Advertising Language, Discursive Practices, and Intertextuality: 1 Coleman (1990), 2 Cook (1992), 3 Frith, Shaw & Cheng (2005), 4 Gottschalk (2002), 5 Panigrahi & Chandra (2013), and 6 Simpson (2001)

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See section:

"5 Corpus Design."

To add, per my favorite quote from this particular source, Coleman also wrote the following, still on the same page, on the history of selling, in general.

"A point often overlooked is that 'advertising language' covers a broad territory, from the most sophisticated and well-tested commercial ever aired, to the cry of the street vendor announcing that he has apples for sale.

I would have liked to see a concluding chapter summarizing Berger's main points and providing questions for further inquiry." The reviewed Work was called

"Ads, Fads, and Consumer Culture: Advertising's Impact on American Character and Society" by Arthur Asa Berger [review by: Simon Gottschal];

An icon is different.

"An icon is a sign which means by virtue of resemblance to what it signifies."

The concept of marriage is visually indexed in certain places through the wearing of a wedding ring.

"An index is a sign which points to something else by virtue of a causal relationship" [Cook, 1992, p. 74].

This is also so, because the analysis mode itself, of which language is not the same.

"Analysis cannot adequately cope. [...] Yet even in analyses of printed ads the problems are legion." A legion is a vast host, multitude, or number of people or things basically.

"seldom alone" and features are borrowed from different genres, etc.

"Being a parasite discourse is not necessarily a negative quality, nor is it unique to advertising alone;"

In the 9th chapter, common discussed themes are such like: "THE BLOND AS A SYMBOL," mood like Orwell's totalitarian (societal) doom,

"Big Brother" brainwashing moreover. THERE IS ALSO INTERTEXTUAL [cultural] resonance, where under the section titled "The Heroine as a Mythic Figure" is tied to

Something you cannot show or explain enough in detail, such as the French intertextualized perfume mentioned here, Chanel No 5, this perfume is classic, and

"Chanel No 19 uses an intermediate image of an unknown chic model 'wrestling' an elegant man with the caption 'The Outspoken Chanel.'

Cook's Chapter 7 is on "Connected text," which seems similar to intertextuality [p. 149]. For instance, the first section, which is 7.1 and titled

"Connectivity in discourse" becomes engaging where, starting on the second page of this chapter both Halliday, as well as Goffman are cited [see p. 150].

Coleman (1990) explains that when a person reads an analysis source on advertising, from the most sophisticated and well-tested commercial ever aired, to the cry of the street vendor announcing that he has apples for sale, the communication leads to a feeling of distrust, so about the reader/viewer/listener of the misleading ads in general is reviewed here, and how ads are communicated and then received by them. Coleman [1990] asked the following [p. 144].

"Do they treat the communication as potential entertainment, but not as a source of information?" Do they accept any of it and how do they decide what of it to be skeptical of? In Western society, what is certain is that a product is new or still on the market if being advertised.

Cook believes that ads already have a tradition, and most people that choose to discuss them ignore the fact that the audience is quite familiar with this background.

"Each new ad is encountered against a background...

Based on different perspectives, they wrote: Frith, Shaw, and Cheng (2005) citing Haug (1987), Kuhn (1985) and Berger (1972), on page 65, in their discussion, wrote that an alternative way of viewing their findings would be via a monetary, material lense, with some historical roots (for material and historic roots, see Kuhn, 1985 and Berger, 1972).

"Examine some of the classic feminist arguments on representation that contend that sexuality is a form of general exchange value in Western societies," as Haug (1987) has originially stated (p. 65).

Cook [1992] on reflecting on this wrote the following example that came into his mind.

"For most British people, it is a soap-powder commercial in which a housewife praises the product for making her family's clothes so white." An example by Cook [1992]...

Material Ford-ism as a concept, from: https://www.cddc.vt.edu/digitalfordism/fordism_materials/thompson.htm Here, it says that...

"Ford's main contributions to mass production/consumption were in the realm of process engineering.

He stated that we as people assimilate and rework the tones of the expressions of others that we imitate or copy. Fairclough (1992) then cites Foucault.

"Foucault [1972] adds the refinement of distinguishing within the intertextual aura of a text different 'fields' of 'presence,' 'concomitance,' and 'memory'" [p. 270]. Also,

He stated that we as people assimilate and rework the tones of the expressions of others that we imitate or copy. Fairclough [1992] then cites Foucault.

"Foucault [1972] adds the refinement of distinguishing within the intertextual aura of a text different 'fields' of 'presence,' 'concomitance,' and 'memory'" [p. 270]. Also,

But another consideration is the sample size and gathering dates.

"Geis' corpus consists of approximately 800 American television commercials collect- ed between 1978 and 1981;

Some slight [more localized] differences were mentioned however, and based on the review of literature, FOUR HYPOTHESES are listed here, on the same page, at the end, and before the next, method section.

"H2: The beauty types used in women's magazine advertising will differ in the U.S., Singapore, and Taiwan. H4: The types of products advertised in women's fashion and beauty magazines will differ across cultures."

The social world inside the bus is moving through and with the world of nature, according to Cook.

"Harmony between the human and natural world is affected by the echo of the colour of the corn in the colour of the young woman's hair" [Cook, 1992, p. 57].

Shortly and additionally here, internationalization is proven, in the form of the statement that reads the following.

"In each of the countries in this study, one of the top three fashion and beauty magazines is not originally a local magazine" (Frith, Shaw, and Cheng, 2005, p. 61).

Shortly and additionally here, internationalization is proven, in the form of the statement that reads the following.

"In each of the countries in this study, one of the top three fashion and beauty magazines is not originally a local magazine" [Frith, Shaw, and Cheng, 2005, p. 61].

How is the intra- one different?

"Intratextuality keeps the textual elements coherent enough to bring out a meaning."

but a new subsection titled "1.2 Advertising as discourse" states that "[t]he purpose of this book is to analyze ads as discourse" and DA (discourse analysis) does not only focus on language, with the internet, and what is actually just an ad (p. 223).

"It also examines the context of communication: who is communicating with whom and why; in what kind of society and situation; through what medium; how different types and acts of communication evolved, and their relationship to each other.

Another example is that of expensive clothing and such clothing may be thought of an index of wealth.

"It depends on [the] knowledge of the world, and will vary from one language-user to another."

Another great conclusive point of hers, verbatim here is the following.

"It is all very well to talk about advertisements imitating other forms of discourse -

Advertisers avoid obvious ways of solving a problem when they do not mention an easier, cheaper/free solution to a common problem people face. It is more about the verbal and visual rhetoric and a type of communication rather than specifically having a focus on language. She goes on to say the following.

"It is all very well to talk about advertisements imitating other forms of discourse- personal letters, quizzes, or editorial material - but any book which purports to discuss 'the language of advertising' really should deal with specific linguistic features which contribute to the reader's identification of the imitated form of discourse and their effect on understanding the advertisement," according to Coleman on Vestergaard and Schrøder (Coleman, 1990, p. 141).

It is more about the verbal and visual rhetoric and a type of communication rather than specifically having a focus on language. She goes on to say the following.

The description that Cook (1992) uses is the following, and the text of the ad is quite unusual, so it draws in attention from the reader.

"Mixing up the signifiers: an advertisement for 'fcuk.'

Also, "The lion cannot protect himself from traps, and the fox cannot defend himself from wolves. One must therefore be a fox to recognise traps, and a lion to frighten wolves" [Niccolò Machiavelli].

"Morality and ethics are for the weak. In order to become powerful, you have to lie, cheat and deceive others.

He concludes this point by stating the following.

"My feeling is that hegemony theory is a strong contender, which combines particularly well and fruitfully with intertextuality" [Fairclough, 1992, p. 271].

Also, visual "grammar" has iconic potential, so a good aesthetic and good for attracting attention and being memorable...

"Parody is one of the common strategies found in Indian advertising. The real life characters often appear and re-exhibit the scenes of the soap operas or movies where they promote the products.

An alternative discoursal intervention is available. [Block quote:]

"Peace researchers such as Kenneth Boulding [1990], along with feminist writers and theorists such as Hartsock [1974] and Miller [1982], have articulated alternative ways of thinking and talking about power for precisely this reason.

Section 7.2 on "Cohesive devices" by Cook (1992) includes DA linguistic devices that are used to link sentences and clauses. A TV example from

"Pretty Polly tights" (nylons) is used, from 1930 [Cook, p. 151]. Basically Wallace Carothers dedicated his life to women and made nylons/tights for them.

"Figure 3 Text of an advertisement for Chanel lipstick" and it too has

"ROUGE À LÈVRES CHANEL LIPSTICKS THAT PROTECT THE NATURAL BEAUTY OF YOUR LIPS THE SEDUCTIVE BRILLIANCE OF COLOUR" (p. 76).

A song by Nine Inch Nails called "Right Where It Belongs" starts out with the following.

"See the animal in his cage that you built Are you sure what side you're on?

in the original, gender is mentioned [in the Table of Contents] as being covered under such sections as those titled

"Sexploitation and Anxiety," starting on page 107, but included on pages 99 through 118 too; and about the the 1984 commercial, Berger includes the following.

The opposite of selling hard is the soft-sell kind of advertising.

"Soft-sell, by contrast, is typified by the use of indirect speech-acts, the frequent blending of linguistic and non-linguistic information and the greater degree of inferencing work demanded from a potential consumer."

The difference in ad mediums, "exists only in reception, not in production." Scrutinized and highly scripted, lines of ads are highly constructed and anything but natural expression.

"Some early TV ads in the 1950s and 1960s contained ad lib and improvised passages (Geis 1982: 130-62)...

In the 9th chapter, common discussed themes are such like:

"THE BLOND AS A SYMBOL," mood like Orwell's totalitarian [societal] doom, "Big Brother" brainwashing moreover. THERE IS ALSO INTERTEXTUAL [cultural] resonance, where

also intertextual in their utility and are a musical code that is often used and a common feature of commonplace advertising practices.

"The Perfect Combination" is an example that is provided in section 3.2 of Cook [1992].

Living standards and development are comparable. The second reason is the following.

"The United States possesses a Western culture that exerts enormous influence on the rest of the world, whereas Singapore and Taiwan, both traditionally under the influence of Confucianism, are two societies representative of Eastern culture" [p. 60].

they also, based on this add a rational for selecting these as well in their own study; "twofold" reason [Frith, Shaw, and Cheng, 2005, p. 60]. Living standards and development are comparable. The second reason is the following.

First off, what is shown here is that not only did people evolve from monkeys, but people were also then able to quote: "attain knowledge to control the world." ...

"The advertiser's strategy is to establish the fact that consumption of Mentos starts the evolution process, and even the tagline Dimag ki Batti Jala De enunciates that it makes one intelligent.

Arguments are common and include a range of different texts.

"The argumentative type, which may be exhortation or evaluation in her approach, seems to match with the hortatory or persuasive type in others" [Virtanen 1992: 305, as cited in Hwang, 2004, para. 3].

Chocolate and soap are some examples of such branded ads based on the spatial mode of text and visual design of the product packaging itself.

"The brand name is not only written on the wrapping, but also cut into the object,

From Panigrahi and Chandra (2013), it says...

"The modern advertisements are so complex that one needs to be ad-educated to comprehend the text fully.

Another deeper point is where "we see their faces from so short a distance," suggesting intimacy.

"The most dominant image is the middle perspective" and that is their relationship within a broader social context [Cook, 1992, p.57].

"Secondly," the substance chosen or the variety of can "help to fix the product more firmly in the memory by actively involving the reader.

"The specific type of woman on display in the ads mentioned in Frith, Shaw and Cheng [2005] is a professional model. They also mention specific "types" of beauties and compare them. F, S and C used Cohen's formula, etc.

On Semiotics, on page 97 by Cook (1992), it states under this sub-headed section, that most notably,

"The theories of Saussure" are important. "Wade Baskin's translation is good, and the most relevant parts are the Introduction III-VI, Part 1 I-III; Part 2 I-V."

Advertisers seem to want to get as close and personal to the consumer as possible, and intentionally taking it too far.

"There is a very solid and careful treatment of how the advertiser establishes a relationship with the audience by means of fictionalized subcontexts and manipulation of style and register" in Geis' book (as cited in Coleman, 1990, p. 138).

The following, about ambiguity but also logic, is pointed out by Panigrahi and Chandra [2013].

"These days, advertisements are also found reflecting information structures which are far away from the reality of the commodity.

Cont.

"These processes of textual mediation bind together people who are scattered across societies into social systems — one of Smith's examples is how

On page 212: advertisers have been excited about the potential of the cell phone medium, because it could be literally carried around everywhere by everyone.

"Thus a symbol of freedom becomes a selling machine in every pocket" (Berger, 2015, p. 212).

Also, selection was rationalized, like so:

"To maintain comparability, the magazine types from each country were matched by format, audience demographics, local language, and circulation figures. Within the genre of women's magazines, there are various types" (pp. 60-61).

Coleman also reports that her students are able to prove language instances of both truths and untruths with little linguistic background, and which the advertisers themselves may not even intend to communicate.

"Truth/falsehood" are irrelevant, however, and advertisers may actually want to present honest claims after all.

From Antonio Gramsci's, 1919 text on

"Unions and councils." Source: L'Ordine Nuovo, 11 October 1919;

What's more is that they did not discuss the effect on the audience that the formulaic phrasing can have, also, to say that vagueness signifies intimacy is another point of theirs that she thinks is wrong.

"V and S seem unaware of Geis' book (published three years earlier), which might have provided them with a model for language analysis."

According to Cook (1992), the appeal of literature is due to two factors, and those are our personal, individual development, or our "ontogenetic" focus, as well as, the "phylogenetic" aspect of change, that being the historical and human kind of change (p. 80).

"We all lived in an oral, personal, affective world in infancy," and advertising though sometimes appeals to the personal nature of communication, is supposed to be based on objective facts anyhow...

The last of the four beauty types is the "Trendy" type. According to the researchers, this beauty type can be described as the following.

"Wears faddish clothes and displays oversized accessories," and "hair is tousled," and at times the following attitude may be displayed. According to them, the attitude can be described as expressing "I don't give a damn."

Feel the hollowness inside of your heart. And it's all right where it belongs"...

"What if everything around you isn't quite as it seems?

Simpson (2001) comparing others' models as a lead into (including a graphic comparison) of his second schema, where he more explicitly credits Bernstein as having introduced the 'reason-tickle' distinction, and explains, firstly stating the following as some background, grounding information.

"Whereas Grice's model is located within natural language philosophy, Brown and Levinson's is culturally and anthropologically situated," and while "Sperber and Wilson's is cognitive and psychological in orientation," Simpson takes on a more technical approach solely based on two features of language.

The answer is that "[m]en just cannot guess." Further down it also says the following.

"YOUR suffering - all so unnecessary.

Fairclough further explains more on this 'responding' and 'explaining' like so:

"[f]or Bakhtin, all utterances, both spoken and written, from the briefest of turns in a conversation to a scientific paper or a novel, are demarcated by a change of speaker [or writer], and

Section 7.1 by Cook then ends by explaining how

"[w]e express our identity by accepting somebody else's product, political programme, sporting prowess, or art, rather than making our own" [Cook, 1992, p. 151].

Frequent washing and hair drying can cause the need for a conditioner in the first place, but then again, hair can also just dry on its own. So the point is that

"[w]hile the advertisements claim to offer solutions to a variety of problems, they never suggest one obvious solution, which is to avoid problem-causing products altogether."

supposedly the earliest known ad was for a brothel in Ephasus [as originally mentioned by D. White 1988, as cite in Cook, 1992]. [Ephesus - from the Mac dict. feature -

"an ancient Greek city on the western coast of Asia Minor, in modern Turkey, site of the temple of Diana.

Vestergaard and Schrøder show readers that underlying presumptions in the content of ads are a means of understanding the reflection and affect of culture,

"contributing to a society in which people buy things they do not particularly need and measure personal worth by amount and type of material possessions," and

4 Not having access to the full text, but regardless, Sadek and Zhukov [1997], a secondary source, write and as Thomas [2014] here, primarily reviews and uses for a specific purpose,

"differences between the writing systems of the two languages - one alphabetic, the other logographic - offer potential for interesting contrastive analysis in terms of graphic expression. They also present particular design challenges and opportunities for those involved in localization."

The second type of ad here in Panigrahi and Chandra [2013] that is also provided, that is more contemporary, is the

"episodic" one, offering a sequel or continuation, reminiscent more so of the sequence of events of longtime films or movies.

Cook [1992], in a section on "4.6 Writing and speech" claims, at the beginning of this section that if we want to create language and express it according to its maximum effect, in order to make it concise and to make it less redundant, then we must

"free" it "from time and "project it into space" [p. 92].

Cook [1992] includes a long quote from there, at the beginning of this section [p. 54]. Some highlights include

"hypnotized viewer," and protesting apparent false misleading copies of ads involving the "protesters" being "the best acclaimers and accelerators."

In terms of how the "receiver" interprets it, the attention is usually on the words, the objective [overall] meaning, and therefore, time to reflect would yield

"inconsistencies and untruths" that require time, and though some may disagree with the following, Cook tries to say here that composition is an available advantage to an advertiser, however, power may be handed down in the form of criticism and contestation, so this creates an "ambivalent" situation.

Two types he briefly overviews here are what he terms "intra-generic intertextuality," while the other he considers to be

"inter-generic intertextuality" [pp. 193-194].

Guy de Cook [2006] is cited here by Panigrahi and Chandra [2013] as having explained the two categories as

"intra-generic" and "inter-generic." These two are said to occur within the dimension of genre.

In a yogurt [beverage] ad, there is a woman who is displayed as having achieved a difficult balance of

"'being a model and a mum'" and finally, "summarizing voices are almost always those of indigenous educated middle-class males, especially in safety campaigns and ads for expensive durables and financial services."

3 Based originally on Esselink, from 2000, Thomas, here in 2014, under the section titled the following:

"2 Why do Contrastive Multimodal Analysis?" writes that localized guidelines are a resource that is currently lacking and experts are in need, so

Frith, Shaw, and Cheng [2005] also citing Gauntlett [2002] and Greer (1999), and in order to conclude the significance of their research findings, they wrote the following [p. 67, the last para.]. According to them:

"it brings into question some of the basic assumptions from feminist theory related to the representation of women in advertising" (p. 67). This is because what feminist argue about the representation of women, and in this case, within the context of advertising,

In her conclusive remarks, Coleman [1990] explains that V&S's work falls short, like as the title additionally suggests, because

"it is [all-in-all] really more an analysis of both the visual and verbal rhetoric underlying this special kind of communication than a study of language per se" [Vestergaard and Schrøder, as cited in Coleman, 1990, p. 141].

Furthermore, as Simpson [2001] reported on Halliday's ideas, those which are described here as negatively causal, conjunctive adjuncts are:

"otherwise; if not. so; then; because; as a result; that's why . . ."

Behavioral discourse is dependent on "Agent Orientation," as Longacre (1996) originally proposed, it can also entail

"plus Projection" of sorts, partly, "but logical succession instead of temporal succession" [Hwang, 2004, para. 4].

He also explains what the concept of "discourse practice" means to him. It is a practice of

"producing, distributing, and consuming texts."

Situated between genre, character and content, distinct links are made via/to do with TV shows, but linked to other, secondary texts, and of a different kind, including

"publicity, journalistic features, or criticism, or tertiary texts produced by the viewers themselves in the form of letters to the press or, more importantly, of gossip and conversation."

This is all supposed to take on a historical form. This is

"realized in the heterogeneity of texts, in meaning, form, and style." This is viewed as a salient feature that during one period of time can internally be seen as having changed, in terms of linguistic discourse, as it is tied to socio-culture.

The sheer availability of ads make them an interesting focus of investigation that can help us to

"redefine ideas about language, discourse, art and society," so, he sees it as a means worthwhile of study.

Seasonality is also a variation that can affect products like perfume or toys, which

"scramble wildly for attention before Christmas and then diminish in January."

His theory of genre is related. Pages 270 through 272:

"see Bakhtin, 1986, a paper he wrote in the early 1950s."

In multimedia text, P and C wrote that the semiotic composition of signs can create

"separate information structures, which are syntadgmatically related and bound for final interpretation." Real-world application involves space and time cohesion.

Fairclough here, as a primary reporting voice, terms the inspiration or borrowing/population of utterances as

"snatches" from others, and more or less explicitly so or completely so.

She even says that they made a mistake in their analysis. The well-known routine may not evoke the same feeling in everyone (its mention refers to a mildly negative connotation)...

"the claim to know something about the extent of one's addressee's knowledge is a claim to shared knowledge and experience, an element of camaraderie.

She even says that they made a mistake in their analysis. The well-known routine may not evoke the same feeling in everyone (its mention refers to a mildly negative connotation)...

"the claim to know something about the extent of one's addressee's knowledge is a claim to shared knowledge and experience, an element of camaraderie. The word routine might have been mentioned as well, since it provides a convenient and reasonably subtle way to denigrate options other than the product" (Coleman on Vestergaard and Schrøder, 1990, p. 142).

Discursive practices from G: "weaseled" in words are ones that defy normal conversational practice, as Coleman [1990] writes:

"the creation of product names[; t]here is a very solid and careful treatment of how the advertiser establishes a relationship with the audience by means of fictionalized subcontexts and manipulation of style and register" [p. 138].

Coleman [1990] in summary reports that

"the most common error in papers analyzing misleadingness is overestimating the degree to which the literal meaning can legally differ from the conveyed meaning" [p. 144].

And it entails, as he himself wrote:

"the physical material which carries or relays text, music, and pictures."

1. Definitions of discursive practices in COLEMAN [1990]: first, the general definition of 'discursive practices' is that of foucauldian terms, and it is

"the process through which [dominant] reality comes into being" via power, so for example, media creates and maintains culture, which is tied to individual identity of the majority, of the body of masses, those who would be considered mainstream.

It is unclear where he based the following from, but studying messages apparently involves or is dependent on factors like

"the psychological, the textual, and the physical'' [Cook, 1992, p. 68].

Furthermore, the wrong feeling is conveyed, according to Coleman, when the effect is imprecise, as

"the routine is well known" was a misuse on the part of the advertising broadcasters [copy editors maybe?].

This section ends with the following, and although this is long, it is important insight into their METHOD:

"three issues of each magazine were chosen at random (debatable?) from within the 14-month period, March 2001 to April 2002.

Another main point included here is also about the research gap that Frith, Shaw and Cheng [2005] set out to fill, and that was the following, in their own words:

"to date, little advertising research has attempted to look at how beauty is constructed in different cultures. Moving onto the [next] globalized section, the target audience and the apparent disconnect between one advertising agency context [localized somewhere in the West and a top producer there] and

Another main point included here is also about the research gap that Frith, Shaw and Cheng [2005] set out to fill, and that was the following, in their own words:

"to date, little advertising research has attempted to look at how beauty is constructed in different cultures."

Even though the communication of the actual point of the ad is brief, the RVL [reader, viewer, listener] who is willing to infer what is being communicated, aside from the attention-grabbing beginning, involves

"two domains" of assumptions according to Simpson [2001, p. 602]. The first domain is "the text itself" and the second domain involves "encyclopedic entries by an RVL," so individual to a reader/viewer/listener.

This theory [again, Rosch in 1977 proposed a 'prototype' theory] suggests that:

"we choose or understand a word by reference to a mental representation of a typical instance."

Person A begins with a question they are forced to answer themselves. "so are you going out tonight?" Person B replies:

"what do you think?" And the last line is person A saying: "depends if she'll let you out..."

[see another reference and that being Li, E. (2007) A Systemic Functional Grammar of Chinese: A Text-Based Analysis. London: Continuum. Google Scholar @ ASU's Library ]:

"while in certain contexts Chinese characters may be read vertically from top-to-bottom, the unmarked information structure in the Chinese clause follows the same pattern as in English, i.e. Given-New (Li, 2007: 186)." ...;

Positively conditional are these [conjunctive adjunct] structures as well: if... then, in the event of, [and] when.

'Enhancement' makes the second two yield a cohesive agent function.

It seems like his wife will not allow it. Then continuing with the same ad in Simpson [2001], for three seconds a billboard poster reveals

'POLO L, Only £ 8145' [p. 602, iii]. A van keeps the billboard hidden at first. What is made to look like a passerby is then seen in the same frame of the things that the two men were working on; the padded lamppost and poster billboard [iv].

Somewhat [perhaps] related findings about gender are... [as cited in Gottschalk, 2002, p. 302]: the last little bit from the first para. is the following. The chapter on

'Sexuality and Advertising' will be a guaranteed source of interest to readers, as will the chapter on the use of advertising techniques in politics."

Related to Cook is their Chapter 1, on

'The Semiotic Landscape.' After this section the second main part of Cook's book is on text...

A specific type of discourse that Cook [1992] points out is what he terms

'accompanying' discourse [p. 34].

so under the notes section by Cook [1992] on words and phrases in particular, when at least one, if not more words are around each other, then the frequent occurrence of such can be considered what are more widely known as

'collocations,' so words that typically appear or are used together lots [p. 239].

Socially practiced texts may be mediated by

'discourse,' as he writes.

are oriented retrospectively to the utterances of previous speakers (be they turns, scientific articles, or novels) and prospectively to the anticipated utterances of next speakers. Thus

'each utterance is a link in the chain of speech communication' [...] filled with others' words, varying degrees of otherness and varying degrees of 'our-own-ness,' varying degrees of awareness and detachment'" [Bakhtin, 1986, p. 89, as cited in Fairclough, 1992, p. 270].

Lastly, what is intended of a text, meaning that those involved and what they believe it to do is that which is called a

'function.'

French discourse analysts of that time also used some other related terms and concepts, like

'heterogeneite montree' or 'manifest,' and 'heterogeneity constitutive,' or simply 'constitutive [see Authier-Revuz, 1982 and Maingueneau, 1987, as cited in Fairclough, 1992, p. 271].

referring expressions, like pronoun-driven anaphoric with cataphoric ones are another cohesive device example:

'his' refers to WC [a unitary referential chain in between sentences].

So to review, again, one type of discourse mentioned by Cook is considered by him to be called

'mass' discourse and another, is called 'accompanying' discourse.

This makeup is described as 'new,' so this may be attention-grabbing. That it is

'non-transferrable' is furthermore a selling point.

Where communicatively words cannot suffice, there is also something called

'paralanguage,' and this is mentioned in Cook.

Cook [1992], in the 4th chapter on "Language and paralanguage," interprets Williamson's claims as an overall assumption, that

'reality' is morally superior to 'fiction' [p. 68].

Participants are those like

'senders/receivers,' or 'addressers/addressees.'

Buechler [2013] further reports and elaborates here the following: "

'therefore, mass society is a system in which there is high availability of a population for mobilization by elites . . . [p]eople who are atomized readily become mobilized' (Kornhauser 1959: 33, emphasis in original)." Also, "

The 'underlying representation,' as he refers to it, left over via transformation of the combination of the 'deep' and 'surface' causes the disappearance of what is considered

'value judgement' that is to be found inside.

Coleman thought that V and S should have had a more filled out section on

'verbal devices.'

Advertising language, discursive practices, and intertextuality in Coleman (1990): THE EXAMPLES ARE the following, again...

'weasle words' and modals and hedges moreover as just one main point as an example, and here is some more to further elaborate on the details found in Coleman's review.

On this homogeneous and solid foundation will flower and develop all the superior structures of the communist dictatorship and economy."

*https://www.marxists.org/archive/marx/works/1845/german-ideology/abstract.htm "Men can be

"researchers may wish to examine further the ways in which various raves are depicted as 'beauty ideals' in global media" [p. 65].

+"[t]he findings from this study suggest that Caucasian women are being presented as sex objects in Asia while Asian models are being depicted in more demure ways." *

...

Page 4 briefly overviews, and so defines some related terminology as well...

1 Definitions: Coleman (1990) does not give much of a straightforward definition but at the beginning explains that specialists in communication and consumerism lack the proper language-related methods in order to analyze ads linguistically (p. 137).

3 main EXAMPLES: first, a two-part example from Coleman (1990) of ADVERTISING LANGUAGE (from both reviewed; Geis and Vestergaard and Schrøder) are...

1st and 2nd of the first example, from Coleman (1990) are the following.

1 The theory of mass society is one type of perspective (Buechler, 2013, p. 1).

2 It is often used to explain how certain people are afraid that the community and family are dismantled as extremism is subject to greatest influence based on the premise that those most isolated are the most prone to be exposed to extremist influence.

Large institutions can reinforce a certain status quo, and so the basic idea is that of ideology.

3 Durkheim is an important point here.

"There is a very solid and careful treatment of how the advertiser establishes a relationship with the audience by means of fictionalized sub-contexts and manipulation of style and register" in Geis' book (as cited in Coleman, 1990, p. 138).

3 Intertextuality: NOT IN SOURCE 1 EXPLICITLY, but see source 2... On page 38, Cook, like Panigrahi and Chandra (2013), points out that INTERTEXTUALITY is a recurring theme in the "genre" of ads, and so this makes Cook say that it is the part about ads that is most readily analyzable.

In the described bus/gum ad by Cook, a bus in a sunny countryside is shown. See Fig. 3.3a...

3.3b: on the inner seats of an aisle inside, sitting across each other, are visibly a young man and a young woman, shown sitting inside of it.

The power elites also pose a sort of danger to the masses [Blumer 1951, as cited in Buechler, 2013, p. 1].

4 "It gained power in part because of the transformation of publics enjoying democratic dialogue and political influence into masses with neither."

Also, not all psychological and social needs are met by most by going to a mall, especially today, online shopping is more common.

5 What is more and added is that the collective cultural character can be systematically disseminated through a media kind such as this, so what is more and important to note is the following, according to Gottschal's critique (2002).

"I believe that this basic idea is also significant for the shaping of our culture and character, and I expected a more systematic discussion of this permanent "common sense" message that permeates all commercials and, therefore, our social and psychological landscapes."

6 "Second, I wished for a more robust conclusion.

They refer to the composition of individual pictures as well as multimodal displays."

6 'Metafunctions' as Thomas [2014] cites Baldry and Thibault [2006: 39] having cited K & VL [1996, pp. 186-202] as originally claiming that the axes are important: the vertical and horizontal ones that are tied to visual metafunction.

Page 215, in the glossary section, advertisers use "Maslow's Hierarchy of Needs" to their advantage in campaigns.

7 "Last, it would have been helpful to look at movements and organizations that are systematically targeting commercials and providing anti-commercials in order to better demystify the ideological meanings hidden in those pleasant and sexy scripts (see Adbusters in Canada as well as anti-commercial sites in France and elsewhere).

Otherwise, switches are simply like transitions, so what Kelly-Holmes describes as marks or signals of the beginning of a switch.

< *TBC...

Paraphrase: Coleman (1990) states that the advertising language herein can be described as misleading, ideological, and can include features like pragmatic structures, etc.

A claim here is that vagueness signifies something but it may not, but the structure and degree to which the combined language components and the details matter depends greatly on any one combination and/or interpretation that is not literal.

translated for the Marxists Internet Archive by Michael Carley.

A condensed excerpt [copied]: "[t]he workers feel that the complex of 'their' organization has become such an enormous apparatus, which has ended in obeying its own laws, intimate to its structure and to its complicated functioning, but

Cook invites the reader to imagine what calling a women's perfume "Cow" might imply [p. 13].

A definition that is semantically componential might not adequately explain such a proposition.

Simpson (2001)

A functional perspective of language used in, for example in this case and in this context, regarding advertising discourse on a global level and within such a scope and especially to do with a language with capital potential such as English code-mixed within other languages, has to do with what Simpson (2001) refers to as a more logical 'reason' element of his argument on the 'reason' versus 'tickle' distinction. IN CONNECTION TO COLEMAN (1990), this seems similar to Geis' more technical and logical approach to advertising language.

The title is called Semiotics: The Basics. Another, last sub-section of recommended readings is on "writing and [visual] design."

A good theoretical framework is Reading Images: the Grammar of Visual Design by Gunther Kress and Theo van Leeuwen (1996).

Does this seem too good to be true? Such a claim to offer more than paid is a typical recurrence because it seems like quite the good deal, like an intertextual aspect of sorts in advertising discourse.

A lot of promise is made similar to money saving, such as businesses claim to have a quick fix to sell to their consumers, so to speak, so

Ad emphasis in America versus Britain is not the same, and studied emphasis is not identical when different multimodal displays are used [not in Coleman but noteworthy as related definitions here are the following].

A mode is a means of communicating. A medium is the channel or system through which communications are conveyed.

As part of the example, Figure 3.3 and 5 screenshots are then provided [p. 58].

A shows the bus outside, b is the couple in the front of the bus, while the rest of the seats are shown too, c is the young man looking at the young woman [perhaps before official contact is made. D is also a close-up of his eyes and nose, and e is of hers, the same].

These might be good too: Miller, C. 1984 'Genre as Social Action ' Quarterly Journal of Speech 70 151-67 & Ghadessy, M (ed)1993 Register Analysis London Pinter Publishers.

About language skills, like about the form or writing versus how speaking and behavior are expressed, Cook [1992] points out that de Saussure, Bakhtin and Chomsky and him all had to say lots of similar but also different argumentative points on the importance of paralanguage versus just the typical uses of language [p. 73].

Differences were statistically different.

According to Frith, Shaw, and Cheng [2005], what they hypothesized turned out to be true, that "because the construction of beauty is connected to culture," that beauty products vary between different countries [p. 64].

Morality, goodness and kindness are all nice ideas, but realistically, one must do what they have to do to survive, succeed and grow.

According to Machiavelli, employees, in general, are fickle, hypocritical, and greedy of gain. You cannot be the righteous nice leader all the time, because wicked people in the workplace will abuse and trample on you for their own benefit.

they are powerful symbols that equate a perfume with the 'known' symbol-person whose implicit personal qualities (however vague) become attached to the product and, by implication, You—consumer.

Across advertisements, symbolic axes seem (tentatively) to include poles of symbol-women (specific/ generalised (unmarked);

Worse, however, is what he calls "converse fault," which is described here as having a fragmented and incomplete quality.

Ad discourse, according to Cook, is based on music and pictures which are a part of such. Ignoring these elements or downplaying them, as he puts it, is a "serious distortion."

Advertising texts are said to have the following: "two or more of the linguistic, visual and aural texts complement each other for a better understanding of the message by the reader but at the same time there is a probability that intertextuality in one mode may bring out a wrong message for the reader or may go unnoticed by the reader."

Ads are certainly based on other ads, and in order to understand the ad for a certain product, an analyzer must expect a related instance like the one being seen or viewed. This is common in the modern example, in which a lot of visual images are utilized, to evoke such instances. The product itself may be a mystery, to be decoded by persons' as members of an "exclusive club."

Methods from the 80s and 90s may no longer be as impactful as they used to be; the TV has been replaced by social media basically.

Ads can be quickly skipped or ignored online, so ads are sponsored, there is data tracking, or a person can pay to have them taken off of a service provider.

Cook [1992] wrote a section to start out with here, on "8.7 Intertextual voices in ads" [p. 193-6].

Ads contain other ad "voices" and genres in them, and such derived echos, as Cook [1992] describes them, are considered 'intertextual' [p. 193].

Ads are always changing but they can be mostly cheerful, very loud and quick [traditionally], and so emotions are used to sell products or services to people.

Ads do not always aim to move someone to spend money, sometimes they are used for warnings or in other words, they sometimes may be used more for good or beneficial public service needs.

In advertisements where more than one woman was present, the largest or most dominant woman was coded.

Advertisements with numerous representations of women of the same size or having no dominant main character were not included in the collection.

She views their claims as, or their overall approach here as Marxist. While advertisers claim to care about the consumer, they do not, she states this but in a form of a question.

Advertisers as interlocutors act like "mediators... between the public... and the public" and so they seem trustworthy because they showcase a "social service" so to speak (p. 141).

With the rise of visual culture, there are now more opportunities for creativity.

Advertising is a sort of text that is embedded in the larger sphere of the more massive collection called media, and this, according to Panigrahi and Chandra, is transforming social practices in the broader sense.

3 What is the concept and why is it important? Advertising language first, as one of three concepts, as it applies to Coleman (1990), then later, also discursive practices, and intertextuality.

Advertising language first, as one of three concepts, as it applies to Coleman [1990], then later, also discursive practices, and intertextuality.

Ads can also be 'artistic' or 'beneficial' as mentioned by Cook around the same area.

Aesthetic judgements are therefore socially provoked in such and other ways as well, and morals may be questions, or

ads are closer to oral communication than to literature" (as cited in Cook, 1992, p. 80).

After some exercises in this section of the book, some readings are recommended.

A wide array of both the primary and secondary substances, as two different types of substances, are used in junk mail [Cook, 1992, p. 28].

Again, it matters what substances are used, because the choices of them affect "an integral part of its identity."

the institution is of a class, it is social. Its reason for being is in labour, is in industrial production, in a thus permanent state and not only in a salary, in the division of classes, in a thus transitory state and which is precisely to be overcome. [...]

All the problems which are inherent in the organization of the proletarian state are inherent in the organization of the council.

They not only make the ads distinctive and attractive but also assess the viewers' intelligence and knowledge.

All the while the viewer finds himself engaged in a decoding activity, being no more repelled by the act of consumerism."

Intertextual ads blur boundaries, so text is not original, but part of a multi-dimensional space.

Along with discoursal dependence of texts on other texts, a semiotic background is usually inherited too.

"The Cooperative Principle" (p. 81 in the book by Geis) states that a viewer or hearer in other words a potential customer assumes that exceptions to statements do not automatically apply unless they are directly stated (para. 3 in Coleman, 1990).

Also Miller and Johnson-Laird (1976) as cited in Geis and mentioned in Coleman 'help' is not a word people are likely to hear during a commercial unless they pay especially close attention which is unlikely.

Coleman adds that "The Language of Television Advertising" was a "satisfactory" text that she has used to teach a course of advertising language [p. 140].

Also good to use in a pragmatic course, but as a secondary text.

Such meaningful details are missing in Coleman's review, so Cook does quite a fine job of such explanations.

Also revisiting some past mentioned notions about discourse and ideology, Cook has the following to add.

A point of connection is Williamson, in both Coleman, and in Cook.

Also, Cook [1992] explains all anyone would need to know on

The consumer is unaware of this, so "The Cooperative Principle" (p. 81 in the book by Geis) states that a viewer or hearer in other words a potential customer assumes that exceptions to statements do not automatically apply unless they are directly stated (para. 3 in Coleman, 1990).

Modals and hedges are therefore "strength weakening modal operators." The consumer is unaware of this. "The Cooperative Principle" [p. 81 in the book by Geis] states that a viewer or hearer in other words a potential customer assumes that exceptions to statements do not automatically apply unless they are directly stated [para. 3 in Coleman, 1990].

Also, Miller and Johnson-Laird (1976) as cited in Geis and mentioned in Coleman 'help' is not a word people are likely to hear during a commercial unless they pay special close attention which is unlikely. Supposedly if they totally ignore it then they are subject to hearing a stronger claim than the one made.

On pages 124 through 127, V and S describe an interesting ad for singles. Coleman (1990, p. 143) wrote that it "is full of coded language indicating that one of the main purposes of the organization is to allow members to meet potential partners while pretending that they are doing no such thing. This is in itself a fascinating problem for the advertiser: How do you let people know that you can supply a particular service while allowing them to pretend that they are really not interested in that service?"

Also, about V and S's book, Coleman (1990) wrote that it is not clear who the audience is supposed to be because the analyses are neither written for experts and non-experts (p. 143). There is also "too little background." Worse even is that "they appear unaware of Grice's (1975) work, although they could have used his maxims at several points... come close to doing so... reinventing a few of his wheels." However, in the latter part of the book, "the ideological underpinnings" are, as she puts it, excellently treated. Judith Williamson's (1978) analysis of advertising images was a past excellent example.

This is in itself a fascinating problem for the advertiser: How do you let people know that you can supply a particular service while allowing them to pretend that they are really not interested in that service?"

Also, about V and S's book, Coleman [1990] wrote that it is not clear who the audience is supposed to be because the analyses are neither written for experts nor non-experts [p. 143].

Bernstein originally suggested foregrounding such advertising motivation to buy certain products, and such can offer a discoursal formula, based on a restricted set of conjunctive adjuncts [as cited in Simpson, 2001, p. 603].

Also, and interestingly, tickle ads have been shown in this source to perhaps require greater processing, while also evoking an attempt to find a 'reason' template of sorts, so

regional expressions, of which are intended to "assert or adopt an ethnic or regional identity."

Also, and originally according to Gumperz [1996: 366], such language variety is specific to culture(s).

and socio-political views can differ as well.

Also, the details and patterns of mistrusted receival in general, in the consumer's mind,

The same logic applies to many types of unconventional behavior."

Also, the masses, due to their size, loose organization and anonymous nature, of the infrequent interaction basically, has the connotation of the more readily controllable and manipulated nature.

What's more is that they did not discuss the effect on the audience that the formulaic phrasing can have.

Also, to say that vagueness signifies intimacy is another point of theirs that she thinks is wrong.

What's more is that they did not discuss the effect on the audience that the formulaic phrasing can have.

Also, to say that vagueness signifies intimacy is another point of theirs that she thinks is wrong. "V and S seem unaware of Geis' book (published three years earlier) which might have provided them with a model for language analysis." ...

She even says that they made a mistake in their analysis. The well-known routine may not evoke the same feeling in everyone (its mention refers to a mildly negative connotation)... "the claim to know something about the extent of one's addressee's knowledge is a claim to shared knowledge and experience, an element of camaraderie. The word routine might have been mentioned as well, since it provides a convenient and reasonably subtle way to denigrate options other than the product" (Coleman on Vestergaard and Schrøder, 1990, p. 142). What's more is that they did not discuss the effect on the audience that the formulaic phrasing can have.

Also, to say that vagueness signifies intimacy is another point of theirs that she thinks is wrong. "V and S seem unaware of Geis' book (published three years earlier), which might have provided them with a model for language analysis." Page 143: on page 148 of V and S's work. Coleman (1990) explains that the concepts of free and freedom in ads is solely associated here with ideology, "but no mention is made of the fact that these are buzzwords (like wholesome, and fresh, used because of their positive connotations, not necessarily because they are properly applicable to whatever is being described."

They are more specifically hedges and modals. For example skin cannot feel but a skin 'quencher' can include the entailment of such a claim that skin lotion can make skin feel 'younger.'

Also, when "help is combined with generics the result is a claim that interpreted literally may be almost no claim at all" (Geis as cited in Coleman, 1990, p. 138).

★An example of a significant point in Geis' book is how in advertising there are 'weasel words' (used by the advertising community) that defy normal conversational functions, and they are more specifically hedges and modals. For example skin cannot feel but a skin 'quencher' can include the entailment of such a claim that skin lotion can make skin feel 'younger.'

Also, when "help is combined with generics the result is a claim that interpreted literally may be almost no claim at all" (Geis as cited in Coleman, 1990, p. 138).

There are then close-ups of the young man and young woman looking at and away from each other [3.3c], and then the focus is back to the outside.

Although the young man looks away at some point, he seems pleased nonetheless.

Gottschal [2002] wrote the following. "Second, I wished for a more robust conclusion.

specific linguistic features which contribute to the reader's identification of the imitated form of discourse and their effect on understanding the advertisement."

An example by Vestergaard and Schrøder is the dreaded leg hair removing routine and the inclusive use of "we" as these authors mention on page 97, and per what the lines of the ad suggest [as cited in Coleman 1990, p. 142].

so the next main correction is that these could just be buzzwords, like "wholesome, natural, light/lite, and fresh" [Vestergaard and Schrøder, p. 148, as cited by Coleman, 1990, p. 143].

An interesting takeaway in the secondary source, on pages 124 through 127, is that what seems to be a "platonic" social network called "Singles Society" has coded language that if unearthed, indicates singles will pretend not to be actively looking for a partner while actually doing exactly so, but in not as an overt way.

Societal patterns appeal to specific audiences... and often overlooked is the connection between language and images. Page 141 cont. The main goal of a family is to take care of each other and save money, so advertisers and their products can act as "partners" which may or may not be a necessary step in achieving their family's goal. This is problematic... advertisers avoid obvious ways of solving a problem when they do not mention an easier, cheaper/free solution to a common problem people face. It is more about the verbal and visual rhetoric and a type of communication rather than specifically having a focus on language. She goes on to say the following. "It is all very well to talk about advertisements imitating other forms of discourse- personal letters, quizzes, or editorial material - but any book which purports to discuss 'the language of advertising' really should deal with specific linguistic features which contribute to the reader's identification of the imitated form of discourse and their effect on understanding the advertisement," according to Coleman on Vestergaard and Schrøder (Coleman, 1990, p. 141).

An unwanted routine is mentioned, about grooming, right around here, and the word 'we' is used on purpose of course. According to V. and S. this "presupposes a shared knowledge between addresser and addressee" (Vestergaard and Schrøder as cited in Coleman, 1990, p. 97). It is unclear to her what they thought that the verbal devices were and she was disappointed by the overall lack of the type of analysis that she was expecting. She would have done the following differently. "Pretty grim is a casual phrase, typical of speech between two people who know each other well (see Lakoff, 1973). It is also imprecise. Grim, unlike harsh, for instance, semi-humorous hyperbole typical of casual speech between friends. Something could also be said about the casualness of pretty, and the oddness of treat when the object is one's own body parts, another bit of semi-humorous casual-speech rhetoric." Therefore, specific words are described here as humorous and casual; use of language in advertising...

in retrospect, the concept of an 'exotic other' in Asia might very well be the Caucasian woman who displays her body in ways a Chinese model could or would not" [p. 65]. *

And another gap that may be a point of disagreement for some is about imperialism. Frith, Shaw, and Cheng [2005] explain one main shortcoming here [p. 66].

One major premise that they wrongly stated as fact is that of vagueness indicating intimacy, and Coleman calls them out regarding this here.

And finally, on this same page (142) Coleman wrote that Geis' published work, which came out 3 years prior, could have been used by Vestergaard and Schrøder as a model for language analysis.

What if all the world you used to know is an elaborate dream?

And if you look at your reflection, is it all you want it to be?

The first main claim in Panigrahi and Chandra (2013) is that there is dominant use of both textual and multimodal intertextuality to be found in advertising [the examples at the end of this particular article/paper] were specifically drawn from India.

And the other main claim in Panigrahi and Chandra [2013] is about the types of intertextuality, including intra- and inter-modal intertextuality, aural, and linguistic, in ads that include sourcing from pop culture,

Some commercial clips were exemplified, along with photos as examples, in full color too.

And the other main claim is about the types of intertextuality, including intra- and inter-modal intertextuality, aural, and linguistic, in ads that include sourcing from pop culture, for example celebrity voice-overs, parody used especially in India, a consideration of the socio-cultural context (this includes consideration of the register), so realistic dialogue, but also reference to and tweaking of fables, semiotic indexing, and iconing furthermore.

Key words are ones like beauty, cross-cultural, women, advertising, magazines, face, body, East, West, cosmetics, clothing, international, communication, and types; of female "beauty," of the ethnic kind, and various "product type" encoding to analyze specific visual, cultural (in comparison), and social constructions of interest, regarding beauty ideals/standards, etc.

And under the "Coding" section, before "Findings," Frith, Shaw & Cheng (2005) also wrote, on page 62, that they used: "Using Cohen's (1960) formula, the reliabilities were determined for race types (k = .96), beauty types (k = .85), and product types (k = .94)."

TV commercial clips are used as a frame-by-frame example in Panigrahi and Chandra [2013].

And, lastly, 2 color photos are also exemplified before the list of references, following that, in Panigrahi and Chandra (2013).

Viewers may be reminded of a real celebrity through a voice-over. Some example names of stars from India are mentioned here by Panigrahi and Chandra (2013). "In Indian advertising use of the voices of the Bollywood stars like Raj Kumar, Shatrughan Sinha, Amitabh Bachchan is very common."

And, moreover, linguistic intertextuality "in advertising may be considered as visual or aural representation of words, dialogues or quotations from other texts. As such, ad slogan for a particular product is repeated in every ad of the product that reminds the viewer about what the product is about."

And as many people might already know, there are also conjunctions, so words that connect, even "phrases which indicate a logical, temporal, causal, or exemplifying" connections [Cook, 1992, p. 151].

Another further pointed out cohesive strategy that Cook (1992) mentions is in section 7.3, about pragmatic principles [regarding Grice, 1975 and Lakoff, 1973, as cited in Cook, 1992, p. 153].

to do with such examples as "Detergents, Clorox bleach, floor cleaners" and the like, these were labelled as such; the cleaning products.

Another kind was labelled clothing, and it included both designers and manufacturers. Items like magazines and the internet were grouped into the "Entertainment & information" product type. Other,

Beauty was the highest number: 124 [49%]. There was also only one instance found of a cleaning product being advertised [1%] from Taiwan.

Another larger section of the results of this table had to do with the category of clothing products. There were 72 instances found of cleaning products as one ad category reported by Frith, Shaw, and Cheng in 2005 [28%]. Another low number was entertainment from Taiwan [4/2%].

Another larger section of the results in this summative table had to do with the category of clothing products. There were 72 instances found/28%.

Another low number was entertainment from Taiwan: 4/2%. The number of accessories reported from Taiwan was 25/9%, in comparison to the previously mentioned Singaporean instances of 81/17%. The same categories and numbers for the U.S. were as follows.

Page 145 is just the same first mention of discourse but as listed at the end as a reference.

Another source that mentions this is Hwang, S. J. J. (2004). Classifying hortatory and persuasive discourse. LACUS Forum, 31, 147+. https://link.gale.com/apps/doc/A307270885/LitRC?u=asuniv&sid=LitRC&xid=724a05b2

More related to fashion, another type was accessories that are personal, such as "[w]atches, handbags, belts, shoes, accessories, and scarves."

Another unrelated type of product mentioned was insurance. Frith, Shaw, and Cheng [2005], where the references are listed, related and mostly key have mentioned both Goffman and O'Barr. *

According to Rosch [1977], as cited in Cook's Introduction [1992] this is called 'prototype theory' [p. 13].

Another word/synonym of prototype is original.

The title is called Semiotics: The Basics.

Another, last subsection of recommended readings is on "writing and [visual] design."

and the public" and so they seem trustworthy because they showcase a "social service" so to speak (p. 141).

Any book which purports to discuss 'the language of advertising' really should deal with specific linguistic features which

speed of service is important in certain contexts, especially where such a value matters.

Any other personally or collectively beneficial point fits here otherwise.

An overview of this source is the following.

Article 5 is Panigrahi and Chandra [2013]; Ref/citation: Panigrahi, D., & Chandra, N. D. R. [2013]. Intertextuality in advertising. Language in India, 13[9], 251-263.

more and more, you must belong.

As Thoreau said, 'wherever you may go, men will seek you out and compel you to belong to their desperate company of oddfellows'" (5:15).

Identical advertisements were included in the coding process because repetition is a strategy frequently used in advertising campaigns.

As a result, a total of 1,236 advertisements were collected from the above-mentioned nine women's fashion and beauty magazines published in the three societies under study" (pp. 61 and 62).

The vehicles for this spatio-temporally extended textual mediation are the new media — radio, television, and information technology.

As everyday lives become more pervasively textually mediated, people's lives are increasingly shaped by representations which are produced elsewhere." *ETC. ...

Outside of this context, discursive practices also refer to how meaning based on what some may know is plurally put together and at different sites.

As it might be apparent, since Coleman [1990] is about a mass audience just hearing, viewing and/or reading such content, then they are just receiving information and nothing can be "said" back, it is not a two-way conversation, but more like an oration.

meaning that like with a 'situation,' new meaning comes out of having accompanying discourse be combined with the interaction that ads come with [p. 34].

As part of his book on advertising language, and regarding narrative voices of people moreover,

Such instances of connection shape the schematic structure.

Aspects like content and style have a constraint on their component of choice, such also in essence 'exhibit various patterns of similarity [in] structure, style, content and intended audience.'

Maybe a part of the debatable content (different perspectives), or a gap in knowledge and therefore of the research methodology too, what they or we do not yet know otherwise.

At the end of PAGE 60, the bolded and centered "METHOD" section emerges. It is stated here that CONTENT ANALYSIS can help to yield real world trends, and here "across cultures," although how real is really debatable, because the media aims for the most sought after or idealized look, that is nearer to fantasy and exaggeration than the private or public lives of real and more average people.

Feluna Pills are specifically compounded to correct the physical weaknesses of women and girls.

Away goes... irritability... the thrill of new... zest... You become your REAL self."

Bakhtim, de Saussure to some extent as well, seem to be prominent originators of information in the background,

Bakhtim per usual more so as well.

Conventions can be 'reaccentuated' as

Bakhtin [1986] originally wrote [as cited in Fairclough, 1992, p. 271]. Conventions may be mixed or re-worked to be used for another point like for irony instead, or parody.

So as to elaborate, they explain the following as well. "The concept of intertextuality is discussed intensively in the works of

Barthes, Bakhtin, Volosinov, Riffaterre and Kristeva whereas all of them discussed intertextuality as a relation existing among texts but they never discussed the nature of intertextuality in specific terms." However,

CONT. Advertising language, discursive practices, and intertextuality in Coleman (1990): PARAPHRASED... According to Cook, de Saussure handled the textual component well, "but badly with the other two."

Basically, it says here that he wrongly assumed that everyone thinks the same or uses language to "condition" the message in the same way.

[this is how Fairclough, in terms of Critical Discourse Analysis, might explain intertextuality; see a 1992 publishing in an educational source].

Because Coleman wrote the review right after the 80s ended, and since G, V and S collected their samples, G from 1978 to 1981 and V and S in 1977, it would make sense to conclude that

Coleman's review focuses on style, medium, register, English (language), advertising, review, pragmatic/logic, misleading, and culture.

Because the term of focus here, or the concept of 'discursive practices' is based on the operations, hence the use of the word "practices" of discourses, meaning knowledge formations, not to linguistic practices or language use, so Coleman and Cook both have these following points of interest that align with this.

She glances at him, but as he looks back, she looks away" [Cook, 1992, p. 55].

Behind them, a wide array of people are shown [of different ethnicities, some wearing a cowboy hat and some holding a bunch of flowers, for example].

3 "Overall, this book is...

Berger provides familiar examples and helps us look at commercials and our positions as consumers in an informed and self-reflexive light." However, and again, in order to gain more information or details regarding this, one would need to read the original source.

a Marxist approach is one mentioned by Coleman in V & S as a sort of discursive practice and in Western society, patterns can be analyzed using the combination of visuals and verbal messages (p. 140).

Both overt and covert ways are used by advertisers to claim the message is of public service (p. 141).

In Coleman (1990), in general, Geis seems convinced that logic is not the most important focus and Vestergaard and Schrøder may need to do a more detailed review of recent literature, at least back then, when this was published.

Both seem to understand and pick apart the fact that a lot manipulative, overly intrusive, and exaggerated language seems to be used, far removed from reality.

Anomie involves insufficient regulation of behavior while egoism involves excessive individuation of people.

Both signify weakened social integration and loosened social controls that contribute to dysfunctional outcomes, including suicide [Durkheim 1897].

this is salient of the information from the 80s decade, most likely.

Broadcast and print were the mediums of dissemination at that time, having the kind of socio-cultural effect that it did then.

They elaborate individual and local experiences, and they gather them, actuating that national equalizing of conditions of labour and of production on which is concretely based communist equality.

But because it is impossible to impress on the unions this positively class and communist direction it is necessary that the workers turn all their will and their faith to the consolidation and the diffusion of the councils, to the organic unification of the labouring class.

the council is constituted precisely of commissars which the workers elect by section trade (team).

But the union is based on the individual, the council is based on the organic and concrete unity of the trades which is developed in the discipline of the industrial process.

On the next page, she continues her review of V&S (p. 143).

Buzzwords, due to their positive connotation or mere proximity to an applicable description, as Coleman critiques of V&S's use of 'free' and 'freedom,' should not automatically equal having entirely to deal with the advertised ideology of such concepts,

a step which is conditioned by their physical organisation.

By producing their means of subsistence men are indirectly producing their actual material life."

★Index (Cook, 1992, pp. 250 - 256; about intertextual, and localized discursive practices of ads): [only about intertextual, and localized discursive practices of ads] }_

CONT. Advertising language, discursive practices, and intertextuality in Coleman (1990): THE CONNECTIONS ARE that...

The last few important bits covered by the Geis review by Coleman on her page 139 is that Preston (1967) and Preston and Scharbach (1971) found that whether actually present or not a claim that an advertiser wants or tries to make to a consumer may be interpreted as true by the consumer (regardless of whether it is or not it is true, the intent that causes a person to be open to such interpretation). Simple intonation can cause a person to feel as though there is some sort of advantage. Disclaimers help to legally protect the advertisers.

CONT. Advertising language, discursive practices, and intertextuality in Coleman (1990): THE EXAMPLES ARE that...

Methods/methodology in Frith, Shaw and Cheng [2005] is a bolded and centered section (p. 60). It points to the use of

CONTENT ANALYSIS, which can help to yield real world trends, and here, cross-culturally, although how real is really debatable, because

[see Adbusters in Canada as well as non commercial sites in France and elsewhere]. This last topic could perhaps also inform the missing conclusions."

Canadian Adbusters_manifesto; anti-commercials in France: _economic and political antagonism_1793, Guerre de Vendée, was a counter-revolution, the first archetypal ideological genocide_elsewhere?

A society's discourse can be such a unitary infiltrator, into which such is broken down.

Categories and names of such compartmentalizing is then also a natural component, of this larger concept, as described by Cook on mass discourse [p. 7].

"These include warnings [e.g. may contain nuts], information [best before/use by, ingredients, provenance] and instructions [for use, storage, disposal], as well as brand identification and promotion.

Certain messages may be required by law in some countries[, o]thers are set by corporate policy.

Status and Competence 407; The Right to Speak 412; Personal Opinion 415; The Modes of Production of Opinion 419; Dispossession and Misappropriation 426; Moral Order and Political Order 434;

Class Habitus and Political Opinions 438; Supply and Demand 441; The Political Space 454; The Specific Effect of Trajectory 454; Political Language 462; Conclusion: Classes and Classifications 468; Embodied Social Structures 469;

Marxist base and superstructure is the spatial relationship between the direct bundle tied of production and the "means of production."

Class struggle maintains and shapes families, so those who are privileged and are part of the top of the hierarchy live quite different lives from those who work extensively to live for less income (compare the desk job versus manual labor).

"this representation refers to the fable of thirsty crow, who throws pebbles into the water pot so that the water level will rise and it can drink the water[, b]ut here the advertiser has made certain alteration to the original story by placing money in the glass instead of water[; ]the same plan will not be useful because pebbles cannot lift money. The advertiser wants to emphasise that money cannot be accumulated always by the consumers' own plans and experiences[; c]onsumers may need the advice of other experts and in this case the expert is the advertiser Union Bank[, and i]t's only to establish the fact that a specific good plan does not always work in all contexts, the advertiser has used intertextuality to a fable."

Clips from YouTube were further inserted here by Panigrahi and Chandra (2013), 8 separate ones, of Mentos (via YouTube), and this shows another example of intertextuality in advertising, based on (originally) a TV commercial. The provided frames are said to be related to Darwin's theory of evolution.

The main variety of the nation's society is also shown there.

Closer in, there is a forming relationship between the young man and woman.

A narrative can be turned into a photo, or discoursal genres and purposes may be changed.

Codes are not the only aspects of intertextuality, themes are too.

Then he took his own life two years afterwards, "beset with doubt."

Cohesive devices include: repetition [lexical items like 'women' is repeated twice here, for example],

Misleading advertising, about the reader/viewer/listener of an ad and the general mistrust felt by them and how ads are communicated and then received by them.

Coleman (1990) asked the following (p. 144): "[d]o they treat the communication as potential entertainment, but not as a source of information?"

FURTHER RESEARCH could entail how people in their society handle being presented with such content with a very specific undertone of language.

Coleman [1990] asks and concludes the following regarding this point about future implications [p. 144].

At the same time,

Coleman [1990] is more of a critique-style review of two, secondary sources, and not a whole lot of usable information is provided, such as and as were mentioned here,

This is how the dating game works but the communication funnel here is of course an ad that must showcase this but not in the slightest transparent way, at the same time. _____.

Coleman [1990] therefore asks: "This is in itself a fascinating problem for the advertiser:

Vestergaard and Schrøder describe an interesting ad for singles [as cited in Coleman; pp. 124 - 127 in the original source].

Coleman [1990] wrote the following to review and reflect on this example [p. 143].

The audience, as she cites is based on what Schudson [1984] concluded, is overloaded and feels a sense of mistrust.

Coleman believes that this may intrinsically be based on the hearers/readers natural 'editing' process, so exposure or past experiences cause them to have certain preconceived notions.

In their take on this, they wrote that this creates a presupposed a kind of understanding or the specific background knowledge found herein, in this context, that 'addressor' is supposed to interpret from the 'addressee.'

Coleman was disappointed by Vestergaard's and Schrøder's lack of analysis.

2 Discursive practices:

Coleman's [1990] critique of Vestergaard and Schrøder is that

Advertising Multimedia (Media Type; most common methods of advertising)

Commercial ideological mentality (variably broadcast) is a common ad method, and sexuality is another that is politically-rooted.

However, to gain more information or details regarding this, one would need to read the original source. Advertising multimedia (media type; most common methods of advertising)?

Commercial ideological mentality [variably broadcast] is a common ad method, and sexuality is another that is politically-rooted.

An example given here is of hair conditioners.

Companies, even those whose products cause an issue in the first place, create and sell products to un-do the damage done or caused in the first place.

So, all of this then is called a system that makes sense of a "componential definition."

Componential means the semantic analysis of discreet parts, and it does not account for connotations or metaphors.

Source 1: Coleman, L. (1990). The language of advertising. Journal of Pragmatics, 14(1), 137-145. }Part of MAIN AREA 1, which has a focus here on the following.

Concepts defined and cross-connected, with some related examples: the discourse in ads, specifically as it relates to advertising language, discursive practices, intertextuality, etc.

On page 38, Cook, like Panigrahi and Chandra (2013), points out that INTERTEXTUALITY is a recurring theme in the "genre" of ads, and so this makes Cook say that it is the part about ads that is most readily analyzable.

Connect: Coleman (1990), like Cook (1992), which are the first and second sources here on this here master list, have some common concepts like about advertising language, discursive practices, but intertextuality is rather a concept more clearly mentioned in Cook's work; see the index in Cook, 1992, pp. 250 - 256, about intertextual, and localized discursive practices of ads, plus only about intertextual, and localized discursive practices of ads.

Connections of advertising language in Coleman, 1990 (discursive practices and intertextuality too).

Connections: Coleman (1990), like Cook (1992), which are the first and second sources here on this master list, have some common concepts like about advertising language, discursive practices, but intertextuality is rather a concept more clearly mentioned in Cook's work.

There were different mediums of analysis and different goals.

Considered were: pragmatic implicatures, modals and hedges, multiple comparatives, words and phrases, nominal compounds, similes, types of adjectives, and the creation of product names.

Judith Williamson's [1978] analysis of advertising images was a past excellent example.

Cook [1992] around the same area as previously mentioned, cites Geis as well, as Cook wrote that ads which various genres predated before the 'unnatural' content of the 70s and 80s is a prelude to what he cites Geis as stating here, to add to the mix on what Williamson originally started [Geis, 1982, pp. 150-9, as cited in Cook, 1992, p. 213].

The more broadly included definition, or the general use and/or mention of intertextuality as a usable concept in

Cook [1992] can be found by consulting the Index in the back of the book, that

Also mentioned are concepts like one of which seems common [power is a recurring theme in these sources on ads] "power and authority," and the following.

Cook [1992] cites McLuhan [1964]: '[t]he unconscious depth, messages of ads are never attacked by the literate, because of their incapacity to notice or discuss nonverbal forms of arrangement and meaning.

Advertising used to not reach every part of the world equally in the past.

Cook [1992] explains in detail how social function has an effect on genre, by using Eastern Europe as an example [pp. 7 & 8].

directs the readers on page 252 to go to the following pages as to locate where Cook [1992] makes use of INTERTEXTUALITY: 4, 34, 193-6, 220.

Cook [1992] explains that language and context are seen as a holistically combined whole, in what is referred to technically as 'discourse analysis' [p. 4].

Neither are a genre like this part of the 'situation,' which is an environment that is not based in linguistic ideas.

Cook [1992] finally [in the last para. on this page] notes that such shall be referred to as "accompanying discourse,"

He says that ads are restless and no one prefers to pay attention to them [p. 216].

Cook [1992] finds the use of a "slogo" to be an interesting advertising tactic.

Coleman [1990] does indirectly consider the social connotation of words, while

Cook [1992] gives a more semantic explanation behind the meaning of words.

In the notes section of Cook's book on the discourse of advertising, in introducing ads as a genre,

Cook [1992] mentions that it should be noted that the applied linguistics use of the term is different, or it is defined differently than that of the 1972 publication by Foucault, who

At the intersection of Cook [1992] and Coleman [1990],

Cook [1992] wrote in a conclusion on people that individual judgements are varied when it comes to the contact of such a background with a single ad and in contact with advertising in general, because

Compare and contrast:

Cook [1992], compared to the secondary source and the review by Coleman [1990] of two books, is a primary source, of course, but one is very informative, that being Cook, as

Gottschalk, unlike Coleman, mainly gives feedback, some of the critiquing in both of these critiques is more negative, and Coleman's is more partly focused on language (the pragmatic and logical aspects of it), while both she and G somewhat delve into the commercial ideology of the American (social and status-seeking) culture of consumerism.

Cook also attributes political and economic systems as sources of variable consideration in the discourse of advertising.

Plus, Kates, S, Shaw, G, & Garlock, G [1999], titled "The ever entangling web: A study of ideologies and discourses in advertising to women," from the Journal of Advertising, 28[2], 33-49...

Cook also points out that magazines contain paper that can be lifted and smelled, like perfume is marketed in this way although nowadays not as many people read magazines as they look at similar content online.

Cook [1992] like Coleman [1990] mentions Williamson's 1978 text on "Decoding Advertisements," and

Cook cites her as originally stating how the 'natural' and 'real' pictures or images of ads are preventing people from seeing the hidden value of the actually real process and

It is an important center of earlier Christianity. St. Paul preached here, and St. John is said to have lived here.]

Cook explains that "advertising in the era of colour magazines, television, and the Internet is a new phenomenon, both in nature, quantity and effect."

Although de Saussure may wish to have a means to decode language in a straightforward way,

Cook explains this is not the case.

He represents discourse as a group of layers. All layers apply in each case, as well as their interaction.

Cook finds the representation of such a structure to diagrammatically visualize such to be a great idea, see Figure 1.6. His focus is basically about categorization, or putting things in boxes, and so the related concepts of such, that is. He also describes them with examples and reasons.

He then comes back and points out that de Saussure's theory of language has been "immensely" influential but

Cook gives a critique in his book [pp. 68-69].

As opposed to background, 'foreground' is the nearest most to the RVL (reader/viewer/listener); it is an emphasis on the fact that something important is nearest in sight and therefore important or central to the rest of the visible layers.

Cook mentions seasonality, as may be expected, and explains that "sudden burst" ads are of such kind, not available year-round, while the items that are more accessible and last longer are "slow drip."

Furthermore, the word 'game' can be more vaguely connected, or just a very generalized idea instead.

Cook notes that it "may refer to activities as diverse as a toddler throwing pebbles into a puddle, and a world championship chess match[, and d]ifferent games have only what Wittgenstein [1968: 32] described as a 'family resemblance,' and so, a connection which needs tracing through several intermediate instances, rather than any shared components."

A lot is provided on pronouns in ads in Cook's text [pp. 155, 156, 157].

Cook sees ads first as a discourse type and a genre moreover. Cook [1992] does also mention ideology, which is another common theme, but he may have perhaps reconsidered the overall analysis of this using a better-fitting framework [pp. 176-8].

Page 145: "as developed nations introduce their own forms of advertising into less developed areas. The matter is complicated by the cross-cultural gap between buyer and seller and by potential consumers' political and social perceptions of the seller and of seller nations. These are areas to which linguists have much to contribute."

Cook's process of formulating understood or communicated discoursal content entails... First is an introduction with a section, number 1.1, explaining why someone would need to study advertising. Cook terms the avoidant aversion to ads by people in two ways. First, they may "zap" the ad away from sight, like when changing a channel, or they may "zip" it away too, which means skipping or fast-forwarding through a video. On page 1, Cook wrote that "a major aim of this book is to explore the reasons for the paradoxical and ambivalent status," as he previously states how "advertising is everywhere but nowhere."

Williamson [1978], according to Craik [1978], knew she was being "exploited" and was intrigued,

Craik also adds that "[t]he project has a revolutionary zeal to dismantle the mystique of ads" [p. 80].

He suggests to see the final chapter of Kress and van Leeuwen's [1996] "Reading Images: the Grammar of Visual Design...

Cultural Boundaries" and so on, as a further reading suggestion.

Therefore, Marxism is also again mentioned here in Cook's book, as it was mentioned in the review by Coleman.

Daniel Chandler also wrote a great introduction to semiotics, according to Cook.

In the "foreground" connotation can be an interesting or hidden aspect of such informational media.

Different cultures showcase different values through such an example of public communication.

Simple intonation can cause a person to feel as though there is some sort of advantage.

Disclaimers help to legally protect the advertisers.

Simple intonation can cause a person to feel as though there is some sort of advantage.

Disclaimers help to legally protect the advertisers; Coleman (1990) page 140: Geis (p. 181-187) stands against advertising to children as they do not display the kind of skepticism that adults do.

Two important variables pull at and determine the inter-workings of what Cook [1992] explains is connected and dependent of each other.

Discourse analysis, as well as the theory of communication have an effect on how participants recognize what is in accordance with these, as well as why and how DA, with its "description of extractions and idealizations,"

Fairclough [1999] on the language of global capitalism writes that flexible discourse illustrates textual mediation that reflects the social life.

Discourse as a kind of knowledge package is provided to everyday people through "experts" [control].

V and S emphasize the socio-cultural aspect of ads.

Discourse can be of a different type, like a lesson is different from a conversation with friends, so what should be considered is the DA's specific function, substance, the different roles, and their tied together situation.

"Do they treat the communication as potential entertainment, but not as a source of information?"

Do they accept any of it and how do they decide what of it to be skeptical of?

Machiavellian Tactics_as Mentioned in Coleman (1990) https://www.linkedin.com/pulse/adopting-machiavellian-survival-tactics-workplace-shoobridge-ph-d-/?articleId=6667879460693536768 [for ex.]

Do what you have to, to get the objective accomplished, even if it means putting your morals and ethics in the backseat: Machiavelli believed that "the end justifies the means."

Titled "Modernity At Large: Cultural Dimensions of Globalization" [Public Worlds, Vol. 1], a Ninth Printing Edition by Arjun Appadurai [Author] might be good too.

Dramaturgical approach is interesting. Goffman wrote, as he saw it, that social life is like a performance.

Coleman, L. (1990). The language of advertising. Journal of Pragmatics, 14(1), 137-145. }

Earliest linguistic advertising work was by Leech [1966], on British structures [as cited in Coleman, 1990, p. 137].

The leaders of the organization do not notice this deep and widespread crisis. [...]

Eminently bureaucratic spirits, they believe that an objective condition, rooted in the psychology which is developed in the living experiences of the factory, can be overcome with a discourse which moves feelings, and with an order of the day unanimously voted in an assembly made ugly by hubbub and oratorical meanderings.

foreign branches copy Western styles that include and reinforce stereotypical looks from elsewhere basically. For better understanding of this, the authors here [F, Sh and Ch, 2005], in this original source used

Englis, Solomon, and Ashmore (1994), and that borrowed content included looking at examples/samples [data collected] from Singapore, Taiwan, and the U.S. And

the advertisers must come up with new ways to try and hook the people in at unassuming, uniquely creative chances. Coleman (1990) asked the following [p. 144].

Entertainment rather than information? Social media how-tos and reviews certainly today fit this question.

Beauty types per race were different. Perhaps it would have been good to assign one of the two coding tasks to someone more familiar with the U.S. context, because having both coders code from a similar perspective seems to show that findings are up for a discussion.

Especially because they claim that "the Classic beauty was used more frequently for both races." The Sensual/Sexy type "was used more often (27%) with Caucasian models than with Chinese models (11%)." Conversely, "the Cute/Girl-Next-Door type was more popular with Chinese models (25%) than with Caucasians (16%)." Also, although these are low numbers, also more preferred type for Caucasians was "Trendy" (9%), as opposed to the same type for Chinese models, which totalled 6%. "These differences were statistically significant (χ2 = 35.41, df = 4, p < .001)."

For example, the recent Kit Kat ad (youtube.com) uses the popular song 'Kante nahi ...' from the movie Mr. India to reflect a romantic relationship between two squirrels.

Even at times it is found that the advertiser alters the lyrics of the popular song to serve his purpose."

While, at the same time, a mere reproduction of a theme may be considered as implicit otherwise.

Even following the genre of a text, which may include parody, travesty or a collage, any one of these additionally can be considered as examples of intertextuality as well.

So, as someone may imagine, the advertisers cover themselves up legally to avoid such presumptions.

Even the sound of a voice may carry such a quality, like an advantage may be perceived if intonation is heard [Geis, as cited in Coleman, 1990, p. 139]. Panigrahi and Chandra mention a similar claim to do with well-known Bollywood actors.

In one and the other the concept of citizen decays, and the concept of comrade grows: collaboration to produce well and usefully develops solidarity, multiplies the links of affection and fraternity.

Everyone is indispensable, everyone is at their post, and everyone has a function and a post.

Ads as a discourse in this source are analyzed using DA [meaning Discourse Analysis] and the examination here also includes the context, meaning why are certain interlocutors communicating with each other and in what sort of a situation or society, as this may impact different outcomes, viewpoints, efforts and so on [Cook, 1992, p. 3].

Evolved communicative acts and relationships are also important. Music and pictures are a mode used in combination with language and considered a unit as one whole and not separate.

relativity to other considerations, such as the commodities exact necessity or use.

Exchange is compared to other similar commodities. https://www.cddc.vt.edu/digitalfordism/fordism_materials/strange.htm

Contemporary societies are knowledge-based not only in their economies but even, for instance, in the ways in which people conduct their personal relationships.

Expert knowledges/discourses come to us via texts of various sorts which mediate our social lives — books, magazines, radio and television programmes, and so forth."

Ideology is a way to change minds or behaviors in non-intrusive ways but they are pervasive though. Importantly and also, Yang [2001] writes that

F's power-related discourse "ignores agency."

Some slight [more localized] differences were mentioned however, and based on the review of literature,

FOUR HYPOTHESES are listed here, on the same page, at the end, and before the next, method section.

The last two beauty types listed in the third table were "Trendy" and "Other." And although the percentages are low the number was higher for Trendy Caucasians (77/9%) than trendy Chinese models (15/6%). Also a low reported number was lastly, the "Other," which was both 1% for Chinese as well as Caucasian women, but there were more caucasian instances than Chinese, 11 versus 1.

FROM THE FINDINGS, as another perspective/debatable, maybe even a research gap of sorts is this: Frith, Shaw, and Cheng's (2005) race and type hypothesis (H3) was confirmed (p. 64).

Visual logos [branding] are mentioned too, in Panigrahi and Chandra [2013]. Slogans are also pointed out in Panigrahi and Chandra [2013], etc.

Fairclough [1992] also points out that Kristeva and Bakhtin discuss similar comparisons but that theirs slightly differ [p. 271].

past history is absorbed and can be seen in texts, with a basis in the past, as Kristeva noted [Kristeva, 1986, p. 39, as cited in Fairclough, 1992, p. 270].

Fairclough [1992] cites own work here [1992a] to add to Kristeva's [1986] "inherent historicity of text," as he summarizes Kristeva's main point about the importance that intertextuality has and how it transmits it through socio-cultural time and space, to which he adds that

Cook [1992] has an example of a chapstick with an interesting twist [p. 78]. The SLOGO along with

Figure 4.6 reads: "LYPSYLed with a kiss" and two chapsticks are used to show an "X" or the kiss in the image with the couple. Furthermore about cosmetics in Cook (1992), pp: _ _ _

4 "There are three main aspects of this book that I would like to see further developed.

First, I would have liked a more critical approach to commercials and to the ideology they articulate.

There is the outside world filled with nature; "fertile, agricultural world at harvest time, in which the traditional [horses] and the new [combine harvesters] are in harmony."

Focusing in, inside the bus and at its station, there is furthermore a "social world" that is also harmonious.

the receival and transmission into foreign countries is discussed here [a Korean author notes sex for example], foreign branches copy Western styles that include and reinforce stereotypical looks from elsewhere basically.

For better understanding of how all this plays out, the authors here, in this original source used Englis, Solomon, and Ashmore [1994], and that borrowed content included looking at examples/samples [data collected] from Singapore, Taiwan, and the US. And

The intention and the receival are not the same, because people are different based on age, gender, economic status, and so on.

For de Saussure, the context is not important as the components of the language, so its technical structure.

An example of a significant point in Geis' book is how in advertising there are 'weasel words' (used by the advertising community) that defy normal conversational functions. They are more specifically hedges and modals.

For example, skin cannot feel but a skin 'quencher' can include the entailment of such a claim that skin lotion can make skin feel 'younger.' Also, when "help is combined with generics the result is a claim that interpreted literally may be almost no claim at all" (Geis as cited in Coleman, 1990, p. 138). On the next page (p. 139): the word 'help' is 'technical' in the sense that it may not apply (be true) in all cases, which helps advertisers get off the hook in terms of the reliability of the stated claims.

Another way advertising is done is through sampling.

For example, the author of this book recalls an instance when a mini-sized sample of some hair washing products were sent to him [shampoo and conditioner]. Although he did not try them out...

a musical code that is often used and a common feature of commonplace advertising practices.

For example, the recent Kit Kat ad [on youtube.com] uses the popular song 'Kante nahi ...' from the movie Mr. India to reflect a romantic relationship between two squirrels.

Such collective properties as grouped descriptions, as in they are linked together by means of sense relation hierarchies.

For example: "'[m]ammal' is the supernym [term above] or superordinate of horse; conversely, horse is a hyponym [term below] of mammal" [p. 12].

Most messages have hybrid functions.

For instance, information about the nutritional value..."

These innovations made possible the moving, or continuous, assembly line, in which each assembler performed a single, repetitive task.

Ford was also one of the first to realize the potential of the electric motor to reconfigure work flow.

This is reminiscent of Foucault's ideas about how power is abused and transmitted in certain contexts as discourse.

Foucault basically saw the interworking of discourse and power as having a foundation and structure, wherein knowledge is molded from

Followed by, Englis, B., Solomon, M., & Ashmore, R. [1994]. Beauty before the eyes of beholders: The cultural encoding of beauty types in magazine advertising and music television. Journal of Advertising, 23[2], 49-63.

Frith, K. T., & Mueller, B. [2003]. Advertising and societies: Global issues. New York: Peter Lang.

Wood claimed that clothing is designed to call attention to a woman's body, so as to make it attractive to the viewer, as Wood explained [Wood, 1999, p. 145, as cited in Frith, Shaw and Cheng, 2005, p. 66].

Frith, Shaw and Cheng [2005] also explain one main shortcoming here [p. 66]. The models used had specifically been overused in certain respects or to a degree too.

"In each of the countries in this study, one of the top three fashion and beauty magazines is not originally a local magazine" [Frith, Shaw, and Cheng, 2005, p. 61].

Frith, Shaw and Cheng [2005] collected three issues per magazine, which were chosen at random from within the 14-month period, starting from March 2001 to April 2002. The unit of analysis was restricted...

Frith, Shaw and Cheng (2005), regarding their "Beauty Types" subsection of their appendix, they wrote that the two beauty types described imply age (p. 67).

Frith, Shaw, and Cheng [2005] have in the "Appendix" section detailed descriptions of "Beauty Types," in the middle of page 67.

certain aspects of a model's look may make someone compare themselves and feel inadequate, although they may be familiar with this non-typical advertised aspect of looks, it still does little to negate someone's feelings of themselves.

Frith, Shaw, and Cheng [2005] have in the "Appendix" section detailed descriptions of "Beauty Types," in the middle of page 67.

This commodity originates in art in the West, where the female body was seen as arousing. In the Chinese art tradition this was not the same case.

Frith, Shaw, and Cheng [2005], based on Kuhn [1985] and Berger [1972] wrote that while in the art history of Western societies, the female body was objectified, that

the hair and face may not be as important as how the body appears and what a woman is wearing (also what it looks like). How would this display be different today, as that was a past visual practice?

Frith, Shaw, and Cheng [2005], with Berger [1972] also cited, and based on Berger [1972], who originally wrote the following,

There was only one service product found [1%], and 22 miscellaneous [4%] of products found from the U.S. content that was analyzed.

Frith, Shaw, and Cheng's [2005] 3rd hypothesis [H3] was confirmed [p. 64]. Beauty types based on ethnicity were different.

Frith, K. T., & Sengupta, S. [1991]. Individualism and advertising: A cross cultural comparison. Media Asia, 18, 191-197. *Gauntlett, D. [2002]. Media, gender and identity: An introduction. London: Routledge.

Frith, Shaw, and Cheng, 2005, cite Goffman, 1976.

"Genres may be described in terms of their social function, but equally societies may be categorized in terms of the genres they use.

From 1945 until the end of the 1980s, the advertising of goods in Eastern Europe and the Soviet Union, though not altogether unknown, was strikingly rare."

There were 13 instances found in the U.S. [2%], whereas, as previously mentioned, there were also 13 found from Singapore, but with a slightly higher percentage [3%].

From the U.S. ads, 16 were found to have food & beverage products (3%), and as expected [since the magazines were fashion and beauty-related], 56 accessory products were found [11%].

The highest numbers were clothing, followed by beauty products. I would additionally perhaps add or argue that in more recent times, beauty products are surpassing clothing products sold today.

From the U.S. ads, there were 132 cases found of beauty products 25%. There was 1 cleaning product found, or 0%. Most importantly, there were 277 clothing items found 54%.

*https://www.cddc.vt.edu/digitalfordism/fordism_materials/fairclough.htm Fairclough on this...

From the section titled "Textually-mediated Social Life:"

There is exaggeration here.

Further implications involve filling the gap between nations and cultures that are different, so that buyers and sellers can successfully conduct business,

To date, this project is still in a nascent stage and thus remains an important yet incomplete intervention in the Western liberal culture of conflict." (as cited in Karlberg, 2005, p. 1) *

Furthermore, in the 70s some scholars pointed out that connotatively, power can in some ways be viewed as distorted and near to the idea of tyranny (as cited in Karlberg, 2005, p. 6).

However, what are the repercussions and how do such compare to that of places where this is not the case?

Furthermore, they wrote that "the adage, 'sex sells,' rings true in the West, but may not be true in the Asian context."

There is an "unattainable beauty" as Frith, Shaw, and Cheng (2005) have reported on this idea here (p. 67, para. 2).

Gantlett and Greer have referred to this originally as a 'desirable body shape,' so the advertisers are, per the interpretation in the primary source,

"Linguists have concentrated on specific-topic articles and have left the book-length treatments to others." - Coleman

Gap-filling potential, on page 145: "as developed nations introduce their own forms of advertising into less developed areas. - Coleman

is that in the West, and based on the data here, in the US then, the woman's body sells, but it does not seem to be the case in Singapore and Taiwan.

Gauntlett [2002] and Greer [1999] have also stated, as Frith, Shaw, and Cheng [2005] mention, that there is an unfair expectation presented in ads in regard to women, and of the body especially.

Coleman (1990) page 140:

Geis (p. 181-187) stands against advertising to children as they do not display the kind of skepticism that adults do. Still in Coleman, not on Geis, but about what Vestergaard and Schrøder had to explain about similar processes is that... Their aim was to highlight the culture of advertising language (the misuse of it): "contributing to a society in which people buy things they do not particularly need and measure personal worth by amount and type of material possessions, superficial attractiveness to the opposite sex, and so on" (Vestergaard and Schrøder as cited in Coleman, 1990, p. 140). The approach is Marxist and their written claims and evidence persuasive.

However, his analysis reveals some interesting points, such like that,_which_are indicative of contradictions, but such that seem desirable, like 'more car for less money,' which is a comparative [incomplete/multiple or just not as_one_of_these,_collectively_and_as_one_would_be_used, as such would not be typically used/produced unless used to persuade].

Geis also makes use of language units, such_as words and phrases, to reveal how product names are formed. So his "logic" is more serious in a theoretical sense, but not so overly technical as it involves implicatures.

because of some analytical mistakes that Coleman found [in V & S' book as one of the two sources], but at the same time and in a later work,

Geis stated that strict logic is not needed for people to get along.

One gap-filling opportunity that Cook [1992] provides and about one specific choice of analysis is the following.

Generally neglected in discourse analysis or linguistics is the effect that substance has on accompanying discourses [p. 41].

Gerrard Genette has put forth a concrete analysis triad that involves the following.

Genette (a secondary source) writes, and as cited in Panigrahi and Chandra [2013], intertextual features that can possibly be used are: "reflexivity, alteration, explicitness, criticality to comprehension, scale of adoption and structure of unboundedness."

Goffman's focus is too deep basically, so this is a drawback of his conclusions, that an over-focus on micro situations makes him unable to sort of zoom out in reflection, in order to more conventionally sum it all up in a bigger picture of sorts (see https://culturalstudiesnow.blogspot.com/search/label/Erving%20Goffman).

Goffman also was interested in a ceremonial arrangement of nature.

Goffman believed that although it may appear that people are culturally different, they are however all the same everywhere.

Goffman explains that the reason why we do not normally see past what he calls "masks," is because we engage in wearing one as a way to adapt to socially dictated and universal norms that are encountered while we converse with others.

Goffman has found that even animals have an equivalent to what people exert when they put themselves or their image on 'display.'

Goffman originally explained [Cook uses a block quote here], that portraying an individual version of yourself is done during strategic moments.

Rather than referring to physicality today, this just means something closer to the denotation of the word "disgrace."

Goffman saw societies as such organized systems that classify people. When met with a stranger, such a person's first impressions are sort of scanned for any previously understood so-called typical social identity, however,

Firth, Shaw and Cheng [2005] did similarly, but in a different location, time, and having a more specific purpose.

Goffman's ideas about images and displaying or posing body parts in certain ways or of social interaction might otherwise also be useful in connecting some broader concepts here as well, although Frith, Shaw and Cheng [2005] do mention as well as cite Goffman, 1976.

*Frith, K. T., & Sengupta, S. [1991]. Individualism and advertising: A cross cultural comparison. Media Asia, 18, 191-197. *Gauntlett, D. [2002]. Media, gender and identity: An introduction. London: Routledge. Frith, Shaw, and Cheng, 2005, cite Goffman, 1976. → _

Goffman, E. [1976]. Gender advertisements. New York: Harper & Row. → Haug, W. F. [1987]. Commodity aesthetics, ideology and culture. New York: International General. *

[Note # 6 of source number 4;

Gottschalk, S. [2002]. Ads, fads, and consumer culture: Advertising's impact on the American character and society [a Book Review]. Contemporary Sociology, 31[3], 302-303. }

Gottschalk [2000] is similar to Coleman [1990] as both are reviews, but of slightly different formats and topic foci.

Gottschalk, unlike Coleman, mainly gives "feedback," some of the critiquing in both of these critiques is more critical than centered on praise, and Coleman's is more partly focused on language (the pragmatic and logical aspects of it) in conjunction with a socio-cultural secondary source in there to some extent as well, while

Refs: Baker, Samm Sinclair, 1968. The permissible he. Cleveland, OH: New York: World Publishing Company. [...] Geis, Michael, 1984. 'On semantic and pragmatic competence'. In: Deborah Schiffrin, ed., Georgetown University Round Table on Languages and Linguistics 1984. Washington, DC: Georgetown University Press. pp. 7 l-84.

Grice, H.P., 1975. 'Logic and conversation*. In: P. Cole and J.L. Morgan, eds., Syntax and semantics, Vol. 3: Speech acts. New York : Academic Press. pp. 41-58. [...]

"Pretty grim is a casual phrase, typical of speech between two people who know each other well (see Lakoff, 1973). It is also imprecise.

Grim, unlike harsh, for instance, semi-humorous hyperbole typical of casual speech between friends. Something could also be said about the casualness of pretty, and the oddness of treat when the object is one's own body parts, another bit of semi-humorous casual-speech rhetoric." Therefore, specific words are described here as humorous and casual; use of language in advertising...

"C.O. [" Catherine Deneuve that is described as bringing "natural order" here and as being the "binding symbol" of 'totem'] as a unique star and traditional femininity,

H.H. [" Margot Hemingway] as a new star and liberated femininity [a "tomboy"]" [on Williamson, 1978, as cited in Craik, 1978, pp. 82-83].

Some slightly more localized differences were mentioned however. Then, also based on the review of literature, FOUR HYPOTHESES are listed here, on the same page, at the end, and before the next, method section.

H2: The beauty types used in women's magazine advertising will differ in the U.S., Singapore, and Taiwan.

H2: the beauty types used in women's magazine advertising will differ in the U.S., Singapore, and Taiwan.

H4: the types of products advertised in women's fashion and beauty magazines will differ across cultures."

SEE: Goffman, E [1976]; title: Gender advertisements, of the following publication type: New York; Harper & Row. SEE ALSO:

Haug, WF [1987] and title: Commodity aesthetics, ideology and culture; New York: International General.

Genres are a focal point of Cook's 1992 work.

He describes them as often being associated with particular choices, and

Foucault saw the concept or the term 'discourse' to signify or imply knowledge, but also one that is true and not so much tied to language (as cited in Bacchi and Bonham, 2014, p. 174).

He pointed out originally how different and plural sites are meeting areas of the symbolic as well as the material.

Regarding mass discourse, Cook [1992] views socio-culture as a sort of competence that society breaks down and assigns to such units, categories, and names.

He sees this process to be a part of an individual's cultural competence.

(b) → The method was "a quantitative survey of informants' reactions to verbo-pictorial metaphors in a series of billboard ads for IBM computers" (Simpson citing Forceville b, p. 604, para. 3).

He tested how the involved informants reached their conclusions, and important to note is that the conclusions were metaphorical in nature, but also, and more interestingly, there was no direct reference, neither linguistic nor pictorial to a single computer.

Additionally, the following is related and interesting to consider, such as the idea about materialism [some sort of success in valued accumulation] based on George Santayana [philosophy].

He wrote The Sense of Beauty [1896] about aesthetic beauty that is about pleasure based on the quality of a thing, which could be tied to Bourdieu's Distinction text on high class and such things.

He also discussed culture, art, etc.

Hegemony in his view was something like a "philosophy of practice."

from $780 in 1910 to $360 in 1914 [Hounshell, 1984; Abernathy, 1978].

Hence, the term Fordize: "to standardize a product and manufacture it by mass means at a price so low that the common man can afford to buy it."

it does not occur until the final chapter, by which time the neophyte reader is likely to be entirely lost."

Her hope is that they will fix these issues in the following edition. ...

there is also 'wholesome,' 'lite/light,' etc.

Here, we went from structures, to semantic manipulations, to analyzing persuasive discourse.

Ideology is apparent in buzzword use, like that of 'free' and 'freedom'... there is also 'wholesome,' 'lite/light,' etc.

Here, we went from structures, to semantic manipulations, to analyzing persuasive discourse. Articles are more common than books of the language of ads. The two main sources that Coleman reviews have both gathered a corpus; Geis' collection was considerably larger, but they had a negative focus. There were different mediums of analysis and different goals. Considered were: pragmatic implicatures, modals and hedges, multiple comparatives, words and phrases, nominal compounds, similes, types of adjectives, and the creation of product names. Advertisers seem to want to get as close and personal to the consumer as possible, and intentionally taking it too far.

Therefore, while pulling examples from a social and cultural context, his analysis is focused on features of language rather than what features may more broadly symbolize or reference indirectly.

His approach is very detailed and direct (Simpson, 2011, p. 593, para. 2).

Furthermore, "discourse analysis views language and context holistically" (Cook, 1992, p. 4).

Holistically, meaning as an interconnected whole.

Fairclough explains that Kristeva space-relationally separates intertextuality into a 'horizontal' type, while also a 'vertical' one as well [Kristeva, 1986, p. 36, as cited in Fairclough, 1992, p. 271].

Horizontal, in a continuing chain of text are "dialogical" like 'monologues' for example.

Some problems having to do with the type of analyses of the kind that involve such content include transcribing images or music onto a page.

How does someone analyze the interaction of such components? What about these two in relation to language as well?

Regardless of what they sell, all commercials articulate the basic, and disastrous, ideological credo that the path to the satisfaction of all social and psychological needs necessarily leads to the shopping mall."

How would he have articulated the observed ideologies in the commercials of that time instead, and more critically; how so, exactly?

if this was meant for specialists, as not enough advanced analysis-based material was included, or if this was more of an introduction for non-specialists.

However, for such readers, not enough background details have been added for them either, so this is a dilemma here.

There is also "too little background." Worse even is that "they appear unaware of Grice's (1975) work, although they could have used his maxims at several points... come close to doing so... reinventing a few of his wheels."

However, in the latter part of the book, "the ideological underpinnings" are, as she puts it, excellently treated. Judith Williamson's (1978) analysis of advertising images was a past excellent example.

2 "The chapter on 'Sexuality and Advertising' will be a guaranteed source of interest to readers, as will the chapter on the use of advertising techniques in politics."

However, to gain more information or details regarding this, one would need to read the original source.

Advertisements with numerous representations of women of the same size or having no dominant main character were not included in the collection.

Identical advertisements were included in the coding process because repetition is a strategy frequently used in advertising campaigns.

The attitudes associated with such reactions to this form or kind of communication medium of various types may reflect something personal about who we are and what Cook describes here as revealing certain contemporary 'ideologies.'

Ideology and intertextuality are some reoccurring conceptual themes in this first main area with the first 6 sources. https://www.cddc.vt.edu/digitalfordism/fordism_materials/fairclough.htm

"V&S seem unaware of Geis' book (published three years earlier) which might have provided them with a model for language analysis." ...

Ideology is apparent in buzzword use, like that of 'free' and 'freedom'...

Synonymous with stigma are two conditions. One of value reduction, and one that may be reduced but not necessarily.

If a person is "normal," then Goffman saw such a person to practice discrimination of the reduction type, so the subject who is the victim of such then has a reduced life.

It is claimed also that consumers are "diverted" from goals based on their real needs to a goal of purchasing a product or whichever service they claim will enhance their life or quickly solve their problem; instant gratification.

If part of the original goal is to find such a product however, then this is a different consideration, and may actually be helpful to inform them of such availability or solution(s) to problem(s), and so on.

For example, the book gives several other examples that are somewhat related to this one.

If someone hears a song that is featured as a soundtrack or opening credit in a show they like, they may be inclined to purchase

Marxism is a labor theory of value. It is based on a social system.

If something is harder to produce, then it is considered to hold more value.

"A male voice says: 'Cool, refreshing Wrigley's Spearmint Gum.'" At some end-point of the ad, the pack is shown by itself too.

Important to note with this type of ad is that "there are four distinct pictorial perspectives" shown [Cook, 1992, p. 57].

Advertisers seem to want to get as close and personal to the consumer as possible, and intentionally taking it too far. "There is a very solid and careful treatment of how the advertiser establishes a relationship with the audience by means of fictionalized sub-contexts and manipulation of style and register" in Geis' book (as cited in Coleman, 1990, p. 138).

In Coleman (1990), in general, Geis seems convinced that logic is not the most important focus and Vestergaard Schrøder may need to do a more detailed review of recent literature, at least back then, when this was published. Both seem to understand and pick apart the fact that a lot manipulative, overly intrusive, and exaggerated language seems to be used, far removed from reality. Coleman's review focuses on style, medium, register, English (language), advertising, review, pragmatic/logic, misleading, and culture.

2 Which is better fitting than another [G versus V and S, according to Cook, 1990]?

In Coleman [1990], the better source of two, when it comes to intertextuality, or the heterogeneous meaning, forms, and style of this particular discursive practice of advertising media,

"Letters and sounds have no intrinsic importance," as far as Cook believes about what de Saussure had claimed then about phonemes and graphemes (Cook, 1992, p. 69).

In Cook's view language is not an expression of the internal identity but rather a message that results from the outside interaction with others.

"the advertiser keeping the character and background of the reader, the sign value of the commodity in mind, selects the texts and discourses that will suitably fit into the context.

In Indian scenarios, advertising texts are found intertextual to socio-cultural contexts, myths, folk songs and tales, movies, popular songs, scientific discourse and so on."

they create the objective conditions in which classes can no longer exist nor be reborn.

In Russia, this is what the industrial unions do.

Do they accept any of it and how do they decide what of it to be skeptical of?

In Western society, what is certain is that a product is new or still on the market if being advertised.

insight into sign referent signification and the relationship of such sorts of connections [p. 212].

In Williamson's view, reality, the environment, and real emotions are forced fed to the audience, they are forcibly obscuring the real issues of society.

The trade unions, the Camere del Lavoro, the industrial federations, the Confederazione Generale del Lavoro, are the type of proletarian organization specific to the period of history dominated by capital.

In a certain sense it can be maintained that it is an integral part of capitalist society, and it has a function which is inherent to the regime of private property.

Here is one interesting example that Simpson includes and which is quite intriguing (24) ii. *

In an example of a narrative TV ad [24] ii, two men are working in an urban setting outside with a toolbox adjusting random things, and while they are doing so, they engage in dialogue [Simpson, 2001, p. 601].

While Coleman [1990] mentions verbal devices and buzzwords in her review of V and S as well as G, and V and S were more related to the following although G is somewhat as well, in the more technical sense.

In considering word choices on a lexical level Cook [1992] delves deeper than just on a connotative or socio-cultural [advertising] level and describes word meaning at a more complex yet basic level.

The factory council is also founded on trades.

In each section the workers are separated by team and each team is a unit of labour (trade):

Not isolable per trying to find some discernible "voice."

In essence, "postmodern" discourse is not new, as there is a convention of drawing on the old and of compiling many "voices" at once.

Such a prototype theory can be helpful when dealing with hybrid genres that ads frequently create, he says.

In his point of view, such are "ingenious attempts to disguise their ads as something else."

Lastly, from the last bit of this: Panigrahi and Chandra (2013) conclude by first stating that "intertextuality is not limited only to texts of single semiosphere, rather it synthesizes different semio-spheres lying beyond time and place.

In media texts, intertextuality makes it a hybrid field of enquiry and brings diverse discourses for consideration, analysis and final interpretation.

"Advertising seems to be homogenous and increasingly international and cross-cultural, such generalizations immediately run into trouble. In some parts of the world, especially Western Europe and North America, there is a long tradition of high-pressure advertising, and therefore perhaps more tolerance and amused skepticism about it, than there is in countries in which pervasive advertising is relatively new."

In places where this phenomenon is relatively new, the "damage done... to local cultural identity is felt more strongly." Page 3 continued...

Then he goes on to add some examples from each of the two domains, and more specifically, he mentions that which is a bit more elaborated and insightful, such involving mention of assumptions.

In regard to the first domain, for instance, "the men are carrying out different tasks simultaneously and that one man is putting padding around a lamppost." It is not very clear why he is pointing this out, but

They become very complex to reflect what the advertisement is about.

In such instances pictorial intertextuality, which lies in the logo of the brand, helps consumers to recognise the commodity advertised."

It is also very unclear what they mean by each of these terms, and "Classic" can be very vaguely interpreted.

In the appendix, they wrote that a woman who looks like this is "slightly older than average," but in the U.S. most models must look young, so this makes these findings further problematic.

Foucault uses Bentham's "panopticon" to "show" power's invisibility:

In the center, the prison guard of the panopticon prison structure can see inmates, but at his angle, they cannot see the guard as well, so power entails social constraints whose roles are dependent on "fields of visibility," so to speak.

Section: some types of sold goods mentioned and categorized in Frith, Shaw, and Cheng [2005], can be found in the 4th table, on some different categories of products [p. 64].

In the fourth table, Frith, Shaw, and Cheng (2005) reported on these based on "χ2 = 168.29, df = 14, p < 0.001." The listed categories on the left side of the table were:

★ APA reference: Fairclough, N. (1992). Intertextuality in critical discourse analysis. Linguistics and Education, 4(3), 269-293. https://doi.org/10.1016/0898-5898(92)90004-G

In the late 1960s, Kristeva coined 'intertextuality' as a term or concept of great consideration, such occurred in an influential context of accounts for western audiences, but this was not widely circulated until more recently, as Fairclough (1992) on Kristeva's 1986 contribution wrote; "[see Kristeva, 1986, which was actually written in 1966]."

we should expect the theory to hold for English examples but not necessarily for examples produced for a Chinese-speaking audience.3"

In the notes it also states that K & VL's hypothesis would best be used with Chinese, because and as Li in 2007 originally pointed out

At the outset of her book, while examining two ads for two verities of Chanel perfume, (Chanel No. 5 and Chanel No. 19), one showing Catherine Deneuve, the other Margaux Hemmingway, she 'discovers' that both women are signifiers, the former signifying 'flawless French beauty," the latter, the essence of being 'young, American, way out.'

In the original/primary source, this is on page 26. Cook believes this was a hasty point or conclusion that missed a lot more meaningful and conclusive depth. Cook then comes back and points out that de Saussure's theory of language has been "immensely" influential but Cook gives a critique in his book, on pages 68 and 69. It is unclear where he based the following from, but studying messages apparently involves or is dependent on factors like "the psychological, the textual, and the physical" (Cook, 1992, p. 68).

The chapter on 'Sexuality and Advertising' will be a guaranteed source of interest to readers, as will the chapter on the use of advertising techniques in politics."

In the second paragraph, the main point is that the examples are presented in a self-reflective manner, from the point of view of a consumer, because the provided examples should be quite familiar, according to Gottschalk [2002].

it dedicates itself to elaborating the form of economic life and professional technique which is proper to communist culture.

In this sense the unions, which are constituted of the best and most conscious workers, actuate the supreme moment of the class struggle and of the dictatorship of the proletariat:

According to Cook, paralanguage can include: voice quality, gestures, facial expressions, while speaking, touch even, oddly enough.

In writing also, for example, letter sizes and typeface may be considered this kind of compositional paralanguage.

Ads are meant to cause controversy, according to Cook [1992, p. 220].

Individual receptiveness may change with a mood regarding topics including but not limited to technological advancement, capitalism and/or economic growth, patriarchy, art, and globalization.

In more formal terms, something related and very mechanical are some components of the 'laws of thought,' which can include, among other things, the laws of the excluded middle and the one about contradiction.

Page 4: it is no easy task to understand the underpinnings of "neither specific acts of communication nor the internal mechanism of language." In more formal terms, something related and very mechanical are some components of the 'laws of thought,' which can include, among other things, the laws of the excluded middle and the one about contradiction.

Intentionality is also about the mind having certain stand-in or original representations and/or background knowledge while interpreting something novel or revisited, so more related to a connotative type point, etc. Furthermore, "discourse analysis views language and context holistically" (Cook, 1992, p. 4). Holistically, meaning as an interconnected whole. Since the following terms are used in different ways, Cook offers an up-front explanation of how he will use each technical term, related to 'context,' 'text,' and 'discourse.' ...

There are features of advertising that involve the "stimulate repetition" [Cook, 1992, p. 31].

Interest in a product or service may be achieved indirectly.

In the Chinese art tradition, this was not the same case. Now, moving on, to source 4 of 6... Gottschalk (2002) first explains that he is familiar with the usual manner in which Berger explains concepts, which he believes to be accessible.

Interestingly mentioned is the fact that Berger discussed how desires can equally be channeled via media commercials in various ways.

that explains that the point is not to point out another author, it is a condition rather, meaning signification in many types of uses of language.

Interpretation, according to Panigrahi and Chandra (2013) is about that which comes from combining intRAtextuality and intERtextuality.

Knowledge of another ad is assumed in this example then.

Intertextuality that contains a different genre however is what Cook [1992] sees as the second type of intertextuality, the one he called "inter-generic" [p. 194].

So interpretive activity is never an individual act but influenced by the reader's background and the affordances available to him based on that background."

Is this enhancement technique of intertextuality conscious or unconscious, they ask.

Swales' [1990: 58, as cited in Cook] definition of genre is that it is the following.

It can be a of a nature that is a combination of purposes and events, and it ought to 'constitute the rationale for the genre,' as originally stated.

It can also involve inclusion and a communicative reaching out.

It can be motivated by the topic itself or where a person finds themselves to be [locational context].

NOW, the second main source of review by Coleman is Vestergaard and Schrøder, which is an intro to issues that have been encountered in advertising lang.

It can be thought of as a communicative misuse expose.

When people are met with undesirable or otherwise contradictory attributes that are contrary to what they know or at least the "types" of people that they are used to, this causes a value reduction.

It is a "stigma" to be multi-characterized, at least in the context that Goffman knew and lived in. All this can be tied to "power" as well.

Another stylistic feature of reason advertising is foregrounded phonologically "in the alliterative /r/ sequence" of a conditional, such as [22] [p. 599].

It is a TV ad about a cleaner. The line is as follows, with the first part having the /r/ sequence. "If you'd rather be relaxing than rinsing, then try new 'Flash Bathroom.'"

She would have done the following differently: "[p]retty grim is a casual phrase, typical of speech between two people who know each other well (see Lakoff, 1973).

It is also imprecise, as grim, unlike harsh, for instance, semi-humorous hyperbole typical of casual speech between friends. Something could also be said about the casualness of pretty, and the oddness of treat when the object is one's own body parts, another bit of semi-humorous casual-speech rhetoric," therefore, specific words are described here as humorous and casual; use of language in advertising...

"Pretty grim is a casual phrase, typical of speech between two people who know each other well (see Lakoff, 1973).

It is also imprecise.

"Pretty grim is a casual phrase, typical of speech between two people who know each other well [see Lakoff, 1973].

It is also imprecise.

Any book which purports to discuss 'the language of advertising' really should deal with specific linguistic features which contribute to the reader's identification of the imitated form of discourse and their effect on understanding the advertisement" (Coleman on Vestergaard and Schrøder, 1990, p. 141).

It is unclear to her what they thought that the verbal devices were and she was disappointed by the overall lack of the type of analysis that she was expecting, and she would have done the following differently.

It is unclear to her what they thought that the verbal devices were and she was disappointed by the overall lack of the type of analysis that she was expecting.

It is unclear to her what they thought that the verbal devices were and she was disappointed by the overall lack of the type of analysis that she was expecting. She would have done the following differently.

The point here is not the formation of language but the ideas presented.

It is unlikely that putting lotion on will feel like taking a shower, so this is an over-statement. Lotion cannot do anything to reverse or "help" skin from a natural aging process too.

Cook [1992] considers the history of ads in his Introduction [p. 6].

It is usually supposed that ads have been around since the classical times, however,

The one in Cook now is mostly an example image of an ad [Figure 1.8, p. 23].

It is, as previously stated, a Japanese ad from a marriage agency.

It reveals two ends, those in awe of the aesthetic beauty, although amoral, and those which are more concerned with morals, and those who are concerned about materialism. But should he make a direct and bold assumption that beauty is immoral?

Indirect speech-acts involve as the term first of all suggests, indirectly conveying something to someone, and therefore this would seem like a softer rather than a harder way of communicating selling.

It seems unclear what is meant by the frequent blending of linguistic and no-linguistic information (because this is a very vague statement), and similar to the reporting of what makes up the hard sells, the soft ones can also include inferencing, just greater.

About the ad provided by Cook, it can be described as a TV soft drink commercial.

It was screened in Britain, in 1990, and it featured the Sprite beverage.

"The two sets of distinctions," as Simpson (2001) claims, in reference to Short and Hu (1997), might be collapsed into one" (p. 604, para. 2).

It would also be ill-fitting to mesh the two together, because "reason as a text type is so termed because it expounds certain discourse failures which realise the textual meta-function; hard sell with its strongly exhortative 'buy now' and 'do it today' feel (Short and Hu, 1997: 493), arguably encodes strategies realising the interpersonal meta-function."

Additionally some [Selections from] the Prison Notebooks (https://www.marxists.org/archive/gramsci/prison_notebooks/index.htm and/or https://www.amazon.com/Prison-Notebooks-Macat-Library/dp/1912127423) more related to Marx are good to think about here as well. Antonio Gramsci wrote on Marxism as an activist, in regard to both socialism and communism, having been based at that time in

Italy [he lived from 1891 to 1937], and had much to discuss on hegemony [this term originates in the meaning of control or social dominance and this sprung about in Greece], dialectical materialism and so on, also as related to class struggles.

However, in the latter part of the book, "the ideological underpinnings" are, as she puts it, excellently treated.

Judith Williamson's (1978) analysis of advertising images was a past excellent example. Coleman (1990) explains that when a person reads an analysis source on advertising, from the most sophisticated and well-tested commercial ever aired, to the cry of the street vendor announcing that he has apples for sale.

Specific representation of intertextuality can be both explicit and implicit.

Just by reproducing a text within another text allusively or by using quotation marks may be considered the really explicit kind of intertextuality.

[see Baldry, A., Thibault, P.J. (2006) Multimodal Transcription and Text Analysis. London: Equinox. Google Scholar @ ASU]

K & V L also allude to the point that Chinese can be read starting and ending from many points on a plane, such as the following.

5 The third section by Thomas [2014] provides a 1996 reference to Kress and Van Leeuwen because examples and/or data of this kind is usually based on face value that needs improvement, however,

K & V L provide a good starter pack, when they mentioned how compositional layout and types of meaning come together to provide a visually coherent whole [as cited from pp. 186 - 211].

Kornhauser lines up with what Durkheim set forth.

K wrote that on a mass level, society is atomized and objectively so.

In an Intro to Marxism, a Graphic Guide [Kindle ed.], it says that

Kant, which Marx was inspired by to use the following term or concept, had originally explained that fetish is related to the distorted or unreal thought, first related to faith and the relationship that "man" had with such thinking [p. 86].

Kates, S., Shaw, G., & Garlock, G. [1999]. The ever entangling web: A study of ideologies and dis- courses in advertising to women. Journal of Advertising, 28[2], 33-49. *

Kilbourne, J. [1987]. Still killing us softly: Advertising's images of women [video recording]. Cambridge, UK: Cambridge University Films. And lastly, from page 70: *

Again, on the discoursal myth point, they wrote that Barthes [1977] disagreed with

Kristeva [as cited in Panigrahi and Chandra, 2013]. He saw intertextuality as a tool of discoursal influence and advancement too, but synthesis does not point to complete origin. He calls this falling into the already read but untraceable 'myth of filiation.'

Again, on what gets confusing and what it entails, according to Panigrahi and Chandra (2013),

Kristeva's readers wrongly equate intertextuality with the traditional and author-based concept of influence. Panigrahi and Chandra [2013] then draw from Allen [2003], which is a secondary source still cited here, and

Fairclough did not come up with the term/concept that is called 'intertextuality,' but rather it was

Kristeva, who in the late 1960s, well actually he wrote it down in 1966, was a later major theme of Bakhtin's work, which closely was otherwise called the 'translinguistic' approach [Fairclough, 1992, p. 269].

There is both an example of a prosodic ad about a cosmetic product example, and one about perfume in Cook [1992, p. 131].

L'Oréal is known for it's "because you're worth it slogan," and it has acquired other makeup brands like NYX and IT recently, but

and in Singapore, it was reported that models advertised them in 81 analyzed instances [17%]. The last two listed seem a bit vague, but the second-to-last category was "Services" and 45 cases were found [10%].

Lastly, per what was found from Singaporean content, there were 7 "miscellaneous" instances of advertising found [2%]. From Taiwan, the same categories of products were reported on in the following way.

Simplification and partial analysis are the potential drawbacks of the semiotic approach [Cook, 1992, p. 76].

Later Cook does point out however, that paralanguage is at the same time a neglected surface form. Meaning is not only implied based on what is apparent on the surface, therefore it is much more than that, which is visibly available;

they also, based on this add a rational for selecting these as well in their own study; "twofold" reason [Frith, Shaw and Cheng, 2005, p. 60].

Living standards and development are comparable. The second reason is the following.

Some secondary sources here [in this para./3] are

Longacre [2004], Tuggy [1992] and Virtanen [1992].

Funneled Down Details to Lessen TMI; NOTE: MAIN REVIEW/REFLECTION on POINTS to KEEP, and to remember from MAIN AREA 1, the Funneled Down Details

Main area 1 concepts defined, on advertising language, discursive practices, and intertextuality. Mainly to begin with the latter two (intertextuality as well as discursive practices).

"Our society is not one of spectacle but of surveillance" - Michel Foucault

Marx's 1 of 4 alienations; the alienation from others is one.

Plus, "Bakhtin's critique of Saussure can be found in Volosinov [1988],

Marxism and the Philosophy of Language, pp. 45-61" [p. 98].

Page 98: "Bakhtin's critique of Saussure can be found in Volosinov (1988), Marxism and the Philosophy of Language, pp. 45-61."

Marxism, Hegemony and Class (Socio-economy)

What was a success here, however, at least to those familiar, was the mention of

Marxist ideological "underpinnings," according to Coleman.

Note: MASS SOCIETY Theory and INDIVIDUALISM From

Mass society theory

knowledge shaped by a particular discourse wherein social practices, power and subjectivity balance each other off to form a complex whole.

Meaning is produced therein by specific "ways of thinking."

Furthermore, modernity is time and space compressed, and so this has resulted in 'globalisation,' as originally proposed by Harvey [1990], and Giddens [1991].

Media is spatio-temporally transmitted, now even more so through information technology. Increasingly, people's lives are driven by representations produced elsewhere, because of the World Wide Web...

2 The article's date is based on quite the visual genre; regarding packaging [Thomas, 2014, p. 165].

Messages that were contrasted included toothpaste packs that were of the Chinese and English-speaking contexts, and the types of communications were not unitary.

Consumerism leads to socio-psychological (both mental and physical) overall satisfaction, because it is constantly repeated to people, but anti-commercialism is also pointed out later.

Methods from the 80s and 90s may no longer be as impactful as they used to be; Gen Z is most likely not watching TV or TV commercials and is instead more personally following social media influencers (TikTok), or mainly just using the internet on small devices, like the cell phone (Snapchat), and so on.

The status of texts as intertexts is involuntary, according to Panigrahi and Chandra [2013]. They cite

Michael Foucault [1974] as stating that intertexts are only one node in a vast network, which unity may be varied and relative.

Lakoff, Robin Tolmach, 1981. 'Persuasive discourse and ordinary conversation, with examples from advertising'. In: Deborah Tannen, ed., Georgetown University Round Table on Languages and Linguistics 1981- Washington, LK+: Georgetown University Press. pp. 25-42. Leech, Geoffrey, 1966. English in advertising. London * Longman.

Miller, G. A. and P.N. Johnson-Laird, 1976. Langaago and perception. Cambridge, MA: Harvard University Press.

Misleading advertising, about the reader/viewer/listener of an ad and the general mistrust felt by them and how ads are communicated and then received by them. Coleman (1990) asked the following (p. 144).

Geis gives an example of a "skin quencher" that is made to appear so lively and human-like that it seems to entail the facilitation of making skin actually actively younger like something animated, which it is not.

Modals and hedges are called 'weasel words' and these defy what would constitute actual and_real language usage.

On the next page (p. 139): the word 'help' is 'technical' in the sense that it may not apply (be true) in all cases, which helps advertisers get off the hook in terms of the reliability of the stated claims.

Modals and hedges are therefore "strength weakening modal operators", and the consumer is unaware of this.

Modals and hedges are therefore "strength weakening modal operators."

Workers compete, rather than cooperate.

Modern society conditions individuals to isolate and detach themselves from his or her society, work, or the sense of self.

Moreover, the distances in space and time across which these processes of textual mediation operate are increasing.

Modernity can be seen as a process of 'time/space compression', the overcoming of spatial and temporal distance, and late modernity is marked by a twist in that process which is widely referred to as 'globalisation' [Harvey, 1990; Giddens, 1991].

random types of products mentioned, in terms of what was advertised, were items related to food, household appliances, and medicine.

More related to fashion, another type was accessories that are personal, such as "[w]atches, handbags, belts, shoes, accessories, and scarves." Another unrelated type of product mentioned was insurance.

The concept of intertextuality in any media text is an important tool that not only helps hermeneutics but also speaks a lot about the perceptions of the society and how the perceptions get refracted in the texts. Such intertextualities not only legitimize the social practices but also shape new ones. In this post-modern society where visual culture has earned prominence, intertextuality is at the core of textual experience." And then before the list of references, two color photos are included of Union Bank from a website of ads of the world, and one more, showing Mentos from YouTube. References: books (lots from Routledge) and articles spanning from 1974 to 2012... and including topics like intertextuality (regarding mostly text but also images and music), so semiotics and pop culture, TV ads, world dialogue, and YouTube as sources of examples/qualitative data. Not many but just to show some examples of ads typically intertextually present in India.

Mostly a literature review that is heavily focused on many aspects of intertextuality, drawing on a localized context with example ad features situated in India.

A Few Intertextual Examples and Common Features in a Specific Location

Moving on from less of a review of literature and more to a localized context, what Panigrahi and Chandra [2013] choose to add here and to begin is, again, this: they write that

Kilbourne, J. [1999]. Can't buy me love: How advertising changes the way we think and feel. New York: Free Press. *Kuhn, A. [1985]. The power of the image. Boston: Routledge & Kegan Paul.

Mueller, B. [1987]. Reflections of culture: An analysis of Japanese and American advertising appeals. Journal of Advertising Research, 27[3], 51-59.

other types of content that combined make a whole [images, music, framing, timing cultural and persuasively creative references found within, and so on].

Music is typically very emotional, certain word choices may be too, so ads may seem mostly upbeat and energetic, but they also may seek to make us worry, to play with ambition and even greed.

3 Intertextuality:

NOT IN SOURCE 1 EXPLICITLY used or defined, but see source 2...

The second product type included "cosmetics, hair care products, skin cream, and others, and was a category that was labelled the "Beauty & personal care" type. *[This might be a useful and/or replicable category and description that does not entail too much or too little details, and same with the next type mentioned here, related to cleaning products.]

Next up, for instance and to do with such examples as "Detergents, Clorox bleach, floor cleaners" and the like, these were labelled as such; the cleaning products.

'the attempt or intention of one participant to change the behavior, feelings, intentions or viewpoint of another by communicative means' [para. 8].

Not very related but typological, and especially more visual or multimodal is this following source that goes into how do DA research,

Originality nowadays is not what it used to be.

Now it entails three parts, which are first, selection, then combination, and lastly, a tolerance of contradiction.

Two more kinds of cohesion devices are mentioned on the same page by Cook [1992, p. 151].

Omitted "ellipsis" that are typically crossed out Os, are "recoverable" in a previous instance of the text.

Particularly well done here are commercials in various media, which communicate desires.

On Berger's [2000] text, Gottschalk [2002] explains that "[h]is review and critiques of the basic theories of communication are straightforward and helpful, and

Children are not skeptical like more mature individuals, so Geis is against ads for them.

On V and S, Their aim was to highlight the culture of advertising language [the misuse of it]:

Cook terms the avoidant aversion to ads by people in two ways. First, they may "zap" the ad away from sight, like when changing a channel, or they may "zip" it away too, which means skipping or fast-forwarding through a video.

On page 1, Cook wrote that "a major aim of this book is to explore the reasons for the paradoxical and ambivalent status," as he previously states how "advertising is everywhere but nowhere."

The readings were more "reason" related rather than "tickle," and that was the point of these and how they should have been read instead.

On page 208 of Forceville's quotes from the ads, the claim is that if a user makes use of IBM (only the brand name was provided), then a day's worth of work can be accomplished in 'tranquility.'

Page 143: on page 148 of V and S's work: Coleman (1990) explains that the concepts of free and freedom in ads is solely associated here with ideology, "but no mention is made of the fact that these are buzzwords (like wholesome, and fresh, used because of their positive connotations, not necessarily because they are properly applicable to whatever is being described."

Schema 2 contains the following.

On the left-hand side there is a binary distinction of reason and tickle, coupled with the direct/oblique descriptors (Simpson, 2001, p. 593, "Schema 2").

From page 209, furthermore, by owning an IBM, 'everything is nice and beautiful.' Simpson (2001) explains that this example by Forceville (1995) is why he claims that there is a template which involves the reason-to-tickle ad template.

On the next page (page 605), Simpson (2001) explains "Why one advertising tactic should be preferred to another" (para. 4).

The most obvious solutions to problems are avoided, and instead an advertiser shows those paying attention that something like a hair conditioner, for example, as also mentioned around the same area, is a way to fix what another product sold did to the person.

On the next page [142] and from the original source, Coleman also points out that advertisers communicate in a way that presupposes that the audience or person hearing and watching them, definitely has shared knowledge with them, even though they would of course be strangers in real life. See more in Coleman. ;

Elizabeth Taylor's "Passion" perfume, with its iconic shape, reads: "be TOUCHED by; the FRA grance; that TOUCH es; the WO man."

On the next page: "e LIZ a; Beth TAY lor" to highlight the product name [Cook, 1992, p. 132].

The mere reproduction of texts inside other texts like quotations and allusions may be considered as explicit intertextuality.

On the other hand, a mere reproduction of a theme may be considered as implicit intertextuality.

On the top of the second page, Cook writes that people are motivated socially and emotionally by the "status quo," meaning that consumption is expected, however, the downside is that no purchasing balance is achieved (from Your Dictionary: "The definition of status quo is the current political or social conditions. a. An example of a status quo is that the U.S. government is in debt. b. An example of status quo is the common sense of a period of time. c. An example of status quo is the economic conditions of a particular class at a particular period of history.")

Coleman [1990] suggests a source on advertising images [1978] by Judith Williamson, a critique-type text that she finds to be of good quality [p. 143].

On this and the next page, Coleman writes that the misleading that comes from marketers can be described as "Machiavellian" [p. 144].

From the U.S. ads, as expected, since the magazines were fashion and beauty-related, 56 accessory products were found [11%].

One different perspective of debate regarding the following findings, one basis here was based on beauty types.

Paralanguage involves something that is added to language and has meaning.

One way to describe paralanguage, as Cook [1992] does, is that in one way it is a kind of behavior.

Another kind was labelled clothing, and it included both designers and manufacturers. Items like magazines and the internet were grouped into the "Entertainment & information" product type.

Other, random types of products mentioned, in terms of what was advertised, were items related to food, household appliances, and medicine.

"V and S seem unaware of Geis' book (published three years earlier), which might have provided them with a model for language analysis."

Page 143: on page 148 of V and S's work; Coleman (1990) explains that the concepts of free and freedom in ads is solely associated here with ideology, "but no mention is made of the fact that these are buzzwords (like wholesome, and fresh, used because of their positive connotations, not necessarily because they are properly applicable to whatever is being described."

Page 3 continued... but a new subsection titled "1.2 Advertising as discourse" states that "[t]he purpose of this book is to analyze ads as discourse." Furthermore, DA (discourse analysis) does not only focus on language. "It also examines the context of communication: who is communicating with whom and why; in what kind of society and situation; through what medium; how different types and acts of communication evolved, and their relationship to each other. When music and pictures combine with language to alter or add to its meaning, then discourse analysis must consider these modes of communication too." Continued on the next page/page 4...

When music and pictures combine with language to alter or add to its meaning, then discourse analysis must consider these modes of communication too." Continued on the next page/page 4...

Page 4: it is no easy task to understand the underpinnings of "neither specific acts of communication nor the internal mechanism of language."

Now, moving onto "Inter-modal Intertextuality," text that binds via different modes can be furthermore thought of as "intersemioticity," while inter-modal intertextuality can be used to grab attention in advertising.

Panigrahi and Chandra (2013) illustrate this by the following example. An image shows the seer a visual representation of the occurrence of plans not working out, and this shows "the linguistic syntagm."

To prove this fact the advertiser constructs a narrative in the light of evolution theory."

Panigrahi and Chandra (2013) note here that the reference to scientific discourse makes this ad both enjoyable and memorable. They describe the (originally) TV commercial, also as a video on YouTube as the following. Here is a direct quote from them.

Popular movie songs are very useful in ads.

Panigrahi and Chandra (2013) note that rhythmical patterns that ad listeners are repeatedly exposed to and listen to are

Moving on from less of a review of literature and more to a localized context, what P and C choose to add here and to begin is this:

Panigrahi and Chandra (2013) write that "the advertiser keeping the character and background of the reader, the sign value of the commodity in mind, selects the texts and discourses that will suitably fit into the context.

Part of MAIN AREA 1, which has a focus here on advertising language, discursive practices, and so on, but especially intertextuality here, in 5._

Panigrahi and Chandra [2013] consider the socio-cultural context in their article, which includes a consideration of the register, so realistic dialogue is a general focus of theirs, but

Panigrahi and Chandra (2013) also provide an example of an ad that features romantic love, but including animals instead of people.

Panigrahi and Chandra [2013] note that rhythmical patterns that ad listeners are repeatedly exposed to and listen to are also intertextual in their utility and are

Here is where people differ about the expression of a unique voice, at least in certain circumstances.

Panigrahi and Chandra [2013] show by describing a silly evolutionary story in an ad how mentos made some animals more intelligent, meaning that in such a localized context this type of scientific discourse seems prized, now Cook states something opposite of that,

Figure 7.2 was his example of a cordless phone that "echoed" to the wording of a legal statement, which was 'I understand that...'

Parody attracts attention, as Cook notes [1992], but also as Panigrahi and Chandra [2013] mention, parody in ads is used cross-nationally then [p. 195].

Source 2: Cook, G. (1992). The discourse of advertising. London: Routledge.

Part of MAIN AREA 1 that has a focus here on discourse, specifically as it relates to intertextuality, etc.

On the concept of 'paralanguage' he wrote that a 'symbol' considered arbitrarily is a sign as accounted by

Peirce originally (as cited in Cook, 1992, p. 239).

For 30 years, feminist scholars have criticized the U.S. for their fixation on whiteness. Frith, Shaw, and Cheng [2005] support this claim by stating that in their findings, "91% of the U.S. models were Caucasian" [p. 66].

Per the particular advertising multimedia, media type; for the most common methods of advertising used in Frith, Shaw and Cheng's 2005 study, we may want to divert our attention to a section with mentioned goods sold.

When the language of ads is analyzed, a paradox usually occurs. This entails the dilemma about how it "both must and cannot take the musical and pictorial modes into account as well."

Pictures and music create mood. Analysis falls short when it must be applied to such less logical and more emotional or creative works like that which are based in music or pictures.

A syntagm is a: from a Dictionary in "English syn·tagm| ˈsinˌtam | [also syntagma | sinˈtaɡmə | ] noun [plural syntagms or syntagmas or syntagmata | sinˈtaɡmətə | ] a linguistic unit consisting of a set of linguistic forms [phonemes, words, or phrases] that are in a sequential relationship to one another. Often contrasted with paradigm: the syntagm is always composed of two or more units. • the relationship between two syntagms. ORIGIN mid 17th century: via late Latin from Greek suntagma, from suntassein 'arrange together' Polish - English: syntagm(a) | sɪn'tægm(ə) | n syntagma f."

Plans fail because they do not fit individuals' needs and so, this reflects that point here, as these scholars explain. Here is a block quote, with direct analysis from Panigrahi and Chandra (2013):

'when elites are accessible to direct intervention by non-elites, and when non-elites are available for direct mobilization by elites' (Kornhauser 1959: 43, emphasis in original)."

Pluralism is the missing link between the two main opposing social (class) forces here.

"as an ephemeral feature in infancy" [Cook, 1992, p. 234].

Practicality is incompatible with such views [considerations in technical linguistics versus the more applied].

Advertising language also reveals ideology, [intertextual] imitations of discourse, as well as persuasion and the more deliberately coded language.

Pragmatics, within_the_confines_of not too_much_of_a logical emphasis, can help_us to access some of the more technical forms used in such a concept as advertising language, as described by Coleman (1990).

Preston, Ivan L., 1975. The great American blow-up. Madison, WI: University of Wisconsin Press.

Preston, Ivan L. and Steven Scharbach, 1971. Advertising: More than meets the eye? Journal of Advertising Research 1l(3): 19-24. [...]

Packard, Vance, 1957 [1980]. The hidden persuaders. New York: Pocket Books.

Preston, Ivan L., 1967. Logic and illogic in the advertising process. Journalism Quarterly 44: 231-239.

At times and quite often a desire or wish may be presented as more of a need.

Products may be displayed in a way that they have a certain "identity" attached to them on purpose, as doing so can help fulfill fun fantasies.

This is a paralinguistic phenomenon that is prevalent in advertising, and that is a feature that deals with the patterning of sound [p. 96].

Prose [typically common in rhyming poetry] is also present in verbal expression or "polemic" [as cited in Tannen, 1989].

Prototypes are more a part of cognitive linguistics, but there is also a lexical semantic link elsewhere as well.

Prototypes will vary based on each individual person, culture, and prototypical ads can also vary based on periods,

"Russian Formalism and the New Creationism insisted on the autonomy of the text and the irrelevance of the writer's biography or the circumstances of production.

Psychoanalytic and Marxist criticism... have in common a tendency to believe that writing reveals the struggle of forces [in the mind or in society respectively] of which the author was unaware."

Then Bolinger's 1980 work was on semantic manipulation.

R. Lakoff, in 1981, analyzed persuasive discourse.

This theory of his is meant to show the so-called danger that stigmatized characteristics may represent.

Reactions of the stigmatized may include: reality disengagement.

A good theoretical framework is

Reading Images: the Grammar of Visual Design by Gunther Kress and Theo van Leeuwen [1996].

Intertextually connecting all Nokia ads, for example, these authors here mention the slogan "Connecting People'' as an example that may be found in each Nokia ad (Nokia is or was a cell phone company).

Real-life dialogue scenarios are used with special registers that are borrowed from specific contexts, that create intertextuality within such "texts," when the socio-cultural situation is considered. Indian ads also use dialogue from popular movies frequently in ads.

In multimedia text, they wrote that the semiotic composition of signs can create "separate information structures, which are syntadgmatically related and bound for final interpretation."

Real-world application involves space and time cohesion.

5 "Written in the shadow of aforementioned totalitarian tendencies, mass society theory sought to explain the rise of extremism abroad and the dangers to democracy at home.

Recalling Durkheim's analysis of egoism and anomie, mass society emerges when small local groups and networks decline, leaving powerful elites and massive bureaucracies on one side and isolated individuals on the other."

Bourdieu has some inter-connected key concepts, two of which are "HABITUS" and CULTURAL CAPITAL, and these are a sort of SYMBOLIC "CAPITAL" (see http://culturalstudiesnow.blogspot.com/2012/04/bourdieu-and-art-world.html).

Ref: Bourdieu, P [& Nice, R], published in 2010; titled Distinction: A social critique of the judgement of taste. Retrieved from a uni lib signed in and then accessed ebook central ProQuest site...

A CONNECTION: Cook is cited by Panigrahi and Chandra.

Regarding the instances of occurrence: advertising can be placed under two types of intertextual categories, and

Even following the genre of a text like parody, travesty and collage can be considered as intertextuality."

Regarding the instances of occurrence: advertising can be placed under two types of intertextual categories, and Guy de Cook (2006) is cited here by Panigrahi and Chandra (2013) as having explained the two categories as "intra-generic" and "inter-generic."

Frith, Shaw, and Cheng [2005] also mention the following source. *O'Barr, W. [1994]. Culture and the ad: Exploring otherness in the world of advertising. Boulder, CO: Westview.

Richins, M. [1991]. Social comparison and the idealized images of advertising. Journal of Consumer Research, 18, 71-82. Richmond, D., & Hartman, T. [1982]. Sex appeal in advertising. Journal of Advertising Research, 22, 53-61.

Ads may also have neutralizing effects. It may liberate the masses on issues such as "the destruction of the environment, the wealth gap (both between and within countries), the merits of socialism and capitalism, the growth of a world culture, the struggle of feminism and patriarchy," the status of pop culture, the effects of mass communication, such like that brought on by the use of the internet, also social justice and health concerns are common (Cook, 1992, p. 2).

Same page: in the 50s and 60s were ads of the "hard selling" kind of ads, not like the kind seen today. How much good or bad influence can advertising have on people? Page 3: Since advertisers seek to make the content of an ad memorable, "we suffer a split, contradictory reaction: involuntary spontaneous enjoyment, conscious reflective rejection" (Cook, 1992, p. 3). This dichotomy presents a problem in parts of the world that are not akin in the sense of advertising display.

the merits of socialism and capitalism, the growth of a world culture, the struggle of feminism and patriarchy," the status of pop culture, the effects of mass communication, such like that brought on by the use of the internet, also social justice and health concerns are common (Cook, 1992, p. 2).

Same page: in the 50s and 60s were ads of the "hard selling" kind, and so not like the kind seen today. How much good or bad influence can advertising have on people? Ads may also have neutralizing effects; it may liberate the masses on issues such as "the destruction of the environment, the wealth gap [both between and within countries],

The difference in ad mediums is to be found in production, as opposed to having existence in reception.

Scrutinized and highly scripted, lines of ads are highly constructed and anything but natural expression.

Page 303: this may lead to a more systematic socially common sense.

Secondly, there is a lack of a viable conclusion [2nd para. of the 2nd pg.].

Keywords document design, empiricism, genre, localization, multimodality, typography

See section: "2 Why do Contrastive Multimodal Analysis?"

Better not look him too closely in the eye. Are you sure what side of the glass you are on?

See the safety of the life you have built. Everything where it belongs.

This is all, according to Coleman, quite well presented and should appeal or be aimed at specific audiences.

She asks us: "[w]hat would good, socially conscious advertising look like?" [p. 141].

while 'treat' is at the same time ill-fitting here as body parts are being described, so to her this seems odd, as she puts it.

She describes this as actually being indicative of "semi-humorous casual-speech rhetoric," rather than what the point or purpose was of this text by V & S.

A definition of advertising language from Coleman, 1990:

She reviews two books here, via the journal of pragmatics, that have contributed to language analysis and misleading advertising;

It is unclear to her what they thought that the verbal devices were and she was disappointed by the overall lack of the type of analysis that she was expecting.

She would have done the following differently.

Basically, reason and hard sell ads are not the same (reason is "textual" and hard sells are interpersonal).

Short and Hu (1997) also point out that in terms of the non-linguistic components of ads, such as "pictures, music and images," no tangible "interpretive framework" can be established for those. A source that has tested the "pictorial" kind of non-linguistic components of ads was Forceville (1995 a, b).

Scientific discourse in pop culture is interestingly memorable and valued there. Visual logos (and branding) are mentioned too. Slogans also, etc.

Similar main ideas regarding inter-occurrences are discussed by Cook, like about rhythmic patterning, the use of visual communication and meaning.

This suggests that his approach is mainly pragmatic, which is a common theme of the intertextual advertising language analysis in general.

Simpson's (2001) Schema 2, is about how "the cline represented on [it] is 'macro pragmatic' in orientation," according to Mey (p. 593, para. 2).

Here Simpson (2001) compares others' models as a lead into (including a graphic comparison) of his second schema. Although in the schema itself it is not apparent that the reason-tickle distinction was first introduced by Bernstein, "factoring Bernstein's reason-tickle distinction into the strategy continuum is relatively straightforward," according to Simpson.

Simpson's (2001) Schema 2, is described, using Bernstein, Grice, Brown/Levison, Sperber/Wilson, and Mey (1993: 181 - 191).

2 Which is better fitting than another?

Since Geis later claimed that strict logic is not needed for people to get along and since Coleman found missing background information in Vestergaard and Schrøder's work, Cook seems a better fitting source on a definition of what makes advertising language what it is.

"Crucially, totems exist within natural sets which are related by some principle that can symbolically distinguish men.

Since Williamson's totems are neither natural nor ordered by explicit relations, the totemic analogy seems unwarranted; however,

The essential nature of the union is competitive, it is not communist. The union cannot be an instrument of radical renewal of society [...]

Since in the council all the branches of labour are represented, proportionally to the contribution each trade and each branch of labour makes to the development of the object which the factory produces for the collective,

Geis, in his later work in 1984, concluded that strict logic is not needed for people to get along on a daily basis [pp. 137-138].

Since there is this literal leniency, "advertisers can use this discrepancy to convey much stronger claims" [as cited in Coleman, 1990, p. 138].

Writers that engage in inheriting a system and discourse that is seen from a semiotic angle, create a decoding activity for a reader, "with the system and experiences he has inherited earlier."

Since this can depend, many viewpoints may arise as a result. 'Intertextuality presumes that a text is an allusion to other texts and the reader decodes the text from the pre-textual knowledge derived from other texts.

As shown in their fourth table, "there was a significant difference in the product types advertised across cultures [χ2 = 168.29, df = 14, p < 0.001]."

Singapore was the top nation, which out of the three compared countries, had the greatest number of beauty products. *

Foucault describes people as docile bodies, for example the government or school is another place where ideologies are intertextually transmitted as common sense, although it may not all be all too sensical, with a non-focus on those whom are marginalized.

So in Coleman [1990] this is showcased or these 'discursive practices' translate as...

"In a cross-cultural study of British and Chinese advertising, Short and Hu (1997: 493-496) content that hard-selling advertising is characterized by the highlighting and repetition of brand-names, a lack of interpretive richness and the 'low-level referencing' which it demands."

So the important takeaway is that the components of selling hard include brand name highlighting and repetition, not much is left for interpretation and reference, although there is a demand for such cognitive processing.

The plural form of medium is media.

So, for example, if we want to communicate in the linguistic mode, we might choose the medium of print.

Gee's focus is on both the written and spoken language in use, etc.

So, going back to V & S, as cited in Coleman [1990], to answer if they or Geis had done better to define or utilize discursive practices, it would have to be stated how the critique summarized their main claims as they relate to D practices...

Frequency and technique can make a lasting difference or make a special impression too.

So, it is not like complete lying or manipulation nor the truth, as fantasies by themselves are not informational facts, but the middle is a safe ground for such persuasion, where subliminal mind shifts can occur.

This is therefore another method of persuasion and why e-Word of Mouth reviews and how-to tutorials are best to capture attention and loyalty.

Social listening and sentiment analysis also helps, or NLP to gain analytical insight especially from online, like on social media for those reviewing their target efforts.

The approach is Marxist and their written claims and evidence persuasive.

Societal patterns, appeals at specific audiences...

Grim, unlike harsh, does not aptly describe the way one treats one's legs, so that the phrase in this context constitutes the kind of mild, semi-humorous hyperbole typical of casual speech between friends.

Something could also be said about the casualness of pretty, and the oddness of treat when the object is one's own body parts... specific words are described here as humorous...

This pattern," is common.

Something hard to sell is mystified and made exciting on purpose. There are the typical polar opposites here too.

Conversely, "the Cute/Girl-Next-Door type was more popular with Chinese models [25%] in a compared set."

Source 3 continued: it was reported that the magazines chosen for this research were solely based on fashion and beauty. Some reported parts in summary, or certain categories were not perhaps necessary. However, accessories in that context would make sense,

Coleman's review focuses on style, medium, register, English (language), advertising, review, pragmatic/logic, misleading, and culture.

Source 3, which is Frith, Shaw & Cheng (2005), is one of a focus on the symbolic aspect (beauty types) of the displayed information in visual media like magazines for people in certain areas in the world.

So it seems more secondary than anything, and including "publicity, journalistic features, or criticism, or tertiary texts produced by the viewers themselves in the form of letters to the press or, more importantly, of gossip and conversation."

Specific representation of intertextuality can be both explicit and implicit.

often meaning just a single sentence, and that also describe whole texts, as well as their contexts, including what is described here as physical substance entails.

Speech may of course be shouted or sung if not used as it normally is. Messages can also even be beamed down from a satellite, to quite a large number of viewers of a TV screen.

Shields, V. R. [1990]. Advertising visual images: Gendered ways of seeing and looking. Journal of Communication Inquiry, 14[2], 25-39. Solomon, M. R., Ashmore, R., & Longo, L. C. [1992]. The beauty match-up hypothesis: Congruence between types of beauty and product images in advertising. Journal of Advertising, 21, 23-34.

Steadman, M. [1969]. How sexy illustrations affect brand recall. Journal of Advertising Research, 9, 15-19. Wood, J. [1999]. Communication, gender and culture [3rd ed.]. Belmont, CA: Wadsworth.

in terms of advertising language, as well as the second main source [regarding ad lang] of the master list and as part of the first main area, which is Cook [1992].

Strict logic, according to what Geis later added, can actually result in worse communicative potential [p. 138].

Advertisers seek to use so-called "discrepancies" to make it seem like more impactful claims are being stated, so as to avoid the typical interpretational input outcome.

Style and register are manipulated, as Coleman states on Geis' claims, because doing so provides advertisers the means to create "fictionalized sub_contexts" to reach an audience.

Ads have no direct reference and are therefore isolated from the embedded larger network into which they randomly are sorted into.

Such "genre" of ads that are randomly inserted into magazines or on TV, as Cook [1992] argues, are not part of the 'intertext' that are defined by Cook as "texts which are related by some thematic link" [p. 34; in a "Materials" section].

In Indian scenarios, advertising texts are found intertextual to socio-cultural contexts, myths, folk songs and tales, movies, popular songs, scientific discourse and so on."

Such are situated between genre, character and content, distinct links are made via/to do with TV shows, but linked to other texts, and of a different kind.

this depends on local context and if a person is well-traveled, or at least knowledgeable otherwise in some sense.

Such attributive characteristics are displayed "in practice." Such ideas or preconceived notions may make someone assume that this is a "real" person's identity.

Relationships are of more importance than the economic exchanges or balances.

Such control is mediated via the media and learning material like through books and TV originally.

In the last para. of this page, Fairclough [1992] mentions how all this can be seen as a zoomed out interweb that may also be a part of other forms of communication, like genres, styles, and activity types for instance [p. 271]. ...

Such forms put together can be thought of as an 'order of discourse,' as Kristeva [1986] first claimed [as cited in Fairclough, 1992, p. 271].

A specific type of discourse that Cook [1992] points out is what he terms 'accompanying' discourse [p. 34].

Such is the kind where meaning is created when situationally ads that come together with accompanying discourse become something altogether different. This is by chance, or the advertiser sometimes manipulates such instances into being [p. 35].

Discourse can have logical connections, and "narratives and myths are reduced to formulaic patterns."

Such reductions are the 'underneath' concentrations of language that are similarly found in the subfield of linguistic syntax, which can be seen in Chomsky's early 'deep structure' theory [from 1965] and his later sentence "computational programme" [1995] elaboration [as cited in Cook, 1992, p. 76].

those who employ have very little to do with the result/outcome of production and work or labor, except control working conditions and pay, and so the investor has the upper hand in such a wage and lifestyle condition.

Surplus value can come from having workers work for long hours, etc. https://www.cddc.vt.edu/digitalfordism/fordism_materials/thompson.htm

Knowledge without Concepts 472; Advantageous Attributions 477; The Classification Struggle 481; The Reality of Representation and the Representation of Reality 484,

The 'Taste of Reflection' and the 'Taste of Sense' 490; A Denied Social Relationship 493, 1. Some Reflections on the Method 503 2. Complementary Sources 521 3. Statistical Data 527 4. Associations: A Parlour Game 538.

STEVEN M. BUECHLER

The Wiley-Blackwell Encyclopedia of Social and Political Movements, Edited by David A. Snow, Donatella della Porta, Bert Klandermans, and Doug McAdam. © 2013 Blackwell Publishing Ltd. Published 2013 by Blackwell Publishing Ltd. DOI: 10.1002/9781405198431.wbespm473

2 Which is better fitting than another?

The better secondary source reviewed by Coleman [1990] is Geis, rather than Vestergaard & Schrøder,

Eve, and the bitten Apple a connected symbol to the forbidden fruit in the original story of Genesis.

The blond heroine aims to liberate the opposing/binary forces called "Inmates" from "Big Brother" and the imprisoned must obey and be dehumanized by the alienating and heartless Big Brother (American society, or its masses of people versus the largest global advertising market?) ...

under the section titled "The Heroine as a Mythic Figure" is tied to Eve, and the bitten Apple a connected symbol to the forbidden fruit in the original story of Genesis.

The "overriding impression" is very American, like a "Rosebud" [this is a symbol of lost childhood].

The central point of the displayed relationship includes monogamous heterosexuality. And somehow the center of such a relationship is also tied to the advertised gum.

In example [21], Simpson included a local TV ad selling bread.

The claim of the line from the ad is that the bread is meant to be given to "any guest" because "mother knows best" [p. 599].

The unit of analysis was restricted to advertisements of one or more full pages containing at least one woman.

The coding criteria for beauty types required that both the face and some part of the model's dress be shown in the ad.

The unit of analysis was restricted to advertisements of one or more full pages containing at least one woman.

The coding criteria for beauty types required that both the face and some part of the model's dress be shown in the ad. In advertisements where more than one woman was present, the largest or most dominant woman was coded.

Complementary parts are furthermore put together, so as to clarify advertising texts.

The combinations may include: linguistics- two or more, then the visual with the aural are complementary together as well, "but at the same time there is a probability that intertextuality in one mode may bring out a wrong message for the reader or may go unnoticed by the reader."

3 What is the concept and why is it important?

The concept is advertising language and it is important because as Coleman [1990] wrote, it seems like advertising language reveals contemporary or popular and_mass culture, although today this is becoming increasingly more individualized.

Unreal "solutions" are offered and fake relations should concern a person or doubt that they can trust in the communication of the ad.

The culture, as it is presented here at least, is a society of consumption and unnecessary items are sold via persuasion.

What may seem innate here seems very inhumane in a way. Mechanical in action is this bit about wearing a "mask" itself.

The essence of a person is therefore lost due to this fact. Such a mask is meant to reflect moral rules and social norms, and Goffman [he sadly passed away] saw this as reflecting observed and required social moral rules and ritual encounters (see more by Goffman).

Another sexist example provided by Cook [1992] is one from the very distant past but one that seems a bit humorous as well.

The example provided is marked as example c in the text.

It is an example of an ad about "Feluna" pills from the 1940s.

The first line from the excerpt reads: "What makes a Woman Nag?"

Then the same two are paired based on similar concepts proposed by others.

The first to be mentioned is Grice, and next to direct, his is instead called 'maximal efficiency,' where the oblique is also called an 'implicature' by him.

Since nations are seeing an increase in their own localized form of advertising, some in less developed lands, this creates the urgency to raise awareness of these two points of interest regarding buyers and sellers [Coleman, 1990, p. 145].

The gap widens the further more complicated the cross-cultural gap is, there may also be potential consumers' socio-political seller nation notions too, that may have a negative effect on such societies' attitudes, so Coleman believes that linguists can contribute lots by aiming to analyze and evaluate such gathered data and syntheses [p. 145].

As in, they could have thought to dissect some "verbal devices" (p. 142).

The inclusive 'we' is only one picked apart example, so it seems like they did not focus too finely on the task at hand. _____.

Money in capitalism is invested in commodities, of which selling of such can result in more value/money.

The inequality here is that those who hire workers basically can get away with paying people lower than necessary means for making a living, while

Although de Saussure may wish to have a means to decode language in a straightforward way, Cook explains this is not the case.

The intention and the receival are not the same, because people are different based on age, gender, economic status, and so on. For de Saussure, the context is not important as the components of the language, so its technical structure.

An ad can also reference a story or movie. Analysis of ad text intertextuality may be affluent and/or diverse...

The inter- and intra- division is easier to use, since 'mode' is essential to expression.

These two are said to occur within the dimension of genre. An ad can also reference a story or movie. Analysis of ad text intertextuality may be affluent and/or diverse...

The inter- and intra- division is easier to use, since 'mode' is essential to expression. Intra-modal intertextualities can more discreetly be visual, audible, or linguistic, with a focus on the advertised text. Inter-modal intertextuality is thought to be structural translations or allusions of another mode, meaning that their realization is more semantically driven.

Supposedly if they totally ignore it then they are subject to hearing a stronger claim than the one made.

In terms of gender relations and culturally-driven marital relationship norms, this is interesting because it implies something without a direct statement.

The last line is especially one to pay attention to.

He even provided one chapter on daily, statistical data, which Gottschalk (2002) believes that Berger (2000) "should convince those who still doubt the importance of commercials in the shaping of our culture and mentality" (as cited in Gottschalk, 2002, p. 302).

The last little bit from the first para. is the following.

Next up, Brown and Levinson have the direct distinction called 'bald-on-record' and the oblique, the 'off-record' one.

The last mentioned and compared is Sperber and Wilson, and the direct concept is described by them as having 'strong relevance' and the oblique as having 'weak relevance.'

For instance, one skillful commercial analysis from 1984 was fine, but what were some missed points, which would have been a good opportunity were gaps or the general lack of "questions for further inquiry."

The last of the three main areas that G. points out about B's work, in the final paragraph of the second page is that "last, it would have been helpful to look at movements and organizations that are systematically targeting commercials and providing anti-commercials in order to better demystify the ideological meanings hidden in those pleasant and sexy scripts (see Adbusters in Canada as well as anti-commercial sites in France and elsewhere).

A diagram is then also included and shown to wrap up, representing all the discussed interconnected layers of this ad [Figure 3.4 about worlds tied to the advertised gum].

The levels are basically divided up and marked as, going in from the outside: "panorama, interior, close-up, [and] extreme-close-up" [Cook, 1992, p. 58].

Simpson [2001] describes a TV and print ad for L'Oréal cosmetics in his text, as Cook does too [p. 596].

The line from the ad is as follows. "[11] Introducing new Colour Endure ultimate non-transfer makeup, because you're worth it."

The approach is Marxist and their written claims and evidence persuasive. Societal patterns appeal to specific audiences... and often overlooked is the connection between language and images. Page 141 cont.

The main goal of a family is to take care of each other and save money, so advertisers and their products can act as "partners" which may or may not be a necessary step in achieving their family's goal. This is problematic...

In Western society, what is certain is that a product is new or still on the market if being advertised; page 145: "as developed nations introduce their own forms of advertising into less developed areas.

The matter is complicated by the cross-cultural gap between buyer and seller and by potential consumers' political and social perceptions of the seller and of seller nations. These are areas to which linguists have much to contribute."

he also mentioned examples matter, because the substance of choices therefore matters too [Cook, 1992, p. 27].

The meaning of discourse is depended on the choice of substance, and in particular, the primary substance, like "sound waves, slate [a flat and smooth rock piece that is gray and blue that used to be framed in wood and hung in schools or

This was also connected to ideology and two distinct types of "intellectuals" [social class can be analyzed in such a way and as this combination relates to capitalists].

The media is edited by those elites in power, that by creating such widespread dissemination, people presume class inequality to be so-called organic when it is not. It is sort of like brainwash via frequency or repetition.

Furthermore, positions of various personalities, social spheres, and ideological ideals may be a root cause of attitudes associated with it/advertising as a contemporary genre, that is also controversial, since it is situated in a global commerce system, and therefore is competitive (pp. 1 and 2). On the top of the second page, Cook writes that people are motivated socially and emotionally by the "status quo," meaning that consumption is expected, however, the downside is that no purchasing balance is achieved (from Your Dictionary: "The definition of status quo is the current political or social conditions. a. An example of a status quo is that the U.S. government is in debt. b. An example of status quo is the common sense of a period of time. c. An example of status quo is the economic conditions of a particular class at a particular period of history."

The more is consumed, the more dissatisfied or inadequate someone may feel. Meaning that unfortunately no matter how positive or amusing an ad may seem on the surface, the more a person digs deep into what it is really all about, the more they find exploitation via "greed, worry, and ambition," which can either result in acceptance or alienation, as he claims. It reveals two ends, those in awe of the aesthetic beauty, although amoral, and those which are more concerned with morals, and those who are concerned about materialism. But should he make a direct and bold assumption that beauty is immoral?

Machines that were previously arrayed about a central power source could now be placed on the assembly line, thereby dramatically increasing throughput [David, 1990].

The moving assembly line was first implemented at Ford's Model-T Plant at Highland Park, Michigan, in 1914, increasing labor productivity tenfold and permitting stunning price cuts --

The systems of work, the secrets of fabrication, the new applications immediately become common to the whole industry.

The multiplicity of bureaucratic and disciplinary functions inherent to relations of private property and individual enterprise, is reduced to pure industrial necessities.

Also, Page 64, Table 3 (about a comparison of beauty types of Chinese and Caucasian women models) has a basis in "χ2= 35.41, df = 4, p < 0.001."

The n = is the set of the number of participants in the study, so the size of the population, and here there were 232 persons that were Chinese, and 898 that were Caucasian.

All of them, except the extreme one, have a double/copy occurring on the parallel side.

The natural, outermost layer goes into the social world with varying degrees of intimacy, and at the center is the gum.

The first section [of P and C from 2013] is one regarding definition, as it aims to explain what intertextuality is.

The next section in Panigrahi and Chandra [2013] interprets this concept in various ways, and another is also about it but "in Multimedia Texts."

The application of union principles to the textile industry has allowed in Russia a reduction of the bureaucracy from 100,000 employees to 3,500.

The organization by factory makes up the class (the whole class) in a homogeneous unit and which adheres plastically to the industrial process of production and dominates it to take ownership definitively.

a general overview about how ads are separated into distinct parts, and in a very useful way.

The paralinguistic, as well as the semiotic/symbolic information on indexing provided by Cook is also a part of this book that stands out as more unique.

Information may also be relayed in a whisper-like fashion, in darkness, and even "to one person through the grille in a confessional" [p. 7].

The perceival of what has been written and then in turn, interpreted with fresh eyes may also depend on if it has been "scribbled in pencil, embossed in gold, flashed from giant neon tubes, or flanked by linking instructions and icons on the World Wide Web."

They have not the art to argue with pictures' [McLuhan 1964, p. 246, as cited in Cook, 1992, p. 54].

The point is that Cook believes that at the center of criticism is wording, however, that is so "despite its [the wording that is having] demonstrably subsidiary role in many cases."

it is socio-culturally significant within a certain community or a body of people.

The practice part of 'discursive practices' is about how certain characteristics reoccur episodically during face-to-face interaction.

Although there is no doubt that Berger's analysis of the 1984 commercial is quite skillful and convincing, I was somewhat disappointed to see this book, which started with so much energy, end in such an anticlimactic way. I would have liked to see a concluding chapter summarizing Berger's main points and providing questions for further inquiry."

The reviewed Work was called "Ads, Fads, and Consumer Culture: Advertising's Impact on American Character and Society" by Arthur Asa Berger [review by: Simon Gottschalk]; in the original, gender is mentioned (in the Table of Contents) as being covered under such sections as those titled "Sexploitation and Anxiety," starting on page 107, but included on pages 99 through 118 too; and about the the 1984 commercial, Berger includes the following.

There is also an interesting chapter that is about one particular aspect of ads, and the one that is mostly exploited, which is about sexuality.

The reviewed claim here is that it "will be a guaranteed source of interest to readers, as will the chapter on the use of advertising techniques in politics."

There are social and private identities that are brought together by a piece of gum. The interlocked layers of the points in the details of a larger sphere are "represented diagrammatically [Figure 3.4].

The scene inside the bus [the seating and people] are set up so that the situation around the couple is reminiscent of a wedding [Cook, 1992, p. 57].

The first type mentioned is "Classic," and it includes such descriptions as "slightly older than average," and very "feminine," but "not heavily accessorized."

The second type mentioned is the "Sensual/Sex Kitten" type, and it can be mainly described as an attractive, with tightly fitted clothes [Frith, Shaw, and Cheng, 2005, p. 67].

The first type mentioned is "Classic," and it includes such descriptions as "slightly older than average," and very "feminine," but "not heavily accessorized."

The second type mentioned is the "Sensual/Sex Kitten" type, and it can be mainly described as an attractive, with tightly fitted clothes [Frith, Shaw, and Cheng, 2005, p. 67]. Interestingly,

He claimed that what you have is considered 'economic' capital, what you know is the cultural kind, and what you know can also be social.

The systemic schema of such is the term 'habitu[é]s.' The actionable outcome of this is that it is based on subconscious perceptions, so these drive our taste for the finer things in life. More at https://web.stanford.edu/class/think53/bourdieu17.pdf ...

Another similar example is letter correspondence and turn-taking that is part of conversational function and use.

The term 'contemporary' may be used to signify a "time-scale" parameter of such instances of CDA and intertextuality, moreover.

it need not be "intertextuated" into the hosts that they need to attach themselves to but in quite a detached way.

The term is meant to have a positive connotation.

The parts of the two ad that standout, it seems like it at least from one perspective, is that first of all the font size and the background color are used in such a way as to draw in the reader.

The text is white while the background unusually black. Then what's strange is that in the center it reads, and perhaps in French this would make more sense than in English, but it says "yours much. Fancy Don't"...

Interestingly, the "model can be dressed in normal clothes but posed in an unnatural way, such as an uncomfortable, 'cheesecake' pose [chest thrust forward, back arched]."

The third type mentioned is the "Cute/Girl Next Door" type. Such a characterized type can be described as casual and with a youthful appearance.

the "model can be dressed in normal clothes but posed in an unnatural way, such as an uncomfortable, 'cheesecake' pose [chest thrust forward, back arched]."

The third type mentioned is the "Cute/Girl Next Door" type. Such a characterized type can be described as casual and with a youthful appearance.

In the organization by factory is thus made flesh the proletarian dictatorship, the communist state which destroys the dominion of class in the political superstructures and in its general mechanisms.

The trade and industry unions are the solid vertebrae of the great proletarian body.

"[T]he basic principles of Marxism.

The treatment of the ideological underpinnings of the book is excellent, and presented in detail appropriate for those unfamiliar with this approach, but

Frith, Shaw and Cheng (2005), regarding their "Beauty Types" subsection of their appendix, they wrote that the two beauty types described imply age [p. 67].

The two are, first of all, referred to as "Classic," which is the first kind they list, and the third, called the "Cute/Girl Next Door" type [p. 67].

Articles are more common than books of the language of ads.

The two main sources that Coleman reviews have both gathered a corpus; Geis' collection was considerably larger, but they had a negative focus.

the present system of union organization constitutes the system of forces in which the dictatorship of the proletariat must be made flesh.

The union, in the form in which it presently exists in the countries of Western Europe, is a type of organization not only essentially different from the soviet, but different also, and in a notable way, from the union which is developing ever more in the red communist republic.

The one country that showed the most diversity was Singapore, and they were even awarded as being titled the 'most globalized' by Foreign Policy magazine in 2000.

The use of Caucasian women in Singapore as well as Taiwan, according to Frith, Shaw, and Cheng [2005] "suggests an openness in these societies to foreign models and beauty trends,"

She even says that they made a mistake in their analysis.

The well-known routine may not evoke the same feeling in everyone; its mention refers to a mildly negative connotation...

"the claim to know something about the extent of one's addressee's knowledge is a claim to shared knowledge and experience, an element of camaraderie.

The word routine might have been mentioned as well, since it provides a convenient and reasonably subtle way to denigrate options other than the product" (Coleman on Vestergaard and Schrøder, 1990, p. 142).

The existence of the council gives workers the direct responsibility of production, it draws them to improving the work, instils a conscious and voluntary discipline, creates the psychology of the producer, of the creator of history.

The workers bring into the union this new consciousness and from the simple activity of class struggle, the union dedicates itself to the fundamental work of impressing a new configuration upon economic life and the technique of labour,

3.3d and 3.3e show extreme eye and nose close-ups. Then it's "back to the exterior." And "back inside, the young woman is fanning herself with her magazine."

The young man, although he hesitates at first, offers her the last piece of gum he has ["Wrigley's Spearmint"]. She accepts and "from the seat in front, a small boy looks round curiously." She offers half of it to the young man in return.

She finds it a fitting introduction to advertising language issues. This is supported by the fact that this book received the "The George Orwell Award from the National Council of Teachers of English."

Their aim was to highlight the culture of advertising language (the misuse of it): "contributing to a society in which people buy things they do not particularly need and measure personal worth by amount and type of material possessions, superficial attractiveness to the opposite sex, and so on" (Vestergaard and Schrøder as cited in Coleman, 1990, p. 140).

Still in Coleman, not on Geis, but about what Vestergaard and Schrøder had to explain about similar processes is that...

Even at times it is found that the advertiser alters the lyrics of the popular song to serve his purpose."

Theme songs or music [lyrical versus instrumental] are created for an ad and recycled, although the visual text in an ad may change.

The following or third section in Panigrahi and Chandra [2013] covers the types of intertextualities, and then further subdivided sections are about the intra-modal and visual kinds moreover.

Then a special section on "Aural Intertextuality" follows, in the fourth section of Panigrahi and Chandra (2013), after which the linguistic types and inter-modal are further explained.

[h]ow do you let people know that you can supply a particular service while allowing them to pretend that they are really not interested in that service?"

Then about the aimed-for audience, she argues their content, if edited more closely, could have resulted in a clearer indication regarding

here, Cook [1992] points out how over some pages an ad by them "rhythmically" via text read: "At the dawn; of the year 2000; L'Oréal; sees; the world; in beauty" [p. 131].

Then stressed and unstressed syllables [amphibrachs] in

These are deemed 'contingent' practices, because they entail something that is neither true nor false but something else.

There are differences in propositions basically on a structural and a contextual level.

GENRE is a commonly repeated concept in Cook [1992].

There are many of such categories or genres, as Dimter [1985] originally explained but as cited in Cook, that there are many categories of genres that may be discussed.

Cook like Panigrahi and Chandra (2013), claims that ads are based on a lot of other prior ads or are a continuation of them.

There are various and seemingly random ads included in Cook's book.

It "necessitates a much more broad-based and statistically rigorous survey of readers' responses rather than that provided by the necessarily informal survey undertaken here."

There does not seem to be much of an explanation as to why it had to be informal.

effect is achieved through "bricolage."

There is "an assembly of a range of styles."

There are rows of people behind them and their position seems to be the focal point like the altar.

There is a "choirboy" and a woman holding flowers...

Coleman [1990] wrote that it is not clear who the audience is supposed to be because the analyses are neither written for experts and non-experts [p. 143].

There is also "too little background."

Also, about V and S's book, Coleman (1990) wrote that it is not clear who the audience is supposed to be because the analyses are neither written for experts and non-experts (p. 143).

High demand and low supply or inventory so to speak can result in higher prices of traded goods for money.

There is even false scarcity and value can be based on labor over time (wages).

The same categories and numbers for the U.S. were as follows. The highest numbers were clothing, followed by beauty products. From the U.S. ads, there were 132 cases found of beauty products [25%].

There was 1 cleaning product found [0%]. Most importantly, there were 277 clothing items found [54%]. The U.S. and Singapore had about the same amount of entertainment-type of products advertised.

For food and beverage it was the same number 10 but a different percentage; 4% from Taiwan, in comparison to 2% from Singapore.

There was a much smaller number of accessories reported from Taiwan [25/9%], in comparison to the previously mentioned Singaporean instances [81/17%].

Beauty was the highest number: 124/49% as a product category that was reported by Frith, Shaw and Cheng [2005].

There was also only one instance found of a cleaning product being advertised, or 1% was found from Taiwan, in Frith, Shaw and Cheng's [2005] sample too.

The U.S. and Singapore had about the same amount of entertainment-type of products advertised.

There were 13 instances found in the U.S. [2%], whereas, as previously mentioned, there were also 13 found from Singapore, but with a slightly higher percentage [3%].

"beauty, cleaning, clothing, entertainment, food & beverage, accessories, services, and miscellaneous." In Singapore, there were 188 reported beauty products advertised, which totaled 40%.

There were 3 cleaning products advertised (a dismal 1%). The biggest number they had was involving clothing (118/25%). Entertainment did not seem to be advertised much (13/3%). TBC

Geis was more interested in the logical aspect of his sample, while Vestergaard and Schrøder were more interested in the cultural effects of advertising and both negatively approached their data using a corpus as a data collection storage/repository.

There were different mediums of analysis and different goals. Considered were: pragmatic implicatures, modals and hedges, multiple comparatives, words and phrases, nominal compounds, similes, types of adjectives, and the creation of product names.

of earlier ads."

Therefore, ads seem to naturally be that of an intertextual kind of media and a communicative [persuasive selling] device.

Like cars are rarely purchased frequently.

Therefore, to go back to the initial first question, to now

Page 145: "as developed nations introduce their own forms of advertising into less developed areas, also, the matter is complicated by the cross-cultural gap between buyer and seller and by potential consumers' political and social perceptions of the seller and of seller nations.

These are areas to which linguists have much to contribute" + Cook's process of formulating understood or communicated discoursal content entails...

Two terms used technically here are "situation" and "intertext" [Cook, 1992].

These are considered the elements of context.

Their details include their university information, their company, their height, and hobby.

These are what are considered "journals of the advertising trade" and "codes of advertising practice."

Employees and subordinates are only interested in their own game and have loyalty to no other but themselves. Thus, having direct reports who are not loyal or fully dependent on you is dangerous.

These employees will fail you as soon as given the opportunity, so get rid of them, raise your own loyal team, your own people." *Etc. ...

The type of content or discoursal ads that are embedded into such have no immediate reference to them. They are thought to be isolated yet with other ads at the same time.

These first two terms mentioned would not most fittingly describe this, so Cook will use the key referential wording of, as previously stated, the "accompanying" sort of discourse instead.

Cook (1992) stated that the discourse of ads can be defined as 'restless' (p. 222).

They are a sort of parasitic or intertextual genre of which conventions change the minute any one or any related ones are establishes, so in other words nowadays, this could be termed a 'trend' on social media, and therefore the two are alike; 'restless' and 'trend' are both frictional and unstable, so hard to predict or follow, in order to make any substantial analysis of, for too long of a time.

"Both are blond, white, conventionally good-looking.

They are clearly attracted to each other but shy.

They are sent to an audience in a more individualized way today in addition to being on different types of artifacts.

They are even more covert but also more centered on people at an individual level, which who knows which is better?

In terms of location-alized culture, Geis looked at American ads, while Vestergaard and Schrøder observed gathered trends from Britain [as cited in Coleman, 1990, p. 137].

They both basically had different mediums of analysis [broadcast and print] and they also had different goals, which were that Geis was more interested in the logical aspect of his sample, while Vestergaard and Schrøder were more interested in the cultural effects of advertising.

that being attracted to another person may actually be displayed in a "superficial" way, so perhaps they play with the emotions of those deeply subconscious fantasies [as cited in Coleman, 1990, p. 140].

They create their argument through the use of analyses and commentary, based on social values;

extraneous to the mass which has acquired a consciousness of its historical mission as a revolutionary class.

They feel that their will for power is not expressed, in a clear and precise sense, through the current institutional hierarchies.

"The first frame shows that back in time, the donkey being the master was carried by the monkey in a cart without wheels.

They happened to get Mentos and since the donkey refused to eat, it was consumed by the monkey as is reflected in the second frame. After the consumption of Mentos the process of evolution started in the monkey and after passing the Stone Age (Clip iii); gaining the knowledge of clothing (Clip iv), fire (Clip v) and the use of wheel (Clip vi) and so on; at last he reached the form of human being.

distinguished from animals by consciousness, by religion or anything else you like.

They themselves begin to distinguish themselves from animals as soon as they begin to produce their means of subsistence,

They are now looking straight at each other "affectionately."

They then move in closer to each other with their bodies. "She has got off the bus to be with him," although, at first, it looks like he only has to get off.

Some takeaway practice/application from Panigrahi and Chandra [2013] may include the following, but in terms of typical research formats, theirs is neither a full-on literature review nor a study article.

They wrote that intertextuality has been around but only more recently taken seriously.

In the US, the "because you're worth it" has been extensively shown on TV.

This ad may appeal to a woman's need for self-esteem maintenance, so

"All the specific modes like linguistic, visual and aural can have their respective intertextualities but since they co-exist together there is always a chance of intertextualities between two different modes," as Panigrahi and Chandra (2013) write.

This can also entail allusion and translation.

Furthermore, they wrote that "the adage, 'sex sells,' rings true in the West, but may not be true in the Asian context.

This commodity originates in art in the West, where "the female body served as the object of sexual stimulation."

Page 3: Since advertisers seek to make the content of an ad memorable, "we suffer a split, contradictory reaction: involuntary spontaneous enjoyment, conscious reflective rejection" (Cook, 1992, p. 3).

This dichotomy presents a problem in parts of the world that are not akin in the sense of advertising display.

Labor time is calculated into such a monetary and labor system. This includes all the needed parts and resources that are needed to create a specially needed item [industrial problems].

This explains why, for example, a luxury item may be more expensive than one based on basic needs, so this system is not organic but based on equational factors that are not inherently pro social.

What is more, in terms of women in Chinese art, is that in traditional paintings, they appear as "clothed in loose robes, and the face and hair, rather than the body, become the central focus."

This inclines a suggestion, that there is a stark contrast on the opposing side, where clothes are tighter, the body is on display in the center, and

Ads are certainly based on other ads, and in order to understand the ad for a certain product, an analyzer must expect a related instance like the one being seen or viewed.

This is common in the modern example, in which a lot of visual images are utilized, to evoke such instances. The product itself may be a mystery, to be decoded by persons' as members of an "exclusive club."

An important consideration in advertising analysis, as Cook [1992] points out is seasonality.

This is especially important to consider as ads in such parts of world revolve on seasonal themes like he mentions here.

On pages 124 through 127, V and S describe an interesting ad for singles, and Coleman (1990, p. 143) wrote that it "is full of coded language indicating that one of the main purposes of the organization is to allow members to meet potential partners while pretending that they are doing no such thing.

This is in itself a fascinating problem for the advertiser: how do you let people know that you can supply a particular service while allowing them to pretend that they are really not interested in that service?"

That it "is full of coded language indicating that one of the main purposes of the organization is to allow members to meet potential partners while pretending that they are doing no such thing [as reviewed in Coleman, 1990, on V and S].

Further investigation that is related to the reason-tickle distinction, according to Simpson [2001], are the contrastive "'hard sell' and 'soft sell' ads [Cook, 1992: 10]."

This is mentioned on page 604, para. 2. And here are some more details.

different periods will have had or will have different period-specific features that come out of them.

This is of course, as may be inferred, as being what some might consider typical of an era or a specific generation.

She also asks how people decide to move from skepticism to acceptance, which is a great point.

This is the point of anyone trying to access advertising language to see what covert persuasive methods are in use.

Simpson [2001] claims that the aspect of advertising that should receive the closest scrutiny in his analysis is "the structure of the verbal text in print ads and the end line in broadcast ads" [p. 594, para. 2].

This is what Simpson [2001] hypothesizes as a conclusive claim.

In the episodic types of advertising, the ad does not finish in one episode but instead continues. Intertextual narrative then promotes a product.

This keeps people interested supposedly, as suspense has a certain quality that people enjoy.

Intertextual narrative promotes a product.

This keeps people interested supposedly, as suspense has a certain quality that people enjoy.

to revisit the concept of genre in Cook, it might be said that genres can also mesh with each other and sometimes not fit the definition of what it technically, on average, is described as.

This makes genre, as Cook puts it, "a particularly slippery case." Also, "a given piece of discourse may exemplify several genres at once."

Ironically people create such a material existence, creating the distance between each other.

This may only be true of economically sound places, however, where people are fortunate enough to have such things available to them.

The first kind of set creates a semantic 'extension,' according to what Simpson (2001) reported on Halliday's conjunctival adjuncts.

This means that propositions might be added or an in-between variation may arise otherwise. An affective contest between two linked conjuncts are 'adversative/ii."

Then there is also the personal injury risk associated with pedestrians too. It is rare but sometimes such persons may not be looking where they are going.

This might be something someone would have to see rather than read about, because the connection is otherwise unclear,

The 'soft sell' genre of ad is briefly mentioned here, like in Simpson. This alludes to verbal play.

This misses the mark in terms of what could have then been considered prototypical, but at least states that people do not fall for the allure of ads.

body shape as advertised is used for "exploiting women's insecurities." However, what women feel insecure about, not only limited to the body, can "differ from culture to culture."

This point about advertising using only very skinny and tall models, for example, is not new information and seems more common-sense today though. However,

This last topic could perhaps also inform the missing conclusions."

This review was embedded with others' written pieces, and so it was part of an American article, by the article/issuer called "Contemporary Sociology." This was published in May of 2002: "Vol. 31, No. 3, pp. 302-303."

Also important to note is the following. "In each of the countries in this study, one of the top three fashion and beauty magazines is not originally a local magazine" [Frith, Shaw and Cheng, 2005, p. 61].

This section ends with the following, as some important insight into their data collection (see F, S and C, 2005): "three issues of each magazine were chosen at random from within the 14-month period, March 2001 to April 2002.

There were 133 (57%) of Chinese Classic beauty types, and 426 (47%) of Caucasian Classic beauty respectively, with far more Caucasian fitting this beauty type. In terms of the Sensual/Sexy beauty type, there were 25 (11%) Chinese women reported, and 243 (27%) of Caucasians reported. The Cute/Girl next door type were 58 (25%) Chinese reportedly, and 141 (16%) Caucasian.

This seems problematic, because in contemporary terms in the U.S. "Cute/Girl next door" would probably out-beat the "Classic" beauty type. If someone was asked what a "Classic" look is, chances are they would say it is something related to an outdated/retro and reserved look, rather than "sexy," which seems far more prominent as well. It seems like the bias lies in the coders perceptions and understanding.

An example that is provided here that serves to show long-term effect is that of an ad about the Titan watch, from YouTube.

This tactic is also said to heighten aesthetic value.

Theme songs or music (lyrical versus instrumental) are created for an ad and recycled, although the visual text in an ad may change. Another example that is provided here, that serves to show long-term effect is that of an ad about the Titan watch, from YouTube.

This tactic is also said to heighten aesthetic value. A particular voice by itself is also often intertextualidad [an example I can think of but in American movies, it is that more recently, the general public has been obsessed with Morgan Freeman's deep and unique voice, known in Hollywood as "the voice of God" that is played as one in films]. This can include the acclaimed quality of unique voices of celebrities.

Kristeva had more applied ideas and disproved the structuralists' [Saussurian and objective] method of scientific analysis.

This was, according to Panigrahi and Chandra, because text interpretation depends on the socio-cultural but also the historical contexts as all-encompassing and considered.

In society, others support the individual, so this in turn, sadly, is a breeding ground for stigma.

This word [stigma] comes from Greek, and it meant to denote bodily signs of an "invalid" person. According to "practice" this should mean that society and its people should avoid such anomalies of people.

Berger [2000] provides familiar examples and helps us look at commercials and our positions as consumers in an informed and self-reflexive light [as cited in Gottschalk, 2002].

This work was pleasing to the review writer, because per usual, his approach to helping others understand concepts is accessible.

Advertisers are always in need of adding variations to the commodity sign to attract the passive consumer.

This, in turn, brings varieties in advertising discourse...

1 Thomas [2014] was motivated to do a cross-cultural multimodal analysis [p. 164].

Thomas also explains that focusing on the object in question rather than the idea of the textual designs' "instantiations," they hope to identify potential errors to improve them [p. 165].

so for a more methodological perspective that is typological and DA related, see:

Thomas, M. (2014). Evidence and circularity in multimodal discourse analysis. Visual Communication, 13(2), 163-189. https://doi.org/10.1177/1470357213516725

Mixed Product Packaging; Textual Design Findings_Layout Influence or Impact in Consumerism, and an Example of a Localized Circularity of English and Chinese Language Use; Cross-cultural Multimodal and the Discourse Type of Analysis [Consumer Persuasion Potential]

Thomas, M. (2014). Evidence and circularity in multimodal discourse analysis. Visual Communication, 13(2), 163-189. https://doi.org/10.1177/1470357213516725 [APA] Also a separate PDF file titled "Describes an MDA Method."

Social importance and technology can alter or control such relational systems or equilibriums [dependent balance].

Those at the very top of the social order are rarely seen by the workers who are a part of the supervisors who are at the middle that control those at the bottom.

This can call into question democracy based on power struggles.

Those who have 'privilege' have access to more resources than most people and global economic trades affect everyone around the world.

Imitation rather than individuality is prized these days.

To "subvert the ideology..."

Natural human needs take a backseat in such a context.

To Cook it is not clear how completely fantasy-driven ads may make the real material world appear, but he can understand how change and such a veil over the eyes and ears of such helpless or unassuming consumers may be a cause of the regret that Williamson criticized, and which Cook comments on here, and as Coleman also wrote about in her review [on Williamson, 1978, as cited in Cook, 1992, p. 213].

This is where the following section begins. "2.5 Parasite discourse," and it is the conclusion of the chapter [p. 39, before the exercises].

To Cook, artifacts of genre and culture create space and the time for ads to exist in, they attach themselves [so they have intertextuality in them], and they co-occur and imitate, so as to reflect such discoursal elements that seem quite typical in advertising language [Cook, 1992, p. 39].

Texts may be implicitly 'incorporated' at times, without "explicitly being cued."

To Fairclough [1992] here, distinction is not a focus but here he introduces another related concept, one he terms "interdiscursivity" [p. 271]. He wishes to use such a substitute for 'constitutive intertextuality,' as needed [Fairclough, 1992, p. 272].

Standardization required nearly perfect interchangeability of parts.

To achieve interchangeability, Ford exploited advances in machine tools and gauging systems.

Ads can be quickly skipped or ignored online, so ads are sponsored, there is data tracking, or a person can pay to have them taken off of a service provider.

To compare and contrast, Gottschalk (2000) is similar to Coleman (1990) as both are reviews, but of slightly different formats and topic foci.

Since the following terms are used in different ways, Cook offers an up-front explanation of how he will use each technical term, related to 'context,' 'text,' and 'discourse.' ...

To connect both what Coleman and Cook have in common is that ads are purposefully vague or include implied meaning and these two discuss similarly localized practices.

Reading with a Marxist view is reading in a "capitalistic" way, as one source mentions, to explain the "how" [Yang, 2001].

To detect and analyze ideologies that may be found in texts, look for contradictions and distortions, as well as disguise and best interpreted in the contemporary setting.

Frith, Shaw, and Cheng [2005] reported that beauty types, like the ones in their study, were not labelled the same.

To give an example, "the Classic beauty type was used more often in Singaporean advertisements [54%] than in Taiwanese" [44%], also, the "Classic" beauty type was correlated with an ethnically mixed sample.

Codes are often analyzed based on their socio-practical usefulness [p. 235].

To retract a bit here to the previous page by Cook, it also states here that those who engage in more functional analyses of language, attribute a "phatic" function to such more socially contextual instances of language use, or

defying normal functions, 'weasel words' are illogically used, but strict logic is not needed for cooperation, according to Geis and as he later concluded on the same point.

Truth and falsehood are blurred and direct people more towards a middle point, and

Marxism is also a concept used by Kelly-Holmes.

Under the "Foreign languages in advertising" section heading, Kelly-Holmes [2000] explains that the concept that is called 'code-switching' is a familiar term among sociolinguists [p. 69].

A definition of advertising language from Cook (1992) is the following (p. 1).

Unless someone is directly involved in it, as in they work in advertising, ads can be considered to be a part of mishmashes/multimodality, like it is generally defined here as, first of all, a genre, also, "peripheral creation," meaning that ads are avoided or skipped, so actually getting people to pay attention is tricky.

a small, portable surface that can be worked on], paper," as well as "screen—will depend on the state of literacy and technology."

Unless we are concerned with the sign language of the deaf, all language basically uses speech, and writing later developed.

Practical ads are of the 'reason' kind, while the more moody and emotional ones "tickle" us.

Unspoken premises are "soft" selling ads, and "hard" ones are very direct in addressing consumers.

Neither V & S, nor G [as cited in Coleman, 1990] did well to define discursive practices, although

V & S could have nearly done somewhat well all-in-all.

Overabundance and individuality, fantasy, and claiming to have solutions that indirectly solve problems.

V and S as she writes on their text, in the latter part of the book, as opposed to other parts which she also critiques prior to this, she concludes that the related point of interest is that:

"[t]he approach is Marxist," and they write persuasively on well-chosen examples.

V and S show the reader the display of Western cultural patterns found in the specific elements of the ads they methodically have chosen.

She argues that the word 'routine' would have been a better fitting option.

V and S, as Coleman wrote in a 1990 review, failed to mention how the status of some formulaic phrasing has the effect on the reader.

Discursive practices and intertextuality?

Vestergaard and Schrøder: Coleman's review is that the advertisers use language in a society that buys unnecessary products, that also measure personal worth by amount and type of material possessions, and so on, on her page 140.

Vestergaard and Schr∅der in Coleman's [1990] review of their text as well as Geis', mentions magazines as an advertising space, like Frith, Shaw and Cheng [2005] do here.

Vestergaard and Schr∅der had collected magazine ads, so the same medium as the 2005 study, but location-wise V and S collected the data from Great Britain, and during from April to October in 1977.

Cook [1992] points out a counter-argument to the supposed "heteroglossia" of ads, as for some this may actually just be a complete "sham, masking a noxious monologic discourse" instead [p. 220].

Via such a perspective, it seems like "there are not many voices in ads at all, but one voice, skilled in ventriloquism and mimicry," as Cook explains.

Intertextual Continuation and More Elaborated Confusion: Panigrahi and Chandra [2013] focus on intertextuality.

Visually branded logos are mentioned here, as slogans are too, etc.

They have become the organisms in which all the individual enterprises of a certain industry amalgamate, connect, act, forming a great industrial unity.

Wasteful competition is eliminated, the great services of administration, of resupply, of distribution and of accumulation, are unified in large centres.

It would seem like, based on these points of evidence, that V and S did better when it came to discursive practices, however, a fair argument could be made in both instances, because...

Well, first of all, while Foucault's discourse focuses more on the forms of subjectivity and power relations which inhere in such knowledges and relations between them, so more leaning towards a focus on power, another well-known DA-ist is Gee.

it is tricky to process a 'tickle' type ad and the language, as well as meaning, of such an instance, so how can someone analyze this?

What does "foreground" mean?

So fuzziness is more like it. There may be something even more useful than the semantic definition of a word.

What is better than the semantic word definition?

Also, in terms of the cute, "Girl Next Door" type, the description that implies age is what the authors refer to as having a "youthful appearance." Therefore, classic is aged and cute is younger.

What is more, in terms of women in Chinese art, is that in traditional paintings, they appear as "clothed in loose robes, and the face and hair, rather than the body, become the central focus."

Is it possible to not be part of ideology?

What is the difference between this concept and hegemony, and the discourse of power?

His review and critiques of the basic theories of communication are straightforward and helpful, and his chapter providing statistics on commercials broadcast daily is very informative and should convince those who still doubt the importance of commercials in the shaping of our culture and mentality."

What seems different about this source's details is that it is more focused on rationalization based on communicative theories and the more formally sociological underpinnings regarding ads.

What's more is that they did not discuss the effect on the audience that the formulaic phrasing can have, and to say that vagueness signifies intimacy is another point of theirs that she thinks is wrong.

Verbal devices serve to fill a referential "pointing" function.

Whereas one may use a gesture instead of just speaking [like a child in development would need to however], then

V states that there is an end line which reads 'surprisingly low prices,' against a black background, which also includes a company logo, the car manufacturer called Volkswagen. This is "in shot for three seconds."

While a lot seems to be conveyed very quickly in [24], Simpson also describes it as "situated towards the oblique-tickle end of the cline on Schema 2."

Misleading advertising, then, has been going on for as long as trade has existed."

While a policy may state that exclusions apply, advertisers still continue to exaggerate the wares or the quality of what they so desperately want someone to hear about, pay attention to, and then of course move to action; to consume.

She views their claims as, or their overall approach here as Marxist.

While advertisers claim to care about the consumer, they do not, she states this but in a form of a question.

Tags: Cook, ads, Marx, fetish (not the same as fetishism), and Kant.

Who did Marx get the idea about using the term 'fetish' as a concept from? Who originally used it? In

Wiley's general description, as it relates to presentation and acquisition, is that discursive practice is basically a theory, and

"An important sociological predecessor is Emile Durkheim's analysis of modern society and the rise of individualism.

With increasing size and complexity, social integration became problematic in two ways.

"with the system and experiences he has inherited earlier." Since this can depend, many viewpoints may arise as a result.

With intertextuality, readers act as decoders, wherein the intertextual text is allusive and a sort of pre-textual knowledge background that is needed and derived from elsewhere, or from other texts.

Cook [1992] explains that "the two halves join and fit perfectly; they merge into one" [p. 57].

Words appearing in the ad are about it being even better to share gum than to just chew it by oneself.

In order to explain how words can be vague, which Coleman [1990] does but in a less technical linguistic sense, Cook does so like the following.

Words can semantically be defined as a basic idea.

The council is the most suited organ of reciprocal education and of development of the new social spirit which the proletariat has managed to develop from the living and fertile experience of the community of labour.

Worker solidarity which in the union developed in the struggle against capitalism, in suffering and sacrifice, in the council is positive, is permanent,

What if you could look right through the cracks

Would you find yourself Find yourself afraid to see?"

Williamson, Judith, 1978. Decoding advertisements. London: Marion Boyars.

Wrighter, Carl P., 1972. I can sell you anything. New York: Random House.

Cook's [1992] section 3.5 is about "pictures alone" [p. 54].

Written by Marshall McLuhan, "Keeping Upset with the Joneses" is an essay, considered a classic, and on ads from the 60s.

Gee focuses on how identity is balanced via discourse.

Xinzhang Yang. [2001]. Language in Society, 30[4], 646-649. Retrieved May 19, 2021, from http://www.jstor.org/stable/4169141 + SEE: http://www.eng.fju.edu.tw/Literary_Criticism/postmodernism/2003s_foucault.ppt

He met the donkey in whom no evolution had taken place in all these years. With the enhanced knowledge he compelled the donkey to carry him in a cart having wheels (Clip vii). This physical and mental evolution happened because of the consumption of Mentos." This seems illogical but at least it is entertaining and a creative idea was involved, based on familiar literature/a fable. A fable of the literary genre that is fictional, includes forces of nature that all-in-all serves to teach a moral point...1 Literat: moral tale bajka f; legend baśń f; 2 lie bajka f, fig. Origin: to speak a story; myth. | BrE ˈfeɪb(ə)l, AmE ˈfeɪbəl | noun [‫قِصّة ذات مَغْزًى أَخْلاقيٍّ‬]; басна, etc. ‬‬...

YouTube was used a lot here, and in terms of further looking into what we may not know: intertextuality seems inescapable, according to Panigrahi and Chandra (2013). The question regarding this they ask is that if a text is to have no reference or origin to another, "will it be communicable?" That is, if it is "self-sufficient and self-contained," but fiction or creative writing most likely has less of this.

qualities of symbol = product (femininity/ liberation; traditional/new; cultural/natural; unique individual/ privileged consuming group), etc."

[ APA: Craik, Jenny. (1978). Decoding Advertisements. Ideology and Meaning in Advertising. A Review of Decoding Advertisements. Ideology and Meaning in Advertising. Cambridge Anthropology, 4(2), 80-84. Department of Social Anthropology, Cambridge University. ]

Fairclough's (1992) Intertextual Cont.

[...] filled with others' words, varying degrees of otherness and varying degrees of 'our-own-ness,' varying degrees of awareness and detachment'" [Bakhtin, 1986, p. 89, as cited in Fairclough, 1992, p. 270].

Intertextuality AS DEFINED IN Critical Discourse Analysis

[CDA vs D: "CDA deals with more issues, such as intertextuality, interdiscursivity, and socio-historical context of formation and interpretations of texts/discourses, while DA in general does not go into such aspects of a given text/discourse."]

Follow a crowd to what is popular or fulfill just your own wants?

[Gottschalk's 2002 Review of Berger [2000] ] To compare and contrast,

Gottschalk's 2002 Review of Berger [2000], is the fourth source of the first main area here

[Gottschalk, S. (2002). Ads, fads, and consumer culture: Advertising's impact on the American character and society (a Book Review). Contemporary Sociology, 31(3), 302-303.]

For his take on hegemonic "struggle," see his 1992a text or reference here for more...

[Note # 11} According to ...

Cook (1992), like Panigrahi and Chandra (2013), points out that intertextuality is a recurring theme in the "genre" of ads

[Panigrahi and Chandra delve quite deeply into the concept of intertextuality], and so this makes Cook say that it is the part about ads that is most readily analyzable [p. 38].

A bit of ideology based on a negative perspective of economically-based, misleading persuasion

[logically or functionally analyzed but also more socially in its overarching meaning] and manipulation, as it would seem to be described here.

this requires that they be localized to make them 'linguistically and culturally appropriate to the target locale [country/region] where [the product] will be used and sold' [Localisation Industry Standards Association/LISA definition]" ;

[see Esselink, B. (2000). Practical guide to localization. ProQuest Ebook Central https://ebookcentral-proquest-com.ezproxy1.lib.asu.edu].

Coleman explains that the choice of the word 'grim' where maybe 'harsh' would be more precise, in this context is viewed as

a "semi-humorous hyperbole" [an exaggeration via a figure of speech/figurative language so symbolic and not literal; with hidden undertones] and the word 'pretty' is of a very casual tone,

To add to this concept of what discourse technically entails, Cook adds that he would rather describe ads as

a 'parasitic' discourse rather than a 'symbiotic' one, as although it might seem that ads are used for economic purposes in magazines or on television, their communication is not technically necessary or

past history is absorbed and can be seen in texts, with

a basis in the past, as Kristeva noted (Kristeva, 1986, p. 39, as cited in Fairclough, 1992, p. 270). ...

Promotional discourses are changing from the audience being able to at least mainly tell the overall purpose of an ad if it is for example, of the traditional sort, like

a commercial or if it is printed in a magazine, can be heard on the radio, etc.

Although Cook does not specify this here, it should also be considered and as such is related,

a corpus as a practical tool can be utilized for finding such patterns in discourses too, in either the technical or more applied sense.

Intra-modal intertextualities can more discreetly be visual, audible, or linguistic, with

a focus on the advertised text.

The basic idea he expected is at least in his mind

a large contributor to shaping cultural character.

The woman is saying in it how she would like a bright child. Perhaps it would also be nice if she met a graduate from Tokyo University, and

a list is already included of men [on the left side] that are already registered with the agency.

Cook believes this was a hasty point or conclusion that missed

a lot more meaningful and conclusive depth.

What is more and added is that the collective cultural character can be systematically disseminated through

a media kind such as this, so also important to note is the following, according to Gottschal's critique [2002].

Furthermore and notably, in Cook's view language is not an expression of the internal identity but rather

a message that results from the outside interaction with others. This seems more spot on, especially since language is adjusted and used differently in different situations.

Also mentioned are "Machiavellian marketers" and Grice's Maxims were

a missed opportunity by V and S, although Williamson's [1978] analysis is a good source on especially images in ads [from a long time ago].

Additionally, G. explains for which types of taught (academic) courses this easy-to-follow book may be suitable for intro. teaching/learning. In terms of further development, (para. 3 starts out like so): G. explains that as one of 3 areas of improvement, that he would have further liked to have seen, would have been

a more critical approach to an analysis of the ideological spiel in commercials, because "regardless of what they sell, all commercials articulate the basic, and disastrous, ideological credo that the path to the satisfaction of all social and psychological needs necessarily leads to the shopping mall."

In terms of further development, (para. 3 starts out like so), G. explains that as 1 of 3 areas of improvement, that he would have further liked to have seen

Substance variety in ads, according to Cook, makes them unfit, in terms of

a particular genre.

Reasons for the switch given are originally found in Holmes [1992: 42ff], and some of which may be combined as well, include background [linguistic] knowledge, the interlocutors themselves, and

a particular situation, according to Kelly-Holmes' reporting of this.

Discourses can overlap, for example,

a political propaganda may have similar features as ads of a completely different nature, but ads are based on what people want, need, or desire and so, the point of the ad is to change their behavior.

These can also be thought of as gestural relations. Cook then adds to what Goffman said about 'display,' when he added here also that

a product, is something that can be considered a "signifier," as something technically above that which it signifies [p. 150].

Frith, Shaw, and Cheng [2005] support this claim by stating that in their findings, "91% of the US models were Caucasian" [p. 66]. Hegemony is, again,

a reoccurring theme here. Frith, Shaw, and Cheng (2005) concluded that, "we also observed that, increasingly, interactions between cultures in today's world have led to many cross-national and cross-cultural similarities in advertising creative strategies, including similarities seen in the traditionally different US and East Asian cultures" [p. 67].

An example that Cook provides [1992] of a parody that began with Twisted Originals mocking earlier ads, and one example from this longstanding continuation ironically shows

a romance where two inflatable sex dolls burst and end their relationship on barbed wire [p. 196]. Levis jeans somehow fit into all this as a mashup of sorts that was meant to be funny...

Different "voices" on display and part of discourse are

a salient feature in such practices of contemporary society.

some aspects of intertextuality [of discursive practices in ad media] in both Geis and Vestergaard and Schrøder are found but as cited in Coleman [1990],

a salient feature of the socio-cultural time span, of which particular linguistic features stand out

since this is an ad for a car, it might imply that the tools needed for these tasks can be stored in the back of a Volkswagen van. Furthermore,

a secondary set of assumptions would include the thought that padding is used for protection against potential injury, as such a risk under this circumstance would lead people to firstly consider.

The specific kind of advertising language in Frith, Shaw and Cheng [2005], is mostly related to the present thematic research focus opportunity here, and that of which is very broadly defined, in terms of

a specific domain of ads, about women and in a specialized context and location. However,

Discourse, according to Cook [1992] can be thought of as

a system of layers.

Moving onto the globalized (next) section, the target audience and the apparent disconnect between one advertising agency context [localized somewhere in the West and

a top producer there] and the receival and transmission into foreign countries is discussed here (a Korean author notes sex for example),

For information on semiotics, Cook [1992] writes to see the following:

a translation by Wade Baskin, wherein the most relevant parts are "the Introduction III-VI, Part 1 I-III; Part 2 I-V."

Cook argues that McLuhan may have been excused for the misjudge of the power that different modes have. Again,

above language use in advertising, pictures and music create more complex and powerful messages. Ads make stories happen in compressed amounts of time, and so there must be a "rich use of symbolic imagery" to make up for lost air time and/or because of the compressed space.

So lots of positive adjectives

add to the allure of the product.

"Some early TV ads in the 1950s and 1960s contained ad lib and improvised passages [...]

ads are closer to oral communication than to literature" [Geis 1982: 130-62, as cited in Cook, 1992, p. 80].

making the substance which carries the name the same as the substance to which it refers," as Cook ads. So,

ads sneak their way in more ways than we can traditionally think of them appearing in our lives.

advertisers avoid obvious ways of solving a problem when they do not mention an easier, cheaper/free solution to a common problem people face.

Page 215, in the glossary section,

advertisers use "Maslow's Hierarchy of Needs" to their advantage in campaigns. "Self-care" and all...

In the virtual or online setting today, if fantasy does not fit the overall context, mission, or the target audience, then

advertising and marketing may otherwise include a charity component, environmental conservation, well-being and health promotion of various kinds, even quite the personalization today, and subscription, along with loyalty points, or special or seasonal discounts as more typical tactics.

as Coleman (1990) wrote,

advertising has been going on as long as the trade itself has existed, even before the printing press, people would call out to others to come to their stall in the market, to make a profit or a means of sustenance.

"We all lived in an oral, personal, affective world in infancy," and

advertising, though sometimes appeals to the personal nature of communication, is supposed to be based on objective facts.

Even the most ignorant and backward of workers, even the most vain and 'cultured' of engineers end convincing themselves of this truth in the organization of the factory:

all finish by acquiring a communist consciousness to understand the great step forward which the communist economy represents over the capitalist economy.

Panigrahi and Chandra [2013] mostly do well to explore intertextuality, as in the most out of all the first 6 first sources that are mixed in here, however,

all of them do also mention visual or connotative symbolism and socio-cultural contexts as well.

One of the first few points is that the history of it has not been described, according to Panigrahi and Chandra [2013]. At the same time,

all the way back to Plato and Aristotle, explicit theories of IMITATION have been discussed since classical times.

It depends on who needs it. This helps

alleviate any hesitation or regrets over spending money on unnecessary items [for example luxuries] not on someone's inventory or basic needs list essentially.

Cook [1992] is related to Coleman [1990] via the mention of Williamson's [1978] text,

also Geis is cited by Cook.

'Co-text' is the pre- and post perceived that which is under analysis,

also what participants consider to be of a discourse that is alike.

he includes such intriguing sections like paralanguage, prosody, ways of hearing, and the overall substance and surrounding of the materials involved in ad media, but also focuses on text [connected too] at a word and phrasal level,

also, as a genre the focus is on people too and their ways of hearing, there are a lot of interesting examples from the UK.

Marxism is an analytical tool from a while ago that was based on capital [wealth like money or property that is owned or employed by an individual, firm or corporation;

an accumulation of stock and capable of producing more profit] and capitalism that was meant to reveal hidden insight underneath economic marketplace goods.

Vagueness, casualness, camaraderie, buzzwords associated with ideology are also mentioned, and interestingly,

an ad for singles has to forcibly hide the fact that their organization does not aim to do what it in fact does, but quite the opposite on purpose.

by Fairclough [1992], published in Linguistics and Education, in

an article titled "Intertextuality in Critical Discourse Analysis" (pp. 269-293):

In LINGUISTICS AND EDUCATION 4, 269-293 [1992], Norman Fairclough, at the University of Lancaster [in the UK] then, in the early 90s, wrote

an article titled "Intertextuality in Critical Discourse Analysis."

These efforts can be understood as a project of discourse intervention -

an effort to change our social reality by altering the discourses that help constitute that reality.

Practices are not specifically mentioned but discourse is, such as on page 137, where

an example source or text on persuasive analysis is mentioned; a 1981 on R. Lakoff.

Simpson [2001] explains that this ad can be classified as a "tickle text" because "low" product placement, which if combined with

an indirectly communicated message, is such, and notably, in a "narrative format" as well. What is furthermore interesting

Cook [1992] again repeats the idea later on how "intertextual allusion" is extensively used in

an interplay between different ads and other genres [p. 220].

a combination of something in addition to what is called a 'surface signifier' here. Furthermore,

an utterance is equated to a 'proposition' and denotations are equivalents of words in such instances.

Fairclough explains how in Critical Discourse Analysis, "events" like interviews, conversations, and newspaper articles are

analyzed linguistically as text.

"As with situation, the interaction between ads

and accompanying discourse creates new meanings" [Cook, 1992, p. 34].

The Marxist roots, which are a bit overly negatively presented at least here, make a certain logical basis here, however,

and as always there will be shortcomings in any case or source, like as in there two secondary ones. ... ___.

Frith, Shaw, and Cheng [2005], on pages 67 and 68 [as part of their appendix have specifically the categories of ethnicities as a referential or establishing subsection],

and here they have descriptions of the ethnic appearance of the individuals that were a part of their study.

Frith, Shaw and Cheng [2005], like Cook [1992] here uses Goffman's concept of 'display' as a reference point,

and it is one profusely repeated [Goffman, 1979, p. 7, as cited in Cook, 1992, p. 150].

Frith, Shaw and Cheng [2005], like Cook [1992] here uses Goffman's concept of 'display' as a reference point, Goffman has found that even animals have an equivalent to what people exert when they put themselves or their image on 'display.' Goffman originally explained (Cook uses a block quote here), that portraying an individual version of yourself is done during strategic moments. These can also be thought of as gestural relations. Cook then adds to what Goffman said about 'display,' when he added here also that a product, is something that can be considered a "signifier," as something technically above that which it signifies (p. 150). Cook explains that such a signification balance is not to be confused with the phatic function of language, which is focused more on relationships, of establishing and maintaining them. 'Display' also does what it does or has its effect by establishment and maintenance, but not about relationships, but for the sake of identity. Cook (1992) then tries to soften the connotation that 'display' might evoke in a reader, by explaining how it might be comparable to the boasting practices of warriors, today's boxing idea that is similar to this is the one about the "pre-fight hype" kind, so this is the modern world survived genre of such a comparable instance then (p. 151). Section 7.1 by Cook then ends by explaining how "[w]e express our identity by accepting somebody else's product, political programme, sporting prowess, or art, rather than making our own" (Cook, 1992, p. 151). Section 7.2 on "Cohesive devices" by Cook (1992) includes DA linguistic devices that are used to link sentences and clauses. A TV example from "Pretty Polly tights" (nylons) is used, from 1930 (Cook, p. 151). Basically Wallace Carothers dedicated his life to women and made nylons/tights for them. Then he took his own life two years afterwards, "beset with doubt." Cohesive devices include: repetition (lexical items like 'women' is repeated twice here, for example), lexical to phrasal sense relations are another kind ('film start' in relation to 'singer' for example), and referring expressions, like pronoun-driven anaphoric with cataphoric ones are an example: 'his' refers to WC (a unitary referential chain in between sentences). Two more kinds of cohesion devices are mentioned on the same page by Cook (1992, p. 151). Omitted "ellipsis" that are typically crossed out Os, are "recoverable" in a previous instance of the text. And as many people might already know, there are also conjunctions, so words that connect, even "phrases which indicate a logical, temporal, causal, or exemplifying" connections (Cook, 1992, p. 151). Another further pointed out cohesive strategy that Cook (1992) mentions is in section 7.3, about pragmatic principles (regarding Grice, 1975 and Lakoff, 1973, as cited in Cook, 1992, p. 153). More to do with the co-operative and the politeness principles, Cook points out that cohesion is followed by speaker 'maxims' of avoidance of imposition, so as to give the hearer the feeling that what is said is good and that they have options to choose from (Cook, 1992, p. 153).

and it is one profusely repeated [Goffman, 1979, p. 7, as cited in Cook, 1992, p. 150].

Kelly-Holmes (2000) [one source here that relates is: Kelly-Holmes, H. (2000). Bier, parfum, kaas: Language fetish in European advertising. European Journal of Cultural Studies, 3(1), 67-82. ]

and it mentions Chanel too and feminine and chic French-ness,

People doing the same job may, due to a title or position, be under different working conditions

and most profit comes from employees who can work for the lowest salary or pay per hour.

The approach is Marxist and their written claims and evidence persuasive; societal patterns appeal to specific audiences...

and often overlooked is the connection between language and images. Page 141 cont.

Since Foucault means that discursive practices entail formed knowledge not related to language or linguistic forms,

and since it is about the middle point of truth and falseness, as well as plural and different sites, of which practices are situated in; the dominant reality comes into being based on a process, so here, that is, in Coleman (1990), Geis and V and S do the following and that is related.

Whatever did not fit the following descriptions was coded as "Miscellaneous." The second product type included "cosmetics, hair care products, skin cream, and others,

and was a category that was labelled the "Beauty & personal care" type. *** [This might be a useful and/or replicable category and description that does not entail too much or too little details, and same with the next type mentioned here.] Next up, for instance and

Bakhtin was displeased as linguistics was at that time neglecting the fact that texts or utterances by people, which are of course by nature interwoven,

and were not being focused on as something continued or something seeking a response [as cited in Fairclough, 1992, p. 270].

for some also patriarchy may not be a familiar concept but in certain areas or to some people it still seems alive and well as they may argue, also,

art is impossible to critique or evaluate, although in certain periods of history it had its prominent and local features that perhaps reflected the culture and/or mood in which the artist lived in [p. 220].

It may, as Cook also notes that Halliday originally also proposed, a 'here I come,' which then may furthermore be reduced

as a repeated expression that would perhaps, as Cook notes, be elaborated endlessly [Halliday, 1975, p. 37, as cited in Cook, 1992, p. 150].

Art having a symbolic or otherwise a connotative idea that it is meant to index or be used as a totem of a "pure" individual,

as an expression of such a type of person is, according to Bourdieu, anything but (see http://culturalstudiesnow.blogspot.com/2012/04/bourdieu-and-art-world.html ; I will find all the original sources to site but just to get ideas, these links have fitting content at least and in a condensed manner).

Discourse may be perceived in the following ways as well, for example,

as forms like those which entail communication or broadcast and entertainment,

also is the reference to and tweaking of fables, semiotic indexing, icon-ing, etc. So

as in all the first main area sources, there are logical and more formal or the least abstract kinds of verbo-visual cues discussed as found in the content that ads universally display,

Vestergaard and Schroder's corpus consists of display advertisements from seven magazines circulated in Great Britain between April and October 1977,"

as reported by Coleman [1990] on the first page. V & S' goal is more in line with the usual manner in which ads are used for research, especially more linguistically. ;

Anticipatory responses due to communicative neglect of functional and mainstream (linguistic) utilization of language, meaning that

attention is not paid to the "shaping" of texts and utterances of prior and subsequent spoken and written or uttered are thus social texts influenced socially, as Bakhtin [1986] originally wrote and as Fairclough [1992] reported.

More to do with the co-operative and the politeness principles, Cook points out that cohesion is followed by speaker 'maxims' of

avoidance of imposition, so as to give the hearer the feeling that what is said is good and that they have options to choose from [Cook, 1992, p. 153].

as well as purpose engagement confusion [entertainment versus information] should

be looked into, so any clarity and explicitness may be addressed.

What Coleman also argues [to continue where her claims were left off here] about not expressing the truth is that,

be they "covert or overt," in any case this is done to ultimately sell or gain profit, but the sort of sophistication that is put into such an aim is where one advertising writer may differ from another, so be more successful, but the buyers do catch onto this.

"Certain classification systems group them together, while others distinguish between them

because of the differences in purpose, macro-level units [macro segments], and morphosyntactic features.

For example: "the bottles and cans seen on the umpire's stand between games, though rarely used by the resting players,

become ads for the products" [p. 30].

'Substance,' as already mentioned, then and also 'paralanguage,' which is

behavior like voice quality, gestures, facial expressions, type of speech, even touch, as well as typeface choice and letter sizing, in writing.

"Last, it would have been helpful to look at movements and organizations that are systematically targeting commercials and providing anti commercials in order to

better demystify the ideological meanings hidden in those pleasant and sexy scripts

Advertisers as interlocutors act like "mediators...

between the public...

"In a healthy pluralist democracy, both elites and non-elites are partially insulated, intermediate groups are strong, and normal channels of influence are robust. In mass society,

both groups lose this insulation, intermediate social buffers erode, normal channels are ineffective or bypassed, and extremism becomes more likely." *TBC...

Geis was more interested in the logical aspect of his sample, while Vestergaard and Schrøder were more interested in the cultural effects of advertising, and

both of their data or examples was reviewed as problematic, but they both agreed in their use of a corpus as a data collection storage/repository.

Interpretation, according to what is stated in Panigrahi and Chandra [2013] is about

both the outcome of inter-textuality, in conjunction with intra-textuality.

They feel that even at home, in the home they have tenaciously constructed, with patient efforts cementing it with blood and tears, the machine crushes the man,

bureaucracy sterilizes the creator spirit and banal and verbalistic dilettantism attempt in vain to hide the absence of precise concepts on the necessities of industrial production and the lack of understanding of the psychology of the proletarian masses. [...]

personal letters, quizzes, or editorial material -

but any book which purports to discuss 'the language of advertising' really should deal with

or at least the likeliness of either two or just about the passerby-er risk is probably very unlikely. Injury to oneself may be a larger cause for concern

but then, again, it does not seem like something that would be too dangerous or too alarming.

The opposite of additive, conjunctive adjuncts, are what can be considered "adversative" all-in-all, and such are:

but, yet, however, [and] on the other hand.

Vestergaard and Schrøder: Coleman's review is that the advertisers use language in a society that

buys unnecessary products, but that and measure personal worth by amount and type of material possessions, and so on, on her page 140.

Citing Waller et al. [2012], Thomas explains that

by using such an approach, it will prove to be valuable, because that which would otherwise be considered expert information about design, because of its "tacit" or not directly stated but implied nature, would otherwise be difficult to access and utilize.

Writing has come "to be associated with public and formal communication...

commitment and obligation. To add to this, literate societies, based on tradition, although with some exceptions, equate status to writing more so than to speech [pp. 27 and 28].

textually mediated constructions of femininity lock women scattered across social space into the economic system of

commodity production and consumption, in that femininity is constructed in terms of the purchase and use of commodities such as clothes (Smith, 1990).

Some of such provided political denotations of "creeds" would have been different for those who support and oppose

communism versus fascism, and 'parliamentary' democracy. Word meaning boundaries merge then.

So, this in a certain way connects to the other overarching idea here, that of socio-cultural "ideology," which need not be

completely something of a negative connotation, but of something very interesting and 'covert.' So,

They also add that the digital technique

complicates the matter further, creating confusion regarding indexicality and iconic signs. The numerous possibilities are complicated.

More exposed to the risks of competition, workers have accumulated their property in ever more vast and comprehensive 'firms,' they have created this enormous apparatus of

concentration of flesh and graft, they have imposed prices and hours and they have disciplined the market.

discourse, as Cook collectively thinks of it, is usually such like "conversations...

consultations, lessons, news bulletins, e-mails, brochures, prayers, squabbles, stories, jokes, plays, web pages, printouts, handouts, operas, soap operas, games, films," and so on. All-in-all quite general and non-specific essentially.

People often confuse or misinterpret the terms 'context' and 'text,' so Cook [1992] clarified that

context is an eight-part mixture of substance, paralanguage, situation, co-text, inter-text, participants, including senders/receivers and addressers and addresses, and the last and eight component is function too [p. 4].

Intertextuality is an important concept because of richer interpretation, due to

contextual considerations, also in order to form advanced or innovative ideas based on past socio-cultural trends found textually.

The passive consumer is drawn to the commodity sign. To make this possible, advertisers must

continue to add discoursal variations then. While an ad is made to appear distinct and attractive,

his chapter providing statistics on commercials broadcast daily is very informative and should

convince those who still doubt the importance of commercials in the shaping of our culture and mentality."

Conveyed, implied, and interpreted meaning is

convoluted essentially.

He asks to which extent does such a concern reflect

differences in the rich nations and between different cultures?

The concept seems to revolve around

different kinds of "internal" text criteria.

This can also entail not only allusion, but translation as well. A narrative can be turned into a photo, or

discoursal genres and purposes may be changed. Codes are not the only aspects of intertextuality, themes are too.

Here, in the text on intertextuality as part of CDA analysis, he writes about

discourse analysis and provides a definition of what is considered 'intertextuality' but such also includes discoursal 'practice' [Fairclough, 1992, p. 269].

Discourse may be perceived in the following ways as well, for example, as forms like those which entail communication or broadcast and entertainment,

discourse, as Cook collectively thinks of it, is usually such like "conversations... consultations, lessons, news bulletins, e-mails, brochures, prayers, squabbles, stories, jokes, plays, web pages, printouts, handouts, operas, soap operas, games, films," and so on. All-in-all, these examples collectively seem like quite general and non-specific, essentially.

For more of G's examples, see Coleman [1990], and

discursive practices from V/S are such like:

is made flesh even in the most negligible of moments of industrial production, is contained in the glorious consciousness of being an organic whole, a homogeneous and compact system which working usefully, which

disinterestedly producing social wealth, affirms its sovereignty, actuates its power and freedom to create history.

Confinements, or classifications and their utilization, of DA context is important as

diverse linguistic features of these types, when displayed, can only best be understood under such condition [Hwang, 2004, para. 1].

Coleman [1990] mentions how Williamson's work is excellent, but

does so while also critiquing V and S's text. about V and S's book.

They have assumed from outside or they have generated from within a trusted administrative personnel, expert in this kind of speculation, up to the job of

dominating the conditions of the market, capable of stipulating contracts, of assessing commercial vagaries, of initiating economically useful operations.

In the same way, all industries are homogeneous and solidaristic in the aim of realizing perfect production, distribution and social accumulation of wealth; but

each industry has distinct interests regarding the technical organization of its specific activity.

This last topic could perhaps also inform the missing conclusions." Canadian Adbusters: https://www.adbusters.org/manifesto; anti-commercials in France: https://www.journals.uchicago.edu/doi/pdf/10.1086/241432 (The Journal of Modern History, Volume 48, Number 2, Jun., 1976, Article DOI https://doi.org/10.1086/24143, The University of Chicago:

economic and political antagonism; The War in Vendée, 1793, in French: Guerre de Vendée, was a counter-revolution, the first archetypal ideological genocide), but what of elsewhere?

The mental representation is "likely derived from a specific instance [a Persil ad in the UK]...

encountered in the past." Ads are repeated for generations.

either the internal/emotional aspect of herself and how she feels about it, or to give her a potential means to

enhance her outwardly image, as the two are often dependent of each other.

The concept is mainly a summary/review of the inner [language structures] of ads but

especially in Great Britain and America, and the socio-cultural effects on society/consumers.

the recording due to their intrinsic interest in the show,

even if they are not familiar nor a fan yet of the associated musical act.

Cook [1992] has a section titled "4.7 Prosody," and in it, it is said that

even internally so-called read aloud text "may form a 'sound image' in the mind" [p. 95].

Cook sees advertising to be a kind of discourse, because its communication calls for inter-text, participants in a situation [a specific contextual use tied to some people or an object or objects], and

even some paralanguage [voice quality, gestures, and facial expressions that can add or emphasize what language is not able to be used for communicatively], and

First is an introduction with a section, number 1.1,

explaining why someone would need to study advertising.

the applied linguistics use of the term is different, or it is defined differently than that of the 1972 publication by Foucault, who

expressed the idea that systemic 'practices' of speech can result in object creation of sorts, so if one is interested in finding out differences between these opposing viewpoints about the gloss or definition of 'discourse' as an academic concept, it would be wise to see a 1994 text by Pennycook [p. 238].

They expect a different progressive template, so to speak. The word choice of the Sprite ad seems to focus around themes of

fantasy and positivity. "When the heat is on, and the pace is slow, there's a cool fresh world, where you can go... it tastes like Sprite... For a taste of sensation... the perfect combination."

On Western cultural privileges related to power and gender, here it is also stated that men have had an advantage throughout history, because

female expressions of aggression and competition are viewed as unnatural and inappropriate, due to norms, so although such means may be utilized by men to obtain a sort of status or power, it would not be advantageous for a woman to do the same [Lakoff, 1975; Moulton, 1983, as cited in Karlberg, 2005].

Fairclough on "Ford-ism" writes that textual mediation locks people into "social systems" like that of economic production, consumption and commodity, as Smith [1990] originally wrote,

femininity locks women into commodities of such products as clothes, and they can be scattered across social space and into a profit-driven system.

Familiar people or those liked that are admired are invited to promote certain products, because those who like and/or follow them;

for example, a famous athlete or a social media influencer, because they admire them and of course trust them over an advertising and/or marketing organization.

Because ads are so intertextual and annoyingly repeated, it would make sense to assume that

frequency is a means of justifying some common themes via a language analysis,

The term itself, which is 'genre,' was actually borrowed

from literary studies into discourse analysis [as cited in Cook, 1992, p. 7].

Frith, Shaw, and Cheng [2005], where the references are listed have some of the following and interesting content, and as some helpful background that may inform my study purpose, I may look into, first of all,

from the first page of the listed references: Berger, J. [1972]. Ways of seeing. London. Penguin (p. 68 of pp. 68 - 70). Then there is also Cortese, A. J. [1999]. Provocateur: Images of women and minorities in advertising, Lanham, MD: Rowman & Littlefield (as cited on p. 69).

Coleman [1990] explains that when a person reads an analysis source on advertising, she sees the whole activity as having the following basic interwoven idea:

from the most sophisticated and well-tested commercial ever aired, to the cry of the street vendor announcing that he has apples for sale.

From Panigrahi and Chandra [2013], readers may gather that advertising is complex, so much so, that

full comprehension is dependent on someone having already been so-called textually "ad-educated."

In considering a Japanese ad for a marriage agency [see Figure 1.8], the fundamental introduction of agencies, of ad worlds are

fundamentally different in the West, in comparison to some other parts of the world.

Close attention then needs to be paid to

general human cognitive processes, as well as culture-specific features.

Intertextuality is, according to Fairclough, productive in the sense that it changes conventions like those which are in this context,

genre and discourses of the past to the present [1992, p. 270].

For example, seductive french makeup and perfume are used along with some of the French language code-switched, in an attempt to

give people the commodity through the idealized notions such as this one, and another example is bier in Germany.

Source ref/citation 5: Panigrahi, D., & Chandra, N. D. R. [2013]. Intertextuality in advertising. Language in India, 13[9], 251-263. }Part of MAIN AREA 1, which

has a focus on advertising language, discursive practices, and so on, but especially intertextuality.

Page 141 mentions imitating other discourses, as in advertising discourse

having similar components as other textual forms, like with specific purposes.

on pages 598 and 599: Simpson [2001] points out that while the conjunctive pattern of reason advertising is intact, "this pattern may be enriched stylistically by rhetorical and related devices" [p. 598, para. 3]. Furthermore,

he explains that "this is often developed through metrical contouring across the two conjoined clauses," and he gives an example of a "causal sequence."

Cook [1992] notes that to some, discourse analysis is just too much in one, and so "messy," however,

he rationalized the need for context in language as follows [p. 5].

Intra-generic types voice within the same genre a different example, so, for example, in Cook's [1992] book on ads and language, his Figure 7.4 is one, where

health warnings that are typically found on cigarettes are alluded to here, as it was stated here how it read that "[w]arning; may cause outbreaks of jealousy" [Cook, 1992, p. 193, section 8.7.1].

From having used MeaningCloud_s Text Clustering_Categorization and Topic Extraction:

here is a relevant secondary connection between Coleman [1990] and Cook [1992]: a popular book that was widely discussed in courses related to such topics as those covered in this text and in addition to other publications,

Frith, Shaw, and Cheng (2005), on pages 67 and 68 (as part of their appendix have specifically the categories of ethnicities as a referential or establishing subsection), and

here they have descriptions of the ethnic appearance of the individuals that were a part of their study.

"In contemporary culture any oral creation which is valued is immediately written down:

highly esteemed pop songs and film scripts quickly appear in books" [Cook, 1992, 79].

His 1992 book that focuses on this topic is perfect for this sort of information and is a great source of an overview of the means of using advertising to sell or communicate, both a bit more technically and socio-culturally, but

his voice and/or stance seems more in line with literature and/or poetry [so not linguistically-oriented in a traditional sense but he at least does well to describe the concept in an accessible or transparent way].

It is about mapping out different dimensions of such analysis onto one another. The aim is to answer:

how are particular forms of texts connected to social practice?

*With whom did the concept of discursive practices originate in and how is it now defined?

https://core.ac.uk/download/pdf/195149027.pdf =

If this "proclaimed purpose" that living entities engage in is repeated, then it is predictable,

if it is more as can be described as innovative, then, according to Cook, this is a means to grab attention.

Then also on identity, Goffman wrote and tied the concept of knowing your own identity to how a person would feel like they belong

if that person was able to see themselves as a reflection of their situated society.

Cook [1992] more widely believes that ads help to create a new global culture that

ignores the boundaries that we call nations [see number 5 near Fig. 1.8].

she finds it critical that advertising language should entail prominent linguistic features and

imitated forms of discourse identified, understood and imitated.

whatever else someone or some people might need. It seems like a sort of the most indirect and covert/unassuming 'tickle,' but

in a good way, because this newer way does hold people's attention and causes them to engage more than before.

Marxism is another point of connection between Coleman and Cook, and,

in addition, visual elements are mentioned.

4 Compare and contrast:

in both cases, there is an in-between point of neither full truth nor falseness, and this is done to create a way to sell through manipulating, not just through language but the ideas found therein, and also in images.

"The presence of the discourse of flexibility in Stephen's talk is an illustration of the textual mediation of social life:

in contemporary societies, the discourses/knowledges generated by expert systems enter our everyday lives and shape the way we live them.

Not to be confused with Cook's content, but

in general, the concept of 'discursive practices' is based on the operations, hence the use of the word "practices" of discourses, meaning knowledge formations, not to linguistic practices or language use.

Simpson [2001] is another logically meaningful source that mentions the reason/tickle distinction, but

in terms of his technical language conclusion, he mentions, as inspired by Halliday, the binding devices called 'conjunctive adjuncts' that most commonly seem to be key,

A shortcoming in Frith, Shaw and Cheng's [2005] report was regarding the models used in the Eastern nations, Frith, Shaw, and Cheng (2005) cannot explain why there was an "overuse of Caucasian models in both Singaporean [65%] and Taiwanese [47%] advertisements" [p. 66]. Also,

in terms of the two Asian countries, it was "a matter of degree, with Singapore being more open to this practice than Taiwan." The one country that showed the most "racial diversity" was Singapore, and they were even awarded as being titled the 'most globalized' by Foreign Policy magazine in 2000.

Their findings show that H4, their fourth hypothesis, was supported, as Singapore had 40% beauty products advertised, and Taiwan had 49%. However,

in the U.S. the clothing ads dominated over beauty products (p. 65, para. 1). *

Geis wrote that the language in ads is not as spontaneous as the dialogue of the typical conversation, and in this sense,

in the communicative sense of this concept of 'unnaturalness,' he calls out ads for being a fake back-and-forth basically.

Worse even is that "they appear unaware of Grice's [1975] work, although they could have used his maxims at several points... come close to doing so... reinventing a few of his wheels." However,

in the latter part of the book, "the ideological underpinnings" are, as she puts it, excellently treated.

The use of Caucasian women in Singapore as well as in Taiwan, according to Frith, Shaw, and Cheng (2005) "suggests an openness

in these societies to foreign models and beauty trends," which seems easier to spot than the underlying tone of what may also be referred to as "cultural imperialism," based on theories of hegemony of foreign ads.

Section 3.1 introduces, first of all, the concept of what is referred to as a "mode" [Cook, 1992, p. 42]. In this book, Cook uses the term mode to mean the choice of the means of communication, which

includes language, as well as pictures, but also music. Each of these choices may be further subdivided. The further subdivided choices are referred to as "sub-modes."

As Geis, in an overview regarding the logical language details of ads, and as Coleman [1990] mentions in a review:

incomplete multiple comparatives like 'more car for less money' is an important point of consideration in the structure of advertising distribution [as cited in Coleman, 1990, p. 138].

According to Cook [1992] when tennis is a watched sport, and specifically, he refers to a "Grand Slam" tournament here, ads for products are

incorporated into the background.

and here, Hwang [2004] writes that according to Longacre [1996], the aim [of persuasive discourse] is to

influence conduct and values or beliefs.

Advertising language, discursive practices, and intertextuality in Coleman (1990): PARAPHRASED...

inter-texts are mixtures of similar forms of communication and Coleman (1990) does not explicitly state much of anything regarding intertextuality but seems to do a review in some parts which have more of critiques based on, perhaps, main points more related to her own expertise sub-area.

Some language features that can be summed up are those like: as Geis reported,

interesting creation of product names, fictionalized subcontexts are delivered to the audience through manipulating style and register, and

Affecting interpretation but belonging to a different discourse is

intertext.

It was in 1986 when

intertextuality became a term or concept of interest.

"In each of the countries in this study, one of the top three fashion and beauty magazines

is not originally a local magazine" [Frith, Shaw, and Cheng, 2005, p. 61].

As Haug [1987] has originally stated after close examination, that the ongoing or intertextual practice found in arguments against the objectification of women,

is nothing more than just a form of general exchange value in Western society [as cited in Frith, Shaw and Cheng, 2005, p. 65].

One way in which the classic kind is described that implies age is that this type of woman is "slightly older than average." Also in terms of the cute, "Girl Next Door" type, the description that implies age

is what the authors refer to as having a "youthful appearance." Therefore, classic is aged and cute is younger.

The effect of the frequency of exposure of the Volkswagen ad [24] was negative, because

it "appeared only infrequently during the months following its initial screening," and moreover,

It may in part be a way of avoiding conflict, this 'display' enactment, but

it also may be something that originates in competitiveness.

As an economic and political interest the trade is united in solidarity with the body of the class; it is differentiated from

it as a technical interest and as the development of the particular instrument which it adopts for labour.

It may also seem best to work at a level of most self-control, meaning those who feel oppressed are actually those that are managed by higher-ups, while

it could also be argued that those who are more in control of business have more freedom in this regard.

On page 212: advertisers have been excited about the potential of the cell phone medium, because

it could be literally carried around everywhere by everyone. "Thus a symbol of freedom becomes a selling machine in every pocket" [Berger, 2015, p. 212].

Overall, "such variety fulfills several purposes. Firstly[,] and most obviously,

it is attention-getting, and can compensate for an intrinsic lack of interest in the message itself" [Cook, 1992, p. 30].

Consumerism leads to socio-psychological [both mental and physical] overall satisfaction, because

it is constantly repeated to people, but anti-commercialism is also pointed out later.

Today, the sponsored material is especially made to appear very informal, whereas, in reality

it is more than what at first or more openly appears like surface entertainment or beneficial information for perhaps in one part solving a problem or

At times, some beauty stores, like Sephora in the U.S. for example, ask online shopping customers to choose free samples with each purchase, so

it is nice to get free samples and probably in an effort to best target a consumer and not let it go to waste, they ask what people prefer to try.

Discourse that is considered "accompanying" [see Section 2.4 in Cook, 1992] in ads, is described here as "parasitic" onto the other genres and surroundings, where

it is not meant to negate anything, but rather, this is meant to describe such instances that latch themselves onto others.

He would have liked a more systematic discussion of such a "common sense" as

it is often described as being part of commercials, "and, therefore, our social and psychological landscapes."

Cook [1992] explains that parallelism has so-called more power or merit in songs or poetry, and it, or parallelism, is seen more as a sort of "lower" form of discourse, as

it is often viewed more as too far removed from facts, so deceptive, referential but not alluding to much of any logic.

this wider process should be an important CDA-based, or an imperative focus of discourse analysis, because he argues here that

it is part of a rapid contemporary transformation, it is a striking feature worth focusing on, when it comes to analyzing how traditional texts are still shaping contemporary ones [Kristeva, 1986, p. 39 and Fairclough, 1992a, as cited in Fairclough, 1992, p. 270].

Caution should be applied when it comes to interpreting reception of such instances, because

it may result in incidental receival, not intended by the sender.

Cook [1992] then tries to soften the connotation that 'display' might evoke in a reader, by explaining how

it might be comparable to the boasting practices of warriors, today's boxing idea that is similar to this is the one about the "pre-fight hype" kind, so this is the modern world survived genre of such a comparable instance then [p. 151].

According to Cook, de Saussure handled the textual component well, but not as well with two others. Basically,

it says here that he wrongly assumed that everyone thinks the same or uses language to "condition" the message in the same way.

This was a norm, which tended to reflect traditional Daoist/Taoist beliefs of nature being important, and man's place within an orderly universe too. So,

it seems like at the root of the historical development of Eastern art in relation to the Western, the focus of visual expression put nature at the center of importance.

go back to and finally answer regarding V & S, as cited in Coleman [1990], so to answer if they or Geis had done better to define or utilize discursive practices,

it would have to be stated how the critique summarized their main claims as they relate to D. practices... ___.

"The use of intertextuality in advertising is a conscious strategy that

keeps viewers busy in the interpretive activity and thus makes ad texts attractive and memorable," they write.

Reviews also matter [the brand's or a personal reputation or that idolized person or reputable organization in the spotlight someone or a group who is widely recognized or known] are

known to bring in the best results to meet demands, and that aesthetic image needs to constantly be up-kept to keep the consumers engaged.

or as Gottchalk and Panigrahi and Chandra mention, there is a woman used as an elaborated example that is like a heroine depicted in this discourse too. But mostly the aim in most of these sources is to show socio-cultural themes or "ideologies" across space and time, but

language contact due to a more global world and people "living" so to speak more now on the net is causing various new and notable shifts too. Gottchalk mentions a "Berger" like F, Sh and Ch, but the exact same author or specific publication or even version?

Another cohesive device

lexical to phrasal sense relations are another kind ['film start' in relation to 'singer' for example], and

It shows a scholar or researcher a way to pinpoint and analyze voiced patterns with themes in them,

like here, we have ideology repeated a lot, and Marxism, consumerism, covert manipulation and exaggeration, and using other appeals to persuade and sell, based on socio-cultural [and current] trends, although

Modes can be singular or multiple. Specific modes, according to Panigrahi and Chandra [2013], can be

linguistic, visual and oral, and each of these can have their own variation of intertextuality. Such intertextuality can occur, by chance, between two different modes, as such can co-exist together.

Another main point included here is about the research gap that Frith, Shaw and Cheng [2005] set out to fill, and that was the following, in their own words: "to date,

little advertising research has attempted to look at how beauty is constructed in different cultures.

For better understanding of how all this plays out, the authors here, in this original source used Englis, Solomon, and Ashmore [1994], and that borrowed content included

looking at examples/samples [data collected] from Singapore, Taiwan, and the U.S. And they also, based on this add a rational for selecting these as well in their own study; "twofold" reason [Frith, Shaw, and Cheng, 2005, p. 60].

Necessities need not be sold as "hard" as luxuries, so

luxuries are usually those sorts of products that need to be sold more forcibly, so to speak, to the consumer.

mainly brought on by an underlying negative tone based in mistrust of a middle point of the truth and false information or persuasion, due to a material consumerist culture, which is

manipulated through style and register linguistically, to move to action or to behavior according to a socio-cultural ideology.

Hwang (2004) mentions Lakoff's (1982) persuasive discourse, in a similar overall tone as Coleman (1990),

manipulation unequal power, advertising, propaganda and politics are mentioned and where, first from page 28 in the original, she quotes Lakoff as stating that

'Tag' or 'emblematic' switching, which need not involve full language proficiency by all those involved, may reflect

marking motivations and desires, which in turn are meant to be used as ethnic [note: this can indicate various personal identifiers like in Europe this is used more to indicate, in general nationally divided cultural differences] or

not an attitude as such can change more so like emotions, but more deeply rooted and subconscious understandings in a person, whereby

masking what is hidden underneath, a person is actually commanded or instructed on how to think, what to do, what to use

This is a bit reminiscent of what someone might do on the spectrum, especially as deep thinking is mentioned, but, according to Goffman, aside from understanding people based on overly-focused details, he believes that

masks are worn to adapt to universal social rules, whereby a person performs repeated "ceremonial" actions. The face is dependent on context, so adjustments come with changing socially-driven situations.

Banners are similarly shown around a soccer/football field, and with such overexposure, perhaps, for the most part this is "unseen" or ignored by fans just wanting to watch the game, or it is? The brand-name,

maybe logo, the one displayed on the product itself is an ad itself as well.

The problem is that, as Cook wrote, for one example, ads are so medially intertextual and products come out so fast all the time, so it is hard to keep up with trends, in order to evaluate and conclude any findings, but

maybe there is a way to hypothesize and predict future outcomes based on present and of course past themes?

Misleading advertising, and the reader/viewer/listener of such, feels a general mistrust about how they are communicated and then received, so naturally,

maybe this is why they are "zipped" and "zapped" as Cook points out in his book-length treatment; they ignore that which is therefore unwelcome and alien, therefore,

Intertextuality is hermeneutic in the sense that

meaning is more so interpreted rather than immediately comprehensive, so it is hard to understand and it is not easy to get, but rather purposefully vague or obscure/not easily accessible.

"contributing to a society in which people buy things they do not particularly need and

measure personal worth by amount and type of material possessions, superficial attractiveness to the opposite sex, and so on" [Vestergaard and Schrøder as cited in Coleman, 1990, p. 140].

The advertiser is a social service actor for the public and serves to

mediate, between and on behalf of the public, both overtly and covertly.

and there is also the more creative and

more elusive side of such analyzable details. *

Cook sees how this ad is connected to a persisting 1970s continuation until now. The song words are thematic, and this is similar to what Panigrahi and Chandra describe about ads that are sequenced

more in a continuous fashion over time, meaning that while ads most often are just single instances, perhaps this is a way for an ad to become memorable to a viewer.

Services were low [5/2%], and there were

more miscellaneous items [12/5%].

some may wonder if something is taking on too negative of a tone or connotation than it publicly should, as

more private or intimate discourses and/or "voices" are exploited in such spheres.

To go back to considering words [specifically about denotations], we are invited here to think about the word 'creeds' as a way to understand some

mostly past and political uses of such that would be considered examples.

Purpose is important here and narrative can include

narration, description, in-structure, exposition, and argument.

As a result, a total of 1,236 advertisements were collected from the above-mentioned

nine women's fashion and beauty magazines published in the three societies under study" [Frith, Shaw and Cheng, 2005, pp. 61 - 62].

certain aspects of a model's look may make someone compare themselves and feel inadequate, although they may be familiar with this

non-typical, advertised aspect of looks, it still does little to negate someone's feelings of themselves.

1 Definitions: intertextuality

not as defined explicitly nor as the expert reviewer claims to highlight [intertextuality], but some points of consideration or some that might fit this frame of mind in Coleman [1990], which reviews two main secondary sources, are the following:

As Coleman [1990] discusses vagueness and signification, so too does Cook in a way, although

not entirely in the same sense of course.

as an unusual ad technique to Simpson [2001] is the fact that in 24, 'Volkswagen,' the brand name itself, is surprisingly

nowhere "fully lexicalized." Maybe the team who created the ad thought it would force people to pay attention by doing the complete opposite of what might be done

In this period, in which individuals have value in so far as they are owners of goods and trade in their property, workers have also had to

obey the iron law of general necessity and have become merchants of their only property, labour power and professional intelligence.

A more cooperative and balanced approach is therefore offered in Figure 1,

on a unified schema of power, not thought of as domination, but as a "capacity" [Karlberg, 2005, p. 6]. ...

the way into comprehending such instances in society is by using some sort of discourse, and

on an individual level, these are 'voices,' who utilize certain words.

So, and again, a very good reference source for novices is the previous page, page 5 in Cook (1992),

on some localized traditional advertising language.

Also, Bakhtin [1986] wrote a paper in the early 1950s on something closely linked, which was

on the issues related to the theory of 'genre.'

Legal degree considerations of what makes something technically true to certain extents is a trick that advertisers use

on the viewer/listener, precisely because they know they are unaware of applicable exclusions, so they are communicating something essentially false or empty that will not actually [most likely] benefit a consumer. The legal part is mentioned in Coleman, on page 139.

Later, an alternative definition method is provided, such as

one solution to this dilemma, since ads use a lot of "vague associations of a word for a group or individual," it is therefore necessary to describe such instances in a nym-y sort of way.

not all psychological and social needs are met in such a way by many people, going to a mall, especially today,

online shopping is more common.

the media may make the masses believe that the systems of income are fair or mostly medial when in reality, most must work hard for low pay and very few are the rich so called, either political or social "elite',

or a technical term is the "bourgeoisie" or 'capitalists' essentially [the origin of this word comes from upper class and it started with the French Revolution from and to the following years: 1789-1799].

Also, using an "unacceptable" interpretation of the quality of such a social identity, in a stubborn way, can lead to alienation

or basically the worst kind of outcome. See also "locutionary force..."

In 1980 Foucault (as cited in https://www.gmu.edu/programs/icar/ijps/vol10_1/Karlberg_101IJPS.pdf ; see p. 2) wrote on the domination of power as being transmitted originally or traditionally through a historical base, wherein

order and discipline are used as means of watching over those who need to be placed sort of back in line.

Cook [1992] writes that discourse not only co-occurs within

other discourse, but it imitates it at the same time [p. 34].

Speech is, according to what Bakhtin (1986) originally wrote, full of different degrees of

otherness, but also 'our-own-ness,' which means "varying degrees of awareness and detachment" (p. 89, as cited in Fairclough).

According to Cook [1992], the appeal of text is due to two factors, and those are our personal, individual development, or

our "ontogenetic" focus, as well as, the "phylogenetic" aspect of change, that being the historical and human kind of change [p. 80].

based on E's text, he concludes that "In order to make the most of the opportunity afforded by

pack[aging] messages to communicate with consumers at the point of purchase they must not only be comprehensible, but also appeal to the local audience. In the case of most imported products,

"Language is always in context, and there are no acts of communication without

participants, inter texts, situations, paralanguage, and substance."

Another part is a 'situation,' which are [more collectively all-in-one]

perceived properties of objects and people within the vicinity of what is around what is being seen or heard.

The more salient and gendered examples in Cook [1992] are that of

perfume being a typical product for women and cars as that sort that men mostly enjoy.

Cook [1992] also shows a graphic representation, slightly similar to this set of interconnected concepts, but including

pictures, music, society, language, and other ads, amongst some of the points mentioned, in Figure 1.1, on top of page 6.

Discursive practices from G, part 2, in Coleman [1990]:

presuppositions can cause a different interpretation in ads, as Geis on the initial page of his, page 82 observed, and as can be seen in the primary, review source's listed number "(2)" excerpt, about how the product named "Skin Quencher" can "drench" the skin to "help" bring moisture back into it, as if something animated, which it is not and therefore entails and then presents a bit of a creative or unreal scenario to the audience.

Also important are the communicator's

purpose or intent, and models can also encompass a mix.

as he secondarily found them to be such in 'reason' ads, were the conditional [like positive if/then and in the event of when], causal [negative like otherwise; if not, so then; because; as a result; that's why], and

purposive [including a verb with such components like in order to or so that you can...], semantic types that ring most true. These enhance the reason to buy [as cited in Simpson, 2001, p. 595].

Going away from the structuralist notion of stable signification of a text she proclaims this: any text is constructed as a mosaic of

quotations; any text is the absorption and transformation of another. The notion of intertextuality replaces that of intersubjectivity" [as cited in Panigrahi and Chandra, 2013].

About the primary source's representation on "Figure 1," this explains how visual [nonverbal and not purely linguistic] modality matters, as "Kress and Van Leeuwen's prediction is correct, and

reading direction influences the allocation of information value to different positions in visual layouts, we should expect the theory to hold for English examples but not necessarily for examples produced for a Chinese-speaking audience" [Thomas, 2014].

for example celebrity voiceover, parody used especially in India, a consideration of the socio-cultural context [this includes consideration of the register], so realistic dialogue, but also

reference to and tweaking of fables, semiotic indexing, and iconing, furthermore. Scientific discourse in pop culture is interestingly memorable and valued there, as Panigrahi and Chandra [2013] note.

Grice's [1975] Maxims were a missed opportunity here, as Coleman notes as well, regarding V & S' nearly-made connection, and in some ways

reinventions of the Maxims' wheels, this is linguistically [typically] quite the general sort of information, so this is a good point made here [as cited on p. 143].

'Display' also does what it does or has its effect by establishment and maintenance, but not about

relationships, but for the sake of identity.

Verbal devices can also be defined as in support of a figurative writer's use of words [diction], such as for symbolic use, but

rhythm is another aspect that may benefit from including such an aspect of language with communicative potential in text/speech.

We sell our time as labor to gain money and underneath what would seem like legal or fair justice is actually what would very extremely be considered exploit that is

rooted in social relations, or a sort of hierarchy where people are categorized based on income level, pattern of consumption, and

Daniel Chandler also wrote a great introduction to

semiotics, according to Cook.

Cook [1992] believes that "the most telling evidence of sexism" is the display of "the ubiquity of the male in the final voice-over," and

sexism can also be evident in the ads that "pay lip-service to the modern 'liberated woman'" [p. 95].

"A the outset of her book, while examining two ads for two varieties of Chanel perfume [Chanel No. 5 and Chanel No. 19], one showing Catherine Deneuve, the other Margaux Hemmingway,

she 'discovers' that both women are signifiers, the former signifying 'flawless French beauty,' the latter, the essence of being 'young, American, way out' [in the original/primary source, this is on page 26].

Fetishism does not mean the exact same, as it is meant to be used to

show that people project themselves onto physical objects,

[Seems very wasteful but also this is a type of advertising that is more common today and is

shown off by influencers to others/their followers or audience, sometimes in a pair for or sponsored fashion and sometimes by personal recommendation.

An interesting takeaway in this secondary source is that what seems to be a "platonic" social network called "Singles Society" has coded language that if unearthed, indicates that

singles will pretend not to be actively looking for a partner while actually doing exactly so, but in not as an overt way [as reviewed in Coleman, 1990, on V and S]. ***

"the ideological underpinnings" are, as she puts it, excellently treated. Judith Williamson's [1978] analysis of advertising images was a past excellent example too,

so in order to see where they may have missed the mark, one would perhaps need to go there to see repair ideas of greater quality.

Geis uses the secondary support of Preston [1967] and Preston and Scharbach [1971] to reiterate that the audience or a hearer of an ad may interpret a claim to be present where there one is not,

so they assume the advertisers want them, as potential consumers, to want to or try to make them believe something or to persuade them regarding something not really stated.

The matter is complicated by the cross-cultural gap between buyer and seller and by potential consumers' political and

social perceptions of the seller and of seller nations. These are areas to which linguists have much to contribute." - Coleman

explaining that "much of the literature on the representation of women in advertising is built on the feminist argument that media are patriarchal, and that in patriarchal

societies, men watch women and women watch men watching women" [as cited on p. 66, para. 1].

Fairclough [1992] suggests that power relations theory, of which shapes and structures social practice needs to be included into considerations and analyses of

socio'-cultural and historic intertextuality' that is maintained through social structures and relations, their shaping of [their structure that is] and of course the practices of such a schema [pp. 270-271].

Van Dijk [1997] but as cited earlier here, by Hwang [2004], discourse analysis more generally is about these inter-connections:

socio-cultural situations and interactions of such events, cognition, as well as language use [para. 1].

Frith, Shaw, and Cheng [2005] citing Haug [1987], Kuhn [1985] and Berger [1972], in their discussion wrote that an alternative way of viewing their findings would be via a monetary, material lens, with

some historical roots [as cited in Frith, Shaw, and Cheng, 2005, p. 65; for material and historic roots, see Kuhn, 1985 and Berger, 1972]. Seems a bit similar to the Critical Discourse Analysis method.

Such is the kind where meaning is created when situationally ads that come together with accompanying discourse become

something altogether different.

Notably, perfume smell, of which is a typical luxurious or high class item for women,

something of such a nature is hard to sell.

"Any book which purports to discuss 'the language of advertising' really should deal with

specific linguistic features which contribute to the reader's identification of the imitated form of discourse and their effect on understanding the advertisement" [Coleman 1990, p. 141].

Something could also be said about the casualness of pretty, and the oddness of treat when the object is one's own body parts...

specific words are described here as humorous...

Kelly-Holmes [2000] for example, has written about foreign language fetish in Europe,

specifically as it relates to certain products and their tie to certain nationalities.

Cook, in one book chapter, examines the effect that modes and sub-modes have when selected and combined. The three sub-modes of language are

speech, song and even writing, of which, if we zoom out a bit, are a part of even larger modes of ads, as far as Cook [1992] sees these components making fitting sense together.

The hallmark of his system was standardization --

standardized components, standardized manufacturing processes, and a simple, easy to manufacture (and repair) standard product.

Frith, Shaw and Cheng [2005] collected three issues per magazine, which were chosen at random from within the 14-month period,

starting from March 2001 to April 2002. The unit of analysis was restricted.

So, discourse can be one of the following mostly:

structural, cognitive, sociocultural, critical, and/or synthetic in approach, according to this review and as it begins to explain what Gee had to state [Yang, 2001, p. 646].

According to Panigrahi and Chandra [2013], Kristeva's readers use the concept of intertextuality as something like influence may be used for or interchangeably, but

such an author-based concept in particular should not be confused, as they themselves also wrote in their own words: "confuse intertextuality with more traditional, author-based concepts, particularly the concept of influence."

using language in such a way, as to point to some sort of indexical entry of sorts, is in one way meant to allude to something else and less obvious, sort of like hinting more than making it very obvious, or

such serve as referential utilities at least linguistically.

The ideology is based on a focus on things, property and the illusion of the self, as it needs to be re-created,

symbolic significations and unconscious connections that are described here as 'dreamwork' because unlike true freedom, freedom of the kind here, the tempting, the ideal, is nothing more than plain illusion.

As a review in the following source on an introductory text to DA, including methods and approaches, Gee can be described as a

synthetic DA-ist, in that he takes on a more balanced approach to his methodology/practice and theory-based research; for instance, and as it applies to this content here,

This idea that wealth or power are means to individualism and maybe even

technological advancement is so felt even in today's society. Today, social media's 'cancel culture' is a thing.

Text, as a term, is used by Cook [1992] to mean this: for the purpose of analysis, temporarily and artificially,

text is something used here as being separate from linguistic forms.

The original intertextual ideas can be traced to the following scholar, according to this source, and

texts' dependence can be structural or based on content.

the media aims for the most sought after or idealized look, that is nearer to perhaps imagination and exaggeration

than the private or public lives of real and more average people. Also,

Value is not based on real value but rather a 'commodity'

that is based on what Marx referred to as "use value" while "exchange value" is what the outcome is or the profit, but it is also based on

Cook, unlike Coleman writes that certain verbal behaviors in ads are like that which Goffman [1979] wrote about [see Chapter 7 in Cook], and

that is oddly like "talking to oneself in public" [p. 234]. This is done in order to, as Cook explains, to 'display' identity. Apparently such 'ritual boasting' behavior is even found in animals as well.

Yang [2001] notes that Althusser refers to Gramsci's 'hegemony' [formed by coalition and against h.] in a respectful way, and

that is somewhat both not only economic but also a bit political as well.

Regarding mass discourse, Cook [1992] views socio-culture as a sort of competence

that society breaks down into and assigns to such units, categories, and names.

Frith, Shaw and Cheng [2005] in the last section of the appendix, and the "Product Types" subsection, reported that the last kind of "types" that were coded,

that such expressed the revolving theme of products of various kinds, like those such like the ones in the advertising, which they have analyzed (p. 68).

"[r]egardless of what they sell, all commercials articulate the basic, and disastrous, ideological credo

that the path to the satisfaction of all social and psychological needs necessarily leads to the shopping mall." However,

As ads aim to persuade, it seems natural

that those who make them would include them.

An example of a notable point about ads in Cook [1992] is an element of an ad: 1/8 items on his 5th page of the Introductory section. Here it states that

that which is within context is called "substance."

even though such places and groups of people that handle those who are "wrongly" living their lives, should actually be doing the opposite, to try and reduce such phenomena

that would actually alleviate unwanted symptoms, because, as previously stated, within these total institutions only two identities are possible: right and wrong.

The two about age are, first of all, referred to as "Classic," (which is the first kind they list) and the third, called

the "Cute/Girl Next Door" type (p. 67). One way in which the classic kind is described that implies age is that this type of woman is "slightly older than average."

Another [again] gap, a point here that is concerning, is that, based on what Frith, Shaw, and Cheng [2005] reported on Englis, Solomon, and Ashmore [1994], that, as explained by them, the limitations of the study in retrospect and based on

the "beauty categories developed by Englis, Solomon, and Ashmore (1994), that the Exotic was a type excluded from this study because the definition — 'ethnic looking or non-Caucasian' — seemed inappropriate at the time. However,

Pages 602 and 603 in Simpson [2001] } Simpson [2001] citing Cook [1992; see page 103 in Cook, 1992] attributes

the "cognitive processing" of this ad, about a Volkswagen van, as "the 'slow-drip' method" [as cited in Simpson, 2001, p. 602].

A glossary term in the analysis on Gramsci's Prison Notebook, published by the MACAT Library, on page 73 [paperback] is

the "crisis of hegemony," which Gramsci originally described as the situation as wherein the people lose faith in the leadership due to economic problems.

it involved an approach to unveiling through analysis, what she calls the 'real' meaning of the words and images of an ad, and

the 'real world' to which the 'unreal' images of the ad refer.

both Coleman and Gottschalk somewhat delve into reflecting on reviewed literature based on the commercial ideology of

the American [social and status-seeking] culture of consumerism. Cook also attributes political and economic systems as sources of variable consideration in the discourse of advertising.

Although it seems like most people do not act upon suggestions made in any one particular ad, unless they are repeated exposed to it, it seems like

the ads that do take effect on the RVL are the ones that are repeated (the "same ad...[in] a relatively short time span"). *Then and again,

This is by chance, or

the advertiser sometimes manipulates such instances into being [p. 35].

Coleman explains that the reason for this is the fact that a claim which is meant to express some sort of relatable experience is "camaraderie" because

the advertisers have no personal connection to the audience or the potential consumers.

A [feature] connection between spoken discourse and literature is

the affective role of it. It has a strong association with emotion over fact.

"So interpretive activity is never an individual act but influenced by the reader's background and

the affordances available to him based on that background." Is this enhancement technique of intertextuality conscious or unconscious, they ask.

"A face is both the expression of an individual consciousness and

the articulation of a "known" that is socially shared" [on Williamson, 1978, as cited in Craik, 1978, p. 82].

They also use something already used elsewhere, for another purpose, and that is

the concept of 'substance' and in space and time of other discourse, so

Discourse is "language use;" contemporary socio-cultural change can be understood as

the connection between discourse, so the understood as changing practices of language, and wider processes of change.

and, importantly, this is often overlooked, but

the connection between the language and images is an important point for observation.

So, what both examples suggest, in both cases, is that

the content can be transmitted in numerous ways or mediums. Again, and

advertisers also then seek to assess the reader/viewer/listener of it, to see if they are knowledgeable in

the domain or so called "intelligent" when it comes to it. "All the while the viewer finds himself engaged in a decoding activity, being no more repelled by the act of consumerism."

As Alan Watts once pointed out in a talk, mainly about a joker or the archetypal outcast, he explains

the forced culture of belonging to others like so [this is universal really], and so not as a personal choice: "in this kind of modern society,

Some of the specific examples given here are the following. "Colgate advertisement, which parodies the scenes from the movie Dabang with the appearance of

the heroine Sonakshi Sinha. Even in Tata Tea advertisements, the real life office scene is parodied when the applicant offers Tata brand tea as a bribe to the concerned officer."

It is different from the covert advertising as often found in James Bond movies." Some of the specific examples given here are the following. "Colgate advertisement, which parodies the scenes from the movie Dabang with the appearance of

the heroine Sonakshi Sinha. Even in Tata Tea advertisements, the real life office scene is parodied when the applicant offers Tata brand tea as a bribe to the concerned officer." The second type provided that is more contemporary is the "episodic" one, offering a sequel or continuation.

Furthermore, Goffman's methodology was often a very deep participant observation type. Institutions that deal with those suffering from "madness," "criminality," or even illness, there, engaging in counter-intuitive means reflects

the idea that you can either be right or wrong [polar extremes are only mentally permissible or possible], and so,

he says that because of the belief that the so-called objective, scientific fact is at odds with personal texts, this textual kind of elaboration has been forcefully divorced;

the individualistic situations and the "individual voice," from to more academic supremes [Cook, 1992, p. 80].

There is an irony here too, because the 'superficial' forms are trivial and the 'deep' are genuine but quite thoughtfully serious, so

the irony lies in the blatant part about how such deeper structures are actually highlighted; he believes this is insinuated through what he calls a "purely surface metaphor."

Not only are lengthy takes on the language of ads and on related media scarce, the inner workings of such are further complicated by technological connectivity, as well as

the language contact due to further expanding globalized trade and market of goods.

the selection collected by Frith, Shaw and Cheng [2005] was rationalized, like so: "[t]o maintain comparability,

the magazine types from each country were matched by format, audience demographics, local language, and circulation figures. Within the genre of women's magazines, there are various types" [pp. 60-61].

Analysis issues result from non-narrative texts and such parts, but

the main point here is that discourses can differ based on different forms of "mainlines," including markings to signal tense, aspect, and mode.

What seems different about this source's details is that it is more focused on rationalization based on communicative theories and

the more formally sociological underpinnings regarding ads.

Slogans are meant to make it seem as though the product has been specially made for

the person watching or reading the ad, although they of course are a stranger to the information.

Cook explains that such a signification balance is not to be confused with

the phatic function of language, which is focused more on relationships, of establishing and maintaining them.

Grim, unlike harsh, does not aptly describe the way one treats one's legs, so that

the phrase in this context constitutes the kind of mild, semi-humorous hyperbole typical of casual speech between friends.

Allen [2003] that is a secondary source still cited here by Panigrahi and Chandra [2013], in connection to Kristeva's contribution, explains that

the point is not to point out another author, it is a condition rather, meaning signification in many types of uses of language.

People keep texts as ongoing things, so the phenomenon can be viewed as post-structuralist [a critiqued afterthought to structuralism]. Starting from 1960,

the poststructuralists had very actively discussed these matters. The competing notions here are that in the past, structure was more important, whereas post- then, the more important focus is then on social function, such that relates to underlying, superficial diversity.

These are of course, due to power struggles not the most ideal versions of the kind of reality that could come into being in

the practices of a communicative social world full of various kinds of conditions.

In Coleman [1990], Vestergaard and Schrøder seem to do well to examine advertisers' "covert and overt" means of performing a valued social service, "by serving as mediator between the interests of the public and...

the public!"

Frith, Shaw, and Cheng's [2005], based on their findings, have a base in different product categories of the US, Singaporean, and Taiwanese advertising. However, a good counter argument to the idea that women are being used for men's interest is

the purpose that clothing may serve, that is not related to sexual appeal. Frith, Shaw and Cheng [2005], referenced Wood [1999, as cited on p. 66].

Moving onto the globalized (next) section, the target audience and the apparent disconnect between one advertising agency context [localized somewhere in the West and a top producer there] and

the receival and transmission into foreign countries is discussed here (a Korean author notes sex for example), foreign branches copy Western styles that include and reinforce stereotypical looks from elsewhere basically.

An opportunity that might be based in the findings of this study, regarding what we don't know: at the beginning of the Discussion section of their study, on page 65, [according to Frith, Shaw, and Cheng, 2005]

the researchers state that because of the ethnicity-based focus chosen by them, and as a point of comparison in future research, they suggested that because today media is more global than before, magazines are affected by that, so

Particularly, as a secondary source cited here, Miller (1976, p. 116) explains that

the role of women is to foster growth in others and in order for power to make sense in regard to the politico-economic struggles of theirs, a better definition should be more encompassing.

Text with context is found to have a unified meaning by participants, and as far as

the sense of the concept of 'discourse' is used in this particular book by Cook [1992, p. 4].

Those two examples together form an implicature that "Volkswagen's cars are surprisingly inexpensive; so much so, in fact, that

the shock caused to potential customers by revealing those low prices may even endanger their personal safety."

On the top of the diagram, Cook provides clues from the details. For example, the "aisle" is part of "THE GUM," as well as

the single "extreme-close-up." Lastly to note is that there is clear tension here, between the "institutionalized constraints" and a "casual pick-up" [Cook, 1992, p. 58].

"Parody is one of the common strategies found in Indian advertising. The real life characters often appear and re-exhibit the scenes of

the soap operas or movies where they promote the products. It is different from the covert advertising as often found in James Bond movies."

In a book chapter titled "Discourse and Social Change," (specifically on page 269) as Fairclough (1992) originally wrote, the 'translinguistic' approach to analysis of text was a major theme in Bakhtin's work throughout his academic career, but

the term 'intertextuality' is not one he coined or was directly tied to, however, the 'translinguistic' approach was "the development of an intertextual," according to F.

Writing deprives certain useful features of communication that are much needed for advertising:

the text is no longer then connected to a particular person/voice and their unique situation.

"For Bakhtin, all utterances, both spoken and written, from the briefest of turns in a conversation to a scientific paper or a novel, are demarcated by a change of speaker [or writer], and are oriented retrospectively to

the utterances of previous speakers [be they turns, scientific articles, or novels] and prospectively to the anticipated utterances of next speakers. Thus 'each utterance is a link in the chain of speech communication'" [Bakhtin, as cited by Fairclough, p. 89].

contribute to the reader's identification of the imitated form of discourse and

their effect on understanding the advertisement" [Coleman on Vestergaard and Schrøder, 1990, p. 141].

not only would receptiveness potentially change with mood, but he also writes that attitudes to any one or a mix of the following may skew someone's ideas:

their personal take on tech, the more beneficial side of the state of economic affairs, capitalism, but also globalization,

Inter-modal intertextuality is thought to be structural translations or allusions of another mode, meaning that

their realization is more semantically driven. Also, visual "grammar" has iconic potential, so a good aesthetic and good for attracting attention and being memorable.

A particular voice by itself is also often intertextualized, so as to make the best impression on a listener as possible. The TIMBRE of one famous person, as in

their special vocal intensity and pitch can really make a memorable impression due to a certain quality of uniqueness. ...

which seems easier to spot than the underlying tone of what may also be referred to as "cultural imperialism," based on

theories of hegemony [dictionary definition: an overpowering social dominance] of foreign ads. For 30 years, feminist scholars have criticized the US for their fixation with that.

So, in Coleman, the ad must not directly explain the intent, while in this second example by Cook,

there are many details included, in comparing cultural ad differences.

the main and practical takeaways are that strict logic is not useful when communicating ads in at least the UK and US, and that

these are tied to culture, negative ideas about economic dealings, and verbal devices seem to be important to at least Coleman, while analyzing ads.

Conjunctive adjuncts are furthermore additive, if

they are any of these: and, also, moreover, [or] nor.

Coleman [1990] like Cook [1992] here both mention a singles ad but

they are culturally different.

the "low saturation of this sort means that if an RVL 'misses the point' first time around,

they are unlikely to be able to pick it up in the next commercial break" [Simpson, 2001, p. 603].

This use of thee word "Flash" here, that can be found in an example by Simpson, the purposeful naming of the product like that is similar to what Coleman discusses about words like "free" and "help," where

they do not actually function on a technical level, as such like one might imagine, just from picking up these words that have a nice connotation. These are not actually buzz-worthy ad words, but rather

Figure 1 is meant to be illustrative, and this includes, as they describe [in Thomas]: "left-right compositional arrangements, which

they relate to Given-New information structures; top-bottom arrangements, which they claim express distinctions between the Ideal and the Real; and Centre-Margin positioning, which they claim suggests nuclear and ancillary information values, respectively.

There is 'text,' but then there is also 'context,' and

this includes all of the following together [p. 4].

Ads can be verbal but also visual, so

this is a way to say focusing on specific units of the methodically chosen language among a background of the other and combined components.

to overly beg for an audience to pay attention to an ad, since a lot of advertising goes unnoticed. Also noteworthy is the "self-reflexive meaning which allows a meta_discoursal reading...

this is after all an advertisement about advertising." Simpson [2001] citing Cook [1992: 103] *

In its more recent history or development, the Internet opened up communication on a more global scale, this is not only taking an effect on aspects of human information, like that of ads, but

this is also leading to shifts at a more "glocalized" level then, meaning influenced by global inter-connectedness but also unique at the local level as well.

Social power manipulates such change through its own input or association as well, so

this is important to also note and consider here [Fairclough, 1992, p. 270].

it should be noted that the magazine types used were not originally of a local kind, or as it was mentioned about the origin of the magazine distributors, as

those used in Frith, Shaw and Cheng's analysis, so they were not based in the local context but came from elsewhere.

published in 1978 by Judith Williamson, on her original page [47], titled Decoding Advertisements, is an echo of an inter- textual-ized stance, about

thoughts being separate from language use/function, so more in a discoursal or imitated, thematically generated sense, and

4 Compare and contrast:

to compare and contrast but also to draw from and within Coleman (1990), the two main, secondary sources of review will be briefly mentioned here [Geis first, then Vestergaard and Schrøder],

"It is part of a person's cultural competence to divide the discourse of their society into units,

to give those units names, and to assign them to categories" [p. 7].

The following about ambiguity and logos is pointed out by Panigrahi and Chandra (2013). "These days, advertisements are also found reflecting information structures which are far away from the reality of the commodity. They become very complex

to reflect what the advertisement is about. In such instances pictorial intertextuality, which lies in the logo of the brand, helps consumers to recognise the commodity advertised."

"The task of discourse analysis is to describe both this phenomenon in general and particular instances of it, and

to say how participants distinguish one type of discourse from another."

Even monthly subscription boxes are similar to this, in that for members they can try out new products

to see if they want to buy the full-sized version of something new and available on the market.]

One example of an ad that shows romantic interest between two people in Cook [1992] is the following. One example description [a bus/gum ad analysis by Cook, 1992]:

to show that the images in the ad hold more meaning than any actual language used, Cook therefore describes in detail a multi-layered gum ad, of which layers are interconnected.

in the Eastern tradition, the focus of the "gaze" on nature [Frith, Shaw, and Cheng, 2005, p. 65]. In Chinese art, the women were not being put on display. "In fact,

traditional Chinese art often presents nature as the central focus, and human forms are often small and insignificant." Near mountains, tiny human figures were depicted in the background and not in the foreground.

"The United States possesses a Western culture that exerts enormous influence on the rest of the world, whereas Singapore and Taiwan, both

traditionally under the influence of Confucianism, are two societies representative of Eastern culture" [p. 60].

"Literary discourse is commonly perceived as the expression of some extraordinary individual personality, whose ideas, experiences, memories and emotions are somehow

transmitted to us through the text." This is referred to here by Cook [1992] as 'conduit,' meaning "seeing it as a channel between one mind and another... displacement of... production disposes literate societies towards a depersonalization" [p. 79].

So, the first concept was regarding advertising language, now

two more of the three total concepts, as these apply to Coleman (1990), also including discursive practices, and intertextuality entails the following.

Hwang also moves on to mention the importance of

typology.

because they are subjectively and subconsciously

unhappy with themselves, being deprived of meaningful social relationships.

Gottschalk [2002] on Berger's claims reflects that he was expecting a focus to be on the articulation of ideology in ads, but

using a more critical approach to the commercials that he mentioned. And that is so, because

Culture and identity can be thought of as provided by certain so-called powers and/or classes, that by

using certain sorts of literacies, through enough repeated exposure, such can create a certain viewpoint or mindset, so

Cook [1992] writes, furthermore, that advertising discourse is "largely emotive, conative and phatic,

using language to establish identity and to differentiate that identity from others" [p. 150].

Cook lists some ideological concepts like "dogmatic religion, hereditary privilege, [and] inequality" [p. 237]. Furthermore,

values are propagated through organizations' actions related to social politics, based in an economic system.

Thomas [2014] for example, shows a figure [8] of a brand's "identity" where

very different codes are presented together, now an everyday occurrence, it is unavoidable.

[NOTE 20} One example type of

visual intertextuality of the ads from India, provided by Panigrahi and Chandra [2013] is the familiar and comical kind of parody.

A quote by Michel Foucault: "[f]rom the idea that the self is not given to us, I think there is only one practical consequence:

we have to create ourselves as a work of art."

Frith, Shaw, and Cheng [2005] in the last section of the appendix, and the "Product Types" subsection, reported that in terms of the last kind of "types" that

were coded, that these expressed the revolving theme of products of various kinds, such as those in the advertising that they have analyzed [p. 68]. Whatever did not fit the following descriptions was coded as "Miscellaneous."

Ads do not show or express to an individual or family

what a most obvious and best option for solving a problem might be.

Simpson [2001] notes in his text that, as Halliday originally explained conjunctive adjuncts to be characterized as, Simpson also wrote that a common feature of "reason" advertisements is

what are known as such, each of such are considered by Simpson a sort of connective, text-building device.

"Letters and sounds have no intrinsic importance," regarding what Cook believes about

what de Saussure had claimed then about phonemes and graphemes [Cook, 1992, p. 69].

Such a sign is not as simple as it seems, so

what seems simple is actually a lot more complex than it at first appears.

So, the advertising language is in the categories, those names mentioned by Frith, Shaw and Cheng [2005] themselves, and

what the descriptions reveal about societal themes, and the images could be used to argue that they themselves hold a kind of "advertising language" [Frith, Shaw and Cheng, 2005].

When generics and the word 'help' [as a sort of "strength weakening modular operator," as such are collectively described on the next page],

when they are combined, then the claim might not be a claim anymore. [p. 139]. V and S _____.

In Coleman (1990), in general, Geis seems convinced that logic is not the most important focus and Vestergand Schrøder may need to do a more detailed review of recent literature, at least back then,

when this was published, also, both seem to understand and pick apart the fact that a lot of manipulative, overly intrusive, and exaggerated language seems to be used, far removed from reality.

Some parts of this, especially the use of because in there, are also standard in use, in other places

where English of various varieties is used. There are only slight spelling (and pronunciation) differences in this example noted by Simpson.

Today, with the way in which certain channels of such are utilized, in a podcast versus what similarly was done before over the radio, it is hard to tell

where the blurred line is of pure advertising or promotion versus what is just a genuine personal take on something.

Analyzing naturally occurring texts of hortatory and persuasive types, this paper asks

whether they are two distinct types and whether persuasive discourse is similar to other types of discourse, such as expository" [para. 2].

so disclaimers can help with interpretation issues, also, the 'Cooperative Principle' was mentioned,

which entails not assuming or engaging with a claim that something is a certain way or that it may apply, if not directly stated.

"The coining of the word 'Intertextuality' by Julia Kristeva in the 1960s is just a concrete expression of this idea

which gives a different dimension to the understanding of text.

A section (2.3) in Cook (1992), on the situation of ads, includes the connotative potential that the Internet has, but

which is different from that of similar but prior or previously expressed meaning.

Coleman [1990] also mentions how a dreaded routine example includes the advertising claim to know something unpleasant about the RVL's experience,

which may or may not be the same kind of response that all people will have equally.

Coleman [1990] argues that a source that should have been consulted was Lakoff [1973] and in it casual phrases are discussed,

while V and S may have used 'pretty grim' for analysis, which is used in casual speech of people who are more intimately close than not.

Coleman's (1990) secondary sources that are also the main topic of her review, they focus on advertising language as if it is pragmatic and a more logical or technical phenomenon,

while at the same time it can be described as something closest to having cultural effects, and in both corpus-based cases, both Geis and Vestergaard and Schrøder describe advertising language as negative.

Still conclusively about people and advertising language, Cook [1992] wrote in section 10.6 on "Aesthetic value judgements" that

while in other forms of language use the following may be rejected, in advertising, "ads accept and glorify the dominant ideology [...] while art is a vehicle of honesty, advertising is more like a vehicle of deceit" [p. 236]. Coleman might agree with Cook in regards to this.

Coleman [1990] writes about the dreaded routine of grooming in her review and Cook [1992] wrote in section 10.5.6 some insight into "display and ritual boasting," so

while in the first source the idea is that people would avoid a mundane and repeated routine if they could, in this second main source here,

as a basis for their overall mission and values, which are basically all part of a larger or a majority of people/the society at large,

who make it necessary to relate and be in accordance with each other.

The existence of an organization, in which the labouring class is lined up in its homogeneity of a producing class, and which makes possible a spontaneous and free flowering of fitting and capable hierarchies and individuals,

will have important and fundamental effects on the constitution and spirit which enliven activity of unions.

According to Cook [1992], analysis that tried to take on too much might become dilutioned [p. 44]. Any analyst, at least according to Cook,

will not feel adequately good in all modes of media, but some individuals may not find it to be so challenging.

The team (trade) feels distinct in the homogeneous body of the class, but in the same moment it feels engaged in the system of discipline and order which makes possible,

with its exact and precise functioning, the development of production.

This constant change makes it hard to tell what is just informational, especially now

with the internet, and what is actually just an ad (p. 223).

"Running text may be read in rows from left to right, with the rows themselves following a sequence from top to bottom, or in columns from top to bottom,

with these columns following a sequence from right to left. If Kress and Van Leeuwen's prediction is correct, and reading direction influences the allocation of information value to different positions in visual layouts,

The opposite of such a processing technique is the 'sudden burst' one, in which "breaks are saturated by repeat broadcasts of the same ad

within a relatively short time span" [pp. 602 - 603].

Kelly-Holmes uses Gumperz [1996: 365] definition, which verbatim is 'alternation among different speech varieties

within the same event' [as cited in Kelly-Holmes, 2000, p. 67].

Within cultural contexts, what women believe men are looking at may differ. "In Western societies,

women may think it is mainly their bodies that get noticed by men, whereas in Asia, women may think it is their faces that are most important." Some found differences by

"weasel" their way in through ads to an unsuspecting RVL. Simpson, like Panigrahi and Chandra mention breaks between ads. Also, Cook, like Simpson, mentions

women's cleaning products. Then Coleman, Cook, and Simpson, actually even P and Ch also to some extent as well; all these sources except Gottchalk, along with Frith, Shaw and Cheng, mostly mention romantic relationships, but the last two sources mentioned here also connect via ad selling, and more specifically through the use of sexualized women,

Today they force themselves to 'rise to the height of the times' and, as if to demonstrate that they are also capable of 'hard thinking,' refashion the old and

worn-out union ideologies, tediously insisting on relations of identity between the soviet and the union, tediously insisting on affirming that

"IntRAtextuality keeps the textual elements coherent enough to bring out a meaning." Finally, before going into multi-medic-type texts, it is also then stated in Panigrahi and Chandra [2013] that

writers that engage in inheriting a system and discourse that is seen from a semiotic angle, create a decoding activity for a reader,

Socially, people engage in a life "play" enacted on a stage, in front of an audience. Why do people pretend to behave in such a way? This is because

you want an audience to test your identities, as Goffman believed, as in, in front of a stage, and with other people with whom you withdraw backstage and can converse casually at the same time. Tact is, for example, helping people out when people make mistakes.

Discourse just by itself implies 'modes' or means of uttering, where details are elaborated in full. Coleman's process of formulating understood or communicated discoursal content entails...

★An example of a significant point in Geis' book is how in advertising there are 'weasel words' (used by the advertising community) that defy normal conversational functions.

Coleman (1990) page 140: Geis (p. 181-187) stands against advertising to children as they do not display the kind of skepticism that adults do.

★More important details from Vestergaard and Schrøder, that Coleman reviews/describes it as...

However, we maybe could consider the idea of a routine being used in an ad to express a certain connection or need for a certain product or service for an intertextual case (a place in the US that is called Laser Away has had a recent ad in which youthful influencer women were raving about the offered services; laser-ing is supposed to last longer than shaving as the premise may be in some viewer's minds). Also in another source of this master list here, it is stated that...

★Page 68: Cook (1992), in the 4th chapter on "Language and paralanguage," interprets Williamson's claims as an overall assumption, that 'reality' is morally superior to 'fiction' (p. 68). "

RELATED TO COOK is their Chapter 1, on 'The Semiotic Landscape.' Next up, in Cook, is the "Part II" on "Text." ...

★Similarities and issues: page 70: Figure 4.4 is a copy of a print image of a UK ad, from the brand called the French Connection.

Advertising Language, Discursive Practices, and Intertextuality: 1 Coleman (1990), 2 Cook (1992), 3 Frith, Shaw & Cheng (2005), 4 Gottschalk (2002), 5 Panigrahi & Chandra (2013), and 6 Simpson (2001)

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