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Discourse-“Logophagus”: The Boundaries of Linguistic Creativity and Stereotypy in Advertising

The paper deals with the boundaries between linguistic creativity and linguistic stereotyping in relation to advertising discourse. Advertising discourse borrows language techniques and units from other discourses that allow defining the “secondary” nature of its semiosis and language. Taking it into account, the study compares advertising with the avant-garde artistic discourse which is genetically and typologically one of the main discourses-“donors” of advertising which can be described as discourse-“logophagus”. In the comparison of discourses, the paper reveals two types of linguistic creativity: linguistic and discourse creativity. Linguistic creativity is the creation of new linguistic units with the aim of forming a new language or updating existing one. Dis- course creativity is updating at the “microstructure level” of discourse aimed at the most successful achievement of discourse goals and increasing the effectiveness of communication. Discourse creativity is basic to advertising discourse. The study proposes a two-stage model of language manipulation. The aim of the first stage is “deautomatization” of the recipient’s perception that meets the criteria of linguistic creativity, while the aim of the second one is recipient’s “automazation” that corresponds to stereotyping. The paper explores the features of linguistic creativity and stereotyping in poetry and advertising on the basis of three text types: the avant-garde poetic text (“In the Car” (1913) by Mayakovsky), the hybrid avant-garde and advertising texts (“The White Red Wedge of White” (1920) by Lisitzky and “Soviet Alphabet” (1919) by Mayakovsky and Jakobson) and the contemporary advertising text. As a result, the study models a scale of linguistic creativity in advertising discourse. Linguistic creativity is a gradual phenomenon, the degree of which can increase or decrease depending on the existence, frequency and degree of manifestation of a particular parameter in the discourse. The main features of linguistic creativity are structural (the existence or not of linguistic anomalies), semantic (the existence or not of polysemy; explicit / implicit expression of information) and pragmatic (“strong” / “weak” communication) criteria.