Stylistic Analysis Of The Advertising Slogan
Along with the rapid development of society and economy, advertisements have penetrated into every stratum of the society, becoming the indispensable part of our daily life. Like newspapers, magazines, television, radio, films, telephone directory, art performance, the Internet, and even the human body, advertising makes use of various media to deliver information to the consumer. Absolutely, we are confronted with it all the time. For its important role, advertisement, hence, has been studied by a large number of linguistics from different angles on different levels. This paper will discuss the stylistic features of the advertising slogans, which are taken from the World Ten Classical Perfume advertisement. It covers how some stylistic devices are applied in the female and male perfume advertising slogans based on four levels: the graphological level, the lexical level, the syntactic level and the semantic level. So let's take a look at the stylistic features of these fabulous slogans to see how it can achieve its aim.
Ⅰ. At the Graphological level
A slogan is a form of verbal logo. In a print ad, it usually appears just beneath of beside the brand name or logo. A slogan sums up what one stand for, one's specialty, the benefit, and one's marketing position and one's commitment. In order to make consumer remember or recite its slogan, the ad is prone to make full use of a variety of typing forms.
Consistent use of initial capitalization.
To produce prominent emphatic effect, the ad slogan is just like a headline which uses initial capitalization or random initial capitalization to attract more attention and to stress the significant word to impress the consumer. For instance,
LANCOME: The Fragrance For Treasured Moments
Dior Addict: Dior Addict The Now fragrance from Dior.
Sometimes full use of capitalization.
Sometimes for the same reason as above, the ad slogan needs to emphasize every letter it uses or to make the ad slogan look trim and tidy. For instance,
LANCOME: ♂ POUR HOMME
Seldom use of specific symbol.
As the sample shows above, "♂ POUR HOMME", we could see a very interesting creation used in the slogan. The mark ♂ represent both the name of perfume and the symbol of masculine, through which this male perfume can easily appeal to a large variety of male consumer. Punctuation use like exclamation mark and question mark.
Exclamation mark can always show feelings of the advertisers and it can also stimulate consumer into buying their perfumes. While question mark is occasionally used to arouse the potential buyers' curiosity: Does it can real make me special? For instance,
LANCOME: Miracle, so magic!
Estee Lauder: Is staying in touch the same as being in touch?
ⅡAt the Phonological Level
One of the best techniques for bringing in the brand name is to make the slogan rhyme with it. An ad slogan is better if it reflects the brand's own peculiarity. By this kind of rhyming, the brand name is highlighted. The ad slogan is thus highly purposed. Through the special rhyming, it appears to be more vivid, attractive and effective, and therefore can create an unforgettable mental image in the mind of the consumers.
Use of rhyme
Rhyme is the repetition of identical or closely similar end sounds in lines of verse. On one hand, the rhythmic effect comes from parallelism. On the other hand, the effect is derived from certain phonetic figures. That is to say, the vowel sounds are identical, which is often used in different types of perfume slogans. Look at the following example,
Dior: Gold is cold. Diamonds are dead. A limousine is a car. Don't pretend. Feel what's real. C'est Ca Que J'adore. 2. Use of alliteration
Alliteration can help the slogan achieve the strong beating rhythm which can make it an repeatable sentence. By using...
References: 2). Fowler, H.R. 1983 The little, Brown handbook. Boston:Little, Brown&Company.
3). Thornborrow, J. 1998. Patterns in Language: Stylistics for Students of Language and Literature. London: Routledge.
4). Angela, Goddard. The language of Advertising[M]. London and New York: Routledge, 1998.
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