Figures of Speech Pennarola Chapter VI

1. Figures of SpeechPennarola Chapter VI

2. Ad as persuasive language • Persuasive language uses rhetorical tropesor figures to reach its purposes of persuading people to buy or use the advertised product/object/service • A trope is a play on words; with it, a word is used in something other than what is considered its literal or normal form.

3. TROPES There are five kinds of tropes: • metaphor (simile) • metonymy • synecdoche • Irony (nonsense) • synaesthesia

4. METAPHOR (1) • Two seemingly unrelated subjects are put in relationship (for ex., YOU ARE A ROSE). • The first object is described as being a second object. • In this way, the first object can be economically described because implicit and explicit attributes from the second object can be used to fill in the description of the first.

5. METAPHOR (2) • A metaphor consists of THREE parts: • the tenor, that is the subject to which attributes are ascribed; • the vehicle, that is the subject from which the attributes are derived; • the ground, that is the part(s) of semantic field from which the attributes are selected to create the relationship between the tenor and the vehicle (Halliday)

6. METAPHOR(3) • Example : All the world's a stage, And all the men and women merely players They have their exits and their entrances; William Shakespeare, As you like it 2/7

7. METAPHOR (7) VISUAL METAPHOR VERBAL METAPHOR

8. SIMILE • A simile is a figure of speech in which the subject is compared to another subject. • Similes are marked by use of the words like or as (for example, “He was as nervous as a long-tailed cat in a room full of rocking chairs”).

9. SIMILE (2) - EXAMPLE Visual simile: Life can be so simple (like having a cup of coffee and a cigarette)

10. METONYMY • Metonymy is an association created between meanings which are contiguous rather than similar. • Such associations may not be integral to the meaning.

11. Metonymy (2) In metonymy, associations are contiguous because we indicate: • effect for cause ('Don't get hot under the collar!' for 'Don't get angry!'); • object for user ('the stage' for the theatre and 'the press' for journalists); • substance for form ('plastic' for 'credit card', 'lead' for 'bullet'); • place for: • event: ('Chernobyl changed attitudes to nuclear power'); • person ('No. 10' for the British prime minister); • institution ('Whitehall isn't saying anything'); • institution for people ('The government is not backing down').

12. METONYMY - Example

13. SYNECDOCHE • Synecdocheis like metonymy but more ‘specific’.

14. SYNECDOCHE (2) Synecdoche is used when (Lanham 1969: 97): • A part of something is used for the whole (“hands” to refer to workers); • The whole is used for a part (“the police” for a handful of officers); • The species is used for the genus (“bread” for food, “kleenex” for facial tissue – see also the ads on p. 31 of the dispensa) • The genus is used for the species (“personal computer” for IBM-compatible personal computer)

15. SYNECDOCHE(3)

16. IRONY • In IRONY, the signifier of the ironic sign seems to signify one thing but it actually signifies something very different. • Where it means the opposite of what it says (as it usually does) it is based on binary opposition.

17. IRONY • Irony reflects the opposite • of the thoughts or feelings of the speaker or writer • 'I love it' = I hate it • of the truth about external reality • 'There's a crowd here' = it's deserted

18. IRONY • It can also be seen as being based on substitution by dissimilarity or disjunction (as in understatements or exaggeration) • You don’t know English • No, I just speak a bit of it • I can buy a Rolex because I am rich - disjunction dissimilarity

19. IRONY (2)

20. SYNAESTHESIA • It is a peculiar form of metaphor • In linguistics, it is the production from a sense-impression of one kind of an associated mental image of a sense-impression of another kind

21. SYNAESTHESIA (2) • Synaethesia is amply used by copywriters because it represents the hedonistic invitation to enjoy all the senses • Examples of written synaesthetic expressions: • Lips that scream with colour (Rimmel) • For colour at its softest (l’Oreal)

22. Metaphor

23. Metaphor

24. Metaphorand Symbol • (metonimy)

25. Synaesthesia

26. Metonymy

27. Metonymy

28. Synecdoche

29. Synecdoche

30. Synecdoche

31. IRONY

32. Other tropes • Hyperbole (= exaggeration; sometimes = irony) • An interior fit for an emperor (Peugeot) • To the moon and back four times a day (United Airlines) • Discover colours so pure it blushes with you. Introducing Blushing Micronised Cheek Colour (Estée Lauder)

33. Other tropes Antonomasia • Any single entity appearing in the advert text becomes the representative of its category • In visual it is represented as a Here-I-am visual • The Make-Up of Make-Up Artists (Max Factor) • Nespresso. What else? (Nescafè) • Carte Noir. French for Coffee • Audemars Piguet. The master watchmaker sculptorLO.mpg

34. Other tropes Tautology • Self referential quality of advertising discourse • It can be merely visual: the whole advert text consists of the photo of the product simply accompanied by the brand name as if the product did not require any introduction • It’s a Volvo. It’s a Volvo (we printed it twice in case you didn’ believe the first time) (Volvo) • Adidas Soccer Play.mov

35. Other tropes Anaphora • It is the repetition of one or more words within a sentence. • It creates an effect of expectation, emphasis and symmetry • ..\Appunti\Pubblicità_TV\centrino.mpg