English Language Advertisement Essay

Plan1. Advertising is ane of the about prominent and powerful habits of lyric poem.2. The Features of Advertising.3. Is advertizement run-in radiation pattern manner of speaking? Does announce language m any(prenominal) ms break the rules of standard language?4. References.1. Advertising is one of the around prominent and powerful uses of language. Advertising is one of the most prominent, powerful, and ubiquitous contemporary uses of language. Its seductive and controversial quality has attracted consistent and intense assistance across a range of academic disciplines including linguistics, media studies, politics, semiotics, and sociology. The reasons for this academic interest ar far from superficial. The study of advertising brings together m any(prenominal) of the key social and political issues of our time the overbold capitalism globalization overconsumption and the environment cultural and individual identities and the communications revolution. It provides i nsight into the ideologies and values of contemporary societies.Advertisings creative use of language keys it a particularly rich land site for language and discourse analysis. Operating in all media and exploiting the interaction surrounded by word, sound, and image, it provides a key location for studies of multimodal communication. Simultaneously poetic and commercial, it raises questions about the character of creativity and art. Ever since the intensification of advertising in the 1950s, leading scholars subscribe to stinkpotvass its use of language. This tender quad-volume Routledge Major Work brings together for the first time the most seminal and controversial works, allowing users to obtain a simple and comprehensive view of this rewarding topic. It pull up stakes be welcomed by scholars and other researchers in the field as an invaluable mini library on the language of advertising.2. The Features of AdvertisingAdvertising Language is characterized by the followi ng features. In any given advertisement these features whitethorn appear or be for the most part absent, such is the great variety of advertising copy found on promo products such as promotional tote bags and T-shirts. How perpetually these features may be said to be typical of advertising in frequent. until now advertisements which do non use the traditional features to attract inform and persuade may be described as being incontrast to the traditional features. Some upstart advertisements appear to be almost dissuading consumers from their product but this is a proficiency used as a determined itinerary of not conforming to tradition. See Benetton, Marmite. Hyperbole exaggeration, often by use of adjectives and adverbs. Frequent use of adjectives and adverbs.A limitationed range of evaluative adjectives includes new, clean, white, real, fresh, right, natural, big, great, slim, soft, wholesome, improved Neologisms may have novelty clashing, e.g. Beanz, Meanz Heinz, Coo kability, Schweppervescence, Tangoed, Wonderfuel Long noun phrases, frequent use of pre and post modifiers for descriptions. Short sentences for impact on the reader. This impact is especially clear at the beginning of a text, often using bold or large type for the headline or slogan to capture the attention of the reader. Ambiguity is common.This may make a phrase memorable and re-readable. Ambiguity may be syntactic (the grammatical structure) or semantic (puns for example). Weasel words be often used. These atomic number 18 words which suggest a meaning without actually being specific. superstar type is the open comparative browns Boots Are bettor (posing the question better than what?) another type is the bogus superlative Browns Boots argon Best (posing the question rated alongside what?)Euphemisms Clean one shot the Bend for a toilet cleaner avoids comment on sore things. The classic exampe is B.O for body odour (in itself a euphemism for smelly person). dodge of nega tives (advertising normally emphasises the positive side of a product though charm Marmite, Tango, Benetton, for whom it seems that all publicity is good). Simple and Colloquial language It aint half good to appeal to ordinary flock, though it is in accompaniment often complex and deliberately ambiguous. Familiar language use of help person pronouns to address an audience and suggest a friendly attitude. gratuity tense is used most commonly, though nostalgia is summoned by the simple sometime(prenominal) Simple vocabulary is most common, my mate Marmite, with the exception of technical vocabulary to emphasise the scientific aspects of a product (computers medicines and cars but to a fault bull and cleaning products) which often comes as a complex noun phrase, the new quatern wheel servo-assisted disc brakes. Repetition of the brand name and the slogan, both of which are usually memorable by virtue of alliteration (the best four by four by far) rhyme (the cleanest clean its ever been) rhythm (drinka pinta milka day) syntactic parallelism (stay dry, stay happy) association (fresh as a mountain stream).Humour. This can be verbal or visual, but aims to understand the product positively. Verbal Puns wonderfuel and graphic positions are common. Glamorisation is probably the most common technique of all. Old houses engender charming, characterful, olde, worlde or unique. Small houses convey compact, bijou, snug or manageable.Houses on a busy road become convenient for transport. A caf with a pavement table becomes a trattoria, locomote up market aspires to be a restaurant, too cramped it becomes a bistro. Not enough room to serve it becomes a fast intellectual nourishment servery. If the menu is position food it is likely to be traditional, home-baked or home made if the menu is French the cake will be gateau, the potted meat pat, bits of toast in your soup will be croutons. The decor will be probably chic, possibly turn outal. Finally, potency.Vance Packard (1960) memorably saidThe cosmetic manufacturers are not selling lanolin, they are selling hope we no longer buy oranges, and we buy vitality. We do not retributive buy an auto, we buy prestige.3. Is advertising language normal language? Does advertising language sometimes break the rules of normal language? These questions relate to the place of advertising language in the context of the readers general noesis of language (we will presume that the language is English). In allege to answer them, we must have some conception of what is meant by normal language. The English language has evolved to have some different kinds of functionality, all(prenominal) of which correspond to different situations and styles of use. From an analytic point of view, it seems to make most feel to understand normal language to include the variety of styles of English that age speakers and readers control. This will form the backdrop of everyday language in its many functions, against whic h we can view advertising language.If one looks around in literary productions on advertising, or searches on the WWW, it is not uncommon to find claims to the frame that advertising breaks the rules of normal language and language use. However, from the perspective of a master copy linguist, few of these claims really seem to be supportable. Now, with the exception of linguists, few people have any reason to pay close attention to the way that language is actually used in its speech community, for a wide range of communicative functions. Like many aspects of benevolent being and human behavior, our unconscious knowledge of language is much greater than our conscious knowledge of it, so the facts about language that are immediately accessible to the clean person only cover part of what the language is and how it is used. Collect some text from advertisements that you have found. Can you find any examples of words, phrases or constructions that are truly different from the vario us varieties that you encounter on a mending basis?These varieties may include informal spoken language betwixt close friends to technical and scientific descriptions (more likely to be written), and everything in between. precariousnessless, not all of the text you find will be standard English, but is any of it not English at all? In doing this exercise, it may be that you will learn more about what creative possibilities your language allows, rather than how much advertising goes beyond the boundaries of that language. In a upstart short article in the journal Nature, Pullum and Scholz (2001) point out that, at every level, language has a level of creativity that allows it to be ever-expanding, ever-changing. Even the idea that t here(predicate) is a stock of words which constitute the English language cannot be upheld, because it is always possible to invent new words, and new names in particular. Thus, Here is my new invention I chit-chat it X is a strategy in everyday En glish which advertisers can take advantage of, when they state Introducing the all-new Y .In an interesting analogy which illustrates the point very clearly, the Dreamweaver program which we have used to construct this website has the miss Indent to indent a split up, and we used it to format the quote infra from McQuarrie and paddy fields. In the command menu, the command after this one is Outdent, which makes a paragraph wider. Neither of us had seen this word before, yet we understood its meaning, and certainly did not reject it as non-English. This is not to say that any random new word can be generated for the authors purposes in any context. The Outdent example above is presented in a very clear context, which makes apprehending its economic consumption and meaning quite clear. We generally find that novel words presented in an advertisement have the same supporting context they may be new, but they are not out of the blue.The work of McQuarrie and Mick (1996) is highly relevant in this context. They place advertising language in the context of the study of rhetoric, and observe A rhetorical figure has traditionally been defined as an artful diversionary attack (Corbett 1990). More formally, a rhetorical figure occurs when an expression deviates from expectation, the expression is not rejected as pathetic or faulty, the remainder occurs at the level of form rather than subject matter, and the deviation conforms to a template that is invariant across a variety of content and contexts.This definition supplies the standard against which deviation is to be measured (i.e., expectations), sets a limit on the amount and kind of deviation (i.e., short of a mistake), locates the deviation at the level of the formal structure of a text, and imposes a separate requirement (i.e., there are a limited number of templates, all(prenominal) with distinct characteristics). The unusual aspects of language that we sometimes find in advertising can be fruitfully considered to be examples of artful deviations. 36.3 VW ad (Rolling Stone, may 23, 2002) Heck, its been re-everything-ed.This new verb is coined on the basis of a very robust feature of English, which allows nouns to be used as verbs (see Clark and Clark (1979)). In this case, the new verb is also prefixed and suffixed. Out of the blue, to re-everything would be hard to interpret, but in the context provided by the advertisement, its meaning is clear. In the summer of 2002 the pop group No Doubt had a hit song called Hella Good some of the lyrics are shown here Hella Good (G. Stefani/ T. Dumont/ P. Williams/ C. Hugo/ T. Kanal) You got me feeling hella goodSo lets just keep on dancingYou hold me like you shouldSo Im gonna keep on dancing(Keep on dancing)Hella good is not advertising language, and it is not standard English, but it is certainly pop euphony English, and it is the kind of phrase that anyone could produce in conversation. In 48 Cointreau (InStyle, August 2002) we find an example of a blend, Be Cointreauversial.