathematics, statistics, computer science, physics, neurobiology, and electrical engineering. Its impact has been crucial to the success of the Voyager missions to deep space, the invention of the compact disc, the feasibility of mobile phones, the development of the Internet, the study of linguistics and of human perception, the understanding of black holes, and numerous other fields. Important sub-fields of Information Theory are source coding, channel coding, algorithmic complexity theory, algorithmic information theory, information-theoretic security, and measures of information.
2.2. The Process of Communication
The process of communication is studied not
2.2. The Process of Communication
The process of communication is studied not
It is necessary to emphasize and remember that Decoding Stylistics is interested not in the engineering possibilities of Information Theory, but in its philosophical and heuristic possibilities and does not cast out intuition, i.e. direct perception of art.
The first scholars to mention the importance of Information Theory for
The first scholars to mention the importance of Information Theory for
2.2. The Process of Communication
2.2. The Process of Communication
A.N. Kolmogorov
I.R. Galperin
R. Jakobson
J.M. Lotman
A. Moles
M. Bruce
G.
2.2. The Process of Communication
A.N. Kolmogorov
I.R. Galperin
R. Jakobson
J.M. Lotman
A. Moles
M. Bruce
G.
I.V. Arnold
2.2. The Process of Communication
Information Theory makes use of such terms
2.2. The Process of Communication
Information Theory makes use of such terms
Their importance and value for us depend on the possibility they give to see common features in apparently different phenomena, make new powerful generalizations and formulate laws common to different branches of knowledge in a unified system of terms and notions. This permits very different and distant branches of knowledge to cooperate in development. As an example of this cooperation one might consider the scheme of communication offered by Claude Shannon and some of the many adaptations of this scheme by linguists.
Message
Message
Source of noise
2.2. The Process of Communication
The Scheme of Communication Offered
Message
Message
Source of noise
2.2. The Process of Communication
The Scheme of Communication Offered
Code
Context
Message
Roman Jakobson adapted the scheme of communication for linguistics in the
Code
Context
Message
Roman Jakobson adapted the scheme of communication for linguistics in the
2.2. The Process of Communication
Ivor Richards gave a more elaborate variant, considering not the participants
Ivor Richards gave a more elaborate variant, considering not the participants
2.2. The Process of Communication
2.2. The Process of Communication
Encoded content is the actual meaning attached
2.2. The Process of Communication
Encoded content is the actual meaning attached
For H.P. Grice, these distinctions can explain at least three different
For H.P. Grice, these distinctions can explain at least three different
1. Conventional Implicature – when an expression has encoded content, but doesn't necessarily have any truth-conditions;
2. Conversational Implicature – when an expression does not have encoded content, but does have truth-conditions (for example, in use of irony);
3. Utterances - when an expression has both encoded content and truth-conditions
2.2. The Process of Communication
2.3. Basic Terms
As developed by Cl. Shannon himself and others this
2.3. Basic Terms
As developed by Cl. Shannon himself and others this
- the information source is where the message to be sent is selected from an array of possible messages;
- the transmitter encodes the message into a signal;
- the signal is sent through a communication channel;
- the message is received and decoded by a receiver;
- there is a destination, i.e. addressee, analogous to the source which makes use of the signal;
- undesirable but inevitable variations in the signal due to various external causes affecting transmission are called noise.
2.3. Basic Terms
In I.V. Arnold’s opinion the very general concept of
2.3. Basic Terms
In I.V. Arnold’s opinion the very general concept of
The non-semantic information is expressed mathematically in terms of probability (p) and enthrophy (x). Or, in other words, it is determined by the probability of the event. But we are interested in the essence of this relationship from the point of view of philosophy, of the theory of reader’s response.
The amount of information in a piece of language is related to the predictability of one linguistic choice from another. Formulated in the terms of the theory of reader’s response, information is the trace left on one object of reality by the influence of another object of reality. Among the many different choices the writer has to make in the stage of selection, note the selection of genre suitable for this or that subject-matter and idea. He has to decide when he encodes it, whether he does it as a novelist, a poet, a dramatist with further subdivisions of lyrical, satirical or comical approach and further still: an elegy, a ballad, a sonnet, etc. These organize and connect the message and may be regarded as very general code systems, imposing some choice of elements, and some further restrictions.
Художественный текст можно рассматривать с точки зрения его генезиса, т.е. творческого
Художественный текст можно рассматривать с точки зрения его генезиса, т.е. творческого
Другое важное для нас разграничение при подходе к художественному тексту — подход исследователя и подход вдумчивого высокообразованного читателя. Исследователь-литературовед добивается глубины проникновения в текст, используя не только то, что содержится в самом тексте, но и специально привлекая широкий дополнительный контекст культуры. Произведение объясняют, пользуясь сведениями о его эпохе и биографии писателя. Поскольку всякое художественное произведение уходит корнями в прошлое, исследователь (не всегда в действительности, но, во всяком случае, в идеале) не замыкается только на условиях ближнего времени. Установив внетекстовые факторы, он сопоставляет их с данными текста. Если далее исследователь в качестве лектора или докладчика передает результаты своего анализа читателя, схема связи получается: автор — текст — интерпретатор — читатель.
Иначе подходит к тексту читатель, если он не является профессиональным литературоведом. Он ориентируется в самом тексте, опираясь на свое знание языка и на структуру самого текста, собственный читательский опыт используется строго применительно к тому, что обнаруживается в тексте. Схема связи: автор — текст — читатель. Задача стилистики, ориентированной на интересы читателя, состоит в том, чтобы в процессе декодирования происходило существенное совершенствование в овладении самими кодами.
И.В. Арнольд,
Теоретические основы стилистики декодирования
2.3. Basic Terms.
The next step is the choice of images. As
2.3. Basic Terms.
The next step is the choice of images. As
Помимо языка художественная информация в литературе не передается. В ее передаче
Помимо языка художественная информация в литературе не передается. В ее передаче
Следует также обратить внимание на то, что изучение литературного произведения как сложно организованной структуры взаимозависимых элементов требует выяснения соотношений элементов разных уровней. Эстетическая ценность текста зависит от того выбора, который автор сделал из имеющегося набора возможностей. Эти возможности, ограничения и нарушения касаются прежде всего естественного языка, на котором написан текст, и всех его уровней, а именно это и составляет предмет «квалифицированного интереса» лингвиста.
И.В. Арнольд,
Теоретические основы стилистики декодирования
This model permits Decoding Stylistics to give a correct representation, reflecting
This model permits Decoding Stylistics to give a correct representation, reflecting
2.4. Adaptation of Shannon's Model
2.4. Adaptation of Shannon's Model
To be operative the verbal message requires:
2.4. Adaptation of Shannon's Model
To be operative the verbal message requires:
a code fully or at least partially common to the addresser and the addressee, i.e. to the encoder and the decoder of the massage;
a context that the addressee can recognize, and that is either verbal or capable of being verbalized;
a contact i.e. a physical channel and psychological connection enabling both participants to enter and stay in communication.
It must be emphasized that the definition of a code given above does not presuppose the unchangeability of the system. On the contrary the system of a code may develop adapting itself to the conditions under which it is used. With a literary text even if the poet and his reader speak the same language and are contemporaries there is always some difference in the codes they use, moreover a poet always introduces some innovations by which he mobilizes the reader's attention, his verbal code changes in the interaction with the message.
The Adaptation of the Scheme of Communication Offered by Claude Shannon
The Adaptation of the Scheme of Communication Offered by Claude Shannon
Signal
Signal
Message
Message
Source of noise
2.4. Adaptation of Shannon's Model
2.4. Adaptation of Shannon's Model
In the original scheme as used in engineering, the source of
In the original scheme as used in engineering, the source of
The history of literature concentrates its attention on the transmitting end, i.e. it studies what and who influenced the writer. In Decoding Stylistics and Text Interpretation the attention is concentrated on the receiving end of the process of communication, i.e. on decoding the message, hence the term “Decoding Stylistics”.
This last scheme adaptation brings Decoding Stylistics in correspondence with our view of literature as a social phenomenon. It is also an essentially cybernetic view of literature because it shows that literature controls the reader's perception of reality and his activity in real life.
2.4. Adaptation of Shannon's Model
Если рассматривать творчество как процесс передачи информации, то художественный текст является
Если рассматривать творчество как процесс передачи информации, то художественный текст является
И.В. Арнольд,
Теоретические основы стилистики декодирования
On Another’s Sorrow
Can I see another’s woe,
And not be in sorrow
On Another’s Sorrow
Can I see another’s woe,
And not be in sorrow
Can I see another’s grief,
And not seek for kind relief?
Can I see a falling tear,
And not feel my sorrows share?
Can a father see his child,
Weep, nor be with sorrow fill’d?
Can a mother sit and hear,
An infant groan, an infant fear –
No no never can it be
Never never can it be
/William Blake/