Рекламный дискурс с позиции лингвистической и экстралингвистическогй составляющей. Структурный и гендерный аспекты англоязычной звукоподражательнй рекламы.
The article is devoted to the study of neologisms in advertising English and German discourse. The primary aim of the research was to single out the main tendencies of the use of neologisms in modern authentic English and German advertisements; to find out common features and distinctions between them. The typical features of the advertising discourse on different levels were studied using the examples taken from English and German advertising. With the help of the classification suggested by John Algeo the most productive patterns of coining new words were singled out. In advertising English those are compounding, affixation, abbreviations and clippings; while German copywriters rely on affixation and borrowings. For that purpose more than twenty English and ten German printed magazines of different types were analyzed, including women-oriented magazines. It goes without saying that the results of the research contribute to the formation of cultural awareness of not only students but also linguists and may be used in teaching English and German in the classroom of intermediate and advanced learners of the language.
The article is devoted to imagery capacity of iconicity and to onomatopoeia as its sound variety, in particular. Both these phenomena are examined in the context of advertising discourse and the author’s arguments are backed with different examples of sound imitation advertising. As an iconic sign, onomatopoeia can be , in our opinion, considered beneficial for the aims of advertising as it allows to establish associative links between a language sign and denotatum (the product characteristics) thus making for creation of a desirable image of the product (including its qualities and properties) in consumers’ mind. Apart from that, having contrasted the iconocity of an image and the one of a sound, we have also provided here some reasoning why onomatopoeia, in our view, is much stronger in terms of the ways such information is perceived and processed by a potential consumer. When complemented by an image, this unity (and the image itself) can play different roles affecting the meaning of sound words, namely it can: distinguish the meaning of different sound words, assign meanings to new-coined onomatopoeia, create imagery for the product advertised. In the second part of this article, an attempt was made to investigate the difficulties with translation of onomatopoeic advertising texts from English into Russian.
This article deals with onomatopoeic advertising discourse. We attempt to examine the capability of sound imitation in cohesive texts, based on the concepts of textuality developed by Beaugrande and Dressler. We also consider stylistic aspects of sound imitation in advertising and trace the manifestations of different kinds of expressive means in onomatopoeic texts. The article aims to find out how different stylistic means manifest themselves in onomatopoeia and examines the phonograph and phonomorphology of advertising onomatopoeia, its structural features and rhyme. To obtain more objective information concerning the use of onomatopoeia and its specific individual expressive forms in advertising, we also conducted a survey of potential buyers (native speakers) aimed to show how effective these advertisements could be for them personally when they choose goods. Having divided and systematized the received preferences, we attempt to define, what exactly makes advertising noticeable for the buyer in various cases. We have conducted our analysis, based on the comments received, and made appropriate conclusions.
The paper deals with the features of marketing messages that are widely presented in various forms in the modern mass-media. The study reported in this article reveals some semantic and pragmatic means which maintain special sort of unity within a marketing communication campaign – series of messages. Many linguistic and semiotic peculiarities of advertising and other promotional messages (that distinguish them from the editorial mass media messages) can be explained through the concept of multi-message brand-centered communication as a single whole.
This article is devoted to a problem of development of modern German discourse of advertising. Properly selected linguistic means allow for success of the advertising texts. Today it is more important to put emphasis on the creation of the ideal image of the consumer rather than demonstrate the value of the product to the customer. So the structure and components of modern advertising texts differ from the text of the end of the twenties century. Presently the slogan is the most important and long-term part of the modern advertisement. It transfers the essential meaning of the whole message. Consequently, the creation of a slogan requires specific linguistic methods.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.