The sound patterns evident in a poem and an advertising text, their function and contribution towards the meanings the texts generate.
Poetry is a form of literary art and uses particular forms and conventions to suggest alternative meaning in the words and to evoke some emotional responses. There are sound patterns in poetry which create further meaning, such as assonance, alliteration and onomatopoeia. These sound effects have a particular function in a poem. Poems often make heavy use of imagery and word association to quickly convey emotions. Poetry is distinguished from prose because are used some techniques such as rhyme, meter and repetition. The same sounds can convey different meanings and it depends on the context of a poem. Sound patterns can be also discovered in some advertising slogans. In advertisement we have the freedom to change the natural order of the language. It depends on the product and the target group of consumers. The advertising text has to capture the reader’s or listener’s attention. Therefore the natural order of the language is modified, shaped and stylized. One of the most frequently used devices in slogans, catchphrases and article titles is alliteration: Don’t Live a Little, Live a Lotto!
The advertising slogans are the most effective means of drawing attention to one or more aspects of the product. In this text we can spot an example of foregrounding. ‘Deviation, which is a linguistic phenomenon, has an important psychological effect on readers (and hearers). If a part of a poem is deviant, it becomes especially noticeable, or perceptually prominent. We call this psychological effect foregrounding’. Most of the writers use the sound of words in such a way that the readers’ attention is immediately engaged. The most common mean which is involved by the writers is repetition. Our attention is captivated and we start analysing the reasons why the writers use it.We can recognise play of sounds : little/lotto. There is also alliteration- the repetition of ‘l’ and ‘t’ sounds. Alliteration refers to tbe repetition of the same or similar consonants. /t/ is a voiceless, alveolar, plosive sound. It is produced without vibrations of the vocal cords, by obstructing the airflow in the vocal tract. /l/ is a voiced, bilateral, retroflex and approximant sound. The vocal cords are vibrating during the articulation and the airstream flows over the both sides of the tongue. When poets construct a poem they carefully choose words for their meanings, connotation and sounds. According to Paul Simpson ‘we make connections between, on the one hand, the physical properties of the sound represented within a text and, on the other, the non- linguistic phenomena situated outside a text to which these sounds relate’. The sound effects of the poetic text are basic to the interpretation of poetry. When a relationship between sound and meaning is obvious, then it can reinforce the significance of a word for speaker and hearer. ‘The way people ‘sound’ their language can, certainly, be an indication of their individual or cultural personalities...Speakers of a different language, from a different culture, might associate different implications with such sounds’. The most critics are interested in the form of the poem and its meaning, and the poet’s message. According to Paul Fussell ‘Poetic forms are like that: they tend to say things even if words are not at the moment fitted to their patterns. As Louis MacNeice has said, “In any poet’s poem the shape is half the meaning.”’. Poetic forms refer to different sets of rules followed by poems. The rules describe such ascpects as the meter or rhythm of the poem, the rhyme scheme or the use of alliteration. One of the basic ways in which poetry can be distinguished from prose is the possession of metre. Some critics maintain the idea that the rhythm and metre are the same thing. The difference between both is in the way in which they relate...
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