Stylistic expressive means in advertisement of the best brands

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Stylistic expressive means in advertisement of the best brands

Khrystych Nina

Ph. D in Pedagogics, Associate Professor, Associate Professor of Foreign Philology, Translation and Teaching Methods Department SHEE “Pereiaslav-KhmelnytskyiHryhoriiSkovoroda

State Pedagogical University”

У статті комплексно висвітлюються особливості взаємозв'язку вербального та невербального компонентів реклами всесвітньовідомих брендів; доводиться вплив емоційного чинника популярності конкретного бренду на образні параметри реклами. Образність рекламних текстів в основному представлена метафорами, метоніміями, епітетами, гіперболами, антитезою. Всі образні засоби забезпечують прагматичне трактування текстів. Вони роблять рекламний текст незабутнім, привабливим та спокусливим. Було проведено спеціальний аналіз з метафорами, таких як чиста метафора, концептуальна метафори та сплановані метафори. Автор висвітлює концептуальні метафори як прояв словесних та образних метафор, які використовуються для залучення уваги аудиторії до інформаційного наміру рекламодавця. Ілюстративним матеріалом виступають вербальні рекламні тексти та їх візуальне зображення.

Ключові слова: реклама, всесвітньовідомий бренд, вербальний компонент, невербальний компонент, стилістичні виразні засоби.

В статье комплексно освещаются особенности взаимосвязи вербального и невербального компонентов рекламы всемирно известных брендов; доказывается влияние эмоционального фактора популярности конкретного бренда на выразительные параметры рекламы. Образность рекламных текстов в основном представлена метафорами, метонимиями, эпитетами, гиперболами, антитезой. Все образные средства обеспечивают прагматическую интерпретацию текстов. Они делают рекламный текст незабываемым, привлекательным и соблазнительным. Был проведен специальный анализ с метафорами и выделено чистую метафору, концептуальную метафору и спланированную метафору. Автор освещает концептуальные метафоры как проявление словесных и образных метафор, используемых для привлечения внимания аудитории к информационному намерению рекламодателя. Иллюстративным материалом выступают вербальные рекламные тексты и их визуальное изображение.

Ключевые слова: реклама, всемирно известный бренд, вербальный компонент, невербальный компонент, стилистические образные средства.

The article provides insight into the peculiarities of the complicated interconnection between verbal and non-verbal components of the best brands advertising; the influence of the emotional factor of the popularity of a particular brand on the artistic parameters of advertising is proved. The study of artistic means is an important area of linguistic knowledge as language involves not only the ability to express thoughts, but also the ability to manipulate their emotions in order to achieve the appropriate communicative and functional effects. An attempt is made to prove that the cognitive approach helps to reveal the content and methods of linguistic objectification of all kinds of expressive means of advertising. It is confirmed that the cognitive-pragmatic structure of expressive means shows the interaction of cognitive and emotional processes that intersect with other expressive means. Expressiveness of advertising texts is mainly represented by metaphors, metonymys, epithets, hyperbole, and antitheses. All expressive means provide a necessary bridge for pragmatics. They make the advertising text memorable, attractive, and compelling. The special analysis is made of metaphors such as pure metaphors, conceptual metaphors and fused metaphors. The author presents conceptual metaphors as manifestation verbal and pictorial metaphors which are used to attract and hold the audience's attention to the advertiser's informative intention. Illustrative material is verbal advertising texts and their visual representation.

Keywords: advertising, best brand, verbal component, non-verbal component, stylistic expressive means.

Formulation of the problem. The main task of advertising is to draw attention to the product and to interest a potential customer that is why it is necessary to use stylistic expressive means in the advertising texts.

Analysis of recent research and publications.The problem of advertising are studied by distinguished scientists such as O.Anderson,

E. Anisimova, K.Bove, G.Cook, G.Dyer, A.Goddard, E.Elina, Z.Harris, I.Imshinetskaya, N.Kopeikina, Y.Sorokin, Feshchenko and others.

Solving unresolved parts of the problem.Despite the increased interest of scientists in these problems, such issues as the structure of advertising text, its functions, tasks, categories, the role of separate structural elements, especially the creation of advertising messages, the ratio of verbal and nonverbal components in the advertising text, etc., are often considered as concomitant to the main language advertising research.

The purpose of the article. The purpose of the paper is to uncover the stylistic expressive means and show the interaction of verbal and non-verbal part of advertisement. brand advertising verbal emotional

Setting objectives.Thus, the objectives are to discover the dependence of the figurative means and non-verbal part of advertising texts and to interpret the pragmatic essence of their uses.

Presenting main material. Stylistic expressive devices are used in advertising texts in order to denote various aspects of emotion concepts, such as their intensity, cause, control, etc. The latter group deserves special attention because of its internal complexity. Here, one may count metaphorical expressions, based on conceptual metaphors with physical or physiological source domains (e.g. boilingwithanger - a linguistic example of the conceptual metaphor ANGER IS A HOT FLUID (advertising of perfume Azzaro), burningwithlove - an example of LOVE IS FIRE (advertising of perfume Dior).

The advertisers appeal to the core emotions such as HAPPINESS, SURPRISE, SADNESS, ANGER, DISGUST, CONTEMPT, FEAR and the thousands of other related emotion words are seen as their synonyms. All in all, the core emotions are believed to be biologically determined emotional responses whose expression and recognition is the same for all individuals, regardless of ethnic or cultural differences (Wierzbicka W., 1986, p.585).

The advertising slogans contain all kinds of linguistic devices such as figures of substitution (figures of quantity and figures of quality) and figures of combinations. The figures of substitutions are hyperbole, litotes, meiosis and figures of quality are metonymy, synecdoche, periphrasis, euphemism, metaphor, epithet, antonomasia, personification, irony.

The figures of combinations include figures of identity such as simile, synonyms; the figures of contrast are oxymoron, antithesis and the figures of inequality such as climax, pun and zeugma.

The syntactical means are also widely used in the advertising slogans. They can be quite different and aim at creating an expressive verbal effect. They are ellipsis, nominative sentences, aposiopesis, asyndeton, polysyndeton, parceling, asyndeton, enumeration, tautology, parallel constructions, inversion, detachment of sentence members, rhetoric questions etc. Such stylistic devices represent a powerful means of empathetic intonation.

It is claimed that advertisers are likely to use metaphors when describing emotion of different sorts, as they have the potential to evoke vivid accounts that tap into actual physical experience, such as the experience of emotion. (See Picture 1.).

Picture 1 is very emotional but not by words but by a destructive picture. The potential consumers can understand that Volvo has a good reputation of safety. So the company focused on the firm position. The conventionalized language used for talking about emotions is viewed as an important tool in discovering the structure of emotion concepts SAFETY. Apart from looking for similarities and differences in the language of emotions and underlying emotion concepts, an important question this picture target is whether conceptual metaphors shape, or just reflect cultural models associated with emotions.

This means that basic emotion categories like JOY or ANGER will normally be used as points of reference to describe non-basic ones like EUPHORIA, FURY, EXUBERANCE or RAGE, and not vice versa. These kinds of emotions are reflected in the headline of the perfumes of the best brands, for example, «Obsession» (Calvin Klein), «Serenity» (Calvin Klein), «Possession» (Calvin Klein). Marketers of products hope to convey the impression that «if you like» the brand name «you'll love» their product. This proves how close language, visualization and emotion are linked. It is also proved that how different cultures take similar attitudes to emotions, which, in turn, influences the people's choice in different corners of the world.

The linguistic discussions on the language of emotions acquired a new shape due to the development of the cognitive theory, the central claim of which is that human conceptualization of reality mirrors our physical experience with all its bodily and physiological limitations. Consumers choose products based on what they can see, hear, feel, taste and touch about them. Isthis a goodhamburger? Let'stasteit. Isthis a goodcar? Let'sdriveit. But the reality of the situation is that there are a lot of other benefits that products can offer and that can't be described or felt by our five senses. There are the subconscious elements, the deeper meanings and emotions that some products awake, which influence our decisions to buy or not to buy.

The investigation into the reciprocal relationships between language and emotive factor comes down to two basic areas of research: the first pertains to the ways people talk about emotions and the information language can give us about human experience and conceptualization of emotions, and, secondly, it addresses the question of the ways people express emotions in language in a variety of situational, social and cultural microtext of slogans.

Descriptive emotion words are used in order to talk about emotions, that is: lexical items used for naming emotions and psychological states (e.g. love, hate, anger, depressed, sad); lexical items used for expressing emotional assessment (e.g. beautiful, evil) lexical items which have emotional essence by linguistic means (e.g. Johnny, sweetheart); lexical items in which the emotive factor dominates over meaning, either permanently, regardless of the context and situation, or becoming `emotional' only in particular contexts (e.g. animaltermsusednegativelywithregardtopeople, suchasdog, cat, elephant, zebra, tiger, lion, pig, donkey, bitch), as we can see in the following

advertiseent of Volvo. The possibility of transferring the meaning is charactersstic to verbal and visual expression of the advertising text a whole. This idea is represented by an amusing little dog. (See Picture 2.).

The following slogan contains the statement «ItSgood tobebad» which is antithesis by its nature. Even though that car can be seen and felt and driven, there are other aspects that determine how we relate to it, such as feelings of power or freedom or security. These aspects are not part of the actual structure of the car, but they are a thing that draws us to the vehicle, s o they ought to be part of how the automaker markets and sells it. And that is where oxymoron «It'sgood tobebad» comes into pi ay. (See Picture 3.).

Although informative advertising texts tend to be standard to a greater extent, their effectiveness is achieved largely through the use of expressive stylistic means of the language in the headline. Let us have a look at specific examples. The following slogan of Renault brand «Theflameofdesire» illustrates metaphor. Moreover, we can judge that this is a conceptual metaphor. An appropriately selected conceptual metaphor may work wonders in promoting the sale о f an item. (See Picture 4.).

The picture is of red color. Red is the color of fire and blood, so it is associated with energy, war, danger, strength, power, determination as well as passion, desire, lust and love. Red is also used as a symbol of courage and sacrifice, as in blood spilt in sacrifice or courage in the face of lethal danger. Red is a very emotionally intense color.

We also demonstrate the red color of Prada. The advertising text is «DevilwearsPrada» (See Picture 5.). This slogan became a tittle of the American comedy-drama film «DevilwearsPrada» by David Frankel. The film is based on Lauren Weisberger's novel of the same name. This screen adaptation stars Meryl Streep as Miranda Priestly, a powerful fashion magazine editor, andAnne Hathaway as Andy Sachs, a college graduate who goes to New York City and lands a job as Priestly'scoassistant. What is interesting here is the fact that the product referred to the first of these extracts is referring to a discussion about the idea «IsitreallyDevilwhowearsPrada?» while the second concerns overdraft facilities - «towearPrada». So as we can see, the contemporary cognitive theory of metaphor regards metaphors as playing an important role in the conceptualization of emotions.

Red brings text and images to the foreground. This color stimulates people to make quick decisions; it is a perfect color for «Buy Now» or «Click Here» buttons on Internet banners and websites. In advertising, red is often used to evoke erotic feelings (red lips, red nails, red-light districts, «Lady in Red», etc.). Red is widely used to indicate danger (high voltage signs, traffic lights). This color is also commonly associated with energy, so you can use it when promoting energy drinks, games, cars, items related to sports and high physical activity.

Metaphors can be very powerful solution when it comes to advertising. Metaphorisation, as a way of presenting and conveying information in advertising texts, being treated in terms of cognitive processes, exhibits the content of a message. But metaphor is not purely linguistic, as it was the whole of conceptual system in which we think and act is metaphoric by nature. This statement implies that sensory experience, which constitutes the basis of concrete notions, is indirectly manifested in abstract notions through metaphoric extension. It should be noted that metaphoric usages in advertising texts, by mass media explicitly or latently reveal certain evaluation.

In fact, a lot of metaphors are built on physical experience (to explode, toletoffsteam, togetcoldfeet, tohave a coldsweatbreakout) or spatial terms (feelingupordown). Metaphors may seem more appropriate for verbal part of advertising but they can be powerful solutions for visual p art, as well.

Visual metaphors use images to connect something less well known or difficult to understand to something better known. They are superior to word metaphors because of the superior ability of visuals to communicate ideas. (See Picture 6.).

Nokia brand uses the metaphor:

«Life is a real thing. In the palm of your hand». The visual part presents a fiddle in the hand and what shows the idea of a good quality of «Xpress Music». Here we can say about visual metaphor which has ability to: reduce marketing costs; increase lead generation; reduce sales conversion time. A visual metaphor is a superior communicating image (design or graphic) that instantly communicates a message or idea. The other examples of metaphors are given: L) The power of Dreams (Honda). 2) Lucky Charms. They're magically delicious (Lucky Charms). 3) I am made of blue sky and golden light, and I will feel this way forever share the fantasy (Chanel No. 5).

Some messages can be clear and simple, but sometimes, when we want to make stronger impression and send message in most creative way we can do it by using metaphors. Here are two more examples of pure metaphors. (See Picture 7.).

Pure metaphor is sometimes regarded as a primitive technique. Fused metaphor is much more present in the world of virtual advertising than pure metaphor, because it is easier to show product's benefits by `fusing' it with something else. Also, it is more comprehensive for an observer to understand the hidden message.

Next, stylistic features of comparative advertising texts aimed, first and foremost, at singling out the advantages of a certain product compared to the competing one. This comparison can be explicit when the merits of the product are obvious, or hidden, when the author of the text creates the illusion of superiority. (See Picture 8.).

We found the epithet «LuckyLake»in the name of perfume Hypnosis. It should be taken into account that the epithet is a very important element in the advertising texts and expresses their verbal vision of beauty. This metaphorical epithet allowed the recipients through artistic emphasis of certain traits comment a particular concept of aesthetic value, ac companying this process with increasing emotional perception. The epithet is also a means of external and internal mental images of product, in our example - of a perfume.

For decades, advertisers have been using hyperbole, or visual exaggerations, to communicate product benefits. In the advertising of Nikon, viewers instantly get that taking selfies with their Nikon camera is like carrying around a professional photography crew. (See Picture 9.).

Hyperbole contains predominantly a fantastic fiction, sometimes a complete mismatch of reality, and hence - a manifestation of tendencies to generalization, a high degree of convention, for example, Betweenloveandmadnessliesobsession (CalvinKlein s Obsession) / Theultimatecodeofseductionformen (ArmaniCodе) / Whoeverlovesmewillfollow (GuerlainInsolence). Together with other accompanying means (musical, sound, visual), they contribute to the emergence of imagination, which subsequently leads to concrete actions.

Conclusions and perspectives of further exploration

The analyzed material allowed to observe expressiveness of advertising texts mainly represented by metaphors, metonymys, epithets, hyperbole, and antitheses. Most of metaphors are conceptual. The advertising text requires the further investigation. The promising sphere of its investigation is revealing the dependence of the forms of advertising texts on its structure (i.e., verbal and non-verbal components: headline, main body, slogan, etc.).

References

1. Cook G. The Discourse of Advertising. London:Routledge, 1992. 256 p.

2. Dyer G. Advertising as Communication. London: Methuen, 1982. 173 p.

3. Ewen S. The Power of Advertising. Internet resources. Access:https://www.opendemocracy.net/ourkingdom

4. WierzbickaA. Human Emotions: Universal or Culture-specific? AmericanAnthropologist. New York: Random House. 1986. pp. 584-594.

5. Jaguar Advertizing. Internet resource. Access: https://www.com.ua/search? j aguar+advertising+slogans

6. Mitsubishi Advertizing. Internet resource. Access: https://www.com.ua/search?Mitsubishi+advertising+slogans

7. Nikon Advertizing. Internet resource. Access: https://www.com.ua/search? nikon+advertising+slogans

8. Nokia Advertizing. Internet resource. Access: https://www.google.com.ua/search?nokia+advertising+slogans

9. PinterestAdvertizing. Internet resource. Access: https://www.pinterest. com/pin/

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