Die vormlike vergestalting van konsepte binne advertensiekommunikasie

[摘要] English: Advertising communication has a unique character and different techniques are usedto draw the consumer's attention. The way in which the message is communicated inthe advertisement often contributes to the impact of the advertising message. In thisstudy the focus was specifically on the ways in which advertising languagecommunicates creatively. Furthermore, the manner in which visual signs echo thelinguistic signs and contributes to the construction of the marketing message is alsoobserved.Figurative language and semiotic signs are some of the mechanisms copywriters useto draw the consumer's attention. Literature that focuses on the linguistic and visualanalysis of advertising communication is limited. A variety of definitions for figurativelanguage exist in the literature, since different authors have different perspectivesgiven a particular data set and time frame. In this study creative signs used inadvertising (e.g. language play, rhetorical figures and semiotic signs) in order toincrease the impact of the advertisement, are studied from a Cognitive Semantic andlinguistic perspectiveA qualitative investigation was launched in order to describe the character of themanifestation of concepts in advertising communication. Based on the primaryobjective of the study, to give an overview of the manifestation of creative concepts inSouth African print advertising communication, the secondary objectives wereidentified. These objectives were to explain the definition and nature of terms such aslanguage play (idiomatic expressions, personification, and wordplay), rhetoricalfigures of speech (comparisons, analogies and metaphor) and semiotic signs(indexes, icons and symbols). South African print advertisements were used as dataset. A further objective was to obtain an overview of the gains and risks in the use ofthese attention drawing mechanisms in the interest of training linguistics andcopywriting students. In this study two main categories were identified, namely figurative language andsemiotic signs. Figurative language were divided into two categories, namelylanguage play and rhetorical figures. The category, language play, focusesspecifically on the artistic nature or rather 'creative decoration of advertisements.Idiomatic expressions (when the cat's away, the mice will play), personification('Your pepper will be so jealous) and wordplay (the Afrikaans word 'leer canrefer to the ladder you climb, as well as the leather a shoe is made of) areidentified as three forms in language play.Rhetorical figures were identified as second category within figurative language.Rhetorical figures of speech include: similes (he is as slow as a tortoise), analogies(an analogy between the organ, a kidney, and a coffee filter) and metaphors(metaphor between coffee and perfume's durability and aroma).The second main category distinguished in this study is semiotic signs. Semioticsigns were divided into indexes (smoke indicating a fire), icons (a passport full ofstamps, indicating a real passport) and symbols (an apple as a symbol ofseduction).Based on the literature study and the data set, it is clear that creative signs used inadvertising communication contribute to keeping the reader's attention longer.Creative signs are often an intellectual game to be unravelled by the reader, in orderto identify the intended marketing message. Furthermore, more than one message isoften communicated through the use of creative language and visual signs, thusgiving the copywriter the ability to say more with less (words and images). From thisstudy, it is clear that the use of figurative language and semiotic signs should ideallyfocus on the brand name, marketing message or characteristic of the product toactually be relevant to the marketing message; otherwise it remains just a uselessdecoration in the advertisement.

[发布机构] University of the Free State