1. The Subject matter of Text linguistics

 
 
4.2. CATEGORY OF INFORMATIVITY AND ITS TYPES 
It is now common knowledge that any text is assigned to convey certain informationThre different types of information. I.R. Galperin differentiates the following types of information: content-factual, content-conceptual and content-subtextual. Factual information contains data about facts, events, actions, objects, ideas, etc. Factual information is explicit and therefore easily observed in the text. Subtextual information is implicit, and it is mostly characteristic of fictional texts. This information is embodied in some text fragments on the basis of the stylistic resources used in the text. It appears in the text due to various expressive means and stylistic devices, contextual meanings and additional senses, associative and intertextual links. So, subtext is a kind of additional hidden 
information that can be drawn from the text thanks to the ability of language units to engender associative and connotative meanings. Hence, the role of stylistic means in conveying subtextual information is difficult to overestimate. In this connection it is worth mentioning aphoristic statements charged with various implications. 


Oh Time, the Beautifier of the dead, 
 
 Adorner of the ruin – Comforter 
 
 And only Healer when the heart hath bled – 

Time! The Corrector where our judgments err 
 
 The test of truth, love – sole Philosopher,
For all beside are sophists… 
 
 Time, the Avenger! Into thee I lift 

 My hands, and eyes, and heart, and crave of thee a gift. 
 
 (Byron G., Childe Harold) 
It is a convergence of stylistic devices (personification, metaphor, periphrasis, parallelism, gradation) that conveys subtextual information here. An abstract notion of ―time‖ described with the help of the predicates – Adorner, Beautifier, Comforter, Healer, Corrector, Avenger which are personified since 
human abilities (to console, to cure, to take revenge…) are ascribed to them. This statement is characterized by a high degree of emotional impact achieved by a peculiar stylistic arrangement of the utterance and, subsequently, by subtextual information. Conceptual information, being an essence of literary communication, reflects the author’s conceptual world picture, his understanding of people’s social, economic, political and cultural life. The decoding of conceptual information depends on factual and subtextual types of information. The final aim of fictional text analysis is to reveal conceptual information, to penetrate through the surface 
structure of the text into its deep-level meaning. Conceptual information is discrete and can be presented as a hierarchic system of conceptually different units. According to the degree of conceptual significance the following types of conceptual information can be singled out: microconcept, macroconcept, and superconcept. Microconcept is a conceptual meaning of a separate language unit. 
Macroconcept is formed within a text fragment. Superconcept is the highest conceptual unit which, covering the whole text, appears to be its semantic focus. In the process of text production conceptual information is spread in the direction: from superconcept to microconcepts, from the author’s intention to its realization in the text. In the process of text perception conceptual information has a reverse motion: from microconcepts to a superconcept.
It frequently occurs that stylistic devices become the bearers of conceptual information. For instance in the story by Chiver ―The Cheat Remorse‖, conceptual 
meaning of antithesis is a key to the concept of the whole text. But the clean shirt becomes an absurd and trivial thing and the dollar felt