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The “ Sweet” Language of Advertising and Persuasion…. …And How it Differs from Argument. Excerpted with permission from: PROSE STYLES: TOUGH, SWEET AND STUFFY by Don Nilsen and “ Argument,” compiled by J. A. Stanford, Jr. Part 1: What is argument versus persuasion?. - PowerPoint PPT Presentation
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…And How it Differs from Argument
The “Sweet” Language of Advertising and
Persuasion…
Excerpted with permission from: PROSE STYLES: TOUGH, SWEET AND STUFFY by Don Nilsen and “Argument,”compiled by J. A. Stanford, Jr.
Part 1:What is argument versus persuasion?
Argumentation vs. Persuasion Persuasion is designed to create a want
or motivate an action.
It relies heavily on appeals to emotion, and often uses the same linguistic resources as poetry to achieve it end: vivid images, careful control of connotations, repetition, rhythm, even rhyme
Argumentation vs. Persuasion Argumentation clarifies a topic rather than
moving a reader.
Its function is to make a reader see things from a particular way rather than make the reader do something.
It’s a more rational skill than persuasion.
Argumentation vs. Persuasion
Where persuasion seeks to put a mind to sleep, so that its appeal to emotion will be effective, argumentation aims to awaken thought by appealing to reason.
Argumentation The core of the argument is an assertion or
proposition, a debatable claim about the subject.
The assertion may defend or challenge a position, value, or belief; suggest a solution; recommend a change in policy; et cetera.
Opposing arguments are raised, and then dispensed with.
Part 2: What styles of language are common to a certain genre?
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POINT OF VIEW:
THE NOVEL: THE AD: THE TEXT BOOK:
ETHOS PATHOSLOGOS
TOUGH SWEETSTUFFY
1ST PERSON 2ND PERSON3RD PERSON
SUBJECTIVE SUBJECTIVEOBJECTIVE
INFORMAL INTIMATEFORMAL
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SWEET LANGUAGESweet language is the language of advertisors.
Walker Gibson calls this language AROMA (Advertising Rhetoric of Madison Avenue).
Sweet language is listener-oriented in an attempt to seduce listeners into buying products they don’t want or need.
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It is language full of innovative spellings, creative grammar, and wild punctuation.
Sweet writing contains many sentence fragments, and would rather flaunt a grammatical rule than conform to it: “Winston tastes good like a cigarette should. What do you want, good grammar, or good taste?”
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Sweet language is the language of sensationalism, the language of superlatives and hyperbole.
It is the language of diversion; it plays tricks on the reader with its puns, its word coinages, its humor, its packaging, its sex, and other aspects which have nothing to do with the product itself.
It is informal, or sometimes even intimate or cutesy in tone.
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Contractions, clippings, blendings, and deletions abound, making it all the more cryptic and intimate.
It’s full of slang expressions like “no doubt about it,” “cut it out,” and “where else?” It can be cutesy, as in “Dry skin? Not me, darling. Every inch of little me is as smooth as (well, you know what).”
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Gibson says that a common kind of coinage in sweet language is the noun-adjunct construction (a noun modified by another noun).
We see this kind of coinage in “Speakerphone,” “Fooderama living,” “decorator colors,” and “Supermarket selection.”
The Bell Company praises the beauties of its “hands-free, group-talk, across-the-room telephone.
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SUMMARY OF WORD DEVELOPMENT:
THE NOVEL: THE AD:THE TEXT BOOK:
COLLOQUIAL COLLOQUIALFORMAL
SLANG: CHARACTERSLANG: AD
NO SLANGDEPENDENT DEPENDENT
MODALS GERUNDSINFINITIVESPERFECTSPROGRESSIVES
SPELLING = SPELLINGS =SPELLINGS = CHARACTERS CREATIVECORRECT
ANGLO-SAXON ANGLO-SAXONINKHORN TERMS
WORDS WORDSGREEK & LATIN
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SUMMARY OF SENTENCE DEVELOPMENT:
THE NOVEL: THE AD:THE TEXT BOOK:
SHORT, CHOPPYLONG, COMPLICATED
FRAGMENTSPERFECT GRAMMAR
COMMA SPLICES
SIMPLE SIMPLELONG & COMPLEX
CASUAL PUNCTUATIONPERFECT PUNCTUATION
RHETORICALSENTENCES DON’T
QUESTIONSMAKE CLAIMS BEYOND
IMPERATIVESEVIDENCE
THEY,YOU,
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SUMMARY OF USE OF FIGURATIVE LANGUAGE
THE NOVEL: THE AD:THE TEXT BOOK:
AUTHOR PARTICIPANT ?AUTHOR
AUTHOR OBSERVANTOBSERVANT
AUTHOR OMNISCIENT
MAINLY TROPES: MAINLY SCHEMES:LITERAL
IN MEDIAS RES ALLITERATION METAPHOR ASSONANCEIRONY RHYMEPOETIC JUSTICE CUTESY TONESIMILESALLEGORIES