Метафора в рекламных текстах (на примере глянцевых журналов). Metaphor in Advertising Texts (Based on Glossy Magazines).​

”Combining metaphors into thematic groups, as well as their semantic and frequency analysis, allowed to establish which features of the image of women and men are most important for the authors of the magazine. Within this chapter, the most frequently used metaphors in these glossy magazines were described.Metaphors create an image of a free, strong, emancipated woman. It is beneficial for the women’s “Vogue” to represent a woman as successful and independent: readers want to see themselves as such.The socio-cultural foundations of metaphorization of phenomena also make it possible to consider metaphor as an important mechanism for representing the surrounding reality. As Lakoff and Johnson point out, "a metaphor ... illuminates certain areas of our experience... Metaphors can also create reality for us, in particular social reality." Metaphorization is always selective and, as a rule, reflects the prevailing ideas in a given society about a particular phenomenon or subject. This allows a parallel to be drawn between metaphor and ideology. As N. Fairklow notes, “alternative metaphors are always of particular interest”. With the help of metaphors, the authors draw a perfect portrait of men and women, forgetting or knowingly not wanting to remember that any men and any woman with a glossy cover are primarily living people with all their flaws and problems. Gloss creates and constantly increases the gap between the men around us women and the proposed way, leaving the reader in a depressed state: the average person will not become a picture on the glossy page, the ideal cannot be achieved. But you can “touch” it - through your favorite magazine. The glossy magazine acquires the character of a socially significant project, but the content of this project is imaginary, the materials are often superficial - in particular, due to the pattern of the meanings conveyed by metaphor and the uniformity of images.Thus, the use of metaphor in glossy magazines is as follows:1. Attracting the attention of the mass readership due to extraordinary ways of presenting the material, for example, in the form of artsy-extravagant word formations;2. Metaphor emphasizes the stereotypical social vision of the subject matter of the situation;3. The goal of metaphors is not just to attract the attention of the audience, but also to keep its attention using non-standard mechanisms for emphasizing socially significant situations in which they manifest themselves;4. In contrast to the style of a quality press, the ways of forming metaphors are emphatically based on the reader's everyday experience, which does not require the involvement of background knowledge.CHAPTER 3. PRACTICAL RELEVANCE OF METAPHOR IN FIELDS OF LINGUISTIC BASED ON ADVERTISING TEXTS3.1 Practical Application of Metaphor in EducationsAccording to Postman, poets use metaphors, but so do biologists, physicists, linguists andeveryone else who is trying to say something about the world [47]. Through metaphor we attempt to understand some unfamiliar thing, event or state of affairs in terms of another more familiar thing, event or state of affairs.The appeal to the pedagogical possibilities of metaphor has been known for a long timebeginningfrom Aristotle. However, this topic does not lose its relevance in our days, too. Moreover, it is becoming one of the key challenges in the world, globalization, multicultural dialogues and interactions of different sciences and increasing interest in trans-disciplinary knowledge. According to Karpuk [48] the metaphor is a didactic tool of educational communication. In this case, while working with a metaphor, there is a dialogue created between student and teacher during the learning process asthe both student and teacher learn complex social and cultural phenomena based onthe use of metaphors, metaphorical texts, with the direction and types of semantic flows which define the structure of the metaphorical space. According to Arutynova, [49] the metaphor becomes a component of the educational processdue to the disclosure of its cognitive role, which creates the opportunity to considermetaphor as”one of the means involved in the birth of new knowledge ”.Arutyunova also underlines that metaphor“ is a weapon, not a product of scientific research”[49]. Thus, the metaphor can be a tool for student research. The author [49]names such educational features of metaphor as listed at fig. 7.Thus the educational capability of the metaphor is so that when working with it, children learn to compare and collate, formulate their point of view, interpret the author's text, create their ownmetaphoric constructions. As a result of such activities, the speech, and imaginative thinking develop and the student's thesaurus expands.Figure 8 Educational features of metaphor.According to Botha, ”in order to achieve a better understanding of the role of metaphor in education a number of things must be done:-An exploration of the way metaphor is used in education in general;- a clarification of the different levels on which metaphor functions;- an overview of the fundamental changes that have taken place in theunderstanding of the nature of metaphor; and- an illustration of the constitutive role of metaphor in objectivist and constructivist teaching methodologies” [50].The importance of the modeling role of metaphor, giving impetus to the development of creative thought and leading the student-researcher to new analogies, was noted by Oparina, who interpreted the metaphor as “one of the main methods to learnthe objects of reality through creating of artistic images and generating new meanings, when the metaphor performs cognitive, nominative, artistic and sense-forming functions ”[51].Cognitive metaphor as a means of conceptualizing pedagogical knowledge, “the possibilities of semantic expansion of pedagogical knowledge through metaphorization,” the pedagogical metaphor are devoted to the work of Bendler, and cognitive metaphors in pedagogical modeling –Gordon [52-54].So in general we can say that metaphor as a methodical tool for explaining new material, activating visual-figurative thinking of students.3.2. Practical Application of Metaphor in StylisticsThe most commonly used means of verbal imagery in stylistics is metaphor. Under the metaphor understand the word or turn of speech, used in a figurative sense, that is, the name of one object is transferred to another on the basis of their similarity. Even Aristotle remarked that “to compose good metaphors means to notice similarities”. The master of speech is able to find common features in a variety of subjects and a result of such comparisons is a metaphorical special expressiveness: golden autumn, silver gray, hot time, heat of meeting etc. As we can see, the metaphor can be based on the similarity of the most diverse attributes of objects: color, shape, volume, purpose, etc. However, the frequent use of certain metaphors turns them into a standard. Such a phenomenon is often observed in newspaper speech, which deprives the metaphor of novelty and figurativeness and metaphorsimply become a pattern of everyday speech and media discourse - actually, everywhere. Example: high frontier, green light, blue screen, black gold.The relationship between subject-logical and contextual meanings is one of the means of creating a figurative representation of the phenomena of life.Let’s consider the example: Не is now in the sunset of his daysIndeed, in the example above, the word sunset creates a figurative representation of the abstract concept of the end as it would be said: His life is coming to the end. The relation of meanings is a common language which means the enriching of language’s vocabulary. Many subject-logical meanings of words of modern English are the result of changing meanings’ processes which are based on the interaction of different types of lexical meanings. This language means of forming the new words arewidely used as a stylistic device.Relations between different types of lexical meanings used for stylistic purposes can be divided into the following types (fig. 8).Metaphor is the relation of the subject-logical meaning and the contextual meaning, based on the similarity of the features of two concepts.My body is the frame wherein 'tis (thy portrait) held.This line is from the Shakespeare’s sonnet where the word frame implements the relation of two values - the first one is the subject-logical frame (a specific image) and the second one is the contextual frame - that what frames the storage space.The context gives the opportunity to compare such concepts as “My body as a vessel where your image is stored” and “frame” where a portrait is usually enclosed. The metaphor is expressed by the noun in the syntactic function of the predicative.As his unusual emotions subsided, these misgivings gradually melted awayIn this sentencethe metaphor is expressed by a verb that acts as a predicate in the sentence. Again we see that in the verb to melt (in the form of melted) the ratio of two meanings is realized.Figure 9Relationships based on the direct and reverse meaning of the word (irony)One value is logical and it is–melting and the second contextual meaning is extinction (one of the signs of melting). The image is created by the interaction of the subject-logical meaning with the contextual. Moreover, the basis of figurativeness is always a subject-logical value.The metaphor can be expressed by any significant part of speech.And winds are rude in Biscay's sleepless bayIn this sentence from G. Byron, the metaphor is expressed by an adjective.To implement a metaphor, the context where the elements of the combination appear only in one subject-logical meaning to specify the word of double meaning, is needed.Sometimes the metaphor is not limited by one way, but implements by means of several images, interconnected by a single, central, pivotal word. This metaphor will be in this case called an expanded one. For example:Mr. Dombey's cup of satisfaction was so full at this moment, however, that he felt he could afford a drop or two of its contents, even to sprinkle on the dust in the by-path of his little daughter.In this expression from Dombey and Son of Ch. Dickens, the words drop and the contents create the additional images to the main image of cup (of satisfaction).Additional images are associated with a central image of various kinds of relationships. They can be called metonymic connections of a developed metaphor. There are, however, such expanded metaphors (prolonged or sustained metaphor), in which there is no central image and where the additional images of the developed metaphor depart. It is only prompted by pronounced additional images. So in I have no spur to prick the sides of my intent (W. Shakespeare) the words in italics come as additional images of the unfolded metaphor. There is no central image. It is only suggested by metonymic connections with the words spur, prick, sides. The central image is the horse, which is likened, or rather, with which the notion of intention, desire (intent) is identified.The following lines from Shelley's poem "The Cloud" also give a detailed metaphor:In a cavern under is fettered the thunder, It struggles, and howls at fits .Here the images created by the words fettered, in a cavern, howls reproduce the central image (“beast”).Such expanded metaphors are quite often found among the Symbolists, where the vagueness and nebula of the image being created is one of the characteristic features of this trend.The expanded metaphor in application of stylistics is most often used to revitalize figurative images that are already erased or begin to fade.For example, take the following detailed Dickens metaphor:. . .the indignant fire which flashed from his eyes, did not melt he glasses of his spectacles.Metaphor in stylistics is often defined as an abbreviated comparison. This is not entirely true. A metaphor is a way of identifying two concepts due to sometimes random individual characteristics that seem similar. The comparison let to compare objects, concepts, without identifying them, considering them as isolated.However, the degree of identification of two concepts in a metaphor depends, to a large extent, on the syntactic function of the metaphor word in a sentence and what part of speech this word is. If the metaphor is expressed in the nominal part of the predicate, there is no complete identification and that is quite natural as the nominal part of the predicate identifies a feature that characterizes the subject.There is almost no identification if the nominal part of the predicate is expressed not as a noun, but as an adjective. So in the sentence: My life is cold, and dark and dreary. (Löngfellоw) The words cold and dark are barely felt as metaphors. In other words, there is almost no interaction between the two lexical meanings (main and contextual), an obligatory condition for the emergence of metaphor.When the nominal part of the predicate is expressed by the noun, the degree of identification rises, although even here there is no complete merging of the two concepts.This is prevented by the position of metaphor as a predictive factor. The element of comparison here is more than it is appeared in other cases. She (fame) is a gipsy" (J. Keats); "My body is a frame (W. Shakespeare)Indeed in this sentence, the concepts of fame-gypsy and body-frame are not fully identified if only because each of the concepts is represented by a separate word and is the same part of speech.The so called speech metaphor is usually the result of the search for the exact adequate artistic expression of thought. The speech metaphor always gives some evaluation point to the statement. It is done by nature andis that’s why predicative and modal. Thus the speech metaphor is more narrow than a stylistic one.3.3. Practical Application of Metaphor in Translating Even the metaphor „The world is my oyster‟, made more or less universal by William Shakespeare, may be difficult to understand in a community which does not have oysters. At other times, the same metaphor might exist with small cultural amendments. In England, pigs can fly; in Spain, donkeys can.Linguistics-based approaches define translation as transferring meanings, as substituting source language (SL) signs by equivalent target language (TL) signs [55] The source text (ST) is to be reproduced in the TL as closely as possible, both in content and in form.Textlinguistic approaches define translation as source text induced target text (TT) production [56]. The text itself is treated as the unit of translation, and it is stressed that a text is always a text in a situation and in a culture.Functionalist approaches define translation as a purposeful activity [57], as transcultural interaction [58], as production of a TT which is appropriate for its specified purpose (its skopos) for target addressees in target circumstances (cf. Vermeer‟s „skopos theory‟) [59]The translation of metaphors in fiction is one of the most complex and important, since metaphor is the embodiment of bright and original images that perform the most important task in the text. This fact is connected with the appearance of numerous works, the task of which is to find the right strategy for the translation of metaphor. So, Peter Newmark revealed a number of techniques by which translators usually convey a metaphor in a literary text [60]. Figure 10The techniques for metaphors in translationBut of course the language is so contextual that maintaining any view as to how something ought to be translated is futile. You must judge each utterance separately, and in its proper context before you can make a decision. Every use of language is unique. Once a metaphor has been brought into international (political) discussion, it can undergo changes when transferred from one language and culture into another.As is known, metaphor is one of the ways to form new meanings of words and new words. This process, like other processes of changing the meaning of words, is the domain of lexicology. However, there is an intermediate stage in this process. New value is not yet, but the use has become familiar, begins to enter the norm. A “language” metaphor appears, as opposed to a “speech” metaphor.Newmark believed that choosing from among the strategies to translate metaphors is strongly contingent upon their types. Therefore, he taxonomized different types of metaphors on the basis of their originality and boldness. According to Newmark (1988) metaphors can be grouped under six heads; namely, dead, cliché, standard or stock, adapted, recent and original. What comes below is an explanation about his taxonomy as well as a quick view on his suggested strategies to translate each type of metaphor.Dead metaphor is the one whose image is forgotten through heavy use. A great number of ordinary vocabulary in any language are dead metaphors. Words such as mouth, circle, drop, fall, rise, arm, space, field, line top, bottom and foot are actually among the dead metaphors of the English language. The word ‘foot’ in ‘at the foot of the hill’ is a dead metaphor. Metaphors of this type can be classified into three groups. The first group includes the ones which provokethe metaphoric image in mind to some extent (e.g. ‘reflect’ as ‘think’). The second groupincludes metonyms (e.g. ‘worm’ as ‘screw’ and ‘crown’ as ‘kingdom’). Ahd finally, the third group includes the non-technical words (e.g. mouth and foot) which can change to a translation crisis point when applying in combination with other words. For example:It is out of my depth.The arm of the chairSquare the circleIt is a matter of life and death.The metaphors in the final group are in close relation with our daily life.Cliché metaphors stand between dead metaphors and standard metaphors. They usually appear in two structures: figurative adjective + literal noun (e.g. filthy lucre) and figurative verb = literal noun (e.g. explore all avenues, leave no stone unturned, stick out a mile). Newmark (1988) believed that cliché metaphors usually replace the clear and obvious thought which are often emotional. So, they should be upheld in vocative texts while in the informative texts such as public announcements, instructions and propogations the translator can get rid of them in any proper way. The main obligation of the translators when facing cliché metaphors is to replace it with its cultural equivalent in the TL. However, it can be replaced by a simile or even a dead metaphor when it has no suitable cultural equivalent.Standard or stock metaphors are very close to cliché metaphors so that one usually cannot find any clear distinction between them. Perhaps the only noticeable difference between these two types of metaphors is the style of the text within which they are applied. Standard metaphors are usually used in the informal texts as a way of expressing a mental or physical situation in brief. For example:He is on the eve of getting married.Keep the pot boiling.The most common way of translating standard metaphors is to produce the SL image in the TL. However, other ways of rendering this type of metaphor to the TL such as reducing it to sense (which will result in the addition or the omission of some parts and will consequently influence the emotive force of the metaphor) or translating it to simile plus sense are also possible.The metaphor not only performs an aesthetic and expressive function, it is the main means of expressing the author's style. Results and recommendationsThe metaphors have various applications in all areas of linguistics and recommendation is so that it is especially it is necessary to strive for the most accurate transmission of both the form and the semantic content of the source text metaphor. This is especially important for a poetic text based on an image.The application of metaphor is not limited by only the sphere of language, that is, the sphere of words: the processes of human thinking are largely metaphorical. That is what we have in mind when we say that the conceptual system of a person is ordered and determined metaphorically. Metaphors as language expressions become possible precisely because there are metaphors in the conceptual system of a person. Thus, whenever we talk about metaphors, the corresponding metaphors should be understood as metaphorical concepts (concepts).The metaphor is used in addition to the usual linguistic mechanisms of non-semantic resources.The stylistic application of metaphor is the most used. Metaphor here is one of the ways to form new meanings of words and new words. This process, like other processes of changing the meaning of words, is the domain of lexicology. However, there is an intermediate stage in this process. New value is not yet, but the use has become familiar, begins to enter the norm. A “language” metaphor appears, as opposed to a “speech” metaphor.The analysis of the language of works of art has long been carried out and still is sometimes carried out with the division of stylistic means into pictorial and expressive. In this case, figurative means of the language call all kinds of figurative use of words, phrases and phonemes, combining all kinds of figurative names with the general term "paths". Figurative means serve the description and are mainly lexical. This includes such types of portable use of words and expressions, such as metaphor, metonymy, hyperbole, litotes, irony, paraphrase, etc.The essence of the tropes consists in comparing the concept presented in the traditional use of the lexical unit and the concept transmitted by the same unit in artistic speech when performing a particular stylistic function. The most important paths are metaphor, metonymy, synecdoche, irony, hyperbole, litos and personification.Metaphor is usually defined as a hidden comparison, carried out by applying the name of one object to another and thus revealing some important feature of the moment.Thus, the metaphors are successful used in stylistics.But also the metaphors are widely used in education to understand better the meaning of something new. The importance of the modeling role of metaphor, giving impetus to the development of creative thought and leading the student-researcher to new analogies, as was noted by linguist, who interpreted the metaphor as “one of the main methods to learnthe objects of reality through creating of artistic images and generating new meanings, when the metaphor performs cognitive, nominative, artistic and sense-forming functions ”The translation of metaphors used to quite complex and different techniques for this aim are used, but the language is so contextual that maintaining any view as to how something ought to be translated is futile. You must judge each utterance separately, and in its proper context before you can make a decision. Every use of language is unique. Once a metaphor has been brought into, for example, international discussion, it can undergo changes when transferred from one language and culture into another.Metaphor is very useful also in translation as it helps to students to understand complicated things by easy and familiar words.Also it was presented the analysis for the metaphors in translation. It was shown that they help in understanding words which exist in original language but don’t in the language of translation and mentioned, that besides, concerning the translation of metaphors themselves, it was marked that the interpretation of metaphors is strongly culturally conditioned. This is especially the case with translated metaphor. Adopting a metaphor to a new context a translator can choose among three possibilities: he or she can use an exact equivalent of the original metaphor.CONCLUSIONOne of the main features of modern mass culture is its informational character. It gives to the content of information the properties of universality. Mass culture, in turn, requires the creation of channels for the transmission of socially significant information to potential users and the semantic adaptation of such information from the language of special areas of knowledge to the language of everyday life. Such channels are provided by modern information and communication technologies and nowadays widely used in all kind of management, in science, culture, education and, of course, in the media.There are many different ways of placing advertisement for the product or service: Radio, TV, Press, Billboards, Internet etc. Every type of business requires the own special segment of audience. For a very long time there were worked out a set of standards for promotion.Thus, the promotion for ”emotional” products and services should be placed in emotional media such as television and radio orin Internet.Theadvertisement for “rational” products and services should beplaced in the press, at the billboards or specific serious web pages and radio stations.Radio remains to be popular now also.It is engaged by wide latitude of coverage and long duration of listening. It has the high penetration of information. Advertising on the radio is following the consumer: under the sound of the radio we have breakfast, we travel to workin public transport, we work in the office, we choose clothes in the store and wait for friends in the cafe. At the same time, due to the specifics of soundsthe dialogue on radio is more attractive than the textual one, so there is a greater immersion in the consciousness of the audience. Radio also gives a freedom of imagination. Unlike other channels, the radio does not impose templates, certain pictures or forms. When youhear perceive sound advertising, the imagination is connected to the audience. But the current enormous growth of social media has changed this classic formula a lot. The most of promotion has shifted now into virtual field anymore. The current study is devoted to the analyses of Metaphor in advertising texts and allows to get a prove of metaphor's power as a tool for promotion. The settled tasks were achieved.In particular, -the definition of the concept of metaphor was presented;-The review for the the types of metaphors was made;-The study of the classification of metaphor was held;-The identification of the features of metaphors in advertising texts was made;-The analyze on the use of advertising text metaphors on glossy magazines was also presentedThe work allows to analyses the advertising texts' features and proves thatadvertising text is an example of the most effective use of language tools. The pragmatic aspect of the advertising text is directly manifested in its peculiar organization (choice of grammatical and lexical units, Stylistic techniques, special syntax, organization of printed material, use of elements of various sign systems).The fact that the chosen for analysis magazines are gender oriented makes it possible to investigate the gender-oriented metaphors in advertising texts.Thus, the “Vogue” magazine promotes the gender stereotype of women who should all the time prove that her status is not lower than men have. The positive features of the female stereotype include kindness, kindheartedness, humanity, warmth, emotional support, and flexibility. Women in general during decades and centuries are credited with a low score for their achievements, a poorly developed sense of identification with their group so the current time glossy magazines are putting all efforts to improve the situation also by using attractive metaphorical advertisements.There are mostly noun- and adjective - metaphors used for women-oriented advertisement.Gender stereotype of man – still engaged by ideas about men having a high status in comparison with women. Men, as representatives of the high-status group, are credited with the desire for economic success, achievement, competence. It is believed that men have a more developed sense of identification with their group than women. The current analysis let us to see the metaphors related to the advertising of men- oriented products and services. There are mostly noun- and verb - metaphors used for men-oriented advertisement.In the current work the metaphor was investigated from the point of its applications in stylistic, education and translation.It was shown clearly that metaphor is suitable to make some idea or thought more memorable, also it is magnificent when the promoter needs to reformulate the problem, breakthe constraint, see the situation in a new perspective.Besides it was shown that metaphor can be used to unobtrusively present a new point of view, or evenmake it clear that the problem is not new to a person and there are solutions to it for a long time and metaphor is used even to change a person’s limiting beliefs, bringing aperson to new opportunities.The clear conclusion of this work saying that metaphor in the advertising text is intended to convey more precisely the meaning of the phenomena, to emphasize a new and important nuance and there are certain ways on how to do it.The positive feature for this research work is also the possibility to be able to evaluate the practical applications of metaphor not only in Stylistics but also Education and Translation. 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