Stylistic Analysis of the Advertising Slogan
Stylistic Analysis Of The Advertising Slogan ---------Perfume
Introduction 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
Introduction 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
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.