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ABSTRACT (cont.): Shopping sites tended to use more pictorial, clickable, and directional metaphors than non-shopping sites. Verbal and verbo-pictorial metaphors tended to appear more often in non-shopping sites. Verbal, verbo-pictorial, and clickable metaphors were shown to have the greatest discriminating power in differentiating shopping versus non-shopping web sites. The study of metaphor in on-line advertising is still in its infancy and requires further research. Advertisers could benefit from experimental consumer research on reactions and interactions with on-line metaphors. Paired with competitive market research such as this study provides, advertisers would have useful tools when developing an on-line presence.
Metaphor and metonymy appeal to us because they evoke mental images in unique but still recognisable ways. The potential for figurative thought exists in everyone, and it pervades our everyday social interactions. In particular, advertising offers countless opportunities to explore the way in which people think creatively through metaphor and metonymy. The thorough analysis of a corpus of 210 authentic printed advertisements shows the central role of multimodal metaphor, metonymy, and their patterns of interaction, at the heart of advertising campaigns. This book is the first in-depth research monograph to bring together qualitative and quantitative evidence of metaphor-metonymy combinations in real multimodal discourse. It combines detailed case study analyses with corpus-based analysis and psycholinguistic enquiry to provide the reader with a prismatic approach to the topic of figurative language in multimodal advertising. Besides its theoretical contribution to the field of multimodal figurative language, this monograph has a wide number of practical applications due to its focus on advertising and the communicative impact of creative messages on consumers. This book will pave the way for further qualitative and quantitative research on the ways in which figurative language shapes multimodal discourse, and how it relates to our everyday creative thinking.
"Marketing Metaphoria undresses the mind of the consumer to reveal the powerful, unconscious viewing lenses that shape what people think, hear, say, and do. These lenses are called "deep metaphors" and they populate the unconscious mind. Understanding how people use deep metaphors will help you develop new products, launch innovations, enhance purchase and consumption experiences, create engaging communications, and much more." "Drawing on thousands of interview, the authors identify seven primary deep metaphors. Knowing how they influence your consumers can have a huge effect on your sales and profits. Marketing Metaphoria describes how some of the world's most famous companies as well as small firms, not-for-profits, and social enterprises have successfully leveraged deep metaphors to solve their marketing problems."--Jacket.
Seminar paper from the year 2020 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 2,3, RWTH Aachen University (Institut für Anglistik und Amerikanistik), language: English, abstract: The present paper deals with metaphors and metonyms in advertising. With the focus on the following question: "Why is it common to use Metaphor and Metonymy in advertisements?" it should be explained step by step why these concepts became common in advertising media. Living in the 20th century, we are experiencing a huge development in technology compared to the past. In the past it was only possible to distribute advertising through television, radio and newspapers. Nowadays new possibilities are coming up through the expansion of social media. Since almost everybody owns a smartphone, most of the people are always available. This gives new opportunities to the advertising industry. For this purpose, the first step is to try to present the complex concept of metaphor in a concise way. However, this can only be done superficially in the scope of this term paper, otherwise the scope of the work will be exceeded. Furthermore, a short explanation of target and source domain is given. In the second chapter the topic of metonymy is then summarized. Again, it should be noted that an appropriate, detailed description would exceed the limits of the work. In the third part of the work the actual effect of metaphors and metonyms in advertisements will be illustrated. Images from a ‘Deutsche Bank’ advertising campaign are used for this purpose. The first part of this chapter presents the company ‘Deutsche Bank’ as such. This is considered important because the values of the company could be reflected in their campaigns and that aspect, therefore would be important for the following analysis. This is followed by an analysis of the images used in terms of metaphor and metonymy. In the analysis of the metaphors, the focus is on target/source domain. In the last chapter of the paper, the work is briefly summarized. The results are listed and answered regarding the question posed. A short summary forms the end of the work
"This study examined advertisements in which metaphorical comparisons were made between cosmetic/beauty products and food. The purpose was to identify what rhetorical themes emerged among the advertisements and to determine if the visuals could provide sufficient content for a marketing message. Twelve images from four companies were chosen. An analysis was performed on each through the application of visual semiotics. Findings indicated that a visual metaphor approach can deliver involved rhetorical marketing messages to the viewer. The theme of indulgence was clear among the ads and the comparison of cosmetics to food suggested that the product should become part of the self, not to be ingested the way food would be, but to be absorbed into the daily lives of consumers."--Abstract.
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Over the past few decades, research on metaphor has focused almost exclusively on its verbal and cognitive dimensions. In Pictorial Metaphor in Advertising, Charles Forceville argues that metaphor can also occur in pictures and draws on relevant studies from various disciplines to propose a model for the identification, classification, and analysis of 'pictorial metaphors'. By using insights taken from a range of linguistic, artistic and cognitive perspectives for example, interaction and relevance theory, Forceville shows not only how metaphor can occur in pictures, but also provides a framework within which these pictorial metaphors can be analyzed. The theoretical insights are applied to thirty advertisements and billboards of British, French, German and Dutch origin. Apart from substantiating the claim that it makes sense to talk about `pictorial metaphors', the detailed analyses of the advertisements suggest how metaphor theory can be employed as a tool in media studies. Context in its various manifestations plays a key role in the analyses. Furthermore, the results of a small-scale experiment shed light on where general agreement about the meaning of a pictorial metaphor can shade over into other more idiosyncratic but equally valid interpretations. The final chapter sketches the ways in which the insights gained can be used for further research.
Visual metaphors in advertising have been researched extensively because of their ability to persuade. However, few studies have investigated why they are persuasive from the perspective of the consumer. The purpose of this study was to identify why viewers are attracted to visual metaphor ads and provide a better understanding of the types of consumers who view them, revealing their subjective opinions and attitudes. Through the use of Q-method, four factors were identified: “Highbrows,” who prefer metaphors that are classy and refined, “Connectors,” an emotional group that focuses on interpersonal relationships and the relevance of the metaphor to the advertised product, “Executionists,” who focus solely on how well the message or idea is executed by the metaphor, and “Logical Agitators,” who can appreciate humorous body distortion because they function primarily cognitively. The results show that visual metaphors attract a diverse audience and that consumers of metaphors are much more complex than previous research implies. Advertisers may create more effective visual metaphors by constructing them to appeal to one of the four types.
Metaphor pervades discourse and may govern how we think and act. But most studies only discuss its verbal varieties. This book examines metaphors drawing on combinations of visuals, language, gestures, sound, and music. Investigated texts include ad
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Linguistics, grade: 1,0, University of Frankfurt (Main) (Institut für England- und Amerikastudien), course: Verbal and pictorial metaphor in political and advertising discourse, language: English, abstract: The wordmetaphorhas its origin in the Greek wordmetaphorá,a noun meaning "a transfer, especially in meaning, from one word to another". It comes ultimately from the verbmetaphérein"transfer, carry over", composed ofmeta-"over, across" andphérein"carry, bear". (cf. The Cambridge Encyclopaedia 1990→metaphor). Throughout the centuries theorists have tried to define general rules for this transfer in meaning and have generally considered possible underlying mechanisms of this fascinating phenomenon. The early theories, dating back in history as far as Aristotle’s times, see metaphor as a figure of speech and therefore alanguagephenomenon. This view remained dominant until the middle of the 20thcentury, when cognitive linguists proposed that the locus of metaphor is not language, butthought,and therefore developed a whole new approach to metaphor. In the last decades some authors have also extended these findings from verbal metaphor to the realm of pictorial metaphor. In the first part of this paper I will give an overview of the development of these theories. I will put special emphasis on the contemporary theories of metaphor and especially those which deal with instances of so-called creative metaphor. I have selected those approaches which are most relevant for my analysis of a selection of press advertisements, involving pictorial and verbal-pictorial metaphor, which follows in the second part of this paper.