Analysing the Language of Advertising Discourse in English and

American Texts

Shakhzoda Damirovna Egamberdieva

and Farida Oktamovna Egamberdieva

National University of Uzbekistan, Tashkent, Uzbekistan

Oriental University, Tashkent, Uzbekistan

Keywords: Advertising Text, Ad-Slogan, Language, Communication, Recipient.

Abstract: As the social economy has grown, advertising has permeated people's daily lives more and more. The field of

advertising, as a distinctive purpose, has unique linguistic requirements. In addition to being precise and

succinct, the wording should be creative. In order to determine the primary extralinguistic factors that impact

the communication process in advertising, this paper will analyse the language used in advertising discourse.

It will also review the proportion of advertising text and ad slogans in communicative activities as well as the

structural, semantic, and functional peculiarities of an ad-slogan.

1 INTRODUCTION

The investigation of advertising language and its

relationship to the social environment is the focus of

this study. Due to its growing influence in today's

society, advertising is being studied extensively from

a variety of disciplinary perspectives. The fields of

sociology and psychology look for potential

mechanisms via which it may impact human

behaviour, society, and mentalities. The literary

standards of the language used in advertisements as

well as the stylistic characteristics of both spoken and

written forms of the same are highlighted by

linguistics. The goal of the sociolinguistic research is

to understand how advertising affects language as a

dynamic entity and the real linguistic process, as

evidenced by the language's style and word creation

levels. The most extensive and dynamic subject of

new lexical innovations in modern languages is new

words to express new concepts and new realities of

mass media society.

The stylistic characteristics of media texts, such

as advertisements, are often compared to other

written and spoken forms in order to identify

language diversity as processes that are

syntagmatically and paradigmatically impacted by

extralinguistic variables. The text-formation and text-

https://orcid.org/0000-0002-0415-9145

https://orcid.org/0000-0003-4601-5104

interpretation components of language used in mass

media are addressed as being influenced to differing

degrees by internal and external variables of linguistic

variability.

This work aims to investigate the roles and

contents of advertising and how it varies from other

forms of communication. In addition to being an

economic and social force, advertising can also be

seen as a type of communication with predetermined

objectives and channels for achieving them. Since

advertising uses both verbal and nonverbal cues, it's a

useful subject for sociolinguistic and linguistic

research.

Only those factors that are pertinent to the verbal

means are analysed in this research, which focuses on

the verbal means utilized in advertising. It is an effort

to examine the pragmatic and communicative

elements of advertising language, which is

recognized as a distinct linguistic variety with a clear

structure and communication objective.

Since advertising slogans are the most expressive

way to convey an advertisement's message, the focus

of this study is on the language of advertising as it is

expressed in these catchphrases. The high pragmatic

intensity of the language used in advertising slogans

explains why this content is used.

Egamberdieva, S. and Egamberdieva, F.

Analysing the Language of Advertising Discourse in English and American Texts.

DOI: 10.5220/0012935600003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 967-975

ISBN: 978-989-758-723-8

967

2 METHODOLOGY

Definition of Advertising: The most evident way

that cultural production supports the larger system of

material production and consumer society is through

advertising. The emergence of contemporary

consumer capitalism would not have been possible

without the presence of advertising media and the

audiences they drew from the cultural practices of

newspapers, magazines, and television. The role of

advertising is increasing as the flow of symbolic

values grows entwined with the flow of goods.

Advertising is a type of mass communication in

which companies communicate with customers by

sending them identified, controlled, and paid

communications that aim to influence the receiver to

do a certain action, generally purchasing a product.

The concept of advertising is rather broad and

encompasses many different facets and techniques of

product promotion. Advertising for specific products

and brands (e.g., Ferrari automobiles, Sony CD

players, Rank-Xerox copiers) can be distinguished

from corporate and branch advertisements (e.g.,

sugar, bananas, tinned salmon, coffee), which are

sponsored by an entire industrial branch as opposed

to a single firm. There is picture or activity-based

advertising for the firm. Manufacturers utilize it to

showcase their business, its future, its place in the

national and global economies, and its

accomplishments in society.

Ads use a variety of intricate textual, visual, and

structural elements in an effort to persuade viewers to

accept and emulate particular ideals and ways of life.

Ads must, of course, appeal to their target

demographic and represent shared values in order to

be effective.

Delineating a distinct conceptual border around

the diversity of advertising is a challenging task. The

style of political speeches, newspapers, sermons, and

a number of other language-based expressions that

might be considered to be "selling something" are

comparable to the style of advertising slogans. Ad

slogans and newspaper headlines often have the

qualities of being succinct, emotive, and short. The

most common and noticeable type of advertising is

commercial, but it's not the only one. There is overlap

with other categories in a newspaper's classified

columns, including auctions, cars, deals, jobs,

entertainment, health and safety, house sales,

investments, lost and found, personal, prestige,

situations sought, and other announcements.

Commercial advertising, however, differs

stylistically in a few ways.

Semiotic analysis, or the study of the meaning

sent by the different components of an advertisement,

aids in understanding the latter on the basis of prior

knowledge but is unable to provide unchanging

guidelines for its production. Advertising creatives

are occasionally taken aback by clues and deeper

meanings that might be inferred from the messages

they develop. Still, there are conventional operating

procedures that eventually result in the display of an

advertisement. Their use is made feasible by the fact

that all advertising is dependent on the marketer, who

must take into account his goods, rivals, potential

clients, and their demands as well as his objectives

and constraints in advertising.

Communication and Advertising: For both us and

the rest of the world, communication is essential.

Among the various forms of communication are

public and private, impersonal and interpersonal, and

mass communication. The mass media, which

includes TV, radio, print media of all types,

billboards, pamphlets, public announcements, and

other platforms that reach a large audience, are the

means by which mass communication is carried out.

Without a doubt, advertising qualifies as a mass

communication medium.

One essential component of the mainstream

media is advertising. In actuality, cultural and

economic phenomena are mutually dependent on

mass media and advertising. Advertising leverages

mass media to reach the widest audience, and mass

media are dependent on advertising to maintain their

ideological independence. The mass media serve as a

vital conduit for advertising, allowing it to be a

fundamental part of mass communication.

Not so long ago, linguistic and sociolinguistic

studies began to focus on mass communication in

general, and advertising in particular. Study is done

on the normative, practical, stylistic, and pragmatic

facets of the particular advertising style. When the

advertising texts are contrasted with other written and

spoken forms of speech, their distinctive stylistic

features become apparent. In this regard, the use of

sociolinguistic measurement in correlational analysis

has grown in significance. When evaluating the

question of the sociolinguistic component and

establishing the phases and conditions for the

assessment of oral and written texts, the theoretical

notion of language variation as a reflection of internal

and external linguistic elements serves as the

fundamental basis.

Looking at advertising as a type of and an element

within the communication system, we can trace

qualities pertinent to all types of communication.

Therefore, it seems reasonable to analyse the

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communication procedure in general, which will give

us a clear picture applicable to the subject under

review.

The communication process can be broadly

characterized as follows. A message is the goal of a

communication act. The sender, also known as the

addresser, and the receiver, sometimes known as the

addressee or recipient, are the persons engaged in this

communication. In addition, there is a specific

communication channel and a code that the addresser

uses to form the message, which the addressee then

decodes. Since the addressee isn't always prepared to

accept the message and act in accordance with the

former's goal, there is typically conflict between the

two parties. Nonetheless, a message that has been

appropriately and cautiously coded is likely to elicit a

reaction from the intended receiver.

Visually, the scheme can be represented as

follows: (see Figure 1)

Figure 1. Communication process

There are four primary addresser groups active in

advertising:

1. Advertisers: in the majority of nations, they

include local and national governments as

well as public and private businesses.

Businesses typically use advertising to

promote the goods or services they provide

with the intention of making sales.

2. Advertising agencies: their primary

responsibility is to organize and execute

advertising campaigns on behalf of their

clients, keeping the client's account in the

event of a successful campaign.

3. Media owners: they must entice advertising

money from other businesses and agencies.

Examples of these owners include the Press,

independent radio and television, outdoor

advertising, movie theaters, direct mail, etc.

4. Ancillary services: The expertise of

professionals like typesetters, design

consultants, photographers, video producers,

and copywriters is needed to create

successful commercials.

Every one of the aforementioned actors has a stake

in the procedure's success and makes a different kind

of contribution to it. (DeFleur et. al., 1988-

Crystal.,1996).

3 RESULTS

The final recipient, or addressee, is the potential

buyer of the advertised good or service, item,

occasion, or anything else. There are an endless

number of distinct groups that might be considered

customers or recipients of advertising messages, and

each product's promotion must take into account the

unique characteristics of the group that is intended to

use the product. This classification's criteria consider

a wide range of variables. Age, gender, employment,

social and academic background, social status,

economic level, interests, etc. are a few of these.

These and many more elements play a crucial role in

how someone views an advertisement as they affect

how they see it. Therefore, general advertising targets

a broader and less specialized audience, but the

addressee of specialist professional advertising is a

distinguished corporate group of professionals in a

particular subject of social and cultural

communication. The composition of the

advertisement takes the addressee's communication

competence—that is, their situational, social, and

linguistic awareness—into account. These elements

influence the composition and linguistic tool

selection for effectively creating a speech

environment.

Studying advertising also requires us to take into

account the writers of ad slogans' socially distinct

approach to the practical goal of their writing.

Advertising for a high-quality wine (Life is Worth

Baccarat) has a different orientation, aiming to appeal

to people who value quality and prestige and

undervalue simple things, whereas advertising for

hair conditioner (Stop tearing your hair out) targets a

wider range of people. Examples of prestige

advertising include the following: "150 Years of

History and Romance" for a Cartier watch, which

emphasizes the prestige of owning traditional quality

items; "Begin Your Own Tradition" for Pateck

Phillipe jewelry, which highlights the prestige of

having one's own jewelry succession tradition; and

"Decorative tea service, circa 1760."

Made in silver. Made in England. "Maid in Torment"

is a picture of a female cleaning Asprey silverware.

The last one speaks to every facet of prestige, stating

Analysing the Language of Advertising Discourse in English and American Texts

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that the product has been produced for a long period,

in a prestigious nation, with a prestigious material,

and with constant effort. The phrase, "If you're paying

more than J2,99 for your suntan lotion, it's daylight

snobbery," emphasizes the opposing sentiment. It

appeals to the logical customer who considers both

price and quality and is likely to purchase a less

expensive item.

This study is based on advertising slogans that were

chosen from two different categories of newspapers

and magazines: general readers (Vogue, Elle, Life)

and business leaders (Time, The Economist,

Financial Times). Of course, the amount of

advertising in a newspaper varies depending on its

genre. Ads for body lotions, jeans, or women's panties

are unlikely to appear in business press publications,

but popular magazines seldom feature advertisements

for oil refineries or global information networks.

Essentially, the advertisers decide where to display

their goods, and often, this decision is heavily

influenced by the audience of a certain newspaper,

which has already been established for a considerable

amount of time.

The recipient often doesn't make an effort to receive

the promotional communication. Therefore, the

advertising channel needs to be set up to guarantee

delivery even in the event that the recipient is

completely passive. Print and word-of-mouth

advertising were the main forms of advertising prior

to World War I. Many years later, the advent of radio,

film, and television gave advertisers better

opportunities and more platforms. Apart from the

major media outlets (daily or weekly press, radio and

TV commercials,), advertising also employs a vast

range of devices and locations to get its messages

across: they include billboards, book jackets,

bookmarks, carrier bags, catalogues, circulars, flyers,

handbills, inserts, labels, leaflets, special

merchandise (cups, pens, T-shirts), notices, placards,

posters, price tags, programs, samples, sportswear,

showcards, signs, tickets, tourism brochures,

skywriting, subliminal advertising, shows,

exhibitions and fairs, display of goods, media trailers,

vehicle sides, wrapping paper, and classified pages in

telephone books.

The range of potential codes is even more astounding.

We can distinguish between rational and emotional

advertising in terms of code influence. Informed and

appealing to the target recipient's intellect, rational

(objective) advertising presents arguments in the

form of words and, to strengthen and support those

ideas, uses illustrations and graphics. Drawing, as

opposed to sound, is the preferred instrument of

emotional (associated) advertising, which employs

associations to act by evoking memories and

implications, calling on sentiments, emotions, and the

subconscious. While some advertising messages are

just rational or emotive, the majority are different

mixes of the two categories mentioned. One tool

utilized to build the code for the transfer of

information in advertising is language. (Goodrum et,

al., 1990- Woinov, 1994)

The goal of advertising is to educate the public about

the availability of goods and services, as well as their

features, costs, and other details. To achieve

outstanding outcomes, advertising must be

convincing in addition to serving an informational

purpose. In order to achieve this, it looks for a means

of drawing in, "seducing," and ultimately subduing

the possible client. Legitimate puffery is what we deal

with in advertising; that is, no one objects to a

manufacturer claiming their products are the greatest.

In order to achieve their goals, advertisements need to

present a convincing case. That attraction might be

straightforward and descriptive at times or nuanced

and complicated. By giving information, advertising

is persuasive and functions as a social control

mechanism. Aside from that, though, advertising also

aims to convince the customer to purchase a product.

As a result, not much advertising serves only as

information. In fact, some advertising literature

mentions the product's features, relative benefits, and

pricing in a straightforward and logical manner. For

instance, a Firestone tire commercial highlights the

tire's worth in comparison to other brands' tires as

well as its longevity. There are informative ads in the

classified sections of newspapers, but most ads are

mainly image-based, creating associations between

products and desired conditions, such as happiness

and success.

Persuasive advertising plays on people's emotions,

plays on their fears and desires, and uses dramatic and

humorous imagery. Advertising frequently uses

subliminal appeals to try to influence the consumer.

Therefore, advertisements may attempt to persuade

you to purchase a product based on a need or want

that the commercial itself seeks to generate ("Even

The Best Can Get Better") rather than on the product's

benefits or your current requirements. The purpose of

contemporary advertising is to benefit consumer

society by providing it with its images rather than just

products and services. In contemporary advertising,

the product's social standing and image are frequently

mentioned rather than the actual product. That is

connected to the value system.

The impact of contemporary advertising is to instill in

the addressee a persistent desire to buy the products

or services being advertised, as well as the perception

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that the world is full of stereotypes from advertising.

Advertising shows the receiver his own picture,

which satisfies his needs and expectations, in an

attempt to persuade him to utilize the goods. The

latter are influenced by the social and cultural context,

and advertising takes this into account first.

Advertising, thus, is more of a user than an initiator;

rather tan producing something new, it amplifies

previously existing occurrences. Every advertisement

considers the recipient's place in society; in other

words, it may increase his level of contentment or

cause him to become disoriented.

Advertising slogans are a particular kind of writing

that is distinguished by their subjectivity, strong

stylistic colouring, implicit and explicit expressivity,

subjectivity, and unique aggressiveness. These

limitations are set according to the following

standards: explicit/simplicity factors are determined

by the source of the persuasive, compelling factor;

briefness is allocated to slogans with a word count of

1 to 10 and lengthiness to those with a word count of

11 or more. Expressions such as interjections,

exclamative sentences, and lexis denoting feelings,

emotions, psychological states, and reactions are

examples of expressivity; implicit communication

includes information conveyed by implication and

presupposition, camouflaging, employing

manipulative words, subjective comparisons, etc.

The concept of subjectivity in advertising refers to the

use of modality, expressing the addresser's concern

and subjective evaluation; objectivity, on the other

hand, is the truthfulness of statements and objective

evaluation; and advertising is characterized by wide

addressiveness, which aims to satisfy a variety of

everyday needs. The word "addressiveness" describes

speech that conveys information directly to the

listener, such as commands, questions, forms of

address, second-person pronouns, and speech

patterns that take the addressee into account. Because

the marketed product is provided in both subjectively

judged descriptions and objectively logical qualities,

advertising's wide addressiveness allows for a high

degree of both emotional colouring and accuracy at

the same time.

An advertising slogan should, in general, be brief

(seven words is considered the ideal length) and

simple to recall. The language should ideally be brief,

straightforward, and easy to grasp.

Lexis: Words that are colourful (new, bright),

tangible (soft, washable), positive (safe, additional),

and unreserved (best, ideal) are frequently used in

advertising.

The usage of a limited vocabulary, which includes

idioms, jargon, and other lexical elements, is another

characteristic that is shared. The (aforementioned)

advertisements' lexical components distinguish their

genres, but the discourse structure, graphology, or

grammar don't provide any more information to

support this claim:

 hot action, frantic with want, pure pleasure,

hungry, relief;

 amusing, for the whole family, blockbuster,

close by;

 flawless views;

 large, landscaped, and close to stores;

 original owner, in pristine condition,

guarantee.

Simple lexical units are typically used in advertising

since it has to be comprehended by as many people as

possible, regardless of intelligence or educational

background. Additionally, some phrases are used

frequently in ad slogans because they have a positive

meaning, which is crucial for this language variety.

Words like "care" (8 slogans, or 2% of all the slogans

examined), "help" (9 slogans, or 2,27%), "protect" (9

slogans, or 2,27%), "beautiful" (12 slogans, or 3%),

and "different (not like the others)" (11 slogans, or

2,77%) are characterized by high frequency. A

different set of terms is employed to evaluate the

product and the maker and to give them a unique

identity that helps them stand out from other

comparable players in the advertising discourse.

These are adjectives in comparative and superlative

forms, "the best" (14 slogans, or 3,53%), and "the first

(No. 1)" (7 slogans, or 1,76%). These phrases are a

great match within the parameters of acceptable

puffery. Additionally, because advertisement texts

are typically addressed directly to the reader, a

significant portion of the vocabulary (124 phrases, or

31,23%) is composed of the pronouns "you" and

"your."

It is noteworthy that the term "life" or "lifetime" is

very productive in advertising; it appears in 15

slogans (3,78%) across a variety of situations and is

always associated with positive connotations. We

may explain it by the generally upbeat, or "pro-life,"

stance of advertising; it appears that the word "life"

elicits good connotations, which it most definitely

does.

Grammar: The language used in advertising follows

a certain grammatical system in terms of structure.

Any grammatical form may be used, although it will

use them less frequently than the literary style, which

is typically thought of as the "correct" language. One

might see several grammatical structures in ad-

slogans. It's most likely one of the idiomatic forms of

the language. The literary style is not the only factor

it takes from; it also incorporates a lot of colloquial

Analysing the Language of Advertising Discourse in English and American Texts

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components (scientific, publicist, etc.). Advertising

sometimes uses conversational, elliptical wording,

which makes it unclear (A better offer [than what?]).

Adspeak is rife with elliptical and incomplete

statements. At least one phrase in 47% of advertising

slogans is missing.

An advertising slogan typically consists of one to

many phrases. (For instance: "HELP, please, so her

dad won't have to travel for work so frequently. Assist

her to avoid having to ride an ice bus for two hours in

order to go to her accelerated math lesson. Assist her

in getting her own phone eventually. (Her mother

declines, but she's focusing on her father.) GTE

phones: A sentence can be as short as one or two

words (“Daily Protection” /Oil of Ulay/) or as long as

it has a subject, a predicate, and every element of the

secondary sentence. (“When it comes to managing

risks, we have the tools to manage like others can’t”

/Chase Asset Management/). One-word slogans can

be effective if they convey all the required positive

connotations to the target audience ("LOOK" in

Levi's image advertisement, which draws the reader's

attention, and "OBSESSION" for the Kalvin Klein

fragrance, which simultaneously refers to a name and

a feeling).

When they are utilized, negative statements in

advertising language have a very particular

communication function: they are meant to leave a

favourable impression. Out of the content examined,

17 sentences (4,28%) are negative in nature or have

negation in a phrase. In general, they fall into three

categories:

1. Seven slogans—1 = 76% Slogans that

employ the antithesis of a quality

undesirable for the advertiser, which is

negated, and something good which is

mentioned soon after (or before) the

negation. For instance, "Cooking may not be

your forte now, but wait another 10 minutes"

/a sauce; "Made to stay on her face, not her

wardrobe" /Maxfactor foundation/.

2. Five catchphrases—1,26% Ads that claim

the advertiser is the only one who can take

action and that nobody else can, by

definition. For example, "No one

understands your skin better" (Clarins

skincare picture) and "No other desktop or

portable gives you more data" (The

Economist diary).

3. Five catchphrases—1,26% Although the

phrases in this group have broader

connotations, they all imply that the product

is superior because of its absence of

something. For example, "Meanwhile, she

realized that this would not be your typical

affair" /Waterma-writing tools/; "What is the

process by which tap water acquires this

particular flavour?" Not a lot. /a filter/

"Britain."

Compound sentences are rarely used by copywriters

since most of them make the phrase more difficult to

understand. The 26 compound phrases in the sample

under evaluation include 10 conditional subclauses

created by the conjunction "if." Typically, they are

employed in conjunction with emotive language to

evoke in the receiver an image of a circumstance in

which the advertised item would be both wanted and

helpful ("If you are itching to own a new car, scratch

here"). Simple declarative, imperative, interrogative,

and exclamatory phrases are all used in advertising,

as are complex sentences that include all of the

aforementioned constructions. The conditional

subordinate clause is the most effective type of

sentence.

A number of extralinguistic elements explain the

unusual tensing used in ad-slogans. Since advertising

often refers to the present and the indefinite tense

indicates universal time relations—that is, an activity

that is not restricted in time and has neither a starting

point nor a finishing point—the majority of ad

slogans employ the present indefinite tense of a verb.

Now is the ideal moment to act upon reading the

message. Now that the product is being produced and

sold by the advertising, it is time for you to go buy it.

As an illustration, consider the phrases "CompuServe

gives you the Internet" and "Nivea Sun Children's

Cares Like You Do," which imply that the product

already has consideration for other people's children.

Purchase it so that your kids may benefit from the

cleaning as well; "Our soap leaves pores clear."

Regular soaps leave behind soap (this is a known

truth; you may adjust your usage to suit the

circumstances).

Other tenses, however, can also be effectively

employed in advertising if their meaning improves

expressivity. Present Perfect: "It ought to appear

exquisite. For the past 28 years, our engineers have

been refining it. (Please take notice that by the time

we are speaking with you, we have taken certain

actions to merit your consideration. The outcome is

seen to be the most significant piece of information in

this instance.); "Here, your recruits are receiving

training," is the present continuous. (The procedure is

crucial. The client should be aware that new hires are

being taught at the location where he or she is viewing

the advertisement. The procedure is ongoing, has

been happening for a while, and won't be restarting,

which eventually suggests that the training is of a high

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caliber; "Today, we are changing tomorrow." (We're

doing it at the moment. The Present Continuous

Tense gives it a highly favourable impression because

it is a continuous process that never ends.) Past

Indefinite: "Clearly, the Ford Ranger was made with

your hectic schedule in mind" and "At Lexus, we

carefully considered 24 different kinds of wood for

the interior before settling on one that cut." (In both

examples, as well as in others that are comparable, the

focus is on the fact that specific things happened that

led to the creation of the product; neither the process's

continuity nor its conclusion are highlighted; instead,

the events are recounted in a broad narrative style,

maintaining the notion of universal time.) Past

Continuous: "Businesses were always trying to sell

me hope in a bottle”.

At last, a truth tube. (The focus is on the ongoing

nature of a process that has ended at this point.) "We'll

get you there on time" is a future indefinite statement.

The language of advertising rarely uses future tenses

because advertisements often imply that the products

and services are available now rather than at some

point in the future.

However, future tenses are also employed in

advertising, generally in conjunction with other

modal meanings, such as "A child is a curly, dimpled

scalawag," or when the marketer wants to make a

clear statement or promise, as in the example above.

You really have to desire it because you'll want to

relish every minute. Although it is theoretically

possible to construct a scenario in which the Future

Continuous or Future Perfect Tense should be utilized,

these tenses are seldom employed in real life due to

their complexity and lack of demand.

The usage of the ing-form in phrases like "Freeing the

forces of nature," "Helping the world communicate,"

"Creating energy solutions worldwide," "Leading the

way in energy management," etc. is a highly prevalent

characteristic of advertising grammar. These kinds of

structures are typically utilized in picture advertising,

and they are always positioned next to the company's

emblem. In these instances, the ing-form indicates a

continuous activity and verifies that the specified

action is connected to the specified firm.

Obviously, these kinds of phrases have very good

semantic connotations.

Style: Advertising is a relatively homogenous type,

despite the considerable variances in content and

place. Similar to literature, it may make use of various

linguistic forms: advertisements can contain any

semblance of the human condition, as well as a fair

bit of non-human. The contents and the intended

audience of an advertisement determine the

functional and stylistic arrangement as well as the

lexical diversity of the text; thus, the style of the latter

has several levels. It has aspects of many other genres,

including science fiction, business and official,

publicist and newspaper, and every day and scientific.

The diversity of forms and genres of advertising, as

well as its fundamental purposes of persuasion and

information, are the reasons behind this particular

blending of elements from several styles. The latter

takes the lead and moves advertising discourse closer

to belle-lettre and publicist styles.

Advertising usually targets the specific client. This

area of speech communication has a strong personal

aspect, despite the fact that it does not suggest a

particular personality type. This explains why

advertising texts have a propensity to be informal and

expressive. Advertising that emulates direct, personal

contact provides the idea that the message was

prepared just for him and that the product or service

is being presented to him in particular. That dictates

the advertising narrative style, which is personal,

amiable, and frequently tinged with comedy.

The majority of advertising slogans work by

subverting the linguistic conventions of common

speech. Deviant rhymes and rhythms (Drinka pinta

milka day), misspellings (EZLern driving school),

and figures of speech (Kellogg's) are a few random

examples. Grammar (the unique temporal adverbial

in "Only two Alka Seltzers ago, you were feeling

downhearted and low"; figurative modifier of

location in "You're 6 hours away from more beautiful

eyes") and syntax (that's how you can consume

sunshine). It makes use of bizarre graphology

("Beanz Meanz Heinz"), extremely metaphorical

language ("Companies were forever selling me hope-

in-a-bottle... Finally, a tube of truth"), and powerful

sound effects like rhyme, rhythm, and alliteration,

particularly in slogans ("Dare to compare").

Additionally, wordplay ("Be SunSmart! "; "Our Back

Seats Don't Take A Back Seat To Anyone") and other

variations can be used to good effect. The most well-

known category of instances of manipulative and

abnormal use of language standards is perhaps the

advertising industry, which includes both print and

broadcast media.

As was already noted, advertising employs a wide

range of stylistic techniques. We will attempt to

explain the most prevalent ones, which may be

divided into five main categories: distinctive stylistic

devices, phonetic, graphic, lexical, and syntactical

devices.

Phonetic Stylistic Devices: It is evident that speech

sounds have acoustic characteristics that people

associate with noises they hear in the outside world;

less evidently, they appear to have characteristics that

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individuals frequently associate with non-acoustic

experiences, such size, movement, or brightness

contrasts. Vowels, consonants, syllables, and

prosodic patterns—which are influenced by

intonation, stress, and rhythm—are all impacted in

terms of pronunciation.

In phonology, we sense how speech sounds are

distributed within words and sentences rather than

focusing on the auditory characteristics of individual

sounds. There is always a semantic meaning

associated with a particular phonetic pattern. The

text's syntax only indicates that the mind is dead when

we write, "What further thought of fresh desire/Could

rouse the deadened mind." However, the alliteration

creates a connection that suggests that desire may also

be dead. To put it briefly, similarity in sound leads to

similarity in sense. The phonetic characteristics of

English sounds are a valuable resource for creating

unique effects, such as alliteration and onomatopoeia.

In commercial advertising, onomatopoeic

expressions are frequently used to describe the sound

a product produces and the feeling it is meant to

inspire in the user: for example, a certain brand of

automobile can go Vr-o-o-m, while the scent of

perfume or gravity can elicit M-m-m-m-m. As the

world of breakfast cereals crisply displays with its

crunches, puffs, pops, and smacks, brand names

frequently employ sound (or letter) symbolism.

Additionally, slogans frequently use it. "Go far

ahhhfield this allergy season, polo, the mint with the

hole. Allegra, ah!

We can sense the rhythm of the stepping up Fridays

work in the tone of the phone company's Friday

discounts when we read the example: "Call Sprint

today (and start making Fridays work harder for your

small business)". The first half of the phrase, "Sleep

peacefully with Tampax tampons, overnight,"

indicates quietude, while the second portion uses the

[t] sound to help identify the product acoustically.

Advertising uses rhyming quite well because it makes

the phrase memorable ("Dare to compare"; "Long,

strong, healthy-looking nails"). It is not often

employed, though, for the apparent reason that it is

very difficult to come up with a catchy slogan that

retains all the other essential elements (expressivity,

reasoning, association, and consideration of the wants

and aspirations of the customer). Appropriately

rhymed slogans often guarantee the success of the

campaign and significantly boost the success of the

product. Since it is simpler to construct a rhythmic

combination of sounds than a rhymed combination of

words, rhythm is more common than rhyme. The

phrases "Protection you can count on" (from Clarins

skincare), "The relentless pursuit of perfection" (from

Lexus), and "Speed: 0,6 mph" are a few examples of

catchy marketing slogans. Heartbeats per minute: 99.

Time: precisely 1011 hours (Tudor watch). In the

latter instance, semantic rhythm is also used to

achieve the desired impact.

4 CONCLUSION

Ad-slogans are typified by their implicity,

subjectivity, expressivity, unique addressiveness,

briefness, and usage of a limited language. Grammar-

wise, it usually uses positive formulations, present

tenses, and basic structures. The ing-form of verbs is

characterized by high frequency. In compound

phrases, the dominant subordinate clause is

conditional, confirming the prevalence of causal

sequential links in advertising.

Marketing slogans frequently work by subverting

linguistic conventions. They employ stylistic

elements that are phonetic and syntactic, as well as

their combinations. Different types of comparison

have a specific function in providing the foundation

for comparative advertising. The latter is very

contentious as it has the potential to seriously harm

those I directed at, both materially and morally. Its

repercussions can extend well beyond language

barriers.

Advertising is a communicative act with unique

characteristics that adhere to the broad guidelines of

a communication process.

The elements of advertising (the addresser, the

message, the code, and the addressee), the

significance of the addresser's aim, and the

addressee's motivation are all included in the general

principles.

The following elements make up the distinctive

characteristics of advertising:

- the unconventional goal of the addresser, which is

to convince the recipient to purchase the product

being advertised; - the media platforms utilized to

deliver the message, which typically reach a large

audience; - when choosing the media, the target

recipients' social and demographic profiles are

extremely important; Information and persuasion are

the two communication purposes of advertising. The

persuasive function takes center stage in the

combination of this genre's informational and

persuasive (motivating) functional attributes.

Advertising language is a distinct variety of the

language with its own rules and structures that

incorporate but are not restricted to, linguistic

techniques seen in other kinds. Speech and non-

speech planning activities in advertising involve

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coordinating the advertiser's known tactics and

general prior information with the addressee's

demands and motivations as well as the advertising

object, ultimately resulting in the production of the

subjective motivation. The addresser's pragmatic and

semantic intentions guide speech planning.

Special lexical, grammatical, and syntactical forms,

as well as stylistic techniques, are used to represent

the advertising texts' active speech influence, which

is its activating feature. These special forms comprise,

first of all, various instruments of establishing contact

with the addressee, expressions of shadow (implicit)

motivation, and carrying out indirect persuasion. The

language and stylistic techniques mentioned above

are intended to lead the receiver to the point where he

will unintentionally find a way to meet his own needs

while also offering products and services in a kind

and intimate advisal manner.

The most expressive type of advertising text is an

advertising slogan. Their distinct qualities include

their colloquial characteristics, emotive and confiding

tones, and brilliantly displayed personal character. In

this speech genre, the subjective modal nature of

storytelling is made possible by the wide

aggressiveness of advertising. The best ad-slogan

samples have the following qualities, which make

them appealing, intriguing, and suggestive:

argumentation, association, consideration of

customers' needs, interests, and desires (content);

conciseness, specificity, transparency (form);

repetition; brightness, accuracy, uniqueness, and

emotional content (style); and so on.

The whole of formal methods of expression for its

denotative and pragmatic direction, or the text

component of advertising, shows a number of

linguistic and stylistic aspects of the communicative

nucleus's arrangement. Examinations of the reviewed

material revealed that incomplete structure, implicit

slogan shaping, the isolated nature of the statements,

logical and intonation connections between utterance

segments, and causal consecutive relations are all

significant components of the grammatical, semantic,

and logical structure of modern English language

advertising. The deceptive use of language tools,

including phonetic, lexical, and syntactic stylistic

techniques, as well as their combinations, sets

advertising slogans apart. Comparative advertising is

a vivid example of how stylistic approaches may be

employed in a way that causes social unrest. The

latter has the potential to significantly affect social

and economic life.

A particular type of mass communication text where

the relationship between pragmatics and linguistics is

realized is the advertising slogan. Advertising's

pragmatic effect is contingent upon two factors: the

goal of the sender, as expressed in the message, and

the recipient's interpretation of it given his or her

background and current circumstances. In the event

that the admission process is effective, the advertiser

will get the addressee's reaction, which is broken

down into three phases: knowledge, beliefs, and

actions. The message's attractiveness has a significant

impact on how well an advertisement works.

Advertising is distinguished by its ability to affect the

addressee directly and explicitly, as well as indirectly,

in close connection to conditional and urgent

modality. One of the texts that has a clear

predominance of causal sequential linkages is

advertising. This accounts for the high frequency of

conditional utterances in advertising with various

forms, meanings, and functions.

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Dayan, A. (1993). La publicite. Moscow: Progress.

Riccioli, M. A., & Grant, M. P. (1991). L’anglais des

affaires. Paris: Librairie Generale Francaise.

Crystal, D. (1996). The Cambridge Encyclopedia of the

English Language. Cambridge: Cambridge University

Press.

Goodrum, C., & Dalrymple, H. (1990). Advertising in

America. New York: Harry N. Abrams, Inc.

Woinov, V. V. (1994). Socio-Evaluative Nominations in

the Context of US Culture. Kiev: Lybid

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