Masarykova Univerzita Filozofická Fakulta Katedra Anglistiky a Amerikanistiky FF AJ Anglický Jazyk DISCOURSE STRATEGIES OF

Masarykova univerzita Filozofická fakulta

Katedra anglistiky a amerikanistiky FF AJ Anglický jazyk

PhDr. Katarína Nemčoková

DISCOURSE STRATEGIES OF STORYTELLING, INTERTEXTUALITY AND METAPHOR IN AMERICAN PRINTED ADVERTISING

Disertační práce

Školitelka: prof. PhDr. Ludmila Urbanová, CSc.

2012 I hereby declare that I worked on this thesis independently using only the sources listed in references.

...... Acknowledgements I owe my deepest gratitude to my supervisor, prof. PhDr. Ludmila Urbanová, CSc. Her expertise, constant scholarly and personal encouragement, motivating support and patience enabled me to write this dissertation. She has been a teacher who every student longs to meet in the course of their studies.

My special thanks belong to Gregory Jason Bell, my dear friend and colleague, for his invaluable editorial comments and language supervision.

I would also like to thank to Juraj Hrúz for his acute observations, challenging discussions and help with statistics.

Finally, my endless gratitude belongs to my wonderful support team – my dear family and friends, who always seem to do the right things.

Contents Introduction ...... 8 2 Notions and Concepts of Advertising Communication ...... 13 2.1 Categories within the Genre of Advertisements ...... 15 2.2 Categories of Product Consumer Ads ...... 16 2.2.1 Categories Based on Media of Distribution ...... 16 2.2.2 Categories Based on the Targeted Recipients ...... 16 2.2.3 Categories Based on the Marketing Techniques ...... 17 2.3 Corpus Description ...... 19 2.4 The Context of Advertising Communication ...... 24 2.4.1 The Conjunctures of Advertising Communication ...... 25 2.4.2 The Structure of an Advertising Message ...... 29 2.4.3 The Goal of Advertising Communication ...... 33 2.4.4 The Sender of the Advertising Message ...... 39 2.4.5 The Recipient of the Advertising Message ...... 41 2.4.6 The Sender and the Recipient in the Social Power Context ...... 42 2.4.7 Magazines as the Channel of Advertising Communication ...... 43 2.4.8 Display Product Consumer Ads as a Sub-genre ...... 46 3 Mental Space as a Common Interpretive Principle ...... 48 4 Storytelling as a Discourse Strategy ...... 51 4.1 Advertising Stories ...... 54 4.1.1 Fictional Stories ...... 54 4.1.2 Hinted Stories ...... 57 4.1.3 True Account Stories ...... 63 4.1.4 Plot-lines Conclusion ...... 73 4.2 Storytelling Cues ...... 74 4.2.1 Time Sequencing of Events as a Storytelling Cue ...... 75 4.2.2 Characters as Storytelling Cues ...... 76 4.2.3 Location ...... 82 4.3 Cues Conclusion ...... 83 5 Intertextuality as a Discourse Strategy ...... 84 5.1 The Phenomenon of Intertextuality...... 84 5

5.1.1 Genre and Voice in Intertextual References ...... 85 5.2 The Functions of Intertextuality ...... 87 5.2.1 Intertextuality and Associations in Mental Space ...... 87 5.2.2 Intertextuality and Products in a New Context ...... 88 5.3 Types of Intertextuality ...... 89 5.4 Intertextuality in Print Advertising ...... 90 5.4.1 Illustration-Depicted Intertextuality ...... 90 5.4.2 Mass Culture Intertextuality ...... 99 5.4.3 Non-Specific Multigeneric Intertextuality ...... 105 5.4.4 Multigeneric Intertextuality Scale ...... 113 5.4.5 Heteroglossic Intertextuality ...... 115 5.5 Concluding Remarks on Intertextuality in Ads...... 125 6 Metaphor as a Discourse Strategy ...... 126 6.1 Metaphor as a Cognitive Device ...... 126 6.1.2 Functions of Metaphors ...... 126 6.1.3 Presence of Metaphors in Printed Ads ...... 127 6.1.4 Metaphors Used as a Discourse Strategy in Advertising...... 128 6.1.5 Creating and Filling the Mental Space with Metaphors ...... 129 6.2 Metaphors Used as a Discourse Strategy ...... 131 6.2.1 Distribution in the Corpus under Investigation ...... 132 6.2.2 Revealing Metaphors ...... 133 6.2.3 Ideological Metaphors ...... 153 6.3 Conclusion on Metaphor as a Discourse Strategy ...... 157 7 Overlapping Discourse Strategies ...... 158 7.1 Storytelling and Intertextuality ...... 159 7.2 Storytelling and Metaphor ...... 161 7.3 Intertextuality and Metaphor ...... 165 7.4 Storytelling, Intertextuality and Metaphor ...... 168 8 Statistical Summary ...... 174 9 Conclusion ...... 178 9.1 Functioning of Storytelling, Intertextuality and Metaphor as Discourse Strategies ...... 178 9.2 The Principle of Undercoding ...... 179 9.3 Power Relations in Advertising Discourse ...... 179

9.4 Strategies Revisited ...... 180 9.4.1 Storytelling ...... 182 9.4.2 Intertextuality ...... 184 9.4.3 Metaphor ...... 187 9.5 Hypotheses Revisited ...... 189 Bibliography ...... 191 Corpus Material ...... 200 APPENDICES ...... 202 Appendix I: Glossary of Terms ...... 202 Appedix II: Corpus of Ads (Textual Parts) ...... 212 Appendix III: Corpus of Ads (Full Ads) ...... 262

We shall not cease from exploration And the end of all our exploring will be to arrive where we started And know the place for the first time. (T. S. Eliot: Little Gidding (V), No. 4 of “Four Quartets”)

Introduction Discourse is language at work. Advertising discourse, which is the focal point of this dissertation, has a specific social setting and its influence on events in society is profound. Fairclough in his study of discourse as a tool of power sees the relationship of language and society as internal and dialectical. He stresses three principles that determine the relationship of language and society: “Firstly, … language is a part of society, and not somehow external to it. Secondly, … language is a social process. And thirdly, … language is a socially conditioned process, conditioned that is by other (non-linguistic) parts of society” (1989, 22).

Advertising discourse inevitably involves the conditions of its social setting; that is both of its production and interpretation. This is where the dissertation positions itself: it deals with advertising discourse in printed ads, as determined by its social environment. As discourse is also a social practice, the participants in this practice create the critical viewpoint of the study. Due to its social embedding, discourse in the context of advertising reflects current social norms, values and trends and serves as a window through which these may be seen, described and understood. Cook (2001, 69) in his thorough description of the discourse of advertising, adds: “Internalized meaning is inseparable from the language which handles it, [so] it can hardly be said to be internal at all, for language is realized outside the individual in interaction with others. Our very identity may be outside ourselves, in our interaction with others”.

Cook recounts the Saussurean view of discourse study: “The study of a message involves three areas – the psychological, the textual and the physical 8

[…] – and the relationship between these areas” (2001, 68). In an attempt to provide a balanced analysis of instances of advertising discourse, this dissertation combines the mapping of the physical environment of printed advertising; the mapping of the participants of respective advertising communication together with their motives, needs and desires; and the analysis of specific discourse devices operating in advertising messages. These are inevitably determined by the setting and the participants.

Advertising in the brisk times of present-day consumerism is a developing genre. The forms and means of advertising communication are changing rapidly. The changes, novelties and irregularities in the discourse of advertising seem to be its major attributes. Wilmshurst and Mackay (1999, 195), taking a marketing and ad-creating perspective, list two aspects of good advertising: rule 1 There are no rules. rule 2 There may be exceptions to rule 1. However, despite the fact that no rules guide the ads creation, it seems viable to observe and interpret the language strategies explored in ads as trends. The trends seem to be the invariables behind the motifs of ad creators and interpretive mechanisms of ad recipients.

As potential consumers, recipients are the ultimate driving force of frequent changes occurring in forms and contents of advertising discourse. Despite the seeming one-sidedness of the advertising communication, this dissertation sees recipients as active participants, the co-authors of the messages who enable the power of persuasion to work. Also, the recipients are learners and, with time, become more mature and careful interpreters. They grow aware of the power hidden in the discourse and naturally attempt to resist. In connection with maturing recipients Coulmas (2005, 5) points out that learning implies changes, which is another valid reason for the instability of the advertising genre. In the instability of discourse environment, propelled by the constant changes of society as such, the analysis of advertising discourse may reveal the actual position of the advertiser and the ad recipient, uncover the discourse strategies that are implemented in order to advance the functioning of marketing strategies for the time being, and forecast the trends for the near future.

Within advertising as a relatively new and constantly developing genre, printed ads in magazines represent the tradition-bearing form. This is directly linked with the reputation of magazines as a traditional mass medium in modern consumer-oriented society. Their long history as a social phenomenon reaches back to 1731 when Gentleman's Magazine, the first periodical using the term “magazine” was introduced (WFMA 2011). The 300 years of existence and enduring present-day popularity despite the threat of omnipresent electronic media mark the stability and trust which the readers seem to place in magazines as a source of information, learning and entertainment. They seem to be a solid, tangible base in an otherwise unreliable electronic information age. According to the Magazines: The Medium of Action (2009/2010) report, this reputation of stability and trust is also transferred to ads appearing in magazines. Their history as an indivisible part of magazines is the history of modern-day print advertising itself: the first ads integrated into the article pages of magazines date back to the 1890s. By 1910, a mixture of information and advertising on magazine pages became standard (WFMA 2011).

The aim of the research in this dissertation is to map discourse strategies in printed advertising and to disclose possible regularities of their employment. Since advertising is generally an unstable genre, the regularities and trends can be expected to be most noticeable in its traditional and stability-bearing forms and locations. That is the reason why magazine print advertisements comprise the research material for this dissertation.

Magazine print ads promote various categories of items. These differ in goals, target audiences and eventually in marketing means employed. When narrowing the scope of interest to the typical and characteristic elements, tangible goods appear in the center of attention. Unlike rather marginal charity causes, financial services, TV shows and travel destinations, tangible goods seem to reflect the prototypical advertising qualities. To be able to observe the core trends, only magazine ads promoting tangible goods are utilized for this dissertation.

Moreover, the geographical scope is specifically and purposefully limited to mainstream American magazines. The massive consumer market of the U.S.A. is heavily infused with and propelled by advertising; the massive North American media market poses virtually no limits to any element of the advertising context, whether it is the scale of products, the range of consumers or creativity of advertisers. In that way, it hypothetically allows a study of the mainstream - the core in which trends get established and from which they spread to the rest of the world.

The above-specified American magazine tangible product printed ads represent the prototypical features of present-day printed advertising. Within such material the following hypotheses will be tested: Present-day printed advertising shows signs of empowering the recipients. The senders of the advertising messages allot more interpretive space to the recipients and thus lessen their own capacity to rule over the discourse. Discourse strategies which enable recipients to co-create the meaning of the ad message are linked by one common interpretive principle. Storytelling, intertextuality and metaphor are discourse strategies that personalize advertisements; recipients build emotive and attitudinal layers of message meaning. Differences in employing discourse strategies in high-end vs. tabloid magazines reflect different types of advertised products in the two magazine categories.

Chapter 2 (Notions and Concepts of Advertising Communication) maps features related to current printed advertising. Firstly, through an outline of categories of advertising messages it establishes consumer product ads in magazines as a sub-genre sui generis. Based on the classification of ads it provides a description of the corpus which is the basis for later analysis. It also maps the context of advertising communication specifying its conjunctures, structure of an ad and goals of the communication. Marketing strategies applied by advertising experts to sell different categories of goods are described as mirror-images of discourse strategies detectable by linguistically- 11 oriented analysis. Ultimately the chapter deals with the participants of the print advertising communication and detects links between the participants and magazines as the medium of communication. The senders and recipients are mapped from the pragmatic perspective as partners in the advertising dialogue, from the sociolinguistic point of view as discourse producers and users, and as power-holders and power-seekers in the society.

The next section of the dissertation focuses on the analysis of the emotion- enhancing and attitude-building discourse strategies employed in magazine ads. It establishes the common interpretive principle along which the strategies allow the recipients to become co-authors of the messages (Chapter 3). In separate chapters it provides analyses of discourse strategies of storytelling (Chapter 4), intertextuality (Chapter 5) and metaphor (Chapter 6) and uncovers their capacity to allow recipients to co-create the ad meaning. Each chapter studies how the interpretive principle of recipient‟s mental space is explored with respective discourse strategies and how cues evoking the mental space operate to deliver the desired outcomes. At the same time, the chapters document how discourse strategies relate to advertising strategies and to the promotion of specific types of products.

Chapter 7, which is the closing analytical chapter, points out the overlaps of the three strategies and studies their co-employment in individual ads. Finally, the Conclusion (Chapter 8) summarizes the outcomes of the analyses and evaluates the findings with respect to the stated hypotheses.

2 Notions and Concepts of Advertising Communication This dissertation deals with analyzing discourse strategies used by the senders of ad messages in order to persuade the recipients to buy the advertised products. Stereotypical and unique features of language employment are studied within the frame of real context of printed advertisements. This locates the dissertation in the field of linguistic pragmatics. As formulated by Verschueren (1999, 69), “The general concern for the study of linguistic pragmatics is to understand the meaningful functioning of language as a dynamic process operating on context-structure relationships at various levels of salience.

CONTEXT

locus

STRUCTURE

processes meaningful functioning

DYNAMICS

SALIENCE status

Diagram of meaningful functioning (Verschueren 1999, 67)

In order to clarify the employment of the discourse strategies in the ads and their effect on the recipients, a description of printed ads and their location within the genre of advertising is necessary. A description of the structure of printed advertising and its context make up the following part of this dissertation. Structure is looked at from two perspectives: first it is a structure of a genre, its sub-genres, or categories. These help point out the various relationships of participants in the advertising communication, their motives and needs, and eventually clarify the specific motives for the participants of the magazine product advertising. Secondly, the internal structure of the printed ad message as an instance of a concrete sub-genre under investigation is described. This is in tight relationship with the function of the ad messages, the

13 participants‟ goals and needs. It is one of the vital elements of the above- mentioned meaningful functioning of the ads.

Context of advertising communication comprises substance (the physical material that carries the text), situation (the participants‟ perception of objects and people influencing the text), co-text (what precedes and follows the text under investigation), intertext (the text belonging to other discourse but influencing the interpretation of the given text), participants of the communication (mainly senders and recipients) and the function of the text (Cook 2001, 4). The respective subchapters describe those elements of context that are relevant to printed advertising.

In the framing of this work, the advertising message is understood as one instance of the advertising genre. The message is formulated and interpreted in its natural environment, its context. It may consist of a mixture of verbal and visual elements. The visual ones are labeled as illustrations, while the verbal parts operating in context are considered to be the instances of the advertising discourse. Within this dissertation, the term discourse is used as presented by Fairclough (1989, 24) as “the whole process of social interaction” including the processes of production and interpretation, or, as “a form of social practice” (ibid., 41). Text is a product of these social processes; the text of the advertising message is de-contextualized.

Discourse can be internally seen as a structure organized vertically and horizontally. According to Simpson (2001, 592), two axes along which discourse is viewed are structure and strategy. These correspond to the concepts of syntagmatic and paradigmatic relations, as traditionally understood by Saussurean linguistics. The structural axis shows progression of discourse as a set of ordered units. The strategic axis is described as “the pool of options that are available along each point along the linear axis” (ibid.). Inevitably, both axes are interrelated and the two concepts have mutual impact.

This dissertation positions itself within the field of linguistic pragmatics and operates with concepts and notions of predominantly linguistic nature.

However, the analyzed discourse material requires a multi-focal, interdisciplinary point of view. Concepts, categories, principles and data from the realm of marketing science play an inevitable role in a complex evaluation of the printed ad messages.

2.1 Categories within the Genre of Advertisements For the purposes of pragmatic analysis, Fairclough‟s concept of genre as “a socially ratified way of using language in connection with a particular social practice” (1995, 14) is used. Elaborating on this definition, Cook (2001, 7-14) suggests understanding it in terms of a prototype, “quite irrespective of the components which can be ticked off on a checklist,” (ibid., 14) but rather, in agreement with Fairclough‟s vision, based on the message environment. This helps avoid confusion, since it is rather common to observe an overlap with other genres such as “political propaganda, conversation, song, film, myth, poetry, fairy tales, soap operas, sitcoms, novels, graffiti, jokes and cartoons” (Cook 2001, 12). It seems plausible, then, to understand instances of advertising genre as messages appearing in a certain context and within a certain classification structure. Fuertes-Olivera et al. (2001, 1292) divide the genre of advertising into subgenres of publicity and commercial advertising; and the text types of ads into digital, broadcast, print and outdoor advertisements. As specified further, this dissertation deals with commercial advertising of the printed type. A brief description of the ad categories within the advertising genre based on the criteria of their subject matter, media of distribution, targeted recipients and marketing techniques enables the delineation of borders around the material analyzed in the corpus.

According to their subject matter, the most frequent and prototypical ads are labeled product ads. They are aimed at masses of unknown (yet well mapped) accidental consumers who are commercially unequal (subordinate) to the advertisers, which means that the recipients only know about the advertised goods what the advertisers tell them. (Vestergaard and Schrøder 1985, 2). Such consumer ads comprise the research corpus for this dissertation. Another subtype of product ads is industrial ads. These are aimed at commercially equal consumers, e.g. companies offering their products to other companies.

The information density of these ads is higher and they mostly appear in specialized trade magazines (Vestergaard and Schrøder 1985, 2).

Non-commercial ads, also labeled non-product ads, cover political, religious or charity issues. The aim is either persuasive, such as joining or supporting a religious group, voting for a political candidate or supporting a charitable event. The aim may also be informative, as in campaigns informing the public on the launch of digital TV broadcasting. This type of ads is not included in the research corpus.

2.2 Categories of Product Consumer Ads To delimit the specific types of ads comprising the corpus, the major categories of product ads are outlined. The criteria for their classification range from the channel of the ad distribution to the consumers targeted to the techniques used by the advertisers.

2.2.1 Categories Based on Media of Distribution Primarily the line must be drawn between printed ads and non-print ones. The first group includes a wide range of ads in periodicals, on the Internet, on outdoor surfaces and in non-periodical printed materials (such as catalogs, carrier bags and flyers). The non-print group covers ads that are presented in the spoken form, i.e. TV and radio advertising.

2.2.2 Categories Based on the Targeted Recipients Printed ads in newspapers and magazines can further be divided into subtypes of display ads and classified (no-frills) ads. Classified ads are printed in special advertising sections of periodicals. They use no specific means to attract accidental consumers; uninterested readers can easily skip the section. They are aimed at those potential consumers who want to read them or who search for specific information (Vestergaard and Schrøder 1985, 3). Consequently, this is reflected in special characteristics of classifieds: they have higher information content, rely almost entirely on text and do not use indirect persuading techniques.

Display ads, on the other hand, represent the most usual and stereotypical type of advertising. They appear to be accidentally distributed within the editorial contents of the periodical. Their prominent location and embracing of both visual and linguistic means enhances their noticeability. The display ads appearing in periodicals, specifically in magazines, embody the advertising material on which this dissertation is based.

2.2.3 Categories Based on the Marketing Techniques Display ads can be further classified according to the persuasive means of which they make use. The hard-sell ads direct appeal to the consumers to buy a product based on best price, limited stock, best quality, etc; the soft-sell ads appeal indirectly, through projections of “imaginary situations or worlds which invite the addressee to identify with the desirable properties displayed in the ad and thus ultimately invites the addressee to buy the product” (Hidalgo Downing 2000). According to Cook, “Soft selling relies more on mood than on exhortation, and on the implication that life will be better with the product. The possessor reflects the possessed: this is a major unspoken premise of all soft- selling ads.” (2001, 15).

Similar divisions can be drawn between reason ads, which (directly or indirectly) suggest motives for purchase with statements such as “x washes better”; and tickle ads, which appeal to recipients‟ emotions or moods (Cook 2001, 15). Reason strategy (evoking practical reasons to obtain the product) and tickle strategy (evoking positive feelings that motivate prospective consumers into buying) are marketing strategies used in promoting products or services in order to make advertisement functional. According to Srpová (2007, 114) it is the target group (a segment of potential product consumers) that primarily influences the choice of the marketing strategy.

The advertising strategies are not to be confused with discourse strategies, which are applied during text-creation to make the text functional in its context. The discourse strategies are subject to analysis later in the dissertation. Both marketing and discourse strategies can be metaphorically seen as maps

17 depicting the same territory but highlighting different attributes of it, thus producing different points of view of the same area.

The distinction between using different strategies relates to the type of product that the ads promote. The common classification of products in marketing reflecting the involvement of the consumer distinguishes two types of products: those of high- and low-involvement. As defined by Kim, “High-involvement goods are those which generally tend to be higher in price, are purchased relatively infrequently, and require some research and reflection on the part of the consumer before making a purchase. Low-involvement goods tend to be packaged goods of a relatively low price, which are purchased frequently by the consumer in supermarkets and convenience stores” (2007, 96).

Mueller (1991, 25) claims that the consumers undergo a higher risk with high- involvement products so they seek out product information actively, while low- involvement products contain fewer information cues. Along with this statement, tickle strategies are expected to be used for the promotion of low- involvement goods, while reason strategies are often used for the promotion of high-involvement products. However, these claims are not universally applicable. With some product categories, such as jewels and perfumes, they seem to be contradictory. One of the reasons for this phenomenon is the fuzzy borders dividing the two types of goods. Low- and high-involvement products may be classified slightly differently by various consumers, social groups or regional markets. Also, high-involvement products with a high utility value, such as cars, are promoted by different strategies than high-involvement products with a low utility value, such as jewels or designer fashion items. Nevertheless, the high/low-involvement categories of products are applied further in the analysis of ads as their occurrence in the corpus roughly corresponds to the distribution in high-end vs. tabloid magazines.

Even though most ad messages can clearly be labeled as one type or another, none of the listed criteria delimit the respective category exclusively. Borders are generally fuzzy. Crossbreeds are not very common; nevertheless, they do appear. Due to their interactivity, some Internet ads (such as the unpopular

18 pop-ups) borrow characteristics of both print and non-print ads. Classified ads, to stand out from the otherwise black-and-white page, begin to incorporate some display ad techniques, such as visual images and catchy headlines. Also, more techniques used by the advertisers can combine in one ad: an image may represent the tickle strategy while the verbal part may suggest reasons.

The corpus collected for the purposes of my analysis includes only magazine ads of the display type. This presents a clear distinction line between the categories delimited by the first two criteria. The third criterion, which is the marketing techniques (represented by discourse strategies) used by the advertisers, is the subject of analysis of this dissertation. However, the focus turns to the functional study from the linguistic and pragmatic views rather than to the ad effectiveness in marketing terms. Discourse strategies applied to advance the function of marketing strategies create the core of this dissertation.

2.3 Corpus Description With the genre of printed ads outlined, the collected corpus of ads invites itself for scrutiny. Only the printed product ads collected from mainstream American magazines are included. Their further characterization follows since adequate knowledge of the research material focuses attention on the relevant features of advertising communication described in the following sections.

Advertising in magazines is ruled and shaped by specific factors and features. Magazines are considered to be a traditional, firmly established and positively viewed medium. In the USA, magazines are read by an outstanding majority of the population. Simultaneously, North American society is strongly commercialized. Investments into advertising are only comparable with military and defense spending. The heavy presence of ad messages in every American‟s life and the money-driven pressure of the advertisers makes ads in American magazines a valuable resource of specific, function-conditioned discourse. The study of this material is expected to reveal strategies used by advertisers to persuade recipients to buy products. Based on marketing surveys of the recipients‟ responses to the ads, the applied strategies seem to be highly effective in reaching the commercial goal. Discourse strategies in display ads

19 printed in magazines are expected to present a traditional approach of the marketing industry. Two viewpoints merge here: By what strategies do the senders of the advertising message persuade recipients to act? How do the recipients become persuaded and act on what they read? In other words, the applied strategies are products of the senders, but they have been developed to serve a specific purpose, which is to persuade the recipients.

Printed full-page and half-page ads included in the corpus are collected from two categories of mainstream American magazines. The magazines in each category are aimed at differing primary audiences, which differ in estimated characteristics that can be assigned to a prototypical reader: age, gender, social and educational background, aspirations, lifestyle preferences and personal interests. Targeting is the key notion in marketing talk. Advertisers try to identify the target audience with scientific precision. In their search they are most likely to look for magazine readers the characteristics of whom show most similarities with the advertising target groups. It can be therefore expected that the profile of the magazine‟s primary audience corresponds closely to the target viewers of the advertising message. That is why describing the prototypical reader in each category points out the typical features of the recipients of ads collected in the corpus (which is further necessary for the analysis of advertising discourse as a vehicle of advertising communication).

The first category is represented by one high-end luxury magazine - Vanity Fair. Ads from the following issues comprise one part of the corpus: Vanity Fair October 2007 (VF1) Vanity Fair September 2007 (VF2) Vanity Fair June 2007 (VF3) Vanity Fair April 2007 (VF4) Vanity Fair March 2007 (VF5) Vanity Fair February 2007 (VF6) Vanity Fair November 2006 (VF7) Vanity Fair September 2006 (VF8) 20

Vanity Fair November 2005 (VF9) Vanity Fair October 2005 (VF10)

Vanity Fair is published monthly on a high-quality glossy paper. It is famous for its prestigious photographs and in-depth, detailed coverage of a multitude of present-day topics. The unifying feature of all the covered topics is power, which in most cases translates as money. It is a magazine about powerful people and power-shifting global events. It reveals stories behind people who define and change culture, and who influence the lives of millions of others by their political or business decisions. The articles and interviews are lengthy, well-researched and generally well-written. The magazine strives to stay clear from shallow journalism and is famous for its renowned and talented contributors and photographers. This explains why Vanity Fair attracts affluent, educated and young to middle-age readers.1 The average income of a Vanity Fair reader in 2010 is $78,187; the average age is 41. Women comprise 77% of the readers. The readers are quite disciplined: twice as many subscribe to the magazine rather than buy individual issues. The monthly average circulation of the magazine in 2010/2011 is 1,125,000 copies.2

The second category is represented by a collection of weekly tabloid magazines. Namely, these are: Life&Style May 7, 2007 (LS1) Life&Style April 30, 2007 (LS2) Life&Style August 28, 2006 (LS3) OK! March 12, 2007 (OK1) People Style May 2007 (P1) People March 5, 2007 (P2) People December 25, 2006 (P3) People November 13, 2006 (P4) People July 17, 2006 (P5) People July 10, 2006 (P6)

1 “Vanity Fair Magazine Subscription,” Epinions, accessed June 1, 2010, http://www.epinions.com/review/mags-Vanity_Fair/content_46006898308. 2 “Vanity Fair,” Echo Media. Print Media Experts, accessed October 14, 2011, http://www.echo-media.com/mediadetail.asp?IDNUmber=5336. 21

Star November 28, 2005 (S1) US Weekly December 24, 2007 (US1) US Weekly April 23, 2007 (US2) US Weekly October 16, 2006 (US3)

Published on lower-quality paper, these magazines specialize in covering news on celebrities frequently appearing on television or in films. They also bring show business gossip and touchy stories of ordinary people. Their coverage of the private lives and lifestyles of famous people is rather shallow; the articles are short and do not look for reasons, consequences or interconnections of reported events. All of these magazines are photo-driven with their photographs often coming from paparazzi.3 Even though there are slight differences in the statistical data of the readers of individual titles, the average combined figures for all 5 titles indicate that in 2010 the audience has a lower income ($68,000) and is younger (35 years) than that of Vanity Fair. Similarly to Vanity Fair readers, over 70% are women. Most readers buy their issues in the supermarkets, where they tend to be conveniently placed at check-out counters. The subscription levels are low. The circulation of individual titles in 2010/2011 varies from 450,000 (Life&Style) to 3,500,000 (People); the average figure is over 1,500,000.4

The promoted goods tend to vary in each category of magazines. While the high-end magazine mostly promotes designer clothes, accessories, perfumes, high-end technology devices, luxury cars, jewels, watches, alcoholic drinks and luxury cosmetic products, the tabloids tend to promote packed food, soft drinks, daily cosmetic and hygiene products, household utility products and non-luxury clothes. This division points to the fact that both categories of magazines complement rather than contrast one another. The employment of discourse strategies under scrutiny seems to correlate with the distribution pattern of ads promoting various categories of products.

3 “Magazine Subscriptions,” Epinions, accessed June 1, 2010, http://www.epinions.com/Magazine_Subscriptions. 4 “Consumer Magazines,” Echo Media. Print Media Experts, accessed October 14, 2011, http://www.echo-media.com/mediacat.asp?mediatype=Magazines. 22

Even though a statistically significant majority of the readers of the relevant magazines are female, this dissertation does not aim at researching the gender differences in advertising discourse. Women make up the majority of magazine readers;5 at the same time, they seem to be more often targeted by product advertising in general. Women, more often than men, tend to follow the latest trends in lifestyle, they are more involved in providing family care, shopping for fulfilling material needs or for enjoyment, and due to psychological reasons, they tend to respond better to the persuasiveness of the ads. Interestingly, Tanaka in her book Advertising Language (1994) uses feminine pronouns to refer to the recipients of ads while masculine pronouns designate the senders. She claims that this reflects how the world of advertising is structured: most ad senders are men, most ad recipients are women. These are the reasons for understanding the status quo in this dissertation: the recipients of the corpus advertisements do not create homogeneous groups equally represented by women and men.

The building of my corpus was a long-lasting, time-consuming process. Originally, randomly chosen issues of magazines were purchased in the U.S.A. between the years 2005 and 2007. The aim was to collect an equal number of product ads from both categories, not exceeding 500 in total. By an early estimate, 10 issues of Vanity Fair and 14 issues of tabloid magazines would yield approximately an equal number of advertisements. The magazines were scanned first for all the advertisements that were not in the category of “classified ads”. These were copied and tagged by a code. Next, ads showing no text use were excluded from the preliminary corpus. The ultimate target was to build a corpus consisting solely of tangible product ads, so the ultimate step was to eliminate all the non-product ads, namely the ones promoting charities, special events, financial and insurance services, medical and travel services, TV shows and films. Eventually, ads promoting pharmaceuticals were excluded due to specific legal requirements that strictly prescribe and limit the use of language. The final collection of ads represents typical display product

5 “Magazines: The Medium of Action. A Comprehensive Guide and Handbook 2009/10,” p. 75, The Association of Magazine Media, accessed June 5, 2010, http://www.magazine.org/consumer_marketing/circ_trends/index.aspx. 23 ads comprising both textual and visual parts, from mainstream American magazines, and read by prototypical middle and upper-middle class Americans.

My corpus consists of 444 ads promoting tangible retail goods, specifically cars (56 ads), clothing and accessories (43 ads), cosmetics (123 ads), packed food, drinks and cigarettes (96 ads), household items (25 ads), jewelry and watches (60 ads) and technology products (41 ads). 192 corpus items (43% of the total) were published in the high-end magazine category; 252 items (57%) appeared in tabloid magazines.

2.4 The Context of Advertising Communication Context is a focal point for the purposes of pragmatic analysis of advertising discourse and its meaningful functioning. In a broad pragmatic understanding, Urbanová (2003, 21) proposes a definition of context which is well applicable to the specificity of the advertising discourse: “Delimitation of the context comprises the social, political, cultural and other norms and expectations and their effect on the understanding of the message hic and nun.” Verschueren (1999, 111) summarizes the importance of context: “Context contributes to clarity by being subject to negotiation, uptake or rejection, acceptance of uptake or renegotiation, and so on. It is one of the most important … ingredients in the verbal generation of meaning.” Both scholars agree on the importance of context as a crucial meaning-negotiating setup.

To study the underlying structures, rules and exceptions, the whole context of advertising communication must become the subject of observation and description. It is therefore necessary to ask what the senders and the recipients of the messages in this interaction are like, in what way the channel (the substance) of communication is unique, what conjunctures (the combination of external factors) influence the functioning of the communication, what makes the goal of the communication special, etc. The core of the interaction is created by advertising messages and the communicative situation. The following chapters are dedicated to definitions, descriptions and typologies of each unit of advertising communication with regard to magazine

24 advertisements. This provides a firm basis for the following functional analysis of the magazine ads corpus and a verification of the hypotheses.

2.4.1 The Conjunctures of Advertising Communication The context in which the advertising communication takes place can be described as the environment of the interaction. Cook (2001, 3) describes context as “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.” He lists substance (physical material carrying the text), music and pictures, paralanguage, situation, co-text, intertext, participants and functions as elements creating context of advertising communication (ibid., 4). The major contextual elements are defined and described in the following chapters.

In a more detailed perspective, the context is conditioned by conjunctures, that is by “a specification of the configuration of practices which the discourse in focus is located within” (Chouliaraki and Fairclough 1999, 61). The advertising context is conditioned by an interplay of several external factors and circumstances that influence both creation and interpretation of the ad message. These conjunctures operate from the outside and thus influence the internal contents and structure of the message. The following description concerns the conjunctures I identify and consider the most influential: Attitudinal controversy Pervasiveness of occurrence Subject and content restrictions Legal restriction Acting as a commodity All of these areas are examined from the general advertising view. At the same time, each factor is specified, compared and contrasted for magazine advertising. They all, by varying degree and intensity, contribute to shaping the conventional structure of a printed ad. This will be discussed in the following section of this chapter.

2.4.1.1 Attitudinal Controversy Advertising is a human activity heavily exposed to emotional, scientific, social and cultural reactions from a considerable part of the world population. When people come in regular contact with advertising messages, they tend to have opinions about advertising as such. Advertisements elicit strong attitudes since they are capable of influencing actions of individuals and behavior of the masses, often with a dramatic outcome. Due to their impact on our lives they arouse the unparalleled interest of businessmen, scientists and laymen alike. “Attitudes to advertising can be indicative of our personality, or social and ideological position. This is not equally true of all acts of communication, many of which are relatively uncontroversial. Few people, if any, have strong views about the need for recipes or car plate numbers.” (Cook 2001, 1). This controversy is a feature that ad senders take into consideration when they create the messages: they can be expected to tone the controversy down when it might damage the effectiveness of the communication or enhance it if their strategy is based on shocking the recipient. On the other hand, the recipients are also influenced by their opinions on advertising in the stage of perception and interpretation of the messages. Nevertheless, the attitudes may change in time “because subsequent experience may exercise considerable influence over – or even change – our original judgments” (Srpová 2007, 41). The generally negative attitude towards advertising is not constant and can be expected to fluctuate on the basis of numerous social and commercial influences.

When opinions and attitudes of the recipients are taken into account, advertising in magazines shows certain specific features. As further claimed in Chapter 2.4.7, advertising in magazines enjoys a rather favorable reputation. It is often described as relevant and useful. The majority of the readers perceive it as positive. The discourse used in magazine ads can therefore be expected to „play-it-safe‟; to resonate as balanced and uncontroversial. Overly shocking or novel, questionable strategies would risk the favorable status quo of acceptability and obvious functionality of the ads. Advertising in magazines seems to be the bearer of advertising tradition.

2.4.1.2 Pervasiveness of Occurrence The abundance of commercial messages targeting the viewers, readers or passers-by has built a certain resistance to (and often intentional blocking of) the ad perception. If the advertisers want to be successful, they have to deliver the message in a very short time. As a consequence the messages are rather short in comparison with non-advertising messages. Nonetheless, magazine ads are perceived for a longer time and with more focused attention than ads appearing in other types of media. This may be reflected in greater length, higher complexity and the semantic multi-layering of the language structures in comparison with ads appearing elsewhere. However, the time that the average recipient dedicates to subconscious or aimed perception of ads is generally very limited. Advertising messages are considerably shorter than most of the editorial units in the magazines.

2.4.1.3 Subject and Contents Restrictions Contrary to works of art, scientific treaties or personal conversations, advertising messages cover a limited range of topics. It is mostly the qualities of the promoted products, and reasons for owning them, that make up the subjects of the messages and drive their contents. As has been already mentioned, ads in magazines often serve as a source of information on products, which means that a heavy presence of product details and instructions for use may be recorded. Unlike non-print commercials, contact information in the magazine ads is usually plentiful and detailed. Options including full addresses, toll-free telephone numbers and dot com references are always given, even if only in small print. It is assumed that only the recipients paying full attention, with interest in the product already aroused, will be looking for more information.

2.4.1.4 Legal Restrictions Unlike other genres, commercial messages are regulated by specific legislative and ethical norms. Regulations impose certain language items on certain products and prohibit the use of others. To comply with the codes of practice, advertisers include various caveats or disclaimers. These serve to avoid possible legal pitfalls and as such have become an inevitable part of ad

27 messages. According to Cook (2001, 54), “Even a quick glance through … the case reports of successful complaints against ads … reveal[s] that a great deal of official criticism centres upon wording, despite its demonstrably subsidiary role in many cases.” Since disclaimers often undermine (or even contradict) the value of the message and its persuasive force, they tend to be downplayed by appearing in small print at the least noticeable position. However, legislative impositions differ worldwide. As Cook (2001, 60) points out, “In the USA … this is not always allowed, with some amusing consequences. Ads appear with claims which seem blatantly undermined by large obligatory additions.” Nevertheless, to ease the damaging effect of the legal restrictions, both limits on language use and imposed formulations become the subject of creative exploration in ad message composition.

2.4.1.5 Acting as a Commodity Contrary to other types of discourse, advertising messages are commodities. They are ordered, specified, created, accepted or refused, and paid for. Specialists in advertisement production tend to be talented, creative, skilled and well trained for the job. They charge their clients and therefore tend to deliver desired products. Their work is also carefully watched, mercilessly scrutinized and publicly evaluated. As Cook (2001, 80) points out, “The words in contemporary ads are always carefully scripted and subjected to so much scrutiny and rewriting that in this respect they stand comparison with the drafting of laws or poetry. … The notion of anything unscripted appearing in an ad seems unthinkable.” Even though most frequently the authors of ads stay anonymous as individuals, their paychecks mirror their success and guide their motivation. This means the language appearing in ads is thoughtfully chosen to satisfy the advertising function, but also to conform to the clients‟ needs and tastes. Simultaneously, advertisers operate with thorough background knowledge of the target audience. The sophisticated psychological, social and statistical profiling of their ad recipients is what shapes the language choice for the ads.

This characteristic applies to all the ad messages regardless of the channel. While with written messages printed in the magazines the length of their

28 perception (reading) is controlled by the recipient, in televised messages their frequent repetition compensates for the inability of the readers to have closer, more detailed insight. Instead of a longer, one-time reading in case of magazine ads, the recipient is exposed to several repeated flips of the message in non- print media.

The conjunctures of the advertising communication as described above impose limits on the form and content of the ad messages. They guide the ad producers in their choice of verbal and visual persuasive means and they modify the perception of the message by the recipients. The internal structure of a print advertisement as described in the following section is shaped by the conjunctures as well.

2.4.2 The Structure of an Advertising Message Due to the delicate interconnectedness of all the concepts of advertising communication it seems viable to describe the internal structure of the advertising message within the section dealing with context. It should be stressed that the understanding of the structural elements is governed by generalization. Any part of an ad message can be omitted, positioned in a non- traditional way or merged with any other part of the message. By no means can it be expected to operate within a clearly defined set of rules for elements of ad structure. An unlimited number of variations and fuzzy borders between the parts can be observed with high frequency. As argued by Cook (2001, 12-14), advertising as such (and consequently the advertising message) should rather be characterized in terms of a prototype rather than by an exact rule-dependent definition.

2.4.2.1 The Headline Křížek and Crha (2003, 128-129) identify four written parts of a prototypical printed advertisement. Headlines (sometimes referred to as captions) are primary attention-catching devices; they are often the decisive elements for the recipients to choose whether they should dedicate more attention to the rest of the ad. The headline usually brings something new and unusual, since this is what admonishes the reader to further reading due to our orientation and search

29 instinct (ibid., 118). A headline frequently appears at a prominent location on the page, which is usually the top. This makes it a primary spot for establishing contact with the recipient. Headlines tend to use action verbs and statements from which the reader quickly understands the benefits he/she may gain by reading the rest of the ad. Boaze (1998, 1-2) identifies five basic types of headlines: . news headlines – they tell the recipient something they have not known before, such as in “One energy company is going further to make hydrogen energy a reality” (Ad for Shell, Time, May 29, 2006); . advice and promise headlines – tell the reader what to do in order to reach some effect, such as in “She didn‟t like your music, your clothes or your friends. Be sure that she likes your Mother‟s Day gift.” (Ad for Kodak digital camera, Life&Style, May 7, 2007); . selective headlines – point out a specific target recipient, as in “If you are over forty, slimming gets more difficult”. (Ad on a Slovak radio channel, own translation); . curiosity headlines – arouse recipient‟s curiosity, mostly by asking a direct question, such as “Would you like to see today‟s low carbon menu?” (Ad for BP, Time, May 29, 2006); . command or demand headlines – exercise direct verbal pushing, as in “Feed your skin, don‟t fuel it.” (Ad for Juice Organics, Life&Style, May 7, 2007).

2.4.2.2 The Body Copy Body copy (or copy) is the core text of the ad. It operates with fewer creative means than the headline. Information density increases in the ads when moving from a headline to a body copy. Ideally, attention of the recipient has been caught by the headline. Now the informative value dominates. Body copy is usually the only part of an ad that contains explicit informative language about the product. The information is very rich in ads for medication, cosmetics, food and food supplements. Longer body copies are to be expected in ads promoting new products where more information is required. Ads employing only the tickle strategy (aiming only at eliciting positive emotions) frequently contain no body copy, or their body copy is extremely short. Such ads tend to depend

30 on visual images (Křížek and Crha 2003, 129). In general, the copy is expected to be longer than a headline or a slogan. It uses descriptive terms and colorful words, mostly adjectives and adverbs. Technical terms appear as well; they may not be fully understood by the recipient but they give an impression of seriousness and importance.

Content-wise, the body copy contains some typical marketing propositions; namely a unique selling proposition (USP) and/or a claim. Having a USP means having or offering something other products do not have. This tends to be extremely difficult due to almost infinite numbers of products and ads. To create a functional USP, aesthetic uniqueness steps in. Commodities get aesthetized through both linguistic and visual means. Great verbal descriptions and a great illustrations sell. The products do not have to be better than the other ones in their category; they must appear to be better (Vertergaard and Schrøder 1986, 12). This trend is accompanied by a corruption of utility values. Ads rarely promote the primary utility value but instead claim that a product gives the consumer youth, love, success and recognition at the workplace.

The claim is that part of the text that usually appears towards the end of the message. It is the last item of information that the recipient meets in the ad and possibly remembers. It usually contains a sounding argument or a persuasive appeal. The recipients of any written message tend to pay more attention to the beginning and the end of the texts. The headline and the claim are therefore the message parts with the highest capability of making the ad functional (Křížek and Crha 2003, 129).

2.4.2.3 The Signature The closing part of an ad typically contains identification statements and facts. These include a slogan, contact data and the brand-name of the product. After the headline has caught the recipient‟s attention and the body copy has created a desire for the product, the slogan is the easy-to-remember line that bridges the time gap between seeing the ad and buying the product. Even though not specifically listed by Křížek and Crha, the slogan regularly appears towards the end of printed ads. If the advertisement uses a witty formulation, a slogan is

31 usually its punch line. It is frequently identifiable as the claim of the ad message, yet a separate claim and slogan appear in the ads as well.

Slogans are a part of corporate identity, which is the set of phenomena that distinguish one company from all the others and makes it unique (Křížek and Crha 2003, 85). Slogans are a recurring textual part of the ad messages, appearing for a longer time throughout the campaigns in any media; they are printed on product packaging, company stationery, etc., and thus serve to strengthen the identity of the product or the producer. Slogans build the strongest memory traces, associate the product with the producer and remind the recipient of the product or the company any time they are encountered. Their information value is minimal; they serve as metaphorical representations of the product or the producer. They can be described as verbal counterparts of the image-based logos. The image of a “swoosh” is a logo, a typical visual representation of the Nike sports apparel company; “Just Do It” is their slogan, a verbal representation with a comparable emblematic function. The semantic content of the verbal phrase is secondary to its symbolic value.

Contact data is the last text part of an ad identified by Křížek and Crha. It traditionally appears at the very bottom of the ad in small print and includes addresses of stores, toll-free telephone numbers and dot com references, as has been already discussed earlier. It is virtually impossible to remember the very exact information of this section, and that is why many magazine readers, once they have decided to seek more information, frequently keep the record for future reference.

The textual part that appears in all the ads is the product brand name. For the advertisers, it is the most challenging part of creating the product promotion because it is the basic identification mark of the product and may have a self- promotive function. It is the most elusive part of the ad in respect to its placement, position within the ad structure and function. It may appear repeatedly, be incorporated in any other textual part, feature as part of the visual material of the ad or be an ad message by itself.

2.4.2.4 The Illustration Even though verbal sections of the advertising messages are the core focus of this dissertation, an illustration is a part that cannot be omitted when listing the elements of a printed ad message. It is the most prominent part of a printed media display ad. It attempts at reaching similar goals as the verbal parts yet it is considered to be more powerful. Within an ad, it depicts the product with higher precision; it shows the product in a more concrete way and describes the state of the situation better. The text, on the other hand, depicts the abstract ideas better (Křížek and Crha 2003, 59-60). Even though most ads use pictures and text concurrently, many do not use text to sell products at all (which is typical of fashion items of designer names, perfumes, jewels, etc.).

Advertising messages comprise a dynamic genre. Even though the requirements of the market constantly develop, tastes of the consumers change and fashion trends come and go, advertising has long proved to be immortal in its delivering the pleasing business results. Effectiveness and functionality is ensured due to the variety within the genre. This claim naturally leads to a discussion of the function of advertising communication.

2.4.3 The Goal of Advertising Communication The goal of an ad is defined by its genre: it is to promote a product in order to sell it. Even though the goal is virtually never stated directly, the recipients understand the ads as examples of a genre that aim their attention towards a certain commodity. “Expectations of relevance are linked to the genre” (Crook 2004, 730). The present-day consumer is well-aware of the general intentions of the marketing industry, which results in ads exploring various tactics and strategies in order to fulfill the intended goal. The advertisers know that the recipients understand their intentions and may want to resist, exercising their free will. In this cat-and-mouse game, the advertisers are pushed to be one step ahead, to overcome the expectations of the recipients. However, according to Srpová (2007, 113), judging the success of advertising is almost impossible as marketing research tends to report on the successful cases rather than on failures.

Hopkinson (2010, 31-32) labels advertising discourse as “essentially manipulative”, exploiting recipient‟s perception of the product or the sender in a desired way. The main goal of the advertisers is to use language strategically “to positively influence the addressee‟s perception of the product and companies being promoted and thus to achieve commercial gain”. However, the manipulation seems to be indirect and subtle. Sutherland and Sylvester (2000) claim that heavy-weight persuasion does not occupy a prominent place in the psychology of advertising; instead, gentle influence over the audience is preferred. The advertising effect, they claim, is reached cumulatively, such as by exposure and repetitiveness. The general trend is commented on by Crook (2004, 723): “… the picture that has emerged over the past decade or so is one where effects are subtle and strategies are largely transparent … [A] great deal of understanding exists between the advertiser and target audience, and this allows advertisers to be far more open, blatant and mocking, both of themselves and their audience.” The recipients seem to be aware of the senders' intentions even if these are not stated explicitly.

The advertising goal in general remains the same for all types of ads: to evoke changes of attitude of the recipients, which ideally means creating a positive opinion and making them buy the product. Various models of goal structures have been proposed in marketing studies. However, the most traditional model of a sequence of related goals, known as AIDA, seems to apply to the recipients of magazine ads. Unlike newer types of non-print ads, the magazine advertising seems to undergo fewer changes and in a slower pace than other types. This may be a consequence of the stability and trustfulness of magazine advertising. AIDA was first introduced when magazines and newspapers were the major ad carriers. It was only much later that radio, television and Internet ads considerably challenged the AIDA sequence. However, magazines seem to preserve the long-established trends in ad functioning, structure and appeal.

2.4.3.1 AIDA as a Goal Model The four letters of the acronym represent four stages of the process: attention, interest, desire and action. Individual stages are described with regard to the prototypical structure of a printed ad.

2.4.3.1.1 Attracting Attention If the ad is to persuade the accidental recipients to buy the promoted product, it has to attract their attention. The recipients do not have to realize they are in the process of perceiving an ad message. Presently, when a prototypical urban American is targeted by several thousand advertising messages daily,6 this stage of the communication is of extreme importance. In printed ads, illustration is the most useful attention-catching device. It delivers the idea faster than words; it offers a better depiction of the surface value of the product (shape, color, size); it creates emotive states faster. A substantial number of ads (promoting mainly luxury items such as perfumes, designer clothes and jewels) sell solely via the illustration.7 However, the majority of printed ads operate via combining verbal and visual parts. Those containing purely a verbal message are rather rare.

Considering the verbal parts, the headline is a typical attention-catching device. It traditionally occupies the most prominent position within the page; appears in bigger print than other verbal ad parts and usually introduces an idea that stays unfinished and invites the readers to explore its continuation further in the text. Advertisers pay special attention to make this stage of the process functional: if they fail, the recipients never proceed to processing any of the following stages.

2.4.3.1.2 Eliciting Interest Eliciting interest of the recipients is the second stage of the process. While attracting their interest may be a subconscious process, this stage moves the perception of the message to the level of consciousness. Once the recipients start paying attention, they become actively interested in the product. The intention of the advertisers is to peak their curiosity. In this way more perception time for the ad is gained and chances for the eventual successful persuasion outcome increase. The curiosity of the recipient gets peaked if the

6 Louise Story, “Anywhere the Eye Can See, It's Likely to See an Ad,” New York Times, January 15, 2007, accessed June 12, 2010, http://www.nytimes.com/2007/01/15/business/media/15everywhere.html?pagewanted=all. 7 This type of ad is not included in the corpus. 35 headline introduces an idea which stays open, or a thought-provoking concept is introduced in the verbal or visual part of the ad. The concept usually becomes obvious in more subtle details that are included in the illustration or the prominent verbal parts; nevertheless, the role is to bridge the gap between noticing the ad and considering the need for the product.

2.4.3.1.3 Creating Desire Creating a desire for the product means stirring the needs of the recipients. After their attention has been caught and the interest elicited, the potential consumers ideally start to feel the urge to satisfy their needs by having the product. This tends to be ultimately reached by the advertising claim. However, information provided in the body copy may also draw on the recipient‟s emotions or present them with a base for a rational argument. Most frequently, a combination of both emotive and rational strategies is employed.

2.4.3.1.4 Provoking Action The act of buying the product is the desired final stage of the advertising effort. None of the actual ad sections are implemented to perform specifically this goal. Fulfilling the final stage lays out the realm of the ad itself, since the acts of perceiving the ad message and buying the product are separated by a time gap. It is the memories of the ad that may trigger the final choice of the consumer. Most frequently, the brand name and the slogan are those parts of the printed ad message that are repeatedly used in the campaigns and help create the lasting memories.

2.4.3.2 Goal in the Pragmatic Considerations To return to the pragmatic point of view, Cook (2001, 4) sees the goal of the discourse as its function, that is “what the text is intended to do by the senders and addressers, or perceived to do by the receivers and addressees. Advertising discourse is aimed at reaching results. This is in sharp contrast with the discourse of everyday conversation, which aims at reaching understanding.

Advertising messages can be viewed as stretches of discourse having both sense and force, i.e. having the interpretable meaning and the power to

36 influence the performance of the hearer. As long as they are viewed from this perspective, they can be labeled as speech acts: utterances doing things (influencing the decision-making of the potential consumer). From the perspective of Austin‟s Speech Act theory (as discussed in Levinson 1983 and Mey 2001), the goal of the advertising message can be described in three steps: locution, illocution and perlocution. The locutionary act is, according to Austin, the actual words of the message. It is the careful crafting and formulating of the actual ad message by the advertiser. The illocutionary act is using the force associated with the message, i.e. advertisers persuading the recipients to buy the product. The perlocutionary act is the final stage rarely considered by pragmatic research: the desired effect of the message when the recipients of the ad message become the customers by performing the act of acquiring the product.

As most of the speech acts in any communicative situation, ad messages belong to the category of Indirect Speech Acts (especially the ones based on tickle strategy, as noted by Simpson 2001). They do not exhibit the direct imposition of the force; their actual wording does not correspond directly to the effect it is intended to have. As was already noted, the goal is usually not stated overtly and is mostly understood by default. Cook (2001, 232) states: “The obligatory core element – „do this‟ (usually „buy our goods‟) – is either external to the text or only a small proportion of it.” Mey (2001, 113) stresses the importance of the “external factor”, the context, for recognizing the intended message of an indirect speech act: “The way we recognize indirect speech acts, and process them properly, has to do with the way we are „set up‟ for recognition and action by the context.”

Verschueren‟s understanding of perception and representation (1999, 176) can be applied to describe the function of advertising from the perspective of the recipients. Conceptually it closely corresponds to the marketing AIDA principle. According to Verschueren (ibid.), the recipients must primarily become aware of the message; they must start perceiving it. Subsequently, they have to make sense of what they perceive, or represent it, in order to interpret

37 the message in a desired way. The goal of the ad message then is to be noticed and rightly interpreted.

Even though AIDA is still a valid goal structure for most advertising messages, new functions have evolved as the world of commercial communication has changed dramatically in the last half century. In his concluding remarks to a detailed description of advertising discourse, Cook (2001, 220-221) broadens the traditional understanding of marketing goals. As already mentioned, advertising is a controversial genre and as such becomes a source of social and moral judgments or a challenging force for aesthetic norms. It often provokes society-wide discussions and occasionally happens to drive social change. The omnipresence and pervasiveness of ads is a norm nowadays; the advertisers know they can attract attention and spur debates when they introduce shocking or controversial concepts. Controversy, then, does not appear to be an accidental side-product but a function, an intended goal of modern advertising. “If an ad departs from expectations, it will attract attention and/or convince.” (ibid., 229) However, the recipients expect ads to aim at certain prototypical goals, and the marketing specialists describe these goals in sequences and structures. This is in sharp contrast with the drive for shocking the recipients and eliciting controversial reactions. Cook (ibid., 230) sums up: “Reversals of expectations may make us wonder whether any feature of ads is stable other than their instability. Yet, though the method and the content may change, the desired effect remains the same: to influence behavior in the way demanded, that is to say, by the paymaster.”

Cook (ibid., 221) also presents arguments for modern ads featuring another function: giving pleasure to the recipients. This can be either an eye-pleasing or mentally satisfying event. By trying to create a pleasurable experience in the recipient, ads may build a delicate connection between the evoked positive feeling and the advertised product, or the state of obtaining it.

The discussion of functions so far can be understood on the level of advertising as a product or an instance of an advertising genre. However, advertising discourse within the ads fulfills a range of language functions that are

38 observable in language use elsewhere. Holmes (1992, 286-287) lists a number of functions, many of which can be traced in advertising discourse as well. Many ads draw on recipient‟s emotions and elicit emotional reaction. In these cases, expressive function of language is triggered. Many ads appeal to the recipients directly by means of imperatives; this is where directive function is enacted. Referential language function is obvious in those parts of ads that provide factual information about the products or offer contact data. Poetic function can be linked with the above-mentioned Cook‟s assignment of evoking pleasure in the recipients. Advertising discourse that expresses solidarity and empathy, often found in headlines as an attention-catching device, fulfills phatic function. Further on, advertising discourse can function as promises, threats, or, when the context of ads is manipulated and the discourse becomes learning material, it may fulfill heuristic function. As Holmes (ibid.) points out, functions may appear in various combinations within stretches of discourse. Since ad messages have a function-oriented internal structure, it is highly plausible that discourse appearing within the ads will feature more language functions in combinations rather than clear-cut instances.

2.4.4 The Sender of the Advertising Message Motives and needs that determine the formulation and interpretation of advertising messages comprise the function of the advertising communication. Both notions are embedded in an active personal setting: it is the sender and the recipient of the messages who are driven by motives and needs and thus drive the communicative process.

The identification of the sender of an advertising message may be confusing due to multiple sources from where the primary impulse for communication can originate. In Bakhtin‟s terminology, various sources in discourse may be labeled as voices. Voice “is the speaking personality, the speaking consciousness. A voice always has a will or desire behind it” (Bakhtin 1981, 434). Verschueren further elaborates on Bakhtin‟s term and clarifies: “The utterer [the sender] and all the possible sources represent the kinds of voices involved in any instance of language use” (1999, 79). In the advertising

39 context, the identity revealing the message to the recipient is the producer or the company selling the product. As senders of the message they create the deictic centre and often identify themselves in the message by means of personal deixis. The brand name of the product, which frequently appears in multiple instances, identifies the sender as well. It is sometimes the product which is deictically identified as a sender, pretends to be the sender‟s voice and “talks” to the recipient. Other times, the voice is an authority featured in the ad, such as a celebrity, a specialist in the field or a respected personality. Another member of the target group recommending the product through the ad message may be identified as the voice as well. The voices that can be identified deictically and/or approach the recipients from the advertisement as the messengers are labeled embedded senders.

As voices, those whom the recipients imagine to be the source of the message, represent an actual sender. However, these are rarely the creators of the message itself. The chemistry of ad creation is meticulous and too costly nowadays to be in the hands of non-specialists. The actual senders, then, are companies, individuals, politicians, churches or organizations which pay to have the advert created by specialists; the virtual senders. Most frequently nowadays the advertising message creator is an advertising agency - a group of individuals making up a creative team. The content of the message they intend to send is negotiated between the client (the actual sender) and the team as well as within the team. The outcome is a message that is undoubtedly a product of the circumstances: it is a message that has been created under the pressure of negotiation, compromise, creative urge, necessity to abide by legislation, desire to be appreciated, respect for the cultural and social norms, need for breaking the conventions, call for following the fashion trends, and, inevitably, the essential requirement of turning the reader into a customer.

It should be stressed that the motives and the goals of the embedded, virtual and the actual sender may differ. While the embedded sender seeks to deliver good news about the product, recommend, warn or promise change, the actual sender (the client of the advertising agency) pays for the message and principally expects a return on their investment. The virtual sender may follow

40 the creative urge or may prefer to be evaluated positively by the client along with the primary goal of selling the advertised product.

2.4.5 The Recipient of the Advertising Message In the advertising context, the recipients are identified as a target group for the advertised product. However, the label of target group covers only some of the actual recipients. A target group consists of the individuals whose characteristics make them most susceptible to eventually become customers. There is a direct link between the characteristics of the readers of respective magazines and the target group exposed to the ad messages in those magazines. The target group members share similar needs that are exploited in the advertising communication. It is understood that no new needs can be generated in the recipients; nevertheless, ad messages may attempt to retard or accelerate the existing needs to the point when the ad recipient becomes a product consumer (Vestergaard and Schrøder 1985, 10).8

In advertising communication, the recipients decoding and interpreting the message are anonymous. For those who become engaged with the message, Verschueren uses the term interpreters (1999, 82). The ideal member of the target group whom the advertisers portray when constructing the message is a virtual interpreter. “A virtual interpreter … is really only imagined at the moment of producing the utterance” (1999, 86). However, it is this virtual interpreter for whom the adaptation and careful crafting of the message is employed. This process of recipient design serves “to ensure continued attention as well as the desired level of understanding” (ibid., 86).

Interpreters are the decisive factor in the final appearance of an advertising message, for they “may influence the utterers‟ choice-making in fundamental ways” (Verschueren 1999, 84). However, they are not the only category of

8 Creating a new need from the marketing point of view should not be confused with the impossibility of creating new needs on a psychological basis. Cases of creating “a new need” in the consumer with launching a new product are rare but are considered to be the ultimate success of a business. Such was the case of introducing paper copy machines or cell- phones: there was no real need for them up to the point when they were introduced; following their launch the need for them became enormous. These products self-generated the need for their use. 41 entities acting as counterparts of the senders in the advertising communication. Many potential recipients never read the message, intentionally skip the advertising page or their attention is not directed to the message contents at the right time. These are labeled presences. They occupy a position that allows them to become participants. When magazine readers are considered, about one half admits to acting upon the ads printed in the magazines. The rest of the readers may regard themselves ad-immune. Their mere existence, however, can influence the senders‟ choices and thus alter the message (Verschueren 1999, 82).

2.4.6 The Sender and the Recipient in the Social Power Context The functioning of advertising communication can be observed through the mutual relationship of the participants in the society of consumerism. It is a relationship of power; the power-holders and the power-seekers (Fairclough 1989). Mass-media discourse, including advertising in magazines, is (on the surface) a one-sided event where the sender addresses an ideal recipient. It is exclusively the senders who have the power over what is said and what stays unsaid in the message. Through advertising discourse, a relatively small number of senders assigns a certain role to the masses of recipients: that of consumers. Moreover, through careful language handling, this role seems to be desirable. The consumers do not feel exploited, since power is not exercised overtly. The role of a consumer seems to be “normal”, being manipulated is taken as “what advertising does”. It is an instance of “naturalized practice” (ibid., 33), it appears common-sensical and universal. According to Fairclough, this is the basic principle of the successful use of ideology as a power-keeping tool through discourse. Interestingly, marketing surveys point out the fact that the recipients often claim to be advertising-immune; at the same time, the figures clearly show that advertising is a very successful and powerful way of influencing behavior.

Power-holders can preserve their position in two ways: either through coercing it, or winning the consent of the masses. The latter strategy is not so risky and costly. Exercising power covertly, indirectly, in advertising discourse is a common practice. “Ideology is the key mechanism of rule by consent” (ibid.,

34). The surface markers of authority and power are mostly removed and “simulated egalitarianism” (ibid., 37) is the preferred strategy of communication. Advertising involves hidden relations of power (ibid., 49). In the early days of advertising, the discourse exhibited less concern for hiding the power status of the advertiser. Explicit and direct appeals, commands and orders were frequent and considered standard. Nowadays, recipients understand what advertising does and they know they are being manipulated. However, they usually do not realize it while reading the ad, since the obvious power-holding discourse means are hidden and consent-winning ones are employed: being less direct, implicating, suggesting rather than ordering is the current choice of advertisers. The preferred consent-winning strategy would be endangered by explicit use of power in discourse.

In his description of a narrator and a narratee Barry (2003) takes a similar power-related view. He claims that it is the narratee “who produces the tale by a process of sustained imaginative introspection” (2003, 30), which shows an active contribution of the recipient in the communication. However, Barry adds, “This imaginative collusion will vary in intensity from reader to reader, but it will always involve the vicarious (that is, „proxy‟) living out of the depicted events.” This relates back to Fairclough‟s view of the sender having power over what is included and what is excluded from the message. Barry further contemplates the hidden power and removal of power markers in the discourse. “The narrator … strives for a kind of invisibility; we only look directly at the teller when we are sceptical about what is being said” (2003, 30). The recipients (the narratees) become aware of the process of narration and of being manipulated in it when they have doubts about giving their consent.

2.4.7 Magazines as the Channel of Advertising Communication Magazines belong in the group of so-called „cold‟ media that absorb the recipient‟s attention and require their active participation in the communicative process (Srpová 2007, 16). As one of the oldest forms of mass-media in North American society, magazines enjoy popularity and a good reputation. They are considered trustworthy and traditional by a majority of the population. Magazines have preserved their position in the long run, even in times of new

43 non-print media challenging the positions in the mass-media market. This is one of prime reasons why magazines are a popular advertising channel. Mainstream, non-specialized magazines dedicate up to half of their content to display product ads, which are usually full-page or half-page ads randomly distributed within editorial contents. No-frills ads appear in specialized sections marked as such and thus address mostly those readers who are already motivated to read them. Specialized magazines feature ads whose target group corresponds with their readers: industrial ads appear in professional, scientific or technical journals; consumer ads for a limited range of products are to be found in non-professional magazines. The limits are imposed either by a specific hobby the magazine covers (e.g. gardening), or the location where it is distributed (e.g. airplanes). If the magazine publisher or distributor is a specific political group, church, charity organization or good-will institution, non- product ads may appear with higher frequency. As already pointed out in the Corpus Description, this dissertation only deals with ads from mainstream magazines of unrestricted contents and distribution.

Independent surveys of magazine readers and the impact of advertising on the magazine audience provide statistical data that appear to be useful for the objectives of this dissertation. They include figures comparing the effectiveness of advertising in magazines over other media; they also reveal what the readers‟ purchasing habits are, how much the readers trust the advertising and what they use it for. Knowing these facts may provide valuable background for knowing who the participants in advertising communication are. For the sake of discourse strategy analysis applied in a very specific context of printed ads, the surveys show how effective the employed strategies are and to what extend the disclosed results describe the truly functional advertising discourse strategies.

According to various consumer surveys, magazines are read by a significant majority of the US population, and their advertising messages seem to have a high impact on the readers. Four-fifths of the adult American population label themselves magazine readers. This figure has remained consistently high

44 despite the recent growth of the new non-print new media.9 The presence of magazines in the lives of Americans is truly significant: according to the surveys, the top 25 magazines outperform the top 25 TV programs in reaching adults and teens.10

2.4.7.1 High Attention Levels Reading magazines is often an encompassing experience: readers tend to concentrate solely on the issue they read and while reading, they do not to get involved in other activities.11 Since the attention of the readers is naturally aimed at the content, less attention-catching force in ads is needed than in other media. Rather than trying to attract recipient‟s attention in the first place, magazine ads can be expected to contain more persuasion means instead. The time-span dedicated to perceiving the ad message is a revealing statistical figure as well: the average reader spends over 43 minutes reading each issue.12 Unlike ephemeral TV commercials and outdoor ads passed during a commute, magazine ads receive considerably more perception time of each recipient. That may well reflect the language means employed. Longer, more complicated and highly coded expressions and structures can be expected to appear in the magazine ads as compared to other types of advertisements.

2.4.7.2 Favorable Perception Besides outstandingly rich readership and long perception time, magazine ads enjoy a favorable reputation. The readers admit to rating them more positively than the ones appearing in other media, which may be the consequence of the popularity of magazines as ad carriers. Over one-half of the readers rate magazine ads very or somewhat positive.13 Magazine ads are viewed and described as trustworthy, valuable and useful,14 and they often serve as a source of information for consumers.15 These labels suggest that the employed

9 “Magazines: The Medium of Action. A Comprehensive Guide and Handbook 2009/10,” p. 7, The Association of Magazine Media, accessed June 5, 2010, http://www.magazine.org/consumer_marketing/circ_trends/index.aspx. 10 ibid., p. 7. 11 ibid., p. 30. 12 ibid., p. 8. 13 ibid., pp. 31-35. 14 ibid., p. 33. 15 ibid., p. 57. 45 advertising strategies are working. Survey figures confirm the logic outcome of the equation: there is a direct link between magazine ad engagement and their effectiveness.16 That may be the major reason for the astonishingly strong and long-term presence of advertising in magazines: 46% of the contents is dedicated to advertising purposes. Ads can be therefore be considered significant contributors to the reader‟s experience.17

2.4.7.3 Marketing Effectiveness (High Return on Investment) The numbers also demonstrate that magazine readers remember ads and act on them even after longer periods of time.18 This may suggest that the strategies used in magazine ads are highly effective in creating lasting memory traces. According to the surveys, magazine ads are described as more relevant than in other media,19 which shows that magazine advertisers target the right audience.20 The relevant message gets to the desired recipient. More than half of the magazine readers (56%) admit to acting on magazine ads;21 this is a significant number in the massively competitive world of advertising. It confirms the assertion that magazine ads fulfill the marketing task well and the strategies used by the advertisers are highly functional. Magazine readers tend to be influential customers for fashion items and luxury goods (watches, jewels, clothes, shoes, accessories, beauty products, alcohol), for food and packaged goods (cleaning products, snacks) and for technology (computers, mobile phones).22 Advertisement categories that comprise the collected corpus match these product categories, depicted and statistically measured by marketing surveys.

2.4.8 Display Product Consumer Ads as a Sub-genre This chapter located the type of ads collected in the corpus within the broad spectrum of advertising as a genre. Product consumer ads promote tangible goods to anonymous individuals in potential consumers‟ target groups.

16 ibid., p. 80. 17 ibid., p. 13. 18 ibid., p. 83. 19 ibid., p. 34. 20 ibid., p. 62. 21 ibid., p. 36. 22 ibid., pp. 55,60,61,68. 46

Magazines are a tradition-bearing medium in printed advertising with an abundance of full-page or half-page display ads in every issue. These ads are often viewed as prototypes of advertising messages. Their structure varies considerably, but typically they contain a prominent illustration, which is accompanied by a headline, a body copy, a slogan and a signature line.

Ads comprising the corpus promote tangible goods in two categories of unspecialized magazines: the high-end luxury magazine and tabloids. These two types differ in their target audience and thus can be expected to promote various types of products. The placement of different product category ads is not exclusive; however, some tendencies can be observed. A high-end magazine is richer in high-involvement low-utility (luxury) goods such as perfumes, jewels, technology gadgets, designer clothes and accessories. Tabloids are richer in low-involvement high-utility goods such as packaged food, soft drinks, daily cosmetic products and household utensils. This distribution is expected to yield differences in the employment of discourse strategies which pertain to advertising reason vs. tickle strategies. While reason strategy is used more often to promote low-involvement and high-utility products, tickle ads more frequently promote luxury goods.

3 Mental Space as a Common Interpretive Principle The emotional and attitudinal layer of ad meaning arises from highly individual message processing. The subjectivity of recipient‟s interpretation should be stressed: “Subjective, heterogeneous interpretations of texts are the norm; different readers are assumed to “get it” differently, depending on their history, values, or even which side of bed they rise from” (Barry and Elmes 1997, 433). Thomas (1995, 22) claims that meaning is a process of dynamic interaction, “negotiation … between speaker and hearer, the context of utterance … and the meaning potential”.

Discourse strategies that enable highly subjective processing based on an input from the sender are identified as the strategies of storytelling, intertextuality and metaphors. They seem to operate on the basis of an identical interpretive principle. When the ad message is being perceived, the recipients are presented with visual and textual cues which enable the creation of individualized cognitive space. This platform further serves as a vacant space which the recipients fill according to their own individual histories, abilities, needs, possibilities and wishes.

The vacant mental space is understood in terms of text world theory as proposed by Werth (1999) and further discussed by Hidalgo Downing (2000, 67-88). Hidalgo Downing claims: “Participants in communicative situations actively construct the shared contexts which arise from the interaction between the information in the text and the knowledge brought by the participants to the discourse situations.” The constructed contexts are of a cognitive nature; they are representations of what is explicitly or implicitly present in the discourse. Werth (1999) labels these constructed cognitive representations “worlds” and assigns them a description of a conceptual domain representing a state of affairs. Van Dijk (2006, 367) based his cognitive approach to manipulative discourse on mental models which he finds to be “unique, ad hoc and personal: it is [an] individual interpretation of this particular discourse in this specific situation.”

In this dissertation, I use the term mental space for the notion of the interpretive principle. Mental space is a term first proposed by Fauconnier (1994) and refers to a cognitive domain created in the minds of participants in discourse. Lakoff (2006, 275) further describes mental space as a model that can contain mental entities; that relates to other spaces; or entities which can relate to other entities. He lists examples of mental spaces, such as immediate reality, fictional situations, past or future situations as they are remembered or imagined, hypothetical situations or abstract domains.

Since advertising is a form of communication where the interpretation rests on recipients, the mental space is understood as an outlined space in their conceptual capacity. It is framed by given discourse cues, yet no specific structures are filled in. Both advertisers and recipients enter the advertising communication with shared knowledge about the context, its goals and related expectations. The way in which the ad message is constructed and then processed opens up a recipient‟s mental space and allows “filling the space” with reasons, emotions, memories of own experience, associations, imaginary constructs, etc. Hopkinson (2010, 33) remarks: “In order to manipulate their readers, the producers of advertising texts attempt to „plant‟ in the reader‟s mind mental models both of the product (emphasizing its positive qualities) and of the roles and identities of the two main participants in the discourse – the producer and the reader.” The ad recipients are invited to use their existing experience, draw on their memories, explore their fantasy and in that way personalize the advertising message. The exploring of mental space may be extremely rich in case the ads present explicit cues which prompt imagination and creativity. It may be even richer when the messages stay incomplete and recipients feel invited to continue the meaning creation process.

The mental space, which is created during/after reading the ad, may be a beneficial concept for the advertisers if the recipient‟s process of interpretation and filling the space is somehow directed. Textual cues present in the ad message function as “a space outline” and thus navigate the mental processing. Moriarty (spot.colorado.edu) defines advertising cues as “a signal of something or a reminder of something. It brings to mind something from past knowledge

49 or previous experience that provides a framework of meaning that can be used to interpret the sign.” A cue in the advertising message is a textual or visual signal that activates a certain mental space in the recipient‟s mind and sets its borders.

The notion of mental space and of cues determining its frame are the key elements observed and analyzed with the discourse strategies of storytelling, intertextuality and metaphors. These are identified as strategies enabling the recipient to co-create the emotional and attitudinal layers of ad message meaning.

4 Storytelling as a Discourse Strategy23 Humans are story tellers. Long before literacy became a distinctive feature in society, people lived their lives listening to and telling stories. Later, it was stories through which writing developed into the skill of social necessity and art as we know it today. Shared stories have shaped our development – our relationships with other community members and the community itself; our beliefs, social conventions and norms.

As children, we grow up listening to stories: they help conceptualize our world before we are able to conceptualize it through our own experience. Events happening at a location, known or imaginary, and featuring protagonists, real or unknown, are the tools through which we begin making sense of the world. Deducing, generalizing, abstracting, associating and a wide range of other thought processes all develop when we listen to stories. As we mature, we never grow tired of stories: they form the basis of our socializing and entertainment. Informal conversations tend to consist of strings of interconnected stories rather than of individual communicative events; and stories depicted by films, theater plays and fiction books fill in a substantial amount of our leisure time.

Advertisers would clearly miss a great opportunity if they did not promote their products through telling stories. Stories are associated with childhood and tender parental care, with socializing and bonding, with leisure time. They rarely associate with force, persuasiveness and biasing, for which many recipients despise ads as a genre. Ad messages in which stories form the most manifest platform of product promotion may benefit from all of the mentioned associations and gain a more favorable rating with any potential recipient.

Of all the collected ads, forty-five instances are identified as messages containing stories, or hinting at them. Out of those twenty-seven are printed in Vanity Fair; eighteen instances in the collection of tabloid weeklies. This

23 Parts of this chapter were published previously in my article “Storytelling as a Discourse Strategy in Printed Advertising” in Theories and Practice: Proceedings of the Second International Conference on English and American Studies, 2011. The full bibliographical reference is listed in the Bibliography section. 51 signals a slight preference for storytelling as a discourse strategy used with high-involvement products; or with an older and more affluent target audience. From another perspective, this may also suggest that storytelling is a milder and more subtle, non-pushy strategy explored by advertisers. About 60% of the storytelling ads can be easily interpreted as fully disclosed stories due to the cues of setting, characters and plot given explicitly. The rest of the ads reveal an incomplete, tentative story, an equivalent of the tale idiom “once upon a time”. These ads contain some of the attributes of a story but the recipient her/himself is left to fill in the vacant mental space, which had been opened by the given cues.

Storytelling clearly embodies an idea of an ad recipient creating and filling mental space as mentioned earlier. In his study on manipulative discourse, Van Dijk states (2006, 367): “Telling a story means formulating the personal, subjective mental model we have of some experience.” The notion of experience is introduced through textual or visual cues. When explicit and numerous, they evoke a full story; a story may be only hinted at if cues are limited in number and explicitness.

Advertisers often explore discourse possibilities to deliver messages in a new, unexpected way. That is why cues that allow the ad message to be interpreted as a story are variable and often elusive. They may appear in a fully verbalized form or be present only implicitly. Nevertheless, what clearly causes discourse to be perceived as a story is the presence of narrative cues, specifically active verbs (mostly in past tense), a time sequence of events, a vivid description of a scene and introducing characters. The detection of one of these cues is sometimes enough to perceive the message as a story, at least a hinted one. However, the cues often combine their force; the more of them present, the more the message feels like a prototypical story.

The following Dior perfume ad illustrates the hinted story: “Dior Midnight Poison. A new Cinderella is born. Eva Green24” (VF1). The protagonist is a

24 Eva Green is an actress well known for her role of Vesper, the Bond girl whom James Bond fell in love with. 52 well-known person, actress Eva Green. The interpretation of the ad message as a story is suggested through the birth of a new character. The intertextual reference to the well-known children's story, Cinderella, leaves the recipient with the implicit and suggestive plot-line of the similar story happening again, this time with the specifically named main character. The recipients do not know exactly what the story is from the text of the ad, yet the story is hinted at through the references and its complete plot can be guessed.

The stories, or their attributes, are not the only cases of discourse strategies present in respective ads. In most instances, only a part of the ad message is delivered through a story. Storytelling frequently combines with a descriptive strategy within an ad; enumeration of product features or possible uses of the product appear mostly as part of the body copy. The descriptive parts can create segments of the narrative discourse, such as in the following Mercury Mariner ad: “It never ceases to amaze Sarah how her Mariner gets her through just about anything, even uptight maitre d's. The 2007 Mercury Mariner. Sarah's friends were doubtful about their chances of getting in. But with Intelligent 4WD, an aggressive V-6 and style to match, Mariner has a way of turning heads. Now the new restaurant isn't the only place people are looking to get into. Mercury. New Doors Opened” (P3). Here, the story of a fictional character Sarah and her friends is narrated in quite a complex manner, with the mentioned characters, setting (an entry to a luxury restaurant) and a plot-line (Sarah and her friends managed to get a table in the restaurant due to the impression they made with Sarah's car). However, the description of the product features takes up a considerable section of the story being told. It may function as an anchor for the fictional story in real life, or, in other words, as a source of practical, non-emotive reasons to own the car.

The following analysis aims at disclosing patterns of advertising storytelling. Stories that present a fictional account are contrasted with those that depict true (or supposedly true) events. Mapping the discourse strategy onto the marketing goals is attempted with regard to the category of promoted products. In the second part of the chapter, references to protagonists, timing and setting

53 are described to demonstrate how the cues of storytelling strategy contribute to the marketing strategies.

4.1 Advertising Stories 4.1.1 Fictional Stories Ads presenting a fictional account introduce a character in a setting, telling a story that includes using or reporting on the product. Their distribution in the two categories of magazines is balanced: thirteen ads are collected from high- end monthly magazines and eleven come from weekly tabloids. Fictional stories in a rather full, explicit account are found in eight ads; sixteen ads feature a tentative fictional story that is only hinted, left unfinished or barely introduced in some cases. This shows a preference for leaving the fictional story untold and thus possibly assigns the role of co-creator to the recipient.

The full fictional stories appearing in ads seem uniform in their distribution since most of them promote cars. As full stories, they do not leave much for the recipient to fill in. However, their plot-lines suggest wide-ranging interpretations, and each one leaves the recipient with a mix of different messages about the product. Those messages are about the features of the car as well as about the feelings one might get when driving the car.

(1) Inspired by her stylish new Mercury Milan, Tina did what anyone else in her shoes would do - buy new ones. Introducing the all-new 2006 Mercury Milan. Milan's eye-catching style and two-tone leather seats gave Tina ample reason to add to her shoe collection; not that Tina ever needed reasons. The big question now is whether her closet will hold as much as Milan's trunk. Mercury. New Doors Opened. (VF9) (2) Grabbed the clothes from the kid at the dry cleaners. Handed him twice what she owed. Offered to pay for the guy behind her and left a business card. It took five minutes before the call came. Ford. Bold moves. It's nice to hear back from people. We recently heard from J.D. Power and Associates who ranked the Ford Fusion the "Most Appealing Midsize Car." That'll make some heads turn. Fusion. (P4)

(3) When one is experiencing Giddyupidness, one must be aware of the cop hiding behind the billboard. If one loves to put the pedal to the metal, one must be aware of the responsive nature of the highly enlightened Kia Rondo. A new kind of crossover vehicle that combines the spaciousness and flexibility of an SUV with the handling and fuel efficiency of a car. With class-leading safety, 29 MPG Hwy, available 3rd-row seating and a powerful V6 engine. All backed by a 10-year/100,000-mile warranty program. Starting at $16,995. kia.com The all-new Kia Rondo. Welcome to Rondoism. Kia. The Power to Surprise. (P2) (4) Grab life by the horns. Dodge. Avenge Internal Computer System. STEERING: listen up ppl, we're ina tight corner ESP: Electronic Stability Program at ur service! BRAKES: he hit the brakes hard ESP: im detecting slippage BRAKES:hydrolic break booster, work ur magic BOOSTER: NP im on it bro ABS: u r awesome. busy breaking L front and R rear ENGINE: lowering torque and throttle BTW ESP: yaw and lateral acceleration sensors activated. man im good :-) TRACTION CONTROL: LOL giving rear wheels more traction ESP: gr8, cuz we r almost out of this corner ENGINE: yesssss! back on full throttle BRAKES: this is 2 easy IMHO ESP: cya l8r SEND SEE THE ALL-NEW AVENGER AT DODGE.COM/AVENGER (P1)

Fictional stories in ads tend to start with product-unrelated events. In (1), the protagonist is buying new shoes, in (2), the protagonist is picking up clothes from the dry-cleaners, in (3), a western-style horse ride is evoked by the creative nonce word “giddyupidness” (“giddy up” being an interjection used to command horses to go faster). Within American culture, these themes seem to be stressing real-life situations thus enabling the recipients to relate to the story and inviting them to maintain the processing. When reading further, what had been stated earlier is introduced and placed in a relationship with the product. This relationship is associative. In (1), shoes become the base of comparison with certain car qualities (leather material, eye-catching design), in (3) the fast horse is linked to the fast car. The situation in (2) may associate with the feedback idea: the driver got a call for what she did at the dry-cleaners and the car producer got feedback from testing authorities. These associations point to

55 the reason advertising strategy. Indirectly yet clearly, they mention the sensible, reasonable points why the product is worth obtaining.

Tickle strategy is obvious in all three ads as well. The developed stories function as a source of emotive states that the advertisers aim to create in the recipients. In (1), the fact that Tina never needed a reason so she bought the shoes explicitly says that buying without reason, just because we feel like it, is sufficient. Also, buying new shoes is usually an emotionally very positive experience for women, who relate to Tina, the protagonist of this story. In (2), the positivity of receiving the feedback is spelled out with “It's nice to hear back from people”. In (3), a fast ride as a source of fun and even trouble with the police if it gets too exciting, is proposed.

The Dodge ad (4) presents a mix of the two strategies in a different way yet both reasonable and emotive elements are incorporated. The story in this ad is recounted through a conversation, in direct speech. A fictional communication among individual parts of the car computer lists many technical details of the car and shows that the internal car computer system can handle the car in dangerous situations. Reason strategy is applied in this sense. However, there are several layers on which emotive response from the recipient is evoked. This is achieved through generic intertextuality. An intertextual reference to the genre of instant messaging is obvious. First, computer chatting communication is not only trendy and fashionable; it is also ground-breaking in the way it shapes the current interpersonal communication in general. The genre of instant messaging is present in both the form of the communication (speaker's identity in capitals followed by a colon, no inverted commas for marking direct speech) and the language used (chat lingo including acronyms, clipped words, deviant spelling and punctuation). The second layer presents fun: interjections, colloquial expressions and chat idioms are in sharp contrast with the technical terms of the computer system, and this adds a humorous twist to the message. Thirdly, besides evoking trendiness and humor through implementing a different genre, suggesting positive social placement can be seen. The language used in the conversation is coded in a way that is usually not known for those who do not communicate via instant messaging. Understanding of an ad

56 message coded in this way suggests the recipient is a well-versed, trendy member of a desirable community. All these layers evoke a positive emotional response from the recipients and thus can be seen as the employment of a tickle advertising strategy.

Another source of positive emotions is the dialogic character of the ads (2) and (4). The implicitly present conversation of the woman and the man on the phone and later the explicit mention of the communication that was established between the car testing authorities and the car producer in (2) evoke socializing, friendliness and interactive attitude. The explicit communication of the car parts evokes camaraderie and bonding. These ads contain embedded dialogs in which the ad recipient is not involved directly. Nevertheless, the dialogs create an emotive stance which may become a part of the recipient‟s mental space.

Similarly to the four analyzed ads, other stories in this category show a mixture of both reason and tickle advertising strategies. They state reasons to have the product as part of the story, usually through a description of useful, positive features of the product or through a problem-solution information structure. At the same time, they evoke a positive emotional response through associations with concepts that the recipient finds in the story.

4.1.2 Hinted Stories Compared to the full-story accounts, the ads that only suggest a story through some cues are more numerous, less easy to identify and less tangible. Various recipients may have different interpretations, sometimes even diametrically opposing ones, of the tentative stories. Nevertheless, the hinted stories potentially create a rather large mental space ready for the recipient‟s processing. They serve as a strong tool exploring the imagination and creativity of the recipients. The advantage for the advertiser is manifold: the recipients may fill in limitless imaginary details, they may find the open mental space to be a challenge or a task to fulfill, they may become curious about the rest of the story, and may feel positive about not being manipulated too heavily.

Among the ads, sixteen ads can be interpreted as telling an incomplete, hinted story. Two-thirds of those appear in high-end monthly magazines and they mostly promote perfumes, watches, jewelry, fashion accessories and luxury beauty products. All of these are non-essential items which fall into the category of high-involvement products. Unlike full stories, hinted ones tend to rely less on the verbal and more on the visual part of the message. Their body copies are shorter and very rarely combine narrative strategy with the descriptive one. Product details, as frequently incorporated in full stories, appear sporadically.

Tentative stories appearing in ads may be interpreted as such through cues suggesting a plot-line, characters or setting. Using narrative metadiscourse, i.e. explicitly mentioning the fact that it is a story, creates one type of cue implying plot-lines. Stories in a more complex form may be elicited from the hints through imagination, guessing or filling the space with a pre-existing experience. This seems to be the case in the following instances:

(5) Beaudry Signed Originals. What will your story be? Michaelbeaudry.com (VF9, VF10) (6) Katana. A new legend begins … www.sanyo-katana.com. Sanyo. (P4)

Both story and legend suggest some narrated events. They only exist hypothetically, in a vacuum, the only anchoring being the direct connection to the product. Both ads function as conceptual metaphors where the promoted product is the story/legend. Apart from highly aesthetised illustrations suggesting abstract notions of beauty, luxury, fashion and good taste, the recipient has only the metaphor on which to speculate what the story may be. Anything that associates with the product may become part of the story. In (5) it is not only the product which has a story to tell (or is a story by itself). The recipient is first invited to conceptualize Beaudry jewelry as a story and immediately, through the suggestive question, starts searching for another story that would put her/himself in a metaphor target domain. It is a case of one story being hinted at through a cue and a second one being called for from the

58 recipient. The explicitly dialogic nature of the message serves as the means of this hinting process.

A slightly more limited mental space is expected to be filled in in the following ads:

(7) Let him think that glow is because of something he did. A radiant, deep clean. Noxzema. Pretty. Smart. (LS3) (8) Used to be Wild. [Is your hair trying to tell you something?] With Nexxus, your hair can say goodbye to its frizzy, flyaway past. New Sleektress Shampoo, Hydra Sleek Conditioner and Sleek Style Crème, scientifically developed and salon proven to tame unruly hair for a sleek, smooth finish. Your hair knows best. So take it to the Nexxus level. Nexxus. Salon Hair Care. Find Nexxus in your hair care aisle. (P1)

Both ads hint at a story by unspecified something he did and tell you something. The recipient is invited to guess what happened that may have caused the glow in (7) and what story hair has to tell in (8). In (7) it is the illustration that guides the guessing of a storyline (a photo depicting a woman loved and admired by her partner). In (8) the recipient is given rather explicit verbal cues in the second half of the body copy, where a conditionally implied “happy ending” of the suggested story is revealed.

While a story, a legend or something are broad terms and can comprise almost anything (belonging to the context), some ads hint at a more specific story by explicitly naming a concrete frame that is to be filled in.

(9) Dior Midnight Poison. A new Cinderella is born. Eva Green. Midnight Poison. (VF1) (10) Patek Philippe Geneve. You don't just wear a Patek Philippe. You begin an enduring love affair. The rose gold complements every skin tone. Thirty-four rare white diamonds provide a discreet sparkle. Yet it is the silken feel of Twenty-4 on the wrist that is so utterly captivating. Collection includes matching ring and earrings. (VF2)

The suggested story is more concrete in both cases here. Cinderella limits the mental frame to a well-known story, which serves as a metaphor and becomes a source for the possible plot. It is expected the recipient would recollect the Cinderella story and use memories to construct a similar one, this time with well-known actress Eva Green as the main protagonist. In (10), love affair can be seen as a specific sub-genre of a story. This ad invites the recipient to fill in the frame by their own experience of a love story. Similarly to the fairytale of Cinderella (and Eva Green), love stories most probably evoke positive emotional responses and associate with a wide range of concepts at which advertisers aim.

Recipients may be prompted to supply their own story in the ad message which implies an activity or an event that somehow relates to them. Explicit reference to a narrative does not have to be present, such as in:

(11) Be seduced … 212 Sexy Carolina Herrera New York (VF5) (12) Maybe It's Your Anniversary. Tiffany Celebration Rings. Tiffany&Co. (VF3) Maybe Just Because. Tiffany Celebration Rings. Tiffany&Co. (VF4)

In (11), a direct dialogic appeal to fill in the mental space with characters and a plot prompts creative processing of the ad: who will be the seducer and what will happen when the recipient gets seduced? There is a vast number of possible answers which only depend on the individuality of each recipient. In (12), the story is hinted at through vague suggestion to fill in the story of an anniversary celebration. The illustration in both ads shows a woman being presented with a luxury ring and prompts the recipient to supply a story in which a wife is given a ring as an anniversary gift. At the same time, another issue of the same magazine featured the “continuation” of the hinted story suggesting another version: maybe it was not an anniversary; maybe it is a story of a loving partner giving a precious gift and thus celebrating his spouse at any time, regardless of dates. Stories as we know them from literature are often divided in parts and feature continuations. The Tiffany campaign seems

60 to explore this feature. It gives another story-enhancing prompt to the recipients; it invites them to co-create stories and fill the ad frame with them. To limit the endless possibilities of imagination and strengthen the recipient‟s personal involvement, these ads deictically anchor the recipient as a protagonist of the hinted story with the personal pronoun (your) or with an imperative construction (be seduced). Through this dialog-evoking feature, the ads also enhance the importance of the recipient in the creation of message meaning.

A special case of a hinted story is the one delivered through an illustration. Tommy Hilfiger glasses (VF10) are promoted with a short headline reading “Fresh American Style Eyewear” and a photo of a young, recently married couple, lying side by side in bed, each wearing a pair of glasses and reading a copy of A Guide to Marriage.

(VF10)

The husband, despite looking very involved and taking it seriously, holds his copy upside down. This humorous element, together with the whole scene visually presented in the ad, invites recipients to construct a story of a new marriage where trying to make everything work is sometimes halted by little setbacks. The humorous tone suggests all troubles are overcome. Interestingly, the advertiser's self-mockery can be felt: the husband holds the book upside down despite wearing the promoted glasses, which would suggest the glasses do not work. However, this is not what the recipients expect from a

61 prototypical ad and thus are prompted to bring another layer to the story. That may be acknowledging that glasses are there to help but it is the people, the protagonists of the story, who must try to make the marriage work. The glasses are a part of a humorous scene yet they are not presented as a panacea for all troubles, which seemingly adds fairness and credibility to the recipient‟s treatment.

Stories hinted at through introducing characters or a setting operate on a similar principle as the previously mentioned ads. Cues are given that assign a location or a fictional or real-life protagonist. This creates certain mental space which the recipients are prompted to fill with what usually connects with scenes or characters: scenes create background and characters participate in an event.

(13) Into the Night. Wittnauer. (VF10) (14) ange ou demon she alone knows Givenchy (VF7)

Ad (13) is strongly supported by the illustration. The photo shows a beautiful woman made up for a night out and a Wittnauer wrist watch. The message prompts the recipients to imagine what may happen in the given situation, what story the night setting may disclose. The next ad, (14), incorporates the name of the promoted perfume, Ange ou Demon, into the secret identity of the character shown in the illustration. She is one of the two facets of the character but only her undisclosed story, which she keeps hidden, may reveal the secret. The uncertainty stirs the curiosity of the recipient who may try to fill a personal story through which she identifies with the secretive protagonist. At the same time, both the setting in (13) and the character in (14) seem to operate as metaphors for the promoted products: the night, and whatever may happen in it, embodies the characteristics of the jewelry, and a dual personality with contrastive features embodies the description of the perfume.

It should be taken into account that clear-cut cases of stories being hinted at solely through plots, characters or setting are hard to find. When Cinderella is a cue in the ad, it can be interpreted as the Cinderella story or Cinderella the story character. In the Hilfiger eyewear ad, the bed is the setting, the married

62 couple are the characters and reading the book turned upside down is a cue for a tentative story. The cues of any of the named concepts can (and do) combine to open varied, attractive and functional mental spaces. With the help and navigation through cues the recipients fill these in with their very own stories. In this way, they become more active participants of the advertising communication.

Being a co-author of a story gives the impression of being in charge of what is delivered. This is not what traditionally understood advertising offers. Where the ad senders have all the power over the contents of the message, the recipients can only rely on what they are told. With inviting them in to the creative process of the ad message, the power seemingly shifts towards the recipients. However, it should be noted here that advertisers do not really give up on a substantial share of their power. In line with Fairclough (1989, 72) it is clear that it is them, the power-holders, who decide about the ad. The decision of how much space is left for the recipients and how much power they will be offered still stays in the advertisers' realm. Fairclough himself labels it “hiding power for manipulative reasons” (ibid.). This view may be supported by the overall positive character of the cues present in the ads that aid the story co- creation: the visual cues are beautiful, funny or pleasantly familiar; the verbal cues present attractive or admired characters in pleasant, successfully tackled or desired situations, or place the recipient as a character in a similar positively tuned setting. Unlike full fictional accounts, hinted stories evoke feelings and prompt the recipients to employ their creativity and imagination in an overwhelming way. Tickle advertising strategy seems to be much more prevalent with this type of advertising message. Reason strategy can only be traced in rare instances with information structure suggesting a problem- solving story.

4.1.3 True Account Stories There are twenty ads in the corpus which present an account of an event that is, or pretends to be, based on a true story. Three basic true account plot-lines can be summarized as: the birth of a product (ten ads);

testing the product (four ads); use of the product by a known person (six ads). Even though recipients are aware of advertisers using various tools and methods to make the product appear as desirable as possible, they still expect ads to deliver true, testable information. When they suspect unfair or deceptive practice, recipients may report to the consumer-protection authorities (the highest one in the USA in this respect being the Federal Trade Commission). Since deceptive treatment of ad recipients is punishable, the interpretations of the stories in the mentioned categories are primarily true. When the ad claims that “Tests showed up to an 83% reduction in the appearance of lines and wrinkles” (Clarins, VF10) or “I blended grapes from coastal vineyards in Northern and Central California to produce wines with unprecedented flavor intensity and complexity” (Kendall-Jackson Wine Estates Vintner‟s Reserve, VF10), the recipients rely on advertisers‟ code obedience and they tend to understand the stories as true ones.

Nonetheless, three ads involve some features of a true story yet their interpretation as such is doubtful.

(15) Our development process was basically a militant guy in a lab coat shouting "More power" 408 times. 409 All Purpose Cleaner. Behold the Power. The Clorox Company. (P2) (16) Phaeton #433. Silver Mirror over Anthracite leather with honed Eucalyptus trim. Purchased by Mark Hoidal, of Seattle, Washington. Equipped with a 335 hp V8, air suspension, standard all-wheel drive and a 4-zone climate control system that Mark happily reports, has cut complaints from back-seat passengers (ages 7 and 10) by well over fifty percent on long trips. The Phaeton, from Volkswagen. Starting at $66,950. Drivers wanted. (VF10) (17) Joye Devlin Idalia, Colorado. Football Mom & Police Officer. Lucs Devlin Idalia, Colorado. Football Team Captain. EAS AdvantEDGE All-Stars Energy for student athletes, and the moms who keep up with them. The Exclusive Sports Nutrition Partner of the National High School Athletic Coaches Association. The National High School Athletic Coaches Association

64 trusts new and improved EAS AdvantEDGE delicious bars and creamy shakes when it comes to sports nutrition for their student athletes. (P2)

What makes all three interpretable as fiction is humor. According to Werner (1995), it is one of the appropriate strategies to catch the recipient‟s attention especially in the space/time-limited context of advertising, where involvement of the recipients is naturally very low. As (15) includes a witty play with the product name. As claimed by a popular blog25, Formula 409 got its name from the development process: it took 409 attempts to mix a formula that was finally released as the promoted all-purpose cleaner. Use of informal language and similarity with the genre of American film comedies strengthens the humorous effect. A first reading of (16) seems to evoke a rather serious impression due to the technical description of the car features and a formal introduction of the main protagonist of the story. Up to that point, the readers may feel they are reading a true account. However, the expectations of Mark reporting on the car quality are not exactly met: instead of preserving the formal informativeness, the image of children in the back seat complaining about temperature control is evoked. The humor is a result of the familiarity of the scene to many parents and its discrepancy with the formal language depicting it. Also, the unexpectedness of this scene being the subject of such formal reporting elicits smiles. The descriptive adverb happily strengthens the discrepancy by adding more emotive hint. Whether or not Mark Hoidal and his report really exist becomes unimportant since humor functions as an excuse for not providing a true account of the product use. A similar situation is repeated with (17), where the identity of the protagonists is not taken at face value. The formal introduction of the two characters is contrasted with the familiarity of the informal scene of a professional mother living a busy life caring for her teenage sports-loving son. The humorous twist is strongly enhanced by a light- toned, fun-inducing illustration of a mom and her son goofing around. These three instances of ads present stories that fit into the frame of true accounts, yet humor and light-heartedness provide reasons for the recipient‟s tolerance (or even appreciation) of the deceptive approach. It should also be noted that only

25 Garlock, Matt. “508 Compliance and Formula 409”. What I Learned Today – MG‟s CIP. http://whatmattlearnedtoday.blogspot.com/2008/02/508-compliance-and-formula- 409.html accessed July 30, 2010 65

(15) can be interpreted as a full story. (16) and (17) are hinted. Due to the detailed description of the protagonists and the scenes, the recipients can easily imagine a story of a family drive with children in the back seat or, as depicted in the illustration, a story of a mom and son playing football and having fun.

The majority of ads presenting stories of a product‟s birth, testing or usage by a well-known person are to be interpreted as true accounts. Most such stories have established characters, plots and settings to the extent that the impression of a full story is given. Only three ads in the “known person” category present the tentative story in hints and leave it untold. All the others present a full story.

4.1.3.1 The Birth of Product Stories Most ads in this category (eight items) appeared in Vanity Fair, while two ads appear in tabloid weeklies. This placement corresponds with the type of products promoted: eight ads sell high-involvement goods such as cars, specialized beauty products and alcoholic drinks. The only low-involvement item sold via this type of story (in two ads) is bottled water; however, it needs to be stressed that both listed water products are considered luxury items among bottled waters. This distribution pattern suggests that stories of how the product was made tend to be used as a tool for promoting those products which require more decision-making processing. At the same time, the birth-of-the- product stories highlight the production process of goods. When precision, nature involvement, technological complexity, innovativeness and keeping up with traditions in the production process create a unique selling proposition, advertisers tend to base their ad messages on exploring it. The plot of the story, which is the major narrative-identifying element, is almost exclusively presented through explicit verbalizing of the development or production processes: Peugeot has created … (Peugeot 308 VF1), So we developed … (Clinique VF4), Erno Laszlo brings together … (Erno Laszlo VF10), So we created … (John Frieda US2), I made my first small batch ... (Kendall-Jackson VF10), Our development process was … (Clorox P2).

Narrative discourse gives the advertisers an opportunity to introduce the product in a memorable context. Non-narrative elements, such as descriptive ones, are usually present in this type of ads, as they would most probably be in a non-advertising story, yet there is more to the product than just its qualities: there is the story of which the product is a part. Birth-of-the-product stories seem to combine narrative and descriptive strategy to a great extent: all ads in this category contain enumeration of product features, or the features can be attributed to the product from the narrative part. Typically, the setting or the situation is given at the beginning, then into this, the new product is introduced and finally the description of the product features is presented.

(18) Fact. Eating antioxidants may not be enough to save your skin. Eat smart, certainly. But know that when it comes to benefiting from all that goodness, skin is at the back of the line. So we developed a complex of eight antioxidants, both rapid and delayed-release, dedicated exclusively to skin. Helps keep it looking strong. Helps prevent visible signs of ageing - commonly referred to as lines, wrinkles and uneven skin tone. New Continuous Rescue Antioxidant Moisturizer. Great news for undernourished skins everywhere. Clinique. Allergy Tested. 100% Fragrance Free. Clinique. (VF4) (19) John Frieda Collection London Paris New York We see a heat shield flawless styles a grand entrance you We see the potential to stop frizz before it starts. So we created New Frizz-Ease Thermal Protection Serum to defend against heat styling and UV rays. With a Thermal Shield Complex, it wraps each hair strand with a protective sealant. Another salon breakthrough from the professionals behind the John Frieda Collection. John Frieda Collection. The beauty of invention. (US2) (20) The new Peugeot 308. Inspired by nature, driven with pleasure. Peugeot has created a car as elegant as it is efficient. Superb aerodynamics and refined engines, including the Hdi diesel engine with particulate filters mean that emissions start at only 120g/km of CO2. The new Peugeot 308 from ₤11,995. The drive of your life. (VF1) (21) You don't have to learn to like my wines. Actually, I planned it that way. From the beginning, more than two decades ago, when I made my first small batch of wine from grapes I grew on my family ranch. I blended grapes

67 from coastal vineyards in Northern and Central California to produce wines with unprecedented flavor intensity and complexity. And our "flavor domaine" philosophy was born. In Chardonnay terms, this means finding the delicate balance of the pineapple and mango flavors from Santa Barbara, the citrus and lime flavors from Monterey, and the red apple and pear flavors from Sonoma. Our Vintner's Reserve is a perfect illustration of our desire to create and deliver complex, world-class wines, the kind of wines people will enjoy the first time they try them and for years to come. I have been told that many of you enjoy the taste of my wines, but you're not sure why. Hopefully, I can help with A Taste of the Truth. Jess Jackson, Founder of Kendall-Jackson Wine Estates (VF10)

The introductory scene in (18) and (19) is of a potential problem (skin damage even when living healthy, or acceptable public appearance despite threats of damaged hair). Further, the message delivers the product as the answer to the problem and specifies details of the product to strengthen the reasoning effect. This is a very direct, explicit reason-based persuasion. Nevertheless, these ads rely on tickle strategy as well. With figurative expressions and positively colored words presenting the product, such as dedicated exclusively to skin, great news for skin, the beauty of invention, they evoke a positive attitude from the recipient. Explicit dialogic approach involving the recipient into the creation of meaning adds positive emotions of immediacy and involvement as well. (20) delivers the product in a slightly more subtle way: pleasant feelings are evoked in the scene with an ideological reference to nature (it is widely believed that what comes from nature must be good) and verbalized positive impression one has when driving the car. The following description of the car features sets the emotional beginning of the message in reason-driven reality. Even though it is not a reason-strategy ad (using conjunctive adjuncts or problem-solution information structure of clauses as discussed by Simpson 2001), the enumeration of desired technical parameters and given both price function as reasons to obtain the car. (21) is a unique example of a different mixture of reason and tickle strategies. Unlike in the previous ads, the reason part seems to be proposed by the setting and the production process: reasons to buy the product are because the producer has done it for a long time so he

68 knows how to do it well, he planned his production, and he has grapes from valued locations. The tickle part is delivered through involvement of the recipient via dialog (“You don't have to ...”, “you're not sure...”) and through the description of product characteristics: the delicate balance of various flavors, unprecedented flavor and complexity, wines people enjoy the first time they try, attack recipient‟s senses and create desire to try the wine on an emotional basis.

All ads in this category mention characteristics of the promoted product as part of the stories. That seems to be the major reason-building attribute of the messages. Three ads also present the story in a problem-solution information structure that enhances the reason element. However, all the stories incorporate positively colored words, figurative language, desirable metaphorical and ideological concepts, or present a highly aesthetised illustration. All that evokes emotions and positive attitudes and thus can be seen as delivering the advertising goal through tickle strategy.

4.1.3.2 Testing the Product True stories of testing the promoted items bear certain similarity with the ones in the previous category: they also use a product‟s unique selling proposition (USP) as the base for the story. Here, the USP is the fact that they were favorably evaluated by independent bodies. This type of story is not very frequent in the corpus: only four ads are clearly based on a testing story. Similarly to the birth-of-the-product stories, the testing or evaluation process is explicitly verbalized: This test had a lot of turns … (Ford P2), readers put [the cars] to the test … (Ford US2), In a blind tasting … (Smirnoff VF9), 100% of women showed … (Avon P6).

Three of the testing ads are found in tabloid weeklies, one in Vanity Fair. Several other ads present results of testing the product but they do not feature story-telling characteristics, or the testing is not an integral part of the narrative.

(22) Ford. BoldMoves. This test had a lot of turns. And one big twist. (Ford Fusion beat Camry and Accord.) Recently, in Washington D.C., a town known for its strong opinions, Car and Driver invited 600 of its readers to compare three cars in performance, handling and styling. So, who won? Camry? Accord? Actually, the all-wheel-drive Ford Fusion came in first. If that surprises you, then find out what these Car and Driver enthusiasts have already discovered. Check it out yourself. Visit a Ford Dealer or go to fusionchallenge.com Results from 600 drivers who were asked if the cars were attractive, were fun to drive, performed well and handled with precision. "Yes" responses scored one point. "No" responses scored zero. The results speak for themselves. Fusion Ford Challenge. (P2) (23) In a blind tasting of 21 of the world's finest vodkas, which one did The New York Times declare their “hands-down favorite”? Clearly Smirnoff. “What set Smirnoff apart, we agreed, was its aromas and flavors which we described as classic.” Eric Asimov, The New York Times, 1/26/2005. Smirnoff Premium Triple Distilled Vodka. Drink Responsibly. 1.5 oz. per serving. (VF9)

The positive evaluation of the product is a strong reason-inducing feature. It seems objective, independent of irrational desires and verifiable. The evaluators are clearly identified, which adds trust and reliability. Both examples are thus dominated by reason strategy. The Ford ad features moderate linguistic playfulness with an alliterative headline containing the words test-turns-twist and exploring the literal and figurative sense of turns and twist. That makes the ad message more pleasant to read and elicits a positive attitude through emotive appreciation. Dialog-evoking features such as questions (“So, who won?”, “Which one did the New York Times declare …?”) establish the relationship of involvement and also strengthen the positive stance towards the ad. However, the narrative itself seems to be based on offering reasons rather than making the recipient feel good.

An interesting irregularity in using advertising strategy can be observed in (23). Promoting alcohol by reporting on its evaluation seems to be non-standard. Alcoholic drinks are usually advertised by a balanced mixture of reason and tickle strategies, as was the case of two ads in birth-of-the-product category; or

70 they rely on evoking a purely emotional response by attractive metaphorical concepts of joy, fun and entertainment or assigning the product the role of status-builder. In (23), the promotion strongly adheres to rationality. The discourse does not feature any figurative language and only a few positively colored words (“favorite”, “classic”). Nevertheless, this may be the innovative (and thus attractive) element. The recipients may interpret the ad as taking the alcohol sale responsibly, not assigning it the roles which it realistically does not have (such as status, beauty or success enhancer). Quite the opposite can be inferred here: Smirnoff is good for nothing else but its taste, which is confirmed by an independent evaluation. The way to enjoy the drink is not served or forced upon recipients; they are not manipulated by false advertising ideology and can decide for themselves. This is an unusual way of promoting alcohol and can be effective with mature, advertising-knowledgeable recipients who have already become aware of the falsity of concepts selling alcohol so far.

4.1.3.3 Stories of Using the Product by a Known Person Many ads in the corpus show a famous personality, usually an entertainment or sports celebrity, promoting the product. However, only six seem to tell a story or hint at it through narrative cues. Only one of the six ads is printed in a tabloid weekly; all the others were collected from Vanity Fair. This is the only category within true-account stories that features both complete and hinted stories, specifically three of each type. That is one of the attributes which makes this category more similar to fictional accounts rather than the true stories.

(24) Sony Cyber-shot. Michelle Wie is known for making extraordinary shots, and now for taking them. Inspiration for a sixteen-year-old golf phenomenon can be found anywhere from the golf course to the beach. That's why Michelle pockets her Sony Cyber-shot DSC-T10 camera anytime she and her friends get together. Using features like Super Steady Shot optical image stabilization, she can capture clear, crisp pictures, even in low-light situations. So she keeps the mood without a blast from her flash. Perfect for a pro used to

71 getting the shot she wants. Turn on inspiration. Turn off blur. like.no.other (US3) (25) He was once a phenomenal prospect. Now he's just PHENOMENAL. Marat Safin has always been known for his incredible potential. But, after showing a more controlled and mature game on the way to two Grand Slam titles and a turn as the world's top-ranked player, he's become much more than just a promising talent. Marat Safin has become an accomplished pro and one of the world's most phenomenal athletes. Oyster Perpetual Day-Date ROLEX. (VF10) (26) A journey brings us face to face with ourselves. Berlin Wall. Returning from a conference. Mikhail Gorbachev and Louis Vuitton are proud to support Green Cross International. Louis Vuitton. (VF1)

(24) and (25) are examples of full stories. Sports celebrities promote the product indirectly, through associations with their life stories. In both cases introducing the celebrity and putting her/him in the real world context (as a golf or a tennis player) creates a substantial part of the ad message. The differences between (24) and (25) exist in how the associations with the product are built. (24) draws rather apparent association by employing the polysemantic word shot, once meant as a stroke in a game of golf, once as a photograph. Except for playfully yet explicitly linking golf and the camera and thus evoking a positive attitude from the recipients, Wie is portrayed in a very favorable way. She represents a role-model for a target recipient, and the product she uses becomes desirable too. Her friends are introduced into the story as a status-enhancer. Wie, her successful career, youth and social status function as metaphors for the promoted camera. The technical description of the camera‟s features brings in rationality, but it seems to be of less relevance in the ad message compared with the elaborate story. The metaphorical association of Wie's story and the camera represent tools explored by a tickle advertising strategy. (25) presents no reason-inducing features. It solely introduces the story of Marat Safin‟s success, and with no direct link to his use of the promoted watch the whole message functions as a metaphor. The only connection is shown in the illustration, where Marat is seen playing a match, fully concentrated on hitting a ball, and wearing the watch. No verbal elements

72 create the link and thus all interpreting and inferring is left to the recipient. Both stories seem to elicit emotional response rather than a reason-based one.

Hinted stories of well-known personalities using the product, such as the one in (26), share similar attributes with fictional hinted stories. The major difference lies in the main protagonist being a real person, usually a household name. That makes these stories more reality-grounded and thus somehow reliable and trustful. At the same time, similarly to the fictional hinted stories, they invite the recipients to fill in the vacant mental space opened by the narrative cues. The limit to the story co-creation is posed by the protagonist having an identity and bearing characteristics inferable from the general background knowledge. The situation, location and the character in (26) are introduced through isolated noun phrases (“Berlin Wall”, “Returning from a conference”) and an illustration showing Mikhail Gorbachev in the back seat of a taxi, contemplating, and seemingly tired. The story cues are not the ones hinting at a story of Gorbachev‟s life as was the case in (24) and (25). The headline, A journey brings us face to face with ourselves, is a philosophical statement that may function as a summary of what Gorbachev is contemplating. Rather than his life story, Gorbachev‟s indirectly depicted state of mind functions as an association with the product: among the essential things we learn about ourselves, the essential items we carry with us at those moments are most valuable and necessary. Thus the promoted luggage gains very favorable attributes, metonymically creating the essence of a person‟s life.

4.1.4 Plot-lines Conclusion Compared to fictional stories, true accounts seem to evoke rational thinking of the recipient more frequently. They often provide reasons to obtain the product which are not necessarily based on positive emotions. The birth-of-the-product and testing-the-product stories present the unique selling proposition as the major theme and heavily combine with descriptive discourse strategy. These two categories of ad messages contain 60 -170 words in one message, which makes them considerably longer than the well-known-personality stories (containing approximately 10 – 100 words). Most similarities concerning the employment of reason vs. tickle strategy and the length of the message can be

73 found between fully presented stories, from both fiction and true-account categories. Ads containing full stories, regardless of their truth/fiction basis, exhibit prevalence of reason strategy, or a balance of both reason and tickle. They also have longer body copies. Similar unification, with different results, appears to be valid for hinted stories in both categories: they are based on tickle strategy, exploring the emotional and creative potential of recipients by giving them possibilities to co-create the stories. Hinted stories tend to be much shorter, too.

What makes fictional and true stories different is the size of mental space they expect the recipient to fill. With fictional ones, recipients may feel there are fewer restrictions than with true ones. This may also suggest the recipients are left with more power to decide how they interpret the ad. Their own identification with the fictional character is easier as well. The true stories bring a ready-made advertising message where a unique selling proposition generally offers sufficient reasons to consider buying the product. From that point of view, associating with the characters is not the vital part of message processing. True accounts preserve most power over the discourse with the advertiser. While true stories may be more reminiscent of non-fictional narrative, fictional stories seem to be closer to prototypical literary accounts.

4.2 Storytelling Cues As mentioned at the beginning of this chapter, certain cues in ads prompt recipients to identify the messages as stories and process them in that sense. Regardless of the type of stories, it is the characters, setting and time-line of events that contribute to the narrativity of the discourse. Since perceiving some ads obviously feels like reading stories while with others the identification is not that certain and clear, narrativity is seen as operating along a continuum. The more storytelling cues are present, the more the discourse feels to be narrative. A closer look at how storytelling cues are explored in ad messages may reveal further standard as well as unique features of narrative discourse strategy in advertising.

4.2.1 Time Sequencing of Events as a Storytelling Cue The attribute which most intensively makes ad messages prone to being interpreted as stories is the time order of the depicted events. Mostly, that is achieved through the usage of active verbs in past or present perfect tense. Storytelling is traditionally viewed as a recounting of past events. Ads that feature active verbs in past or present perfect utilize the basic storytelling feature and thus tend to be interpreted as stories.

Nonetheless, taking specifications of advertising into consideration, this feature is not universal. It seems to be rather standard with true stories, where only seven ads break the rule and narrate events in the present tense, or with reference to the future. The birth-of-the-product stories sometimes recount the product creation as a sequence of events that happens repeatedly, or as one continuous process. For this purpose simple present tense can be used, as in Evian (VF10): “...Every drop of Evian comes from deep in the heart of the French Alps. It's naturally filtered for over 15 years through pristine glacial rock formations...” or Martin Miller's Gin (VF5): “...That's because our gin is small batch pot distilled in England using the freshest hand picked botanicals. This guarantees the correct balance of juniper, spice and citrus notes. It's also why it travels to Iceland to be blended with the purest water on earth...”. Innovativeness in how to tell a story may be another reason why unusual tense or mood are used. An Infinity ad (VF10) tells the story of how the car was made through imperatives and thus makes it look like an instruction manual: “Take everything you know about design and nudge it. Push it. Simplify it. Modernize it. Liberate it. Inject it with life. Give it a point of view and 335 horsepower and hold on...”.

Fictional stories, on the other hand, seem to be much more versatile in what tense is used to present the events. Only seven stories of fictional type use standard past tense; they also tend to tell the full story. Seventeen others, most of which are hinted, feature verbs in the present tense or are verbless: “A new Cinderella is born...” (Dior VF1), “Maybe it's your anniversary...” (Tiffany VF3), “A new legend begins ...” (Sanyo P4), “Location: anywhere & everywhere. Post Office: www.splenda.com Weather: daily SPLENDA

75 sprinkles. Official Flower: sweet pea. Destination: Splendaville. You won't find it on any map. But you will find it in ice tea...” (Splenda P6). This seems to suggest that utilizing past tense as one of the standard features of storytelling adds credibility and realism to the ad stories. The more the stories depart from using past tense, the more they seem fictional, imagined and the more they invite the recipients to continue in the imaginative processing in their own direction.

The order of events can be presented by other means as well. It is frequently verbalized through temporal adverbials, clauses or time-referring noun phrases, whether along with using verbal tenses or solely by itself. However, these means mostly appear when tense utilization does not follow the story-telling prototype: “After building three of the most capable 4x4s on Earth … we had our biggest idea yet...” (Jeep Commander VF9), “...It's naturally filtered for over 15 years...” (Evian VF10), “...Once it arrives here, it filters through ancient volcanic rock over hundreds of years...” (Fiji Water P1), “One day, you wake up, you're 40 … “ (Clarins VF10), “...Take three, last day of shooting...” (Louis Vuitton VF2). In one case, time sequence of events is creatively established via a fictitious dialogue, where gradual turn-taking of participating characters marks the flow of time.

It is rather rare that no time reference, whether through tenses or explicit time reference, appears in storytelling ads. Using past tense verbs or expressions referring to the time sequence of events functions as a story-identifying discourse tool. Recipients are thus enabled to map the positive experience of storytelling onto the genre of advertising.

4.2.2 Characters as Storytelling Cues Two categories of protagonists can be identified in advertising stories. First, it is the participants in the advertising communication, i.e. the sender of the message and its recipient; the second category is comprised of the characters in the narrated stories. The first category is inevitably present in all other types of ads, since advertising as such is a communication between the sender and the

76 recipient. The second category can be seen as a storytelling cue. It is one of the cues that allows ad messages to be interpreted as stories.

The narrator is deictically marked in the stories by simultaneously fulfilling the role of a story character. That is the case of birth-of-the-product stories, where the producer acts as a main story protagonist and identifies themselves as “we” (in five ads) or “I” (in one case). Two more such cases are found in the testing- the-product category, where the testing authority also functions as the narrator. The messages feel to be direct speech, or direct thought (as distinguished by Verdonk 2002) of the producers: “...So we developed a complex of eight antioxidants …” (Clinique VF4), “... So we created New Frizz-Ease Thermal Protection Serum ...” (John Frieda US2), “...Nature perfected FIJI Water long before we bottled it...” (Fiji Water P1), “...I made my first small batch of wine from grapes I grew on ...” (Kendall-Jackson VF10), “...Our development process was ...” (Clorox P2). These stories seem very direct, open and sincere since the sender is clearly identified and does not rely on advertising anonymity or on others telling the relevant story. The first-person identity means subjectivity, but also direct responsibility in the form of “virtual signature”.

In a few limited cases, the narrator as an objective non-participating entity names the producer and introduces them into the story as a protagonist, mostly as a creator of the product: “...This is why Clarins created UV Plus SPF40 ...” (Clarins VF4), “Peugeot has created a car as elegant as it is efficient...” (Peugeot VF1), “Erno Laszlo brings together the most advanced technologies …” (Erno Laszlo VF10). In this role, the producer (as the main protagonist) and the narrator function together as a team. They seem to take the positions of the authority figure and his/her speaker. This may lower the impression of responsibility of the producer for the words uttered, but on the other hand it associates with professional standards of our times: the responsible people do their work and they hire others to talk about it. The distribution of these two styles of introducing the producer seems accidental. No major statistically relevant occurrence in different categories of storytelling ads has been determined.

Knowing the genre of advertising, the recipients most probably understand that who sends the message is the advertiser even if they are not identified deictically through first person pronouns or through third-person reference. In an overwhelming majority of storytelling ads, especially the fictional ones, the narrator is the objective, unspecified third person, such as in “Let him think that glow is because of something he did. A radiant, deep clean. Noxzema.” (Noxzema LS3) or “It never ceases to amaze Sarah how her Mariner gets her through just about anything, even uptight maitre d's...” (Mercury P3). An objective, third-person anonymous narrator and the producer (or the product) identifiable only through the brand name seem to be the standard technique used in advertising discourse.

The recipients of the messages are frequently incorporated in the stories as protagonists. They are explicitly invited to participate in the advertising dialog. In such cases, they are most often addressed by the personal pronoun “you” or “your”. Similar to explicit identification of the sender with first person pronouns “we” and “I”, direct addressing of the recipients with “you” strengthens the personal involvement in the communication and explicitly marks the recipients as protagonists. Involvement in a story may give the recipients the feeling of being treated as active participants, since they as protagonists may have more power over how the story evolves. This is supported by the distribution pattern of the second person personal pronoun: its heaviest presence is recorded in fictional stories, especially the hinted ones (in ten instances). The mental space that is to be filled in by the recipients can be filled by almost anything; the “you” pronoun functions as a suggestion for filling the space with a story involving the recipient. “You don't just wear a Patek Philippe. You begin an enduring love affair...” (Patek Philippe VF2), “...Morning got you down? Try new Nestle Stixx...” (Nestle Stixx P5), “She didn't like your music, your clothes or your friends. Be sure that she likes your Mother's Day gift...” (Kodak LS1).

There is also another use of “you” and “your” recorded in the stories. The pronouns appear repeatedly in testing-the-product and birth-of-the-product ads

(six instances), where they function as a direct appeal for the recipient to try the product personally, after it had been made or tested by an independent authority: “...the all-wheel-drive Ford Fusion came in first. If that surprises you, then find out what these Car and Driver enthusiasts have already discovered. Check it out yourself...” (Ford P2), “It's time for you to find out what so many others already have...” (Ford US2), “So when you choose a bottle of water to believe in, consider the source...” (Evian VF10), “...However you like it the good taste of Martin Millers will shine through...” (Martin Miller's Gin VF5). The statements including the direct reference to the recipient in these true stories do not contribute new events to the plot lines. Unlike in the fictional stories, here they seem not to function as an integral part of narrative discourse strategy.

Interestingly, the recipients are never deictically marked in the stories of products used by known personalities. This seems natural, since the stories feature a powerful protagonist, the well-known personality. Explicit inclusion of the recipients as protagonists may be too confusing. There are ad messages where a celebrity recommends a product directly by deictically pointing to the recipient; however, those ads do not seem to explore storytelling strategy.

The second possibility of incorporating the recipients into the stories is through imperatives. This is a typical feature of advertising discourse as such. In the collected storytelling ads imperatives appeared thirteen times as a part of both fictional and true stories. A typical occurrence seems to involve imperatives in the slogans: “Grab life by the horns” (Dodge P1), “Be seriously beautiful” (Erno Laszlo VF10), “Be dazzled” (Splenda P6). These imperatives sum up the gist of the story or may function as a punchline. However, they do not necessarily assign the role of a story protagonist to the recipient if this was not established in the preceding story otherwise. They do, however, establish a dialog and incorporate the recipient in it.

The situation is different when the ad contains a story in the body copy narrated through imperatives: “Take everything you know about design and nudge it. Push it. Simplify it. Modernize it. Liberate it. Inject it with life. Give it

79 a point of view and 335 horsepower and hold on...” (Infinity VF1), “Eat smart, certainly. But know that when it comes to benefiting from all that goodness, skin is at the back of the line...” (Clinique VF4), “Be seduced ...” (Carolina Herrera VF5). Here, the utilization of imperatives seems to directly involve the recipient in the story not only as a participant in the advertising dialog but also as a story protagonist. It feels innovative and creative, since stories are usually narrated in past tense and third person. Because of the storytelling cues, the recipients tend to interpret the message as a story, yet at the same time they see the story is different: they are involved and they can imagine themselves as protagonists. Such is the case of the Infinity (VF1) ad, which is a birth-of-the-product story. Through the use of imperatives, it places the recipient in the position of the car maker: if the instructions are followed, the car will be made.

Seven other cases are prototypical advertising imperatives in the signature lines, mostly as direct appeals to ask for more information on the product, such as “Discover more at infinity.com” (Infinity VF1), “For your free bar, go to eas.com” (EAS P2), “Visit a Ford dealer or go to fusionchallenge.com” (Ford P2), “Call your Avon representative” (Avon P6). In the case of alcoholic drinks, disclaimers tend to be in an imperative mood: “Drink responsibly” (Smirnoff VF9). These instances of imperatives, and thus direct involvement of the recipients, do not make up part of the stories and do not assign the recipient a role of a story protagonist. When they appear in an advertising message accompanied with no other storytelling cues, the messages do not tend to be interpreted as stories.

Assigning the role of a story protagonist to the senders and/or the recipients does not seem to be the strongest narrative cue in terms of story characters. Traditionally, somebody else, a third person, known or anonymous, tends to be the event player. Ads that introduce such a character feel to be stories par excellence: something happens to somebody while the world is watching. Such characters appear in seventeen ads, mostly in two categories: fictional stories (seven instances) and a personality using (or testing or creating) the product (ten instances). Most fictional characters are, interestingly, women. That may

80 be in line with the majority of magazine readers being women and the majority of printed ads recipients being women as well. Advertisers probably try to depict a story character with whom the ad recipients may identify in terms of belonging to the same target audience. If a person who is similar to the recipient has a story to tell related to a product, the similarity may arise not only with the person but with the need for the product as well. Fictional women characters are vaguely identified either by first name or by the personal pronoun she: “Inspired by her stylish new Mercury Milan, Tina did what anyone else in her shoes would do – buy new ones...” (Mercury VF9), “Grabbed the clothes from the kid at the dry cleaners. Handed him twice what she owed...” (Ford P4), “ange ou demon she alone knows” (Givenchy VF7). In one case, the fictional character is identified through a full name, profession and location, which gives it a more realistic impression: “Joye Devlin, Idalia, Colorado. Football Mom & Police Officer.” (EAS P2). In one story, the characters are introduced by a neutral “one”, which may be an attempt to avoid gender stereotyping in a situation traditionally assigned to men - enjoying a fast drive and risking a speeding ticket: “When one is experiencing Giddyupidness, one must be aware of the cop hiding behind the billboard. If one loves to put the pedal to the metal, one must be aware of the responsive nature of the highly enlightened Kia Rondo...” (Kia P2). The overwhelmingly pleasant characteristics of these story protagonists are revealed mostly through illustrations which depict beautiful, stylish, happy and desirable women. If the story specifies the activities which the fictional female characters tend to engage in, the recipients may find it easy to associate with these: buying shoes, going to the dry-cleaners, caring for children, secretly oscillating between being “a good girl” or a vamp.

Real life personalities, mostly famous entertainment or sports celebrities, are introduced through a photograph depicting them in their prototypical situation (Zara Phillips, the horse riding champion, tending to her horse; Catherine Deneuve, the film actress, shooting a film scene) and by their full name incorporated in the story. In case the protagonist is somehow famous and extraordinary yet not a typical household name, the story of the ad may be based on a biography of the personality. Unlike the fictional story characters,

81 the ones depicted in true stories mostly do not function as prototypical members of the target group; they seem to occupy the positions of role-models or authorities whose judgment of the product is worthy.

4.2.3 Location Setting a scene is a strong story-identifying cue in ads. When the recipients imagine a location, events happening in it are a natural continuation. There are eighteen ads that present cues for establishing locations; twelve in the category of true stories and six in fictional ones. Except for two ads, all the locations in true stories are known geographical locations. The recipients may imagine the story happening at a concrete place and transfer the possible general- knowledge characteristics of this place to the story message. What the recipient knows of the place may become part of the story scene: “Martin Miller's Gin, distilled in England, blended in Iceland for a gin of uncompromised perfection” (Martin Miller's Gin VF5), “Our rainfall is purified by trade winds as it travels thousands of miles across the Pacific Ocean to the island of Fiji...” (Fiji Water P1), “Recently, in Washington D.C., a town known for its strong opinions, Car and Driver invited 600 of its readers to compare three cars performance, handling and styling...” (Ford P2), “Take three, last day of shooting. Paris...” (Louis Vuitton VF2), “...In Chardonnay terms, this means finding the delicate balance of the pineapple and mango flavors from Santa Barbara, the citrus and lime flavors from Monterey, and the red apple and pear flavors from Sonoma...” (Kendall-Jackson VF10). Concrete location allows extra-contextual qualities to be mapped onto the ad message, such as the pristine nature and exclusivity of the French Alps, the traditionalism of England, the purity and mysteriousness of Iceland, the vastness of the Pacific, or the warmth and pleasure of Californian valleys. Simultaneously, it embeds the story in real life and co-creates its truthfulness.

Fictional stories mostly take place in concrete yet anonymous places. The less revealed about the location the more the recipients may imagine happening in it. General nouns, such as city, lab, restaurant, dry cleaners, or even locations purposefully unspecified, serve as storytelling cues enabling more involvement of recipient‟s imagination: “... Now the restaurant isn't the only place people

82 are looking to get into...” (Mercury P3), “The smartest protection in town. Even in the city, the sun and pollution can cause skin to lose its fresh look and feel...” (Clarins VF4), “Into the Night” (Wittnauer VF10), “Location: anywhere & everywhere. Post Office: www.splenda.com” (Splenda P6). General locations serve as imagination-inducing cues and add fictional character to the stories.

4.3 Cues Conclusion The cues analyzed in this section allow the ad messages to be interpreted as stories. They tend to function as narrative discourse features especially when more of them are combined in one ad. The more cues are present, the more the ad message resembles a prototypical narrative. As mentioned earlier, when attributes of stories transfer to ads, recipients may appreciate them more. The position of stories in our life makes them in attractive discourse instances. Any irregularity in the narration of ad stories in terms of time-line, narrator, protagonists, setting or action can jeopardize the positive associations with traditional narrative. At the same time, creativity and novelty is a requirement that advertisers struggle for to appeal to the recipients. Unusual time setting, characters or the plot, as observed in the collected ads, point to the need for unique presentation.

5 Intertextuality as a Discourse Strategy Ad recipients have wide-ranging experiences of perceiving other texts. The experiences become the basis of exploring the recipient‟s mental space when intertextuality operates as a discourse strategy in advertising. Intertextuality is a tool perceived and interpreted inadvertently. Unlike storytelling, it is not primarily connected with growing up or entertaining. However, it is a powerful tool exploring recipient‟s mental space through drawing on the experience of the texts created in the past or allusions to such texts. These function as triggers of filling the mental space with individual conceptual constructs. Urbanová (2008, 35) states that texts demonstrating intertextuality are to be understood as products of simultaneous text-creation and interpretation processes. The recipients become co-authors of the intertextual ad messages when they recognize the evoked text and their own past experiences of that text reflect in their ad message-processing.

Since the phenomenon of intertextuality is not as intuitive as storytelling, definitions and clarification of the notion make up the next chapter of this dissertation. The types of intertextuality detected in the corpus, their functioning and results of their employment are described in the following parts.

5.1 The Phenomenon of Intertextuality Intertextuality is to be understood as a text operating within another text, or a dependence of a discourse meaning on a text that was produced earlier. The following ad illustrates such use: „Your left hand dreams of love. Your right hand makes dreams come true. Your left hand lives happily ever after. Your right hand lives happily here and now. Women of the world, raise your right hand. The diamond right hand ring. View more at adiamondisforever.com. A Diamond Is Forever. Diamond Trading Company“ (VF10). Here, a product (a diamond ring) is advertised through references to a stereotypical romantic story. The recipients are expected to have encountered a similar story before. Such experience may recall the love stories of their own lives, or remind them of reading a romantic novel. In this ad, the romantic story is intertwined with a real life “strong independent woman” prototype and her habitual behavior. 84

Both layers are expected to be a part of a shared social and cultural knowledge of the American magazine readers. The two sides of the ad message are interconnected and thus dependent on one another.

From the sender's point of view, intertextuality is coding of the textual meaning through another text or a reference to it; here, a story and an instance of shared knowledge. From the recipient‟s point it is the dependence of the text interpretation on the meaning of another discourse. In both points of view a text operating in a certain context draws its meaning from another context.

5.1.1 Genre and Voice in Intertextual References Gadavanij (2002), drawing on Chouliaraki and Fairclough (1999), understands intertextuality in two perspectives. First it is a combination of genres within one discourse, or a presence of features of another genre in the respective discourse. Genre, as defined by Fairclough (1995, 14) is understood as a conventionalized text type; “a socially ratified way of using language in connection with a particular social practice”. Discourse is construed as interpersonal, context-dependent linguistic interaction (Urbanová 2008, 35). Text, on the other hand, is seen as the product of such interaction. Genre (as proposed by Gadavanij, 2002) and discourse (based on Urbanová, 2008) seem to have common characteristics in being language-based interactions (or their results) set in a social context.

With these outlined preliminaries it seems viable to understand the combination of genres as one of two possible facets of intertextuality, in this dissertation further referred to as multigeneric intertextuality. In printed ads, their specific parts (such as a headline, a body copy or a slogan) or a complete ad text may be identified as belonging to a genre different than advertising. The following example (which is an ad for sealing plastic bags) shows an advertising text containing attributes of two different genres – a multiple- choice game quiz in the body copy, followed by a typical advertising slogan: “Hefty OneZip. A _____ can close it. Husband (ticked) Kid (ticked) Family dog (not ticked). Even when you're not watching, it gets closed. First time, every time” (P6).

The second perspective in which intertextuality is studied and defined is a presence of voices, or an indication of participants' presences that originally belonged to other discourses. Voice as a phenomenon marking one type of intertextuality is defined as “an indication of who the participants of the discourse are and what identity they assume” (Gadavanij 2002, 483). According to Bakhtin (1981, 434), the voice is “the speaking personality, the speaking consciousness”. In this sense, reported speech, reported thought or a participant's use of a foreign language all indicate another presence (apart from the ultimate message sender) and thus can be understood as instances of multi- voice, or heteroglossic intertextuality. The following Armani perfume ad illustrates the presence of another voice: “„Subtle and sensual, a fragrance should be an aura that surrounds us.‟ Giorgio Armani. Black Code. Armani Black Code the new fragrance for men GIORGIO ARMAN.” (VF10). In many printed ads, the presence of another voice is introduced through an illustration and/or through the text. In this specific ad, Giorgio Armani is present only as the speaking voice. His quoted words and his name given underneath are set within the rest of the advertising text and thus constitute its heteroglossic character.

Heteroglossia clarifies the basic feature of intertextuality: the dependence of textual meaning on context. Heteroglossia is that “which insures the primacy of context over text” (Bakhtin 1981, 428). As a result, the meaning of a text is interactive, dependent on conditions in which it is uttered. Dialogism is a related term and it is understood as “a constant interaction between meanings, all of which have the potential of conditioning the others”, (ibid, 426). When an ad features explicit or implicit dialog between the voices in the discourse or between the participants of the communication (the sender and the recipient), it is considered to be dialogic. This enhances the involvement of the recipients, their incorporation in the process of meaning creation, and possibly social proximity, friendly attitude and intimacy.

5.2 The Functions of Intertextuality 5.2.1 Intertextuality and Associations in Mental Space Both facets of intertextuality may be used “as a strategy to produce the most effective discourse within … particular context” (Gadavanij 2002, 483). Effectiveness in the case of advertising means to create a desired image of the advertised product and to make the product memorable until the recipient faces the possibility of its purchase. Firstly, that can be done by depicting the promoted product in an emotive way. Robinson (2003, 52) asserts that “it is always easier to remember things that we care about, … things we enjoy (or even despise) always stick better in our memories than things about which we are indifferent. The strongest memories in our lives are always the ones that had the most powerful emotional impact on us”.

Intertextuality enhances creating an emotive response to an ad by allowing recipients to fill the mental space with their own associations and experiences of the previously encountered texts. The texts, when well chosen, associate positive feelings and allow the mental space to be filled with pleasant memories, recollections and the creative development of possibilities of the original texts.

The following intertextual ad promoting Gap Jeans uses the genre of a popular magazine section, a Proust questionnaire, which is traditionally filled in by a famous personality. “Alanis Morissette. Favorite Song: Crazy, Seal. Favorite Jeans: Curvy Flare. Favorite. There's more at gap.com. How Do You Wear It? Gap. Fit How You Feel” (VF10). Not only is a Proust questionnaire a positively viewed genre, but the interviewee, Alanis Morisette, is a popular and commercially successful singer. Shortly after her remake of Seal's song “Crazy” ranked high in American charts (2005), the ad could be expected to evoke a very positive attitude through mental space exploration. The recipient can fill the mental space in by associations of success, entertainment, celebrity lifestyle, by a melody of the song, by curiosity satiated when having read other Proust questionnaires in the past or by recipient‟s own possible answers to such a questionnaire.

5.2.2 Intertextuality and Products in a New Context The second means by which ads become more effective due to intertextuality is contextualizing the product in a memorable way. Robinson (2003, 53) claims that placing something in a physical or cultural context “can be helpful in building an associative network for later recall”. Recipients tend to remember better if they perceive the message in a related context. Robinson further notes: “...practical use-value, emotional and intellectual associations, and the sensory channels through which [the message] comes to you (the more the better)” all aid the effectiveness of memorizing and remembering (ibid). New individually constructed situations which arise during the mental space processing become new contexts for the product placement. The following Coca-Cola ad may effectively place the product into a known situation: “Good morning. Diet Coke” (OK1). The phatic phrase “good morning” is quite restricted in its use and we tend to hear it repeatedly in the same place, at the same time, day by day. Hearing this phrase may associate with waking up next to a partner in the bedroom, entering a corner bakery, meeting a friend in the office. Its occurrence is relatively stable in each person's life. These associations may become the concepts filling the mental space of the recipients once they read such an ad. By placing a product in such a situation the recipients may recall it every time they hear or utter the phrase.

Both uses are interrelated and create a continuum. A Proust questionnaire or a well known hit song create the contents of recipient‟s mental space and thus help establish a positive attitude towards a product; the product also becomes situated in the context evoked by the processing. The product may be recalled with a repeated encounter of the same context. The song may evoke a well- known melody; a “good morning” greeting may evoke pleasant feelings of experiencing new beginnings, a new day, seeing a friend‟s face. Repeatedly hearing the song or the greeting may, on the other hand, function as a recall for the product. This points to the usefulness of intertextuality as a phenomenon based on exploring recipient‟s mental space and exposing the promoted products to known contexts. The advertising context is replaced and presented as another, recipient-relevant one. Gadavanij states: “Since genre and voice are the textual representations of the interface between discourse and society, the

88 changing articulation of genre and the use of more than one voice may have the potential to redefine the context within which the discourse takes place. In this light, it can also be seen as a discourse strategy” (2002, 483).

5.3 Types of Intertextuality Two basic types of intertextuality tend to be listed in linguistic studies: (a) mixing of genres, and (b) using multiple voices. Cook asserts that “voices and genre are often closely bound together, and often imply each other” (2001, 186); that is what enables their analysis in one chapter.

In order to cover the multiple facets of intertextuality in printed ads, to analyze multiple genres and voices of individual presences co-creating the meaning, the following categorization of intertextual ads is suggested for this dissertation: multigeneric intertextuality reflecting presence of another genre within the ad o illustration-depicted intertextuality presents another text as a part of the illustration o mass-culture intertextuality presents instances of entertainment texts o non-specific multigeneric intertextuality presents allusions to texts of other genres heteroglossic intertextuality reflecting presence of another individuality, speaking voice or consciousness.

Based on criteria of text ordering, Urbanová (2008, 31-34) mentions manifest intertextuality, which is applicable when the switch of genres or voices is evident. Texts marked by such switches can be further classified as exhibiting (a) sequential intertextuality (one text successively follows the other one); (b) embedded intertextuality (when one text is set within another); and (c) mixed intertextuality (when texts create a network of inter-related links). This formal typology can be applied in an analysis of printed ads in a rather limited scope since the collected ads tend to be extremely short and often leave no maneuvering space for placing clear formal distinctions. Most ads in the corpus seem to be cases of mixed intertextuality. All formal categories of manifest 89 intertextuality fulfill the same function: the purpose is to fill the mental space of the recipients with associations, recollections and links to the evoked texts. To ensure that the desired processing takes place, employing other texts in a manifest way is most effective.

5.4 Intertextuality in Print Advertising 5.4.1 Illustration-Depicted Intertextuality Printed ads are predominantly perceived through a visual sensory channel (even though sometimes perfumes are promoted by the ad page being scented and thus more senses are directly drawn into the experience of building the product image). Nevertheless, even a visual channel as a sole agency may arouse multiple senses, which enhances the memorability of the ad. Perceiving colors incites feelings of temperature and sense of touch can be incited by seeing an image of a certain visible texture. Ad texts often explore phonetic means such as alliteration or rhyme which incite hearing.

Even if the visual image is the only one processed by the recipient, the resulting portrayal of the promoted product differs if the recipient was exposed to an illustration or to a text. Image cues and textual cues differ in level of abstraction, precision and information density. Intertextuality can be spotted due to both types of cues, yet this dissertation deals primarily with the textual cues.

Some ads resist clear-cut identification of image vs. text cues. In several cases detected in the corpus, textual cues establishing intertextual references appear to be parts of illustrations. When a printed ad features a text that is rooted into the illustration as its integral part, it may be identified as an illustration- depicted type of intertextuality. The text seems to be accidentally appearing in the illustration rather than existing as a text by itself; it assumes the role of the ad illustration (or a part of it). It may be present in the form of a newspaper cutout, product packaging information, an inscription on a featured item, etc.

These inserted texts are sometimes incomplete, yet what is seen is clearly readable; the textual cues evoking desired processing are identifiable. The

90 recipient is not first-handedly encouraged to process them as text as they pretend to be part of the image and not texts as such. They often give an impression of being there inadvertently. Nevertheless, they function as cues of intertextuality and enable the process of filling the recipient‟s mental space. In that way they broaden the meaning potential of the ad message. The borderline between perceiving an image and reading a text is blurred and the impact on a recipient may be twofold, drawing benefits from both perspectives. The following section documents some cases of illustration-depicted intertextuality.

5.4.1.1 Product Packaging Intertextuality Whenever a photograph of the packaged product makes up part of the ad illustration, it is plausible a text on the package cover will be readable and may add information to the overall message. However, it is not necessarily a cue evoking intertextuality. Usually this functions as a technical description of the product, providing product category identification (e.g. “energy bar”, “lemonade”, “cream of mushroom soup”, “cereal”, “lifting serum”, “clarifying lotion”, “day cream”), a brief qualifying description (especially with foods, e.g. “new”, “creamy”, “family style”, “naturally energizing”), details on nutritional value (“100 calories”, “60% less fat”), contents of specific ingredients (“SPF 15”, “multi-grain”, “10g protein”, “2% milk”, “dark chocolate”, “25% less sodium”, “40% alcohol”), and in rare cases also the weight or volume of the packaged goods (“12 pack”, “750ml”). First and foremost, ads use the depiction of product packaging as the most natural presentation of the brand name and/or the name of the producer.

This type of a text insertion within the broader ad message seems to lack the feature of a textual cue: the technical details on the packaging do not seem to evoke mental space processing. The packaging text fails to account for the presence of another genre or of another instance of the same genre, since product packaging acts as a self-advertisement per se. Neither is the presence of another voice detected; the voice of the product packaging is identical with the voice of the ad. Structure of a text within a text, which establishes inner dialogue, is not detected here. The term “intertextuality” does not come as viable in this context.

Even though most ads with product packaging information fail to illustrate intertextuality, some rare instances of the ads in the corpus employ packaging texts in a special way: labels of the product packaging are portrayed so that textually conveyed information can be interpreted as an intertextual cue. Instances of a different genre or a different voice can be detected. The package is portrayed and appears to be speaking as an individual presence or it establishes a dialog with the recipient, or with another voice within the ad. The meaning revealed by such text is not linear with the rest of the ad; it adds another layer of meaning.

(VF7)

The Belvedere Vodka ad illustration consists of a collage of overlaying photos of the bottle from various angles. In each instance miniature photos of highly stylized people are interposed on the bottle and only pieces of information on the label are visible: “... distilled and bottled in Poland by Polmos Zyrardow...”, “... crafted for over 500 years...”, “na zdrowie”, “…expert distillers are…”, “…world‟s finest vodka…”, “beautiful to see”, “…% Polish rye…”, “…Presidential Palace…”, etc. Each photo and each text on it can be interpreted as a different inner voice of the product or voices of many users. An allusion to “a party hubbub” is created. Associations with party life or socializing with beautiful people can be used when the recipients fill the established mental space. The photos and texts together make up a visual metaphor for the multi-faceted character of the product. The collage illustration is accompanied by recurring brand name, a slogan and a signature line:

“Belvedere Vodka. Taste the beautiful life”. This cue links the mental space contents with the product. “Beautiful life” is to be interpreted as a socially busy one, spent among good looking people enjoying the product, which is given the most appealing quality characteristics. Intertextuality also enables change of context: the advertising context is replaced with a highly enjoyable social gathering and the image of the product is emotionally enhanced through that change.

Product-packaging text can be viewed as an instance of intertextuality also in the Juice Organics Moisturizer ad (LS1). The headline, body copy, slogan and brand name of the ad read: “Feed your skin, don't fuel it. Your skin absorbs what you place on it. Nourish your skin with organic, toxin-free ingredients. Juice Organics. Healthy beauty”. Except for these customary ad parts, an illustration shows two packages of similar products – one being the promoted Juice Organics Moisturizer, the other one bearing the name “Other Brands” on the package. Both products act as separate voices; due to their counter-position they seem to be entering into a dialog. The contents of both products serve as intertextual cues evoking a set of emotions. The Other Brands packaging lists and highlights “petroleum, … butylene glycol, … vinyl, neodecanoate, … propylene, …methylparaben, … ethylparaben, …formaldehyde, … SD alcohol 40, phthalates …” while the Juice Organics lists “organic orange, lemon, grape, apple, carrot & pomegranate juices, organic aloe juice, organic raw cane sugar, organic sunflower oil, organic borage essential fatty acid, organic honey, organic algae, organic green tea, cucumber & calendula, beta carotene, vitamins A, B5, C, E, & K, peptides, coenzyme Q10”. This comparative placement of two products in the same ad seems to be an instance of what Cook (2001, 193) labels intra-generic intertextuality, since two instances of the same genre appear side by side. Emotional value (positive and negative respectively) derives from the ideology of “all natural is good, all chemical and artificial is bad”. It is added to both products through filling the recipient‟s mental space. This processing is enhanced by the dialogic nature of the relationship between the two texts, which stresses the involvement of the products in the dialog and their direct approach. The context of promoting a

93 product is shifted towards a battlefield of good vs. evil where, through ideological enhancement, the promoted product comes out the winner.

5.4.1.2 Hand-written Message as Intertextuality Device A photo of a scribbled personal message represents another case of illustration- depicted intertextuality. As with other intertextual ads, the recipient‟s perception of the ad is unobtrusively shifted to another situation, to a different context. Encountering a hand-written message is a rather common event in our everyday lives. When recipients process such an ad, the handwriting may evoke a familiar daily situation and the personal involvement of the participants. This may consequently be used to fill the mental space with associated emotions.

Mr. Clean Magic Eraser ad (P4) shows a message finger-written on a dirty bathtub: “Magic Eraser was here”. Humor is inferred through similarity to a wicked glee “wash me” writing on a car. Familiarity, humor, children‟s play and the successful solution of a problem may be used as fillers of mental space for recipients. This conforms to the advertising tickle strategy as emotive response is established. However, reason strategy can be detected here as well through the problem-solution structure of the message. The recipients most probably know that writing into dirt on a car is much easier than writing on a grimy bathtub. If a note appears on such a place, it must have been made by special means. First, the writing serves as a visual description of the situation (dirty surface, somebody exploring it) and only then the text of the message reveals that the writing was done with the help of the promoted product.

A comparably familiar and slightly humorous situation is depicted in the Sharpie Mini Permanent Marker ad.

(P5)

A hand-written message, which is an integral part of the illustration, plays the role of a textual cue evoking intertextual processing. The ad shows a photo of the inside of a refrigerator where the bottoms of neatly arranged soda cans are all marked with a scribbled word “MINE” while a dirty, disgustingly looking Styrofoam container in the middle is marked as “YOURS”. A headline, brand name and a slogan complete the ad: “Keep one handy. Sharpie Mini Permanent Marker. Write out loud!” The handwriting represents the voice of a person, possibly irritated at their house mate for constantly pilfering the soda. The mental space may be filled with memories of a shared experience or with emotions of compassion with the “victim”.

Both ads promote house utensils as high utility, low-involvement products. The advertising strategy used for such items is generally the reasoning one. In the form of a problem-solver it is, indeed, a dominant strategy applied in both the Magic Eraser and Sharpie ads. Nevertheless, the tickle strategy is also employed through intertextuality: the recipient associates emotions related to the personalized message with the ad, and consequently with the product. The hand-written message by itself does not solve the problem; it makes the ad feel familiar, homely and light-hearted. The commonness of the introduced context makes the ad trusted, and later recall of the ad is ensured in many similar real- life situations.

5.4.1.3 Newspaper Cutout Intertextuality Two ads in the corpus use broadsheet newspaper cutouts as an integral part of their illustrations. Both promote high-involvement products (designer clothes and accessories, Kenneth Cole (VF10) and Donna Karan (VF10) respectively) so they can be expected to attempt to elicit a strong emotive response.

Newspapers play a substantial role in both ads: except for the text in the cutouts, they only contain the brand names and the photos. Broadsheet (non- tabloid) newspapers are considered to be the most traditional media in American society. According to the Pew Research Center for the People & the Press (June 11, 2000, http://people-press.org/report/?pageid=207), “the Wall Street Journal is viewed as the most highly credible news source among all the traditional outlets”. Educing from that fact, a newspaper image in an ad lends the ad the character of seriousness, credibility, smartness and professionalism.

Associations of these qualities can be transferred to the mental space of the recipients. That is especially the case of the Donna Karan ad, which imitates the layout of an anonymous broadsheet newspaper.

(VF10)

The top of the ad page features DKNY / Donna Karan New York as a title and subtitle, with the traditional thin dividing double-line between them. These function as intertextual cues for establishing the desired associations. The page is further filled with photos of a young, well-dressed, active business woman.

Among the photos, a section of an article is readable: “In the Trenches. Late night in the city, it's when you find yourself in … classic wool trench coat, that is. Wrap-up your own … Piece. It doesn't matter where you're headed. Just … make a dash. In the city you have an open invitation …”. The discourse of the article is explicitly dialogic: it addresses the reader and assigns them the interactive position of a participant in the news. Immediacy and involvement are evoked through the dialog.

Another cue of filling the mental space is a word play in the illusive news article. Its capitalized large-size title is a word play on “trenches”. That can be interpreted as a trench coat, which the model is wearing in the photos. It is also used in the military sense to denote deep and narrow excavations where soldiers took cover during wars. That meaning has been adopted as a metaphor for the floor of the NY Stock Exchange, where it denotes the busiest part of the NYSE, the “war zone” where all the trading takes place. It seems the ad meaning is based on this word play and emotions related to both meanings: the model wearing a certain type of coat associates smartness and trendiness, yet at the same time she appears to be a busy, active professional, possibly in the field of trading.

The rest of the article (in small print) uses advertising rather than news- reporting register. The direct address of the reader with the second person pronoun and with imperatives (“it‟s when you find yourself”, “wrap-up your own”, “it doesn‟t matter where you‟re headed”, and “in the city you have an open invitation”) and the advertising idiom “just (make a dash)” is generally not expected to be placed in a newspaper article. The advertising register may function as an identifier of the page as an ad in order to avoid recipients feeling cheated. However, the whole page imitates a broadsheet paper, possibly the Wall Street Journal itself, and thus gains the feel of busy New York City professional setting. It is the intertextual context that evokes many desirable associations. Respect, professionalism, success and advantages linked to a high social status may become contents of the recipient‟s mental space.

The Kenneth Cole ad promotes fashion accessories (which classify as high- involvement products); at the same time it makes a political statement. That is probably the most desired association the sender attempts to evoke in the recipient‟s mental space. Among Vanity Fair readers, Kenneth Cole is a fashion designer well known for his social awareness and political activism, which he often promotes through fashion ads. The mentioned ad uses an image of a newspaper article to remind the socially conscious recipients of the national debt, and to consider far-reaching issues of capitalism. Facing the newspaper image is a woman wearing Kenneth Cole designer glasses; she is stylized to give an impression of a chic, but also smart, socially conscious and concerned personality. The newspaper title font visually imitates a broadsheet (such as the New York Times) yet no specific name can be detected. The headline and subheading “There are now 50 red states, thanks to the National Debt. -Kenneth Cole” occupies cardinal center-page position. Kenneth Cole is formally identified as the author of the article, and metaphorically as the author of the idea.

Similar to the DKNY ad, the headline employs ambiguity. “Red state” is usually understood as an American state with a Republican government, yet here it is meant as a state in “red numbers”, with a deficit budget. Until the subheading (“thanks to the National Debt”) clarifies the meaning, the headline is shocking: it would mean the whole US would be governed by the Republicans. Appearing in Vanity Fair shortly before the Congressional mid- term election, this statement would be factually wrong, and emotionally piercing and grievous to mostly pro-Democratic VF readers26. Even though the subheading corrects the meaning and may bring certain relief to the politically conscious consumers, this probably does not last long, since the enormity of the US national debt is a caustic and pressing issue. Shared knowledge of the economic and political situation of the country is a prerequisite and simultaneously a vital cue for filling the mental space with desired associations.

26 Matthew Flynn. 2011. “Magazine Readers Show Partisan Stripes.” MediaIdeas, July 8, accessed September 13, 2011, blog.mediaideas.net/2011/07/08/magazine-readers-show- partisan-stripes/ 98

The article itself is included only partially. Its only readable sentence, which is the philosophical gist of the ad itself, states: “New York – What's really material? That's a question we must ask ourselves ...”. The intertextuality of this ad is multi-layered. The visual cues combine with the textual ones evoking in the readers the seriousness of a newspaper and an attitude of political conscience. The newspaper image positions the ad in a real, serious and worrying world of politics and national economy. Kenneth Cole is depicted as a fashion designer promoting his products, as a journalist drawing the attention of the readers to the political and economic issues of the day, and as an activist and philosopher urging the consumers to consider consumerism as a way of life. The mental space is explored in a rich complex way incorporating more facets of consumers‟ personalities: the fashion-lovers, responsible members of society and caring activists. The dialogism of this ad is implicit; the recipients adopt the roles of the dialog participants through contributing to the political and social thinking.

Illustration-depicted intertextuality combines the benefits of promoting a product via illustration and via text. An illustration is more detailed in portraying the product or the situation of its use; it is more concrete. Text, on the other hand, explores ambiguity and evokes abstract ideas. When the two are merged in the way just discussed, it is impossible to demarcate which function is fulfilled by which part. The mental space is outlined by visual and textual cues suggesting the change of context; the emotional value is added to the ad through filling the mental space. This appears to be an invariable feature of intertextuality as an advertising discourse strategy.

5.4.2 Mass Culture Intertextuality References to specific instances of popular culture genres are a useful tool for promoting products. Verdonk (2002, 5) comments that this works as “an allusion to another text and, at the same time, an appeal to the reader's awareness of that text”. By placing such a reference in an ad, the recipient feels satisfaction when spotting and decoding it, and consequently a whole set of highly individualized associated memories and emotions are transferred from the referred item to the mental space of the recipients. Verdonk (ibid.) further

99 states that intertextuality “appears to have the effect of giving the reader the pleasurable sense of satisfaction at having spotted the allusion, and it may often intensify the overall significance of a text.”

Popular songs and films are most frequently referred to. Five ads with such references are found in the corpus. As the following examples show, the mass culture references enrich the meaning by filling the mental space with desired emotions and associations. They do not provide fundamental clues for understanding the message as such; they are not to be seen as “inescapable intertextuality” (Fiske 2010). In Gray‟s definition (2006, 4) such intertextuality would mean “inescapable interdependence of all textual meaning upon the structures of meaning proposed by other texts.” Here, however, the references can stay unspotted or be ignored and taken literally. A reference to a film (e.g. in the following example (3) “Legends of the Fall”) can be taken as a film reference and thereby intertextually evoke all the desired emotional response, but it may also be understood as a statement literally claiming that the “fall collection of promoted clothes contains legendary pieces”. The mental space would not be opened unless the film reference is spotted. Nevertheless, the text would still be functional, even if the emotive response would become diminished, thus making the ad processing less effective.

The following ads are made more efficient by referring to carefully chosen cultural items; due to the associations with such items the mental space may be filled with a certain mood, prototypical hero characteristics or memories of specific situations. In this sense we can talk of “intertextual intent” as discussed by Kuppens (2009, 118).

The following two ads contain references to popular songs, both of which are well known to most Americans. They can be expected to invoke the melody and the setting or stereotypical ideas which link with the songs through general knowledge:

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(1) Joy to the world and joy to desserts. Sara Lee. The joy of eating. The joy of joy. Sara Lee. (P3) (2) Born to be wild. All-new Suzuki SX4. Attitude and AWD, all standard. We admit it. We've got a reputation for having fun. Giving a little attitude. So it's natural for us to offer up the equally spirited Suzuki SX4. This new sport X- over features the only 3-Mode i-AWD in the class, plus the power of a 143-hp engine, all standard. Yaris, Fit and Versa don't offer either one. There's ABS and the safety of a side-curtain airbags, standard. Plus available Electronic Stability Program (ESP) with TCS. The all-new Suzuki SX4. It's gonna be a great ride. suzukiauto.com Suzuki. Way of Life. (P4)

While (1) refers to a popular Christmas song “Joy to the World” by Three Dog Night and (2) to a well known rock song (first made famous by the band Steppenwolf in 1968), both have a similar function: to make the ads memorable and explore the mental space of the recipients with associations accompanying the references. (1) appears in the Christmas issue of People magazine; a well-known Christmas song as a part of the ad is a natural way of eliciting a festive atmosphere. Pleasant associations of Christmas are evoked quite effortlessly through an emblematic melody. The text contains a rhyming play as well: the original lyrics read “Joy to the World. Joy to you and me.” This rhymes with the ad text “Joy to the world … Sara Lee.”27 (2) relies on the “Born to Be Wild” song which associates with free, unceremonious, unrestrained biker appearance and attitude. Even though further in the ad the discourse switches to descriptive (reason-evoking) and offers details of technical features of the promoted car, the song reference used as a headline is a cue evoking independence and the untamed nature of the implicit product user. The recipient may also interpret the headline as offering insight into the sensuous “soul” of the car, while the following technical details describe its mechanical “body”. An emotive layer of meaning is added to the reason- inducing one.

27 “The joy of eating” from the ad text is a reference to the most popular cookbook in the USA, The Joy of Cooking. The ad text explores this and suggests that Sara Lee pastries are comparable with home-made products. It playfully suggests that recipients should not waste time cooking when eating is much more enjoyable. 101

Both ads incorporate audio traces as cues: when reading the ad, most recipients can be expected to recall the tune. Employing more sensory channels is known to improve memorability and later recall. The advertisements may be recalled when the songs are heard again later, even in an unrelated situation.

Two ads in the corpus refer to films. (3) Legends of the Fall. Nordstrom. (VF9) (4) Truly RADLEY Deeply about choosing wonderful colors. Radley. (VF1)

In both ads advertising clothes/accessories, the film reference is a cue evoking emotive response. This is a risky strategy but simultaneously it is a powerful way of building the product image through recipient‟s mental space processing. Compared to songs, films are more complex works of art. By incorporating them in ads, multiple layers of associations can be achieved, and these can vary significantly from recipient to recipient. Personal attitude to the film itself, to the actors and their performances, memories of where and with whom the film was seen, how it related to our previous lives and how it influenced our lives afterwards, but also the general social and critical acclaim - it all may influence the emotional state which is transferred to the mental space. This strategy appears to be well suited for promoting fashion and luxury items: while food and utility objects require some reasoning, clothes and accessories are nowadays chosen on a mostly emotional basis.

Both (3) and (4) use the film title in a double-meaning way. (3) uses the 1994 Edward Zwick's drama film Legends of the Fall, which in a review in the Chicago Sun-Times was described as having “full-blooded performances and heartfelt melodrama” (Ebert 1995). The strongest association-evoking cue may be the impressive male character: the ad promotes formal refined men's clothes and the film is famous for strong performances by three leading men – Anthony Hopkins, Brad Pitt and Aidan Quinn. The ad headline can also be interpreted literally: the fall collection of clothes sold in the Nordstrom department store is introduced and promoted as “legendary”. The film characters may be the ones transferring the “legend feel” to the mental space.

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(4) uses the title of a 1990 Anthony Minghella film Truly Madly Deeply, which is simultaneously a 1997 popular Savage Garden romantic song. The film is considered to be wryly witty, funny, serious and comic at the same time, creating emotional impact; the song is one of the most frequently listed as a first dance wedding song for American brides28. Both film and song address mostly romantically-inclined female viewers, and so many women, the target recipients of the Radley ad, may recall the film and/or the song and fill the related memories to their mental space. Moreover, the Radley brand name is inserted in the ad headline, mixed with the film title in a witty way, through a pun (with Madly being replaced by Radley). This enriches the ad processing of a clever playful tone. The complexity of the emotional associations of a film and a recall of the tune of a song may in this ad combine and enhance the ad impact on a recipient.

Low-involvement and high utility value products seem to employ intertextuality in a plain, uncomplicated way, making use of a stereotypical inserted text. High-involvement items such as clothes and fashion products explore multi-faceted possibilities offered by intertextual paradigm. The following example presents the most complex employment of intertextuality in exploring the mental space.

Promoting perfumes is a complicated task since recipients mostly cannot perceive the product directly through their senses. Perfumes can only be represented indirectly by their packaging or by symbolic images. Some perfume advertisements use a fragrant ad page. Because of many technical setbacks this strategy involves, and because of the innovative and creative attitude which advertising constantly requires, novel ways of promoting perfumes appear. Prada Parfums ad (VF3) explores intertextuality in a peculiar, unorthodox way. It is the only encountered ad that manages to employ film, poetry and music through a print medium.

28 All the following websites feature the song in their first-dance lists: www.ourweddingsongs.com; www.popular-wedding-songs.com/first-dance-wedding- songs.html; www.weddingwire.com/wedding-songs/first-dance-music?page_27 103

The print ad page only contains an abstract, mood-setting illustration, and a short, matter-of-fact direct appeal to the recipient: “Prada Parfums. See the movie “Thunder Perfect Mind” by Jordan and Ridley Scott.” Since perfume is a high-involvement product, greater effort and more attention from ad recipients can be expected when considering its purchase. An unorthodox, no- frills imperative in a perfume ad may evoke curiosity and the recipients may be tempted to know how a movie relates to the perfume. The names of famous and successful movie makers Jordan and Ridley Scott are a strong cue and a motivating element for performing what the ad suggests. Once the Prada website is accessed, it offers a six-minute film depicting a young beautiful woman moving through an urban environment, reading a book. She does not speak yet her voice is heard throughout the film reading a poem “The Thunder, Perfect Mind” which is a part of ancient Gnostic scriptures discovered in Egypt in the mid-20th century. Part of the poem that she reads seems to be an ancient precursor of modern intertextuality definitions:

“I am the voice whose sound is manifold and the word whose appearance is multiple. I am the utterance of my name.” (“The Thunder, Perfect Mind,” 168)

The film is too long for a typical commercial, yet not too long for a tempted viewer to watch. The captivating words of the poem based on paradoxical riddles questioning personal identity, combined with engaging music and the acting of the female character, mediate the quality of the promoted scent which is otherwise impossible to verbalize. The combination of all the input makes the ad a captivating cross-over between superficial thirty-second commercials and complex full-length movies. While the print ad appearing in the corpus does not seem to be intertextual in isolation, within an intricate network of modern media it seems to be intertextual; a case of multi-media intertextuality. Voices of characters and participants are heard and seen, genres overlap in a truly post-modern way and the recipient is moved through different contexts not only within the ad, but also physically, by moving from one medium to another. The exploration of recipient‟s mental space is

104 potentially very complex and rich; the impression of the ad may be powerful and compact.

Intertextual ads based on pop culture references transform the advertising context to the one that the recipients are expected to enjoy and associate with entertainment, relaxation and pleasure. They introduce contexts which may relate to a wide range of recipient‟s memories and shared knowledge. Filling the mental space can include associations with evoked situations and recollections of experiencing the texts in the past. Moreover, the culture references, once spotted and decoded, bring about the feeling of satisfaction with completing the task and may as well make the recipients feel the bond with their cultural environment. This is the major distinguishing feature of the multigeneric intertextuality based on referring to specific instances of genres of mass culture such as films or songs.

In their study of texts, Hatim and Munday (2004) recognize intertextuality that involves direct reference to other texts and label it horizontal intertextuality. The categories of ads that were analyzed so far, i.e. presenting product packaging texts, hand-written messages, newspaper cutouts and references to specific texts of mass culture can be seen as instances of horizontal intertextuality. The following chapter presents vertical intertextuality (Hatim and Munday 2004, 87) which is more an allusion to another text and can refer to a mode of writing or style.

5.4.3 Non-Specific Multigeneric Intertextuality Delivering an ad message through a register or text form which is typical of other genres is a fairly frequent practice. Emotive response to the instances of the genres fills the mental space. No reference to works of art or instances of culture-specific shared knowledge are present in these ads; the cues signaling the intertextual processing are expressions conventionally appearing in the situations that are intended to be introduced. They can be identified as cues of socially determined discourses. Verdonk (2002, 62) in a similar sense implies that intertextuality of this kind appears when “particular expressions recur in different texts and so provide a link between them”.

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The corpus contains thirty-two ads with such features. Of these, twenty-one are located in tabloids and eleven in Vanity Fair. Over one half of all the ads in this category (seventeen in total) promote packaged food, sodas and alcohol beverages; the other half equally represent cosmetics, cars, household utensils, watches, clothes and technology gadgets. This distribution points to the preference of genre-switching intertextuality as a discourse strategy promoting low-involvement products. In contrast to this is the distribution of intertextuality depicted via illustration and the one mediated through culture references, which is mostly used to promote high-involvement products in high-end magazine ads.

Discourse typical for cooking recipes, reviews, quizzes, questionnaires, internet sites, computer-mediated communication, tributes, travel brochures, yearbooks, warnings, scientific discussions, romantic stories, TV shows, reports, calendars, etc., functions as mental-space inducing cues in the collected ads.

5.4.3.1 Ads as Recipes The most frequently used transplanted text type into printed advertisement is cooking recipes, found in four ads. It seems to be a logical outcome of the high figure of food and drinks ads in this category (which is over 50%). Foods and drinks are low-involvement products and so their utility value tends to be promoted through their unique selling proposition. By placing a recipe into the ad, the product is placed in a context that highlights its practicality. The recipient‟s mental space processing is shifted to a situation where the advertised product is usable and at the same time ready to be explored and played with in a creative way (if the recipient is an avid cook) or easy to use (if the recipient needs instructions to stick with). That applies to food products that need processing as in example (5) promoting a semi-processed sauce. However, ready-to-eat food, e.g. party snacks in example (6), may be advertised through the recipe genre as well; the function of such use is different, though.

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(5) The meatball hero's hero. 100% Natural Prego Italian Sauce Traditional. A unique combination of sweet tomato taste and savory Italian seasonings is inside every jar of Prego Italian sauce. So you don't need to add a thing to liven up any Italian dish. It's in there. Prego Easy Meatball Parm Hero Prep: 5 min. Makes: 4 sandwiches. 2 cups Prego Traditional Italian Sauce, 16 (1 oz. each) frozen cooked meatballs, 4 long hard rolls, split, 1 cup shredded mozzarella cheese, Grated Parmesan cheese. 1. Heat sauce and meatballs in 3 qt. saucepan over medium-high heat to a boil. Reduce heat to low. Cook for 20 min or until meatballs are heated through, stirring occasionally. 2. Serve meatballs and sauce in rolls. Sprinkle with mozzarella and Parmesan cheeses. Dig in and enjoy. For more easy delicious recipes, just go to Prego.com. (P2) (6) Recipe for a perfect viewing party. Follow this helpful recipe to make your next movie night with friends a hit. Gather your fellow movie-lovers and enjoy one of your favorite films with the classic big cheese snack, Cheez-It. Ingredients: One crowd-pleasing movie. A bunch of bowls (for the perfect group snack). One TV remote control. Cheez-It Baked Snack Crackers. The Big Cheeze. (US3)

In (5), the recipe is meant verbatim and highlights the practical value of the product. Positively colored words and suggestive expressions (“hero”, “you don‟t need to add”, “unique combination”, “dig in and enjoy”, “delicious”) may be used as mild means of adding emotive value without mental space processing. This is evoked with the recipe as a text type and associations that may be connected to food preparation. The reason strategy seems to be stronger than the tickle one.

In (6) the instructions are not to be taken literally; the creative usage of the recipe genre strengthens the emotive value by figuratively adding playful, humorous and light-hearted tones to the message. (6) is an ad for a snack food – possibly the representative of what we are advised not to eat due to its high fat and sodium contents and low (if any) health benefits. Humor and reference to socially valued entertainment time with friends veil the existence of negative nutrition facts. The positive message is interposed through the unexpected

107 genre of a recipe, complete with instructions, ingredients and measures. It may be suggested that an unexpected genre placement in this case catches the attention and functions as a mental space cue. It is also a buffer for the possibly negative features of snack food.

5.4.3.2 Website and Computer-Mediated Communication in Ads Almost all the ads in the corpus contain a website reference in their signature lines. Presently, that is highly substantiated, since the Internet use for commercial purposes constantly increases and recent magazine surveys show that including a web address or a URL29 reference in an ad increases the web site visits (Magazine the Medium of Action Handbook 2009/2010, 82). Nevertheless, including a www reference for the pragmatic purpose of further product search is not understood as employing intertextuality. The imitation of such reference employed to bring in the feeling of up-to-datedness, trendiness and modernity, on the other hand, is considered intertextual. Direct reference to product web sites is a part of advertising discourse; the imitation of it implies the creation of mental space and its processing; it changes contexts and introduces another level of meaning.

Three ads imitate the form of a URL (two of which are listed below as examples). All three ads imitate the URL only in their headlines, so the rest of the verbalized message is not intertextual. Two more ads imitate the language and the form of computer-mediated communication throughout the whole ad message (one of them is given as an example). Except for one instance, all these ads are found in tabloid magazines. They promote a car, hygienic products, cosmetics, a nutrition bar and a camera respectively.

(7) Sony. Like.no.other Take a picture. Leave an impression. Seductively thin profile. Blazingly fast start-up and remarkably engineered with a dazzling 2.5" LCD screen, the T7 is another great innovation from Sony Cyber-shot cameras, digital from day one. From the moment you pull out the Sony Cyber-

29 URL: Universal Resource Locator. “A specific character string that constitutes a reference to an Internet resource.” (google.com/path) 108 shot T7 digital camera, you'll be turning more than a few heads. Cyber-shot. (VF9) (8) Ifyoucant-pronounceit-don‟t-eat-it.com SoyJoy. Eat like you mean it. Say no to preservatives. And believe in naturally nutritious nutrition bars. This is SOYJOY. All-new, all-natural. Whole soy. Dried fruit. And a home-baked taste. Look for us in the nutrition-bar aisle of your favorite store. Real is Revolutionary. SoyJoy.com (US2) (9) Grab life by the horns. Dodge. Avenge Internal Computer System. STEERING: listen up ppl, we're ina tight corner ESP: Electronic Stability Program at ur service! BRAKES: he hit the brakes hard ESP: im detecting slippage BRAKES: hydrolic break booster, work ur magic BOOSTER: NP im on it bro ABS: u r awesome. busy breaking L front and R rear ENGINE: lowering torque and throttle BTW ESP: yaw and lateral acceleration sensors activated. man im good :-) TRACTION CONTROL: LOL giving rear wheels more traction ESP: gr8, cuz we r almost out of this corner ENGINE: yesssss! back on full throttle BRAKES: this is 2 easy IMHO ESP: cya l8r SEND SEE THE ALL-NEW AVENGER AT DODGE.COM/AVENGER (P1)

Short words with no spaces separated only by punctuation marks or occasionally with no separation at all are usual forms appearing in the URL coding. Capitalization is missing in such text forms as well. The typical attribute of web sites is their dot-com (.com) domain suffix which denotes a generic unrestricted commercial website. Headlines composed in such way (e.g. “like.no.other” and “Ifyoucant-pronounceit-don‟t-eat-it.com”) function as textual cues, they signal the change of the context of the ad from traditional print advertising to an illusionary up-to-date internet world. This is a precursor to mental space processing.

Example (7) resembles usage of a recipe for advertising food products: introducing a modern technology gadget by adding to it a feeling of high-tech trendiness seems very natural as much as promoting food through their usage in cooking. (8), however, adds the up-to-datedness to a product that is considered trendy and fashionable in another sphere of life – a healthy lifestyle. The website name in (8) serves not only as a fashionable insertion, but also as a

109 pleasing, humor-invoking cue. The promotion of a healthy lifestyle seems to be boring at times: this ad stands out of the group as a humorous one in a trendy and creative way.

Example (9) imitates Internet chat in both formal layout and in employing typical chat language. In this ad, the communicating identities are parts of the car operating systems. They conduct a multi-sided talk tone of which is informal, light-hearted and funny, as would possibly be similar real-life Internet chat. However, the topic of the chat is serious: the car (and consequently the driver) is having safety problems and the car parts communicate in order to ensure his/her safety. Formally, the chat dialogue turns are introduced by a capitalized identity names (nicks) followed by a colon. On the lexical level, typical chat lingo functions as cues. This includes non-standard word forms of grammar use (“u r” – you are, “ina” – in a, “im” – I‟m), words spelled without vowels (“ppl” – people), shortened and spelled in a conventionally informal way (“ur” - your, “hydrolic” – hydraulic, “bro” – brother, “cuz” – because, “cya” – see you), words with formal changes that add emotional marking (“yesssss” – yes), chat abbreviations or mixed numeric word-forms (“gr8” – great, “2 easy” – too easy, “l8r” - later). Informal expressions (“work ur magic”, “im on it bro”, “man im good”) strengthen the funny easy-going tone. This lends the promoted product an appealing image of a professional who can deal with serious things in an easy way. At the same time, the introduced context of the Internet chat, which is the basis of mental space processing, is very trendy, fashionable and bonding with a like-minded, young crowd.

5.4.3.3 Scientific Style in Ads Scientific papers rank among genres that are characterized as formal. When these are intertextually implanted in ads, they evoke a serious and responsible attitude, trust, assurance and an atmosphere of critical thinking. The product gains characteristics of being well thought of, tested and approved, and thus of high quality. The following ad illustrates the point.

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(10) There's more to our sunscreen than the SPF number. Our sunscreen has Helioplex. Q. What is SPF? A. SPF (sun protection factor) is a rating for the level of protection against sun-burning UVB rays. But there's more to sunscreen than an SPF number. Our sunscreens with Helioplex have the added benefit of performance stabilizing technology for longer lasting UVA protection. It's unbeatable. Q. What is Helioplex? A. It's a new patented technology so advanced it helps sunscreens deliver exceptional UVA/UVB protection. How does it work? It's all in the balance. Sunscreens can lose the ability to block UVA rays over time. Neutrogena sunscreens, with Helioplex stabilizing technology, provide superior UVA protection that lasts. So broad- spectrum protection is balanced. Q. What's the difference between UVB and UVA? A. UVB rays can cause sunburn (think B = Burning rays) and that can lead to skin cancer. UVA rays (think A = Aging) penetrate deepest into the skin. They accelerate the signs of aging. After long-term exposure, skin may appear dry, lines and leathery. Q. Why Neutrogena? A. Because Neutrogena sun protection products, engineered with Helioplex technology, give you the exceptional broad-spectrum protection you and your skin deserve. It's the next generation in sun protection. Neutrogena. # 1 Dermatologist Recommended Suncare. (P6)

The ad is constructed in the form of a dialog which enhances the involvement and participation of the recipient in co-authoring the ad meaning. The questions in the dialog are asked by a an interested consumer, potentially much like the recipient her/himself. The questions mostly address the meaning of used terminology (“What is SPF?”, “What is Helioplex?”, “What's the difference between UVB and UVA?”). The last question (“Why Neutrogena?”) is similarly short and simple so at first sight it seems to fall into the same category of questions. However, it only looks similar because it addresses reasons, not meanings, and instead of scientific terminology it asks about the product (the name of which sounds quite scientific). In that sense it can be considered suggestive (and thus perfectly fitting the ad genre). The questions gradually build up the logical reasoning structure at the end of which the recipient learns reasons for obtaining the product.

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The answers to the questions are given by a specialist who sounds erudite, lecturing and patient. He/She explains the abbreviations (e.g. SPF as “sun protecting factor”) and even though he/she uses scientific terminology and sentence structures typical for the scientific style, the answers are accommodated for the general public by using some neutral or informal expressions (e.g. “there's more to sunscreen”, “It's unbeatable”). The ad text is much longer than the average ad text found in the corpus, which conforms to the style of scientific papers. (This seems to be also true for other ads that give an impression of a science document). By evoking a style that is known for long texts, the recipient may be patient and willing to read much more than if another, non-scientific genre was used. More information can be placed in such ad with little risk of losing recipient‟s attention too early. The scientific genre evokes a serious and reliable image of the product. At the same time it situates the recipients into a setting where they are willing to keep their attention focused longer. Mental space is possibly filled with the desired constructs of a lecture, scientific discussion, learning and self-development.

5.4.3.4 Other Genres in Ads A substantial number of genres is intertextually explored in the corpus ads. Each one appears to be represented by very few occurrences, though. That points to the creative exploration of a multitude of possibilities given by the socially conventionalized usage of language. The following examples are all unique instances of implanted non-advertising genres within the corpus.

(11) CinnaMon Tue Wed Thu Fri Sat Sun. Try New Honey Bunches of Oats with Cinnamon Clusters. Real cinnamon baked into every crunchy cluster. One taste and you'll want it every day. Honey Bunches of Oats. There's a whole bunch to love. (US3) (12) Location: anywhere & everywhere Post Office: www.splenda.com Weather: daily SPLENDA sprinkles Official Flower: sweet pea Destination: Splendaville. You won't find it on any map. But you will find it in iced tea. It's sweet and delicious but without all the calories to spoil the joy. SPLENDA No Calorie Sweetener tastes like sugar because it's made from sugar. Be Dazzled. (P6)

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(13) Campbell's Microwavable Soup Bowls. Caution: Contents are extremely delicious. When consumed at work, they may cause incoherent speech, mind-wandering and file-dropping. Inattention to urgent emails and sudden loss of interest in spread sheets may occur. (P2)

The ads feature textual cues found in a calendar (11), an information travel brochure (12) and a warning sign (13). By exploring the other genres, all these ads seem to be creatively light-hearted and pleasant to read, playing humorous and harmless tricks with the recipients, nudging them to spot the resemblance and appreciate its witty placement in the ad context. That is the first positive- image attribute. At the same time, all the examples evoke processing of the mental space with recipient‟s associations linked to personal experience or well-known situations. The calendar reference in (11) evokes regularity and the potential of everyday consumption of the promoted cereals. (12) explores the stereotypical descriptions of American destinations by listing several location characteristics and thus makes the product set in a home environment. (13) uses the strategy of surprising or shocking the recipient. It is based on a parody; what is implied breaks the rules of advertising practice, as warnings are not a usual promoting discourse tool. Once the recipients see “Caution”, they probably expect to read a warning that can be found in similar contexts (e.g. “Caution – the contents are extremely hot”). The unexpected outcome in the form of a warning against an “extremely delicious” product makes the ad boldly humorous. Lagerwerf (2007, 1703) in a similar sense claims: “The effort people may have to come up with a correct interpretation will result in their appreciating the trope, and hence the advertisement itself.”

5.4.4 Multigeneric Intertextuality Scale The presented ads exhibit intertextuality cues in varying degrees, in a scale from the manifest to relatively indistinctive implementations. The criteria that strengthen the presence of various genres in the interpretation of the ad seem to depend on the attributes of the genres themselves. Recipients may recognize an intertextual reference easier if it relates to a genre that is highly specific. The specificity may relate to its form, content and frequency of occurrence in a speech community.

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When the form of the text belonging to a genre is unique and rule-governed, spotting such text may be unrestrained. A recipe, for example, has a form which most frequently consists of a list of ingredients followed by instructions, processing details, the yield and variation options. Such a genre may be identified with relative ease, as in the following ad.

(14) Campbell's make in minutes. Prep: 10 min. Bake: 35 min. Tuna Noodle Casserole. 2 cans (10 3/4 oz. each) Campbell's Cream of Mushroom Soup, 1 cup milk, 2 cups cooked peas, 2 cans (about 12 oz. each) tuna, drained, 4 cups hot, cooked medium egg noodles, 2 tbsp. dry bread crumbs, 2 tsp. butter, melted. 1. Stir soup, milk, peas, tuna and noodles in 3-qt. casserole. 2. Bake at 400degF. for 30 min. or until hot. Stir. 3. Mix bread crumbs with butter and sprinkle on top. Bake for 5 min. more. Makes 8 servings. Better For You Possibilities: Whole Grain: Use whole wheat noodles instead of egg noodles. Substitution Options: Use Campbell's 98% Fat Free or 25% Less Sodium instead of regular soup. M'm! M'm! Good! Casserole Possibilities. (P2).

The genre of a friendly conversation, on the other hand, does not display any such strict formal rules. It may take a while for the recipient to see the ad as an informal friendly chat, and eventually, without deeper analysis, it may never be seen as implementing intertextuality due to such lax form. The following ad illustrates the point.

(15) „My color is so blah‟ „I hate this faded look‟ „I just did my color two weeks ago, and already it's dull.‟ Refresh it! Fanci-Full temporary hair rinse breathes new life into faded color. Use it as often as you like, and wash it off when you're ready. No ammonia. No peroxide. No mixing, No damage. Easy on, easy off. No commitment. Fanci-Full is available in a wide assortment of colors that refresh your color instantly. (S1)

Vocabulary and a typical sentence structure are strong text-type recognition cues. Certain words and phrases are unmistakably genre-specific. The more restricted their occurrence in a unique genre, the higher probability of the genre

114 being identified as an implanted text type. The Campbell ad in example (13) is hard to overlook as a warning since “caution”, “Contents are extremely …“ and “…may occur“ are typical lexical elements of a warning sign, usually found on food containers. Some genres are not so strictly vocabulary-specific so their implementation may not be obvious to that degree. An informal talk, as in example (15), is, on the other hand, devoid of highly specific, unmistakably genre-constituent lexis.

When genre-marked forms and peculiar lexical items combine with a high frequency of occurrence of certain text types, the interpretation of an ad as being intertextually coded is very probable. The less genre-marked form and less genre-restricted vocabulary an ad features, the lower probability there is that it will be processed as multigeneric intertextuality.

Multigeneric intertextuality in ads operates on two inter-related levels. It fills the mental space of the recipient through shifts of the advertising context to a different one which the recipients may personally relate to, recognize from their previous experience or shared cultural knowledge. Simultaneously, such directed genre-switching helps create a positive emotional response among the recipients. Both of these processes strengthen the memorability of the product and the possibility of its later recall. Kuppens (2009, 119) adds another beneficial attribute of intertextuality in advertising practice: “The creativity, humor, and reflexivity that are typical for intertextual advertisements, constitute an exciting way of appealing to advertising-literate viewers who „see through‟ classic advertising strategies. If viewers recognize the intertextual references, the advertisement may function as „a source of ego enhancement‟”. That points to the possibility of intertextuality being a bridging feature between the recipient and the product, but also a psychological self-confidence building tool.

5.4.5 Heteroglossic Intertextuality Presence of voices, or speaking personalities, in an advertising text marks intertextuality of a heteroglossic type. Heteroglossic ads often feature dialogic

115 character which empowers the participants, adds interactivity, strengthens the involvement of the recipients and positions them in the role of co-authors.

The sender as an inherent participant of the communication may assume multiple identities. Due to this, the message may be delivered by many voices. Who the sender is creates an essential part of the recipient‟s interpretation. A producer, a product, a user of the product or a symbolic representative may all assume the roles of message senders.

Ads are a well-established genre, and the recipients naturally recognize that a sender with a persuasive intention is behind any commercial message. That suggests an impersonal unidentified sender who may even pretend “not to be there” is implied as a voice. This kind of sender is seen as the inherent one, often an abstract persona, an inherent voice. When other voices except for the inherent one appear and deliver parts of the message, heteroglossic intertextuality is inferred. Cook (2001, 219) concludes that ads are prototypically heteroglossic yet one voice tends to dominate; the reason for dominance is the reluctance of the advertiser to leave too much space for the recipient to come with his/her own judgment (ibid., 193).

The following analysis points to the presence of multiple voices in the corpus ads. Within seventeen heteroglossic ads, two distinct groups are identified: the first one (seven instances) contains a voice of the producer talking about the product or benefits of its use; the second group (nine instances) features a symbolic representative of the product, a personality who embodies the unique selling proposition. One ad contains a first-person voice of a recipient using the product. The two mentioned groups are considerably different in many aspects and seem to be quite homogeneous in their employment of voices.

5.4.5.1 The Voice of a Producer All seven ads in this category feature the voice of the producer, or a person whose name appears as a part of the product name. Such a person speaking does not necessarily have to be the manufacturer; however, their name functions as a signature, a personal guarantee of quality. The producer's voice

116 is made distinct and clear by being placed in quotation marks and/or occupying a prominent headline position in all the ad texts. The speaker is identified by name immediately after the quote in four cases, as seen in examples (16) and (18). In other cases the name of the speaker is inserted at the end of the body copy, in a usual position for a closing signature line, as shown in example (17). Both the first name and surname are given in all cases; this creates a significant part of the identity of the product.

(16) "Room after room after room a Dyson doesn't lose suction" James Dyson. There's a fundamental problem with vacuum cleaners: they start losing suction after just a few rooms. Our unique patented system is different. It separates dirt from the air at incredibly high speeds, so a Dyson never loses suction no matter how much you vacuum. Visit dyson.com or call- XXX Dyson. (VF10) (17) Be faithful to your spouse - Play around with your salad. Paul Newman. If you're particularly faithful to just one of my delicious all-natural salad dressings, why not loosen up and try something different? Perhaps flavors seasoned with fresh-from-the-garden herbs & spices could persuade you. Just one fling with these tempting alternatives will make you glad you stayed. Newman's Own. Paul Newman and the Newman's Own Foundation donate all profits to charities. Over $200 million has been given to thousands of charities since 1982. (P6) (18) Oh, I wish … this bite could last forever. Deli shaved ham. For thinly sliced, deli fresh taste, you can count on Oscar. Oscar Mayer Shaved Virginia Brand Ham. New! (P5)

All the examples present a producer speaking in a direct way. The recipient is explicitly addressed by an imperative and a pronoun (“your”) only in (17); nevertheless the other personal messages are implicitly directed towards the ad recipient. The dialogic character of heteroglossic ads is highlighted.

Each personalized message in these examples addresses the recipients in its own unique way. A positive response is intended in each case, yet the means differ. (16) shows an overt statement of product quality with no verbal frills, no

117 hidden meaning and limiting any possibilities of verbal misleading. Here, the identified producer clearly states the major advantage of the product (a vacuum cleaner) and leaves further specification of the technical details to the unidentified voice, possibly a specialist from the company, a designer or an engineer. By placing the identified voice separately from the unidentified one, a corporate hierarchy is suggested. The producing company is seen as organized and well managed with the boss standing behind the proud team. This suggests the mechanical products they make are well designed and have high utility value. Vacuum cleaners are bought for their functionality; verbal decorations or evoking rich imagery could here be counterproductive.

The two other examples promote food products. (17) is a Paul Newman (actor- turned-businessman) message that is intertextual at more levels. Not only is it the producer addressing the recipients directly with imperatives in the headline suggesting the way to use the product, it is also a reference to a shared cultural knowledge of Paul Newman's private life as a devoted husband of 50 years. The two layers overlap: if Newman is known for being faithful and devoted family man in the least favorable environment – the film industry, such qualities are transferred to him as a producer – hard-working, devoted and caring. Newman's own words in the address combine family life and product promotion in a playful, humorous way. Such associations are desired elements when mental space is created and processed. Humor infiltrates the message through a pun: “play around” can be understood as “have fun, goof around, have a fun time” (with the product) and “have an extra-marital affair” (connected to a previously mentioned spouse). This opposition is expanded upon later on through several other ambiguous expressions (“loosen up”, “one fling”). The mental space can be filled by developing an internalized personal relationship with the producer; other positive elements may be the playful decoding of figures of speech, the shared knowledge and informal jargonized product description.

A simpler message is found in (18). The recipient is not addressed directly; the headline gives an impression of being an unintentionally overheard praise of a tasty product. The sender of the message is familiarly identified as Oscar (“you

118 can count on Oscar”) and later the full name of Oscar Mayer is given. Most American recipients recognize this as the name of a famous meat-production company (originally established by Oscar Mayer in the 19th century). Oscar as a person cannot be expected to have uttered this. However, the company previously invested into building their name through personification. In 1970s, their TV commercial said: “My bologna has a first name. It‟s O.S.C.A.R. My bologna has a second name. It‟s M.A.Y.E.R.!” The personification of the company is vividly achieved (and reminded) in the ad. The founder's name is used to personalize the message – sharing how it feels to enjoy the product.

All the ads in this category explore the voice of the producer to help build a relationship between the recipient and the product and thus fill the mental space. Through the speaking voice, a machine is directly portrayed as being well-designed and functional; food products are promoted indirectly, by figures of speech, implying their positive attributes and personal emotional involvement of the producer. Four ads in this category are published in tabloid magazines, all promoting low-involvement food products. Three are placed in Vanity Fair promoting a vacuum cleaner, wine and a luxurious cosmetic product. The speaking persons are taken as specialists who not only know but who also personally care. If publicly known, their complex personalities may contribute to the overall mental space processing.

5.4.5.2 The Voice of a Symbolic Representative The situation is considerably different when the speaking voice is of a well- known personality, usually a show-business celebrity, who does not have any direct relationship with the product except for symbolizing and representing it in an abstract, metaphorical way. The total number of ads in this category is nine, which is similar to the previous one. However, the distribution and discourse differ. Only two ads are found in tabloids and promoting low- involvement daily cosmetics and a food product. All the others are from Vanity Fair and promote high-involvement luxury goods - watches and perfumes. This suggests overwhelming preference of a voice as a symbol to promote high-end products. The following cases illustrate this group.

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(19) Dior Christal Special Edition Chronograph. 488 diamonds, black sapphire crystal. “Always make time for an adventure.” Sharon Stone (VF3) (20) I live for the moments like this. Pleasures Estee Lauder (featuring a full-page photo of Gwyneth Paltrow) (VF9) (21) Covergirl. Plump 'em don't clump 'em. New Volume Exact Mascara Brilliant new brush with microchambers plumps each little lash without clumping for volume a whole new way. Go brush to brush and compare. Clumps on the brush could end up you-know-where! (photos) Volume Exact Brush Ordinary brush Find Queen Latifah's look at covergirl.com easy breazy beautiful COVERGIRL (OK1)

All ads in this sub-group that are from Vanity Fair have a rather short body copy (compared to the two tabloid ads and to the ads in the sub-group featuring the voice of the producer). The ad messages give very few, if any, details of the products. Mostly the name of the product and a voice's statement comprise the whole text. Both (19) and (20) are typical instances of symbolic representatives promoting a product. In none of the ads does the voice mention the product itself, nor do the celebrities verbally imply its usage. The associations with the speaking voice, or with what the voice says, fill the mental space.

If direct speech or a direct thought appear, placement tends to be towards the end of the body copy. The full name of the celebrity is usually given in rather small print. A large photo of a famous face takes over the role of the name. In one case, which is listed here as example (20), no name is given at all. Instead, a photograph of Gwyneth Paltrow, a household name and face, fully takes over the function of a symbol. It may be assumed that names and signatures are less relevant, since they are viewed as a documentary confirmation of product guarantee. Here, the symbolic voices do not guarantee anything; they do not represent the quality or usefulness of the product. They fulfill their function as symbols, sharing qualities with the products in an abstract way. This can be confirmed by one ad promoting a product via the voice of an imaginary celebrity – James Bond. The recipient‟s interest in the product is evoked and justified by the beauty and high social status of the film stars or characters. The product quality can be inferred and placed in the mental space in a very indirect

120 manner, through metaphorical transfer of the person's features to the product, with possibly no rational processing.

The statements of the voices are equally abstract, making sense only figuratively, mostly through metaphorically relating the speaking voice to the inherent sender's voice. When Sharon Stone in (19) says “Always make time for an adventure”, she does not claim explicitly that there is a positive correlation between wearing a Dior watch and experiencing an adventure. She, including her voice and her words, all function as a cue and fill the mental space as a symbolic representation of the product. It is the inherent sender's persona who puts the actress and the watch in a relationship. In these ads it is mostly a visual link, showing a photograph of the famous person wearing the product (if it is tangible, such as a wrist watch) or seemingly wearing the product (if it is a perfume).

The two ads in this category that are from tabloids and promote low- involvement products share most characteristics with ads in the former sub- group, featuring the voice of a producer. The body copy in these ads is similarly long and the voice gives details of the product or its use. However, the promoting celebrities do not come across as developers, producers or company owners; they function as recommenders. In (21), a famous black rapper-turned-actress Queen Latifah talks extensively about Covergirl mascara as a solution for unpleasant situations arising from using other mascaras. Content-wise, rational processing by the recipient is expected. However, emotional value is added by the fame of the personality, her reputation and high social status which may fill the recipient‟s mental space. To link the product with Queen Latifah in a more emotive way, one part of the message (“Plump 'em don't clump 'em”) is delivered in an imitation of a rapper's rhythmical voice. Covergirl is a product range aimed at teenagers and younger women and so the informality of Queen Latifah's language (“Clumps on the brush could end up you-know-where”) is an intended choice aimed at evoking a closer relationship between the normally unreachable celebrity and the ad recipients. By imitating language she might use with real friends, real people in real situations, her recommendation sounds realistic and trustworthy. This

121 conforms to the reason strategy, while the relationship created between Queen Latifah and the recipients enhances the emotive processing.

5.4.5.3 Foreign Voice From the marketing point of view, use of foreign language in ads may function as pertaining to the larger marketing strategy (Kuppens 2009, 116), as when McDonald's used their English slogan “I'm loving it” all over the world. It may also be used to evoke stereotyped cultural connotations, as when Volkswagen advertised their cars worldwide with the slogan “Das Auto”, adding the symbolic value of precision, technological advancement and uncompromising attitude that is stereotypical of Germans. Communicative value is subdued in favor of symbolic value; the foreign language may function as a “language fetish” (Kelly-Holmes 2000).

Use of foreign language as a discourse strategy can be seen as a special case of heteroglossic intertextuality. The inherent voice is expected to be using the language which most probably ensures successful communication; here it is English. When English is replaced with a foreign language, a different voice seems to be addressing recipients. Switching codes can also be seen as an analogy to switching registers in multigeneric intertextuality.

(22) Lacoste. Un peu d'air sur terre. (VF2, VF8)30

The French in (22) undoubtedly confirms Kuppens‟s reasons of pertaining to a unified marketing strategy of the Lacoste company and for adding the French connotations (such as creativity, elegance, stylishness) to the mental space. Memories of visiting the country or encountering French culture can be recalled. In this specific case, Kuppens‟s “creative-linguistic reasons” (ibid.) apply as well because the French slogan is a rhyming one for those who can pronounce French correctly. By spotting such an ear-pleasing detail, the recipients not only feel positive about the phonetic delight but their self- confidence is enhanced through mastering a foreign language, an asset of huge value in today's Western world. The changed language code has the capacity to

30 English translation: Lacoste. A bit of air on Earth. 122 switch contexts and enhance the emotional value of the product through evoking new situations in the mental space. That makes (22) functionally intertextual. Intertextuality here is based on the recipient‟s expectations: the inherent ad sender is expected to speak English; the French speaker appears to be another voice.

A voice speaking a different language may temper the direct appeal for obtaining the product. Direct appeals are rather infrequent in the category of high-involvement products advertised in Vanity Fair. Softening its imperative power, a voice using a non-existent, invented foreign language is detected in the following ad:

(23) My "I deserve it" gold bracelet. There's one language everyone understands. Charms from the Bags and BelShoes collections in 14K gold and enamel. Rosato HSN Speak Gold (VF9)

The speaking voice in the headline says “I deserve it” in an asyntactic manner. The special position of the phrase and its placement in the quotation marks make it stand out from the rest of the text. The inherent voice urges recipients through an imperative slogan to “speak gold” and thus indirectly explains the special meaning of the pre-modifying “I deserve it” phrase: it was said in a different code, a foreign language – Gold. What seemed to have been said in English comes across as a (precious) foreign language the recipient is encouraged to adopt and use. Thus a direct imperative encourages the recipient to obtain the product in a paradoxically indirect manner.

5.4.5.4 Breaking the Rules As Cook points out, advertising is a restless discourse since ads are “a fluctuating and unstable mixture of the voices around them” (2001, 222). Even though the advertising genre changes fast, some principles are valid in the long term. One such principle governs intertextuality: it is a functional and effective strategy when the original text is recognized and so its meaning can fill the recipient‟s mental space and thus influence the interpretation of the present discourse. However, with the advertising practices becoming well-established,

123 the rules are challenged even if they go against logic. Risking the rejection of recipients is balanced by the possibility of introducing a ground-breaking concept; it is a part of the enormously competitive creative processes.

Intertextuality with the identity of the voice or genre intentionally veiled seems to be breaking one of the major principles of its use. A Jaguar advertising campaign is a unique example of such an occurrence in the corpus.

(24) Jaguar. GORGEOUS TRUMPS EVERYTHING. Jaguar. GORGEOUS doesn't care what others are doing. Jaguar. Gorgeous gets in EVERYWHERE. (VF9) (25) Jaguar. WHERE DID GORGEOUS GO? Prefergorgeous.com (VF10)

The Gorgeous ads feature blurred grayish photos of an actively moving female that is most probably very beautiful when seen in focus. However, the uncertainty and suspicion is always there. The mental space of the recipients seems to be outlined but they are left in doubts about what to fill in. The same is achieved through statements about the “Gorgeous” character. She “trumps everything” and “gets everywhere”. She is suggested to have disappeared with the “Where did she go?” question. All of these expressions build her uniquely strong, seemingly omnipotent position, yet this position is never clarified. The recipient is left guessing who she is and what she does. The suspense of her identity is strengthened by the fact that she is an obvious presence in the ads, seen and talked about, yet never says a word herself. Her identifier, Gorgeous, is the only verbal cue of her qualities. This ad campaign was, indeed, designed to present the Jaguar as a fashion icon, a car for “gray eminences”, for those who are not seen and heard but who set trends and hold the power. The Gorgeous campaign was presented as one for fashionistas, which is “a non- gendered term used to describe people who do not follow trends in their life styles: they set them and live by them and others ... may emulate” (Bernstein, 2007). The uncertainty and suspicion evoke curiosity and build an image of the highest and most desirable social role. The campaign is praised by some and loathed by others but as a unique example it has been talked and written about since its launch in 2005. Regardless of recipients‟ taste and the effectiveness of

124 the campaign, Jaguar saw improvement in business in the second half of the first decade. The role of purposefully veiled intertextuality made the product (and the advertising agency) prominent, striking and noticeably different in the advertising overflow.

5.5 Concluding Remarks on Intertextuality in Ads In a broad understanding of switching genres or contexts, story-telling in ads (as discussed in Chapter 4) can also be seen as a case of intertextuality. However, its features and strategic applications in advertising discourse seem to be specific enough to deserve special treatment as a discourse strategy. While stories create imaginary situations and contexts and invite the recipients to develop them, intertextuality seems to evoke emotions or physical states we confronted when we experienced the original text (or discourse). These two types of constructs vary in their temporal direction: storytelling is forward- oriented while intertextuality seems to function by referring back. In other words, storytelling invites the recipient to use mainly imagination and fantasizing; intertextuality recalls the experience or shared knowledge and evokes emotions related to the reminded entities. Both constructs are effective advertising tools when they fill the recipient‟s mental space.

In some ads, intertextuality can be construed as metaphorical processing, which will be the main focus of the following chapter. Discourse strategies undoubtedly overlap on a case-to-case basis and fortify the persuasive advertising effect. Each strategy, however, seems to function along its own noticeably prevailing principles.

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6 Metaphor as a Discourse Strategy Metaphors in advertising discourse are a frequently employed linguistic device. Pointing out their ubiquity, Schmidt (2002) states that metaphors are always used to “express values, thought patterns, norms, etc.” As a discourse strategy, metaphors operate on the principle of transferring features of one conceptual domain (for example a living creature, human body, money, etc.) to another domain (for example a promoted product). From the recipient‟s point of view, this discourse strategy bears similarity to discourse strategies of storytelling and intertextuality in how it delimits a certain interpretive mental space and allows its filling in with contents that are highly desired by the senders.

6.1 Metaphor as a Cognitive Device The 1980s saw a breakthrough in linguistic research into metaphors. Many earlier works view metaphorical expressions as figures of speech, linguistic devices employed by writers and poets in order to express ideas in a novel, creative and unusual way and thus create a unique effect. In 1980, the book Metaphors We Live By by George Lakoff and Mark Johnson initiated a completely new understanding of metaphors as a pervasive, omnipresent concept. Studies of metaphors as a cognitive device, sense-making tool brought a deeper and more complex understanding of how we make sense of the world, to a large extent due to the ability of our minds to map certain features of one domain onto another domain and thus make the meaning comprehensible and interpretable. Metaphors have moved from the realm of literature to everyday talk; from highly skilled and talented word-masters to all language users regardless of their education, age, gender, cultural bonds and social status.

6.1.2 Functions of Metaphors Draaisma (2003, 20) states that some metaphorical expressions, especially those found in scientific discourse, are unavoidable: there is no other way of expressing some phenomena but by means of metaphors (e.g. when we talk of immune system cells “recognizing” pathogens). Other metaphors, on the other hand, may be seen as redundant; they are used for non-informative, aesthetic purposes. Strictly speaking, what is said by a metaphor could be said directly, 126 literally (2003, 20). Implanting this view to the advertising context, metaphors are decorative and replaceable, yet it is only justified in a decontextualized environment. In advertising discourse they serve a much broader spectrum of functions than adding poetic value: they help the advertisers promote products or disperse product-related ideologies and thus fulfill advertising goals. The metaphors found in ads are dispensable only at the price of stripping the texts of their persuasive and aesthetic force. In Jakobson‟s outline of the functions of language, their primary function is not purely poetic, thus balancing between emotive, conative and referential (1995, 73-76).

6.1.3 Presence of Metaphors in Printed Ads Kövecses (2002, 59) points out the conditioning character of metaphors in ads: “The selling power of an advertisement depends on how well-chosen the conceptual metaphor is that the picture and/or the words used in the advertisement attempt to evoke in people. An appropriately selected metaphor may work wonders in promoting the sale of an item.” As noted by Kövecses (ibid.), ads feature various types of metaphors (depicted by picture and/or words) of which only some can be seen as a discourse strategy. Two types of advertising metaphor/metonymy domain transfers that do not seem to operate as a discourse strategy are pointed out by Ungerer (2003).

First, Ungerer (ibid., 321) notes that advertising illustrations can be understood as “initiations of conceptual metaphors just like the linguistic realizations with which they often interact”. In other words, ad illustrations operate as an anchor of one domain while the second domain may be the promoted item itself, the brand name, the producer, or the verbalized part of the message. THE AD ILLUSTRATION IS THE PRODUCT may be seen as an underlying conceptual metaphor in virtually every printed ad containing an illustration. The second domain transfer rests in the substance of ads, which operate as representations of products. It takes a form of the underlying metonymy THE AD FOR THE PRODUCT and/or THE AD FOR THE ACT OF BUYING. Ungerer says: “The products advertised are never really present in the advert, they are represented by a picture or a brand name, which metonymically stand for the item in question. Similarly, the act of buying, which is the ultimate goal

127 of the consumer advertising, is never executed in the advert” (ibid.). Both mentioned metaphors/metonymy are considered to be the defining print advertising substance and not the employment of a discourse strategy.

6.1.4 Metaphors Used as a Discourse Strategy in Advertising Within the aim of studying metaphors as a discourse strategy in advertising it is necessary to partially conceive of the notion of metaphors as figures of speech, i.e. the aesthetic, beautifying discourse features. It is due to the fact that in advertising, metaphors are used by skilled, talented writers, and they are regularly intended to cause a special effect on the recipient. As noted by Velasco-Sacristán and Fuertes-Olivera (2006, 1984), “advertisers produce metaphorical utterances to invite their audience to process the utterance. In doing so, the audience is made to see resemblances between the promoted product or service and the object or property feature in the metaphor.” By that, metaphors in ads resemble literary metaphors. They are not intended to make sense of the objective reality; instead, they are used intentionally and strategically to allow highly personalized yet sender-controlled interpretation of the advertising message. Their meaning potential is limited by the capacity of the domains and by the borders of the established mental space. Which part of the meaning potential is used and how the recipient fills in the mental space is a matter of personal choice and self-realization.

Metaphor as a discourse strategy is understood to be detectable in the verbalized part of an ad and intentionally used by the senders in order to reach a desired effect upon the recipient. In line with Hatch and Brown (1995, 87) the metaphor is seen as “a cognitive and social semantic process”, which in the pragmatic context is “as fundamental as literal reference in semantics”. In printed ads, the full meaning potential of metaphors is often reached only in the context setting, when both the verbalized message and the illustration become part of the decoding process. Multiple channels may provide cues for interpreting metaphors, yet ads with their dominant verbal realization are of major interest in this dissertation.

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Metaphor as a figure of speech is used in advertising in order to reach a desired effect on the recipients and their discourse interpretation. In pragmatic ad analysis, though, the cognitive concept of metaphor (as proposed and advanced by Lakoff and Johnson, 1980; Sweetser, 1990; Kovecses, 2002; and other researchers in cognitive linguistics) is applied. The metaphor is seen as a process of meaning inference established through relating two independent domains. Velasco-Sacristán and Fuertes-Olivera define it as follows: “Metaphors are basic cognitive mechanisms, whereby one experiential domain is partly mapped onto a different experiential domain, and the second domain partially understood in terms of the first one”. (2006, 1982-1983). This mapping is seen as the essence of filling recipient‟s mental-space when metaphor as a discourse strategy is applied.

As a linguistic phenomenon, the metaphor is a dual-level device connecting words and images; a tool operating between two conceptual areas, usually between concrete and abstract ones. It is “a mapping from a certain source domain onto a target domain” (Velasco-Sacristán and Fuertes-Olivera, 2006, 1984). It is a cognitive transfer through which connotations of a word are transferred to a new, foreign context (Draaisma 2003, 19). In the pragmatic sense, it must be understood as a tool operating in context and being dependent on it. In advertising, it is a persuasive device used “as a way of communicating difficult-to-grasp messages, … a persuasive device that hides as well as reveals” (Velasco-Sacristán and Fuertes-Olivera 2006, 1984). Examples of this dual functionality are included in the following analyses (see Ch. 6.2.2.5).

6.1.5 Creating and Filling the Mental Space with Metaphors Metaphors as a strategic device operate by outlining and filling the recipient‟s mental space. First, it is the recipient‟s genre-literacy that allows for allotting some cognitive capacity to the text interpretation. Ad recipients expect that the message can be figurative, delivered implicitly, and breaking the cooperative norms. Secondly, the mental space is created when the direct, literary interpretation fails and the recipient is challenged to search for a more sophisticated way of decoding. In Gricean terms, the creation of the mental

129 space can be conditioned by registering a violation of maxims of the Cooperative Principle (Searle 1993, Levinson 1983, Thomas 1995, Mey 2001).

The filling of the mental space is activated with two related conceptual domains present and the meaning of the message originating in the transfer of features from the source domain to the target one. Pragmatically it is labeled as inferring the meaning, as Mey (2001, 90) states that “inference has to be 'drawn out' of the text; it is something we establish, based on the available facts as contained in the text”. In the cognitive perspective (which is a traditional metaphor-studying field and thus a certain terminological authority), Kövecses (2002, 6) explains the same notion as “systematic correspondences between the source and the target in the sense that constituent conceptual elements of B correspond to constituent elements of A. Technically, these […] are often referred to as mappings.” It is inferring the meaning, or mapping the features of B to A, which corresponds to the notion of filling the mental space by means of metaphors. As Kövecses (2002, 9) further notes, traditionally only some components of one domain become mapped onto the other domain. However, advertising discourse leaves more creative space for mapping, and it is frequently adorned with correspondences that are unaccounted for in stereotypical use.

Mental space is a highly individualized phenomenon that becomes created, filled and explored by each recipient in a unique way. Recipient‟s interpretive processes are determined and guided by the characteristics of the advertising genre, by the context of each ad and by personal experience and individual thought processes. Spotting and processing a metaphor is, nevertheless, considered a sign of higher intelligence and thus of higher status. It is not surprising then to find metaphors consistently employed in certain ways with certain products which are associated with certain target recipients. However, background knowledge and shared cultural values are often crucial for successful ad interpretation. For Gumperz (1992), sharing linguistic and socio- cultural knowledge is essential in order to fulfill the goal of communication. In that sense Stubbe (2000, 1) notes: “The successful negotiation of meaning is dependent on a great deal more than the verbal interaction itself, including

130 shared access to and understanding of activities, physical objects and processes referred to in a particular exchange.” The mental space becomes processed by metaphorical mapping, which is enabled or aided by background knowledge.

6.2 Metaphors Used as a Discourse Strategy The following analysis discloses two basic types of metaphors used as strategic devices: (a) the category of revealing metaphors that are intended to reveal unique and pleasing associations; (b) the category of ideological metaphors operating on the basis of establishing ideological concepts.

The creative revealing metaphors convey a range of novel implicatures which the recipient is expected to process and map onto the promoted commodity in order to create the desired image of the product. This is often done through creative, non-standard metaphors, including personifications. The following ad for an alcoholic beverage illustrates such use in the form of personification (THE PRODUCT IS A LIVING CREATURE): “Watch out! This Wine Jumps Out of Your Glass! FishEye.” (US3)

Standard, non-creative revealing metaphors that do not draw on creative strength are examined as a sub-category of this type since they often appear side by side with the creatively used metaphorical images. These recognizable metaphors encourage the recipients to strengthen the existing ideas and opinions through using predictable, non-innovative language patterns and metaphorical mappings. Usually these metaphors appear in the form of noun- verb collocations, such as in the following ad for a skin cleanser, where the metaphorical collocation of “skin breathes” is repeated several times. Thus, the underlying conceptual metaphor SKIN IS AN ORGANISM can be detected: “Skin so naturally clear it breathes. Skin that breathes is skin that can be free of breakouts and blemishes. So, go natural, go Swiss. With St. Ives Apricot Scrubs and Cleansers. Oil-free. 100% natural exfoliants, never synthetic. With salicylic acid to clean deep into pores. Removing dirt, oil and dead skin cells

131 that cause blemishes. Allowing skin to breathe. So your skin looks fresh and clear. Visibly healthy. Naturally Swiss. St. Ives Swiss Formula. ” (US3)

The ideological metaphors, which is the second major category, are intended to hide certain concepts. They tend to be ideologically loaded; they “exploit the audience‟s search for cognitive efficiency, often giving rise to covertly communicated [ideological] interpretations” (Velasco-Sacristán and Fuertes- Olivera, 2006, 1987). Their hiding power lies in hiding the socio-politico- cultural philosophies which they use in order to sell rather than in hiding some mappings which undermine the image of the product. Such ideological metaphors “can have far-reaching cognitive as well as ideological consequences” (Goatly 1997, 79). An example of such a use can be found in the following luxury cosmetics ad. In it, skin ageing is a metaphoric target domain and the source domain belongs to the concept of war, which creates the ideologically loaded metaphor SKIN ageing IS AN ENEMY: “Fight Skin Ageing Where it Starts. It is never too early – or too late – to intervene on your skin's behalf. NEW Anti-ageing Emulsion SPF 30 Anti-ageing Eye cream SPF 15 Available from 2nd October. La Prairie SWITZERLAND” (VF7).

6.2.1 Distribution in the Corpus under Investigation Metaphors seem to be the most frequently explored discourse strategy. One hundred and twenty-four instances have been identified within the corpus. Out of these, fifty-three are found in Vanity Fair and seventy-one in tabloid magazines, which points to some preferential distribution towards tabloids. The statistical indicator, however, appears to be slightly different when personifications, as the most frequently appearing subtype of metaphors, are counted separately. Due to their frequency and specific features, personifications are analyzed in a separate sub-chapter. The non-personifying metaphors comprise sixty-two instances of revealing and nine ideological metaphors, out of which thirty-five are found in Vanity Fair and thirty-six in tabloids. This points to a more balanced distribution. Personifications appear in fifty-three ads, only eighteen of them in Vanity Fair and thirty-five in tabloids.

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6.2.2 Revealing Metaphors 6.2.2.1 Long Body Copies In this category, low-involvement products are predominantly promoted. Thirty-one ads exploring metaphors as a discourse strategy with body copies over twenty words are identified; twelve of them can be found in Vanity Fair and nineteen in tabloid magazines. The most frequently promoted low- involvement products are food and non-luxury cosmetics with ten and six instances respectively; the most frequent high-involvement products are cars (six instances) and watches/jewels (five ads). Long body copies contain an abundance of technical description which strengthens the utility value and thus operates as a reason-evoking advertising strategy. The tickle strategy is employed simultaneously, with metaphors used as emotion-adding elements.

Metaphorical expressions appear randomly throughout long body copies. They allow the presentation of technical details on the products and instructions on their use in a coherent way – they provide intratextual coherence on the level of lexical choice (Chilton and Schäffner 2002, 29). They also allow the recipient to feel like a co-author of the textual meaning, since the mental space created in reading the ad is to be explored in an individualized way: the recipient is invited to fill it with metaphorical mapping of his/her choice. At the same time, the recipient‟s creativity is not left unattended: the outline of the space is imposed by the sender, stated by the lexical clues in the text.

The source domain is mapped onto a target domain in all metaphor-utilizing ads. The following ads promote non-luxury cosmetics and primarily explore the conceptual metaphor SKIN IS A REPLACEABLE COVER, with SKIN being the target domain.

(1) Clinique Liquid facial soap. Mild Clarifying lotion. Dramatically different moisturizing lotion. Sleep in. It's just 3 minutes to great skin. Clinique's 3-Step Skin Care is such a simple, effective system, it takes just 3 minutes in the morning and again at night to wake up in great skin. Developed by dermatologists and custom-fit by Experts, this logical routine of cleanse, exfoliate, moisturise is all you need to rouse new transparency, clarity, life.

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Know how great your skin looks after a good night's sleep - clear, smooth, radiant. It could be like that. Every day. Clinique. Alergy Tested. 100% Fragrance Free. (VF1) (2) Yes. Gentle exfoliation can be effective. Sweep away the dullness, keep the glow. Twice-a-day exfoliation with Clarifying Lotion sweeps away dulling flakes. Nudges fresher, livelier looking skin to the surface. In four skin-typed strengths, it's the heart of our dermatologist-developed 3-Step System of cleanse, exfoliate, moisturize. So yes, dry skins accept moisture better. Oily skins see fewer breakouts. Fine lines are visibly softened. Texture, refined. Can great skin be created? Yes. Come for a custom-fitting. Allergy Tested. 100% Fragrance Free. Clinique. (VF6) (3) The Lycopene in tomatoes is proven to boost your immune system. Now it's in skincare that actually boosts skin's radiance from the inside out. New. Garnier Skin Renew. Nutrition + Dermatology. A 1st from Garnier. Skin Renew with unique dermatological nutrients refuels cells within skin's deepest surface layers: LYCOPENE powerful anti-oxidant VITAMIN C surface cell renewal MAGNESIUM energizes + hydrates. A clinical study proves: in 3 weeks tone and texture are transformed for a deeper radiance. Great skin from the inside out. GARNIER. Take care. (P2)

“Three minutes to great skin”, “Wake up in great skin” (example 1), “nudges fresher … skin to the surface”, “can great skin be created” (example 2) and “skin from the inside out” (example 3) all evoke the image of skin which can be manipulated, replaced or changed in a similar way as a dress or uncovered as a lower-lying layer of clothes. The possible other mappings of clothes are beauty, trendiness, smartness, neatness, but also protection, usefulness and necessity. All of these, and supposedly many others (based on very personal interpretations), can become the contents of the interpretative mental space and be mapped onto the domain of one‟s skin. The idea that skin can be chosen is certainly attractive for the majority of fashion-conscious magazine readers.

It seems to be frequent that one conceptual metaphor operates as the leading interpretative force, but others can be present as well and complete the emotive image of the ad. TIME IS A DISTANCE in (1) can be found behind “three

134 minutes to great skin”. SKIN CARE IS A LIVING ORGANISM in (2) is present in “the heart … of cleanse, exfoliate, moisturize”. SKIN CARE IS A STIMULATING FORCE in (3) is found in “skincare that actually boosts skin's radiance”.

All three examples use the metaphor LIGHT IS A POSITIVE SKIN FEATURE which can be seen in expressions such as “skin looks radiant”, “keep the glow”, “deeper radiance”. This can be understood as a specification of a deeply rooted LIGHT IS POSITIVE conceptual metaphor which is pervasive in English language use. Expressions such as “glowing with satisfaction”, “he took a shine to her” or “bright idea” are easy to find in different types of discourse.

A similar situation appears with high-involvement products. The metaphors penetrate the longer body copies which usually present technical details of the product. However, the choice of metaphors is not as uniform as with the cosmetics products.

(4) Pull over occasionally and let your blood cool. The acceleration alone will take your breath away. Match it with a 165-mph top track speed and a suspension that feels tuned to your every thought, and the Cayenne Turbo is enough to send you on an endless drive. Stopping only for those occasions when your senses redline. Porsche. There is no substitute. The Cayenne Turbo. (VF9) (5) Fall off the edge of the map. 4Runner. Expanding Your Universe. The Toyota 4Runner's arsenal of smart advancements can carry you up unbelievable inclines and over inhospitable terrain. So when you've reached the end of everyone else's world, yours is just beginning. Discover more at toyota.com Toyota. Moving Forward. (P6)

In (4), the metaphor re-surfacing throughout the text is USING THE PRODUCT IS AN ULTIMATE PHYSIOLOGICAL EXPERIENCE. Expressions such as “let your blood cool”, “take your breath away”, “senses redline” all refer to bodily functions in extreme conditions. These expressions

135 and technical details of the car (“acceleration”, “track speed”, “suspension”) appear scattered throughout the text and create an impression of the metaphors being identical with the technicalities. The emotional value added to the product through such a metaphor is unquestionable. In (5), the domain of a body is replaced by a domain of geographically-defined space. Expressions such as “map”, “universe”, “inclines”, “terrain”, “world” serve as a source domain, features of which are mapped onto the target domain of using the product. The recipient can choose any of the features of the broad source domain and transfer them to the target one. That gives the recipient extended interpretative power to fill in the mental space.

Similarly to examples (1) through (3), more underlying conceptual metaphors can be detected in both (4) and (5), e.g. BODY IS A CONTAINER, EXCITEMENT IS HEAT, THINKING IS SOUND, UNIVERSE/WORLD IS AN EXPANDABLE FORM. As these are deep rooted and common in the language use, they can be seen as directing the interpretation of the ad in a predictable way.

The samples analyzed so far have been generally based on cohesive chains, i.e. lexical items that evoke similar associations and appear in different places of the text (as defined by Barry 2003, 158). The identification of the actual metaphors is mostly left to the recipient. It is possible that such metaphors stay undetected by many, or are processed only literally. Thus the interpretation may stay only in the form of a fuzzy perception. To aid the processing on a metaphorical basis, some ads offer cues for directing the inference of meaning. The following ads contain a metaphor they explore in a direct form:

(6) What's a boundary? RX 400h. The world's first high performance hybrid SUV. Conventional logic is a boundary. Lexus logic is different. It brings together the unheard of combination of V8-like power, superior fuel efficiency, and lower, category-leading CO2 emissions. How? Through Lexus Hybrid Drive, which cleverly links a petrol engine with two electric motors. The result is the RX400h. A unique SUV, built to demolish boundaries and

136 open up a whole new world of driving for you. Lexus. The pursuit of perfection. (VF8) (7) Hyundai. Drive your way. If greatness is a destination, we're on the road to it. Hyundai Tucson is the "Highest Ranked Compact Multi-Activity Vehicle in Initial Quality." We're going places people never thought possible. Like the top of the automotive world. Our most recent milestone is no accident. It's the result of years of focus, determination, and drive. Not to mention lots of rethinking. When you follow a map of excellence, you're bound to pick up a few treasures along the way. HyundaiUSA.com TUCSON (US3)

“Conventional logic is a boundary” in (6) is a metaphor in itself. The recipient is directed to interpret the ad as the product being a problem-solving agent, since the metaphor presents a problem and the product is “built to demolish boundaries”. In this case, negative features can appear in the mental space (e.g. customary procedures, habitual behavior, patterns, prejudice); the problem- solving structure of the ad, however, requires that in order to make the ad efficient the product is the problem solver to the negative contents. In (7), the verbalized metaphor is “greatness is a destination” and the product is promoted as a means of reaching the destination. In the ads in which metaphors are clearly stated, the process of metaphorical mapping is aided and more closely directed. The reason strategy seems to be mildly imposed. When more space is left for the individual interpretation (as in examples 4 and 5), emotional value seems to be more prominent. However, metaphors in any form allow the mental space of the recipient to be filled in by associated attitudes, feelings, personal experiences or desires.

Some longer body copies use metaphors only in a restricted placement within the ad. The following ads are based on the descriptive discourse strategy, displaying a range of technical details concerning the promoted products. This conforms to the reason strategy. Metaphors are present only in the slogan or the headline, which marginalizes the tickle strategy. Slogans do not contribute to the overall information load of the ad message; instead, they function as a display of the corporate identity. They serve as a signature of either the producer or a unique identification of the product brand. They are used

137 repeatedly in advertising campaigns and thus their main function is to remind the recipient of the product/producer (Křížek and Crha 2003, 96). A vivid metaphorical expression may serve the purpose well: its informative value is low, yet the memorability may be very high due to extensive cognitive processing.

(8) It's anything but cute. The all-new 2007 Dodge Caliber starting at $14,135. 172-horsepower 2.4 liter engine. Available MusicGate Power Boston Acoustics sound system with swing-down liftgate speakers. Visit dodge.com or call XXX. Grab life by the horns. Dodge. (P3) (9) Three ribbons. Three levels of skincare. If you like an intensely moisturized feel, try BODY BUTTER ribbons. If you like a fresh-skin feel, try LOTION ribbon. If you like a creamy, moisturized feel, try CRÈME ribbons. Olay. Love the skin you're in. (P6) (10) Unlock and conquer. Golden Bridge. The mystifying timepiece to release the passion within. The first Corum in-house movement, originally created in 1980, is a unique "in-line" movement suspended in a transparent case. Four sapphire crystals allow viewing of the movement from all directions. Each element is conceived and developed respecting the highest code of Haute Horlogerie, and hand-assembled by our master watchmakers. Visit www.corum.ch Corum La Chaux-de-Fonds, Suisse (VF3)

Both (8) and (9) use metaphorical slogans that are found in other ads of the same producer within the corpus. “Grab life by the horns” is an idiomatic phrase based on a LIFE IS A WILD ANIMAL THAT CAN BE TAMED metaphor that allows mapping of the features of taming the wild animal to the notion of life, here restricted to “life with the product”. The recipient may imagine the excitement, power, a rodeo, a hard yet enjoyable activity and the reward coming after it, all associated with using the product. “Love the skin you're in” is based on the metaphor analyzed in examples (1), (2) and (3). It serves as a mapping for skin being treated as clothes – the ultimate visual statement for one's personality. The rest of the ad message gives the recipient the usage options. Thus the ad is also a case of employed reason strategy with a strong tickle closure.

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Example (10) uses a single metaphor, too, this time in its headline only. Watches and jewels are frequently promoted with short metaphorical body copies. This ad seems to be similar to other luxury item ads in that it employs one metaphor in its copy; in a rather unusual way, technical details follow. The featured metaphor is rather difficult to grasp because only one domain is present; the other one must be guessed (PRODUCT (?) IS A CITY/CASTLE/TEMPLE THAT CAN BE RULED). This fuzziness seems to be typical of promoting luxury, low-utility products. The metaphorical language seems to function as a decoration, a sign of sophistication even if it stays undecoded.

Examples (8), (9) and (10) use a single metaphorical phrase, and therefore the mental space for its interpretation is rather limited. Yet, its significant location and repeated use make it salient and noteworthy.

6.2.2.2 Revealing Metaphors in Short Body Copies Short body copies, i.e. ad messages under twenty words, usually do not implement a descriptive discourse strategy. With short messages, advertisers try to promote the products by evoking recipient‟s emotions. This means that the advertising tickle strategy is dominant in an overwhelming way. Using metaphors as a discourse strategy clearly fulfills the function of evoking emotive responses. In short body copies it generally means that the whole copy is a single metaphor. Twenty-six metaphorical short body copies are identified in the corpus; fifteen of them are found in Vanity Fair and eleven in tabloids. The majority of these promote low-utility, high-involvement products such as jewels and watches (eight instances) and luxury clothes and accessories (seven instances). This proportion corresponds to the predominance of this type of ads in Vanity Fair as a high-end magazine.

Some ads have short body copies because the metaphor they employ is suggested via illustration. Such cases can be labeled verbal-pictorial metaphors. The picture does not promote the product as it is but aids the

139 metaphorical transfer of features of the source domain onto the target domain (which is usually the product). The following Motorola ad illustrates the point:

(11)

(P6)

The product is visually depicted as if it were candy. PRODUCT IS DELICIOUS FOOD allows an extended mapping of features such as pleasure, enjoyment, treat, reward, colorful choice, accessibility, play, etc. The verbalized part of the metaphor, the “Yum!” interjection, depicts one of the features that are to be mapped onto the product. The mobile phone is obviously not an edible item even though the picture and the headline suggest it; a direct transfer is thus ruled out by general knowledge. In search for interpretation, the recipient can primarily attach the wide color choice that suits both the product and candies, and then may continue filling the mental space with other features mentioned above.

Promoting jewels and luxury items such as perfumes or designer clothes is almost exclusively done through purely visual messages, or if a text is incorporated, it tends to be a short body copy. The purpose is solely to evoke emotive responses from the recipients. “I like it so I want it” is the most desired response. Metaphors found in such ads are often very fuzzy and hard to process, and as such they often stay undecoded. Their meaning potential is generally very unclear. They seem to operate on the basis of symbolism: the

140 abstraction they explore functions as a totem of sophistication. Sophisticated minds capable of appreciating such metaphors tend to be well educated, culturally advanced, belonging among other people capable of such appreciation. They usually also rank among those who can afford such items. Metaphors used in such ads seem to serve as a social status indicator rather than a linguistic device of meaning-creation.

(12) Chatila Jewellers since 1860 The Art of Happiness. (VF7) (13) Gehry Beauty without rules. The Frank Gehry Collection. Tiffany & Co. (VF5)

Both ads feature metaphors relating a product to some entity which is rather abstract and not easily identifiable. (12) associates the jewels with an artifact; however, this artifact is the one depicting the feeling of happiness. That means that another metaphor, HAPPINESS IS AN ARTISTICALLY DEPICTED OBJECT, is found underneath. Its mapping is still rather unclear since art is a notion which resists exact definition and unified understanding. A similar situation appears in (13), where the product is (metaphorically) related to beauty. The syntactic form suggests the metaphor that normally BEAUTY IS A RULE-GOVERNED STRUCTURE, and this product is special because it does not obey the common rules. What seems to be more important than the specific metaphorical mapping here is the idea inferred from the message: the product is a rule-breaker and still beautiful. That is a highly desired quality with many luxury-seeking recipients: unique, non-standard, non-customary and still attractive. The metaphors in short body copies seem to function as status- enhancing elements, evoking recipient‟s emotional response based on feeling sophisticated and special and thus well-suited consumer of this product rather than processing the metaphor as domain mapping. The mental space of the recipients seems to be filled with personal satisfaction and status-consciousness rather than by metaphorical mapping. In this sense, the complete metaphorical short copy ads function as metaphors that can be identified as APPRECIATING THE AD IS HAVING DESIRED SOCIAL STATUS.

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6.2.2.3 Personifications Personification is defined as “taking place when an inanimate object is the grammatical subject of a verbal or mental process” (Velasco-Sacristán 2010, 76). According to Kövecses (2002, 35), personification is a type of ontological metaphor and it “permits us to use knowledge about ourselves to comprehend other aspects of the world” (ibid, 50). The metaphorical mapping occurs between an inanimate domain and a domain depicting a person. Recipients fill the mental space with emotions and attitudes towards a product or a related object that they would normally have towards a person. Personification supports the dialogic discourse as well: communication with the environment is a defining feature of animate entities. Due to the personification, the product is frequently perceived as speaking to the recipient. This enhances mutuality, reciprocity and the involvement of the recipient in ad interpretation.

Personification is a frequent type of metaphor, which is why it is analyzed as a separate category. Fifty-three instances are identified in the corpus, with a dominant presence of thirty- five cases in tabloids. Only eighteen personification ads, one-third of the total number, are found in the magazine Vanity Fair. Low-involvement or high-utility products such as non-luxury cosmetics, packaged food, beverages and cars are promoted in the tabloids while high-involvement and low-utility products such as jewels, luxury cosmetics and brand-name clothing are promoted in Vanity Fair.

The most frequently researched and studied personification in advertising is THE COMMODITY IS THE CONSUMER (Borchers 2005, Kövecses 2002, Velasco-Sacristán 2010). The samples analyzed in this dissertation point to a broader employment of personification. The animate source domain is not exclusively a consumer; instead, a person with no specific role occupies the spot. The commodity, or the promoted product, is the target domain. The following ads make the inanimate product objects of processes usually attributed to people, and thus explore the metaphor PRODUCT IS A PERSON:

(14) Shyness Cured. Peugeot 207 CC. Drive of your Life. Peugeot. (VF4)

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(15) A disposable razor has never taken a woman's legs so seriously. The performance of our most advanced razor. The convenience of a disposable. Introducing the Schick Quattro for Women. Disposable. With four ultra-thin blades and two conditioning strips, no other disposable gives you a closer, smoother, more comfortable shave. The Power of 4 is now disposable. Schick Quattro For Women Disposable. (LS1) (16) The toothpaste that never sleeps. Fights germs for 12 hours day & night. Colgate Total. # Recommended by Dentists. (US1)

Both (15) and (16) contain verbs that can normally be understood as actions of humans, and so the personification is made explicit. The products exhibit abilities of people who care and protect: the razor in (15) takes “woman's legs so seriously”, and it seemingly actively “gives a shave”. The toothpaste in (16) “never sleeps” and “fights germs … day & night” and so it is assigned the role of a 24/7 guardian. Both ideas are appealing, creating a positive product image.

In (14) the personification is implicit and it is detectable only after deeper processing. The car is described by a noun phrase “shyness cured”. The recipients are invited to deduce that it has emotions, which is generally a domain of people. If the car as a target domain can be shy and can recover from that feeling, it may as well have other feelings and go through emotional processes. This mapping of the human psyche onto the product is only limited by the recipient‟s imagination and, as is shown below, cultural values, which may play a significant role.

Ad (14) metaphorically exhibits cultural values that may help create a positive image of the product. SHYNESS IS A DISEASE is an underlying conceptual metaphor since if something needs to be cured (“shyness cured”), it is a disease. Shyness is not a prized value in today's western world; it is an antithesis of a progressive, modern member of our society. American recipients may better appreciate dynamic, active and energetic people. When the promoted product is portrayed as not having the undesired traces, it is in line with the dominant cultural values. The metaphorical mapping may be directed to an extensive range of antonyms of shyness (Nemčoková 2009, 95). The

143 recipient‟s mental space is broad when such an extensive notion is employed; advertisers seem to “give up” a large proportion of the control over the persuasive force of the ads.

Interestingly, the explicitness/implicitness duality discussed between (15) / (16) and (14) respectively correlates with the type of product promoted: both (15) and (16) promote practical daily cheap products in tabloids, which seem to be promoted by explicit means. (14), on the other hand, promotes a high- involvement product in Vanity Fair, which seems to be more often based on implicit means.

The promoted product is not the only the target domain in personification ads. The following ads illustrate personifications where the source domain of a person is mapped onto a target domain of inanimate objects, which nevertheless are always related to the product. This is very often the case of ads promoting non-luxury cosmetics. The target domain is the skin, i.e. the material for which the product is used. The metaphor referred to is SKIN IS A PERSON.

(17) So purifying, it's like a mini-sauna for your face. New Olay Warming Cleansers. Feel the exhilarating warmth of New Olay Warming Cleansers. Feel them not just cleansing, but purifying your skin. Removing impurities better than basic cleansing. Your pores will sit back, relax and say "Ahh..." Olay love the skin you're in. (P2) (18) Suddenly, my skin is an extrovert. No longer content to live in the shadow of my smile, it wants to be the center of attention. This new skin and I were made for each other. The new Jergens Moisturizing Collection. From our reformulated Original Scent to our new Shea Butter moisturizers, our unique collection transforms skin. Leaving it so remarkably smooth, soft and radiant, you won't be the only one who notices. Put your best skin out there. (US3) (19) Dove Cool Moisture. A refreshing drink to your skin. Summer heat taking its toll? Freshen up with Dove Cool Moisture. The line of gentle-to- your-skin products created with 1/4 hydrating lotion. And the uplifting fragrance of cucumber and green tea. It's everything your skin thirsts for. (P5)

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It is either the skin as a whole or elements of skin only that function as target domains. In (17), pores of skin are attributed the ability to “sit back, relax and say Ahh...". The extended mapping which may fill in the mental space revolves around the feeling of relief after dealing with a problem, when everything is solved and a well-deserved relaxation follows. Since all the recipients are expected to have such an experience, the desired processing is guaranteed. The effect of the ad message is intensified by the intertextual voice of the pores. The idea that pores have something to say and say directly (which clearly belongs to the realm of human behavior) strongly supports the personification effect and thus the dialogic quality of the discourse. (18) illustrates skin perception as a complex human being, with a psychological profile (“extrovert”) and life experience (“to live in the shadow of ...”). The recipient is encouraged to view it as a person who due to the product went from being shy to enjoying the exposure and craving attention. The change depicted in the ad results in the skin becoming a partner for the product user: “This new skin and I were made for each other” introduces the skin as being the object of affections and desire. The power of mapping that can originate from such an emotional source domain is potentially immense. (19) presents a slightly more limited domain, where the skin is seen as a thirsty person. The unpleasant feelings we experience when we are thirsty are limited in range but can be excruciatingly intense. The product is portrayed as solving the thirst problem. The mapping is not rich in scale, yet its lean towards the utility value of the product – the skin moisturizer – makes this specific attribute root strongly in the mental space. The mapping in the examples above can operate in two different dimensions: (a) the width of attributes possibly entering the mental space; (b) the depth and intensity of the dominant feature.

Other product-related objects can become target domains in personification- exploring ads. They may be the objects related to the unique selling proposition (the feature that differentiates the product from the others in the category), or items which complement the product.

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(20) Seven airbags for you. One for the planet. Designed for today and tomorrow. With emission-reducing hybrid technology to help protect the future. And a host of standard safety features to help make sure you're around to see it. Camry. When a car becomes more. toyota.com The all-new 2007 Camry. Toyota. Moving Forward (P5) (21) OREO. Milk's favourite cookie. (P4)

A unique selling proposition (USP) for a car may be its power, efficiency, or technological advancement. In (20), environmental friendliness is depicted as the USP of the product. The planet, the protection of which is the basis of all environmentalist activity, is implicitly portrayed as a person with “one [airbag] for the planet”. Airbags are meant to save people, who are vulnerable and frequently hurt in cars. Airbags are known to save lives. The mapping of such features onto the domain of the planet helps understand the planet as a living, organic being that needs protection and careful handling as much as every individual. This ad incorporates awareness of cultural and social norms, or one of the leading current ideologies, in a similar way as was discussed with (14). The responsibility for “doing good” is seen as part of the producer's agenda. The Oreo ad (21) incorporates the “doing good” idea in a different way. It suggests a possible way to consume the product: by dipping it in milk. The personification of milk evokes children's interpretation of the world: the substance is presented as a happy person when the cookie is dipped in it. The emotions mapped onto milk are sheer happiness and joy derived from good food. What makes the impact of the ad (and filling the mental space) stronger is the fact that the consumer is indirectly seen as the one who can cause this happiness for milk; he/she can be “doing good”. Causing good feelings in others is a more complex and deeper emotion-enhancing process. The milk is seen not only as a happy being, but it is happy because the consumer caused it. Personifications in both (20) and (21) do not directly put the product in the target domain; instead, they use the personifications of related items to show concerns of the producer or to appeal to the consumer‟s behavior.

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6.2.2.4 Metaphors as Cultural Entities Languages often differ in the expressions originating in conceptual metaphors, because these conceptual metaphors reflect different cultural values. Reversely, as language influences our activities, Hatch and Brown (1995, 105) note that metaphors determine what is normal in culture and they aid common-sense understanding of the world. They see metaphors as “both a social and cognitive process” (ibid.). In a similar sense, Kövecses (2005, 160) states that metaphor and its linguistic expression is motivated both cognitively and culturally and “conceptual metaphors are just as much cultural entities as they are cognitive ones.” The advertiser‟s awareness of cultural norms may be one of the guiding elements of exploring the recipient‟s mental space, as was discussed with example (14). In this regard Xiao points out that “the greater the cultural awareness the advertisers show in making their advertisements, the greater the receptiveness on the part of consumers and the effectiveness of communication between advertisers and consumers will be” (2006, 49). When encountering an ad which is in line with what is understood as correct and right, the creation of a positive attitude is easier.

Advertisements as a genre, according to Kövecses (2005, 171-172), are major manifestations of the American mind, so a thorough psycho-linguistic study would most probably yield a deeper understanding of American “psyche”. Employment of culture-motivated metaphors in advertising may be one of the reflecting facets of the psyche-revealing process. As each culture is characterized by its own metaphors, these appear in ads and help “organize extensive proportions of experience.” (ibid., 184). One of the characteristic American metaphors is LIFE IS A SHOW, and it was detected in several ads in the corpus.

(22) Live like it's one big premiere. Light it up. Diet Coke. (P5) (23) There are no long lines or tickets required to see the art in the every day. Banana Republic. (VF10)

The two examples differ in their use of the metaphor on several layers and thus exhibit some of the LIFE IS A SHOW employment possibilities. Firstly, (22)

147 contains two imperatives and thus directly appeals to the recipient. The straightforward mode is “emotionally softened” by using a metaphor to deliver the message. The mental space is outlined and the recipient is invited to fill it in through the metaphorical processing. In this ad, this process is doubled; it consists of two hierarchically-related mappings. “Light it up” is an expression from the source domain of a show while the simile “live like it‟s one big premiere” contains implicit specification of the target domain. Due to the simile, the target domain can be seen as LIVING IN A CERTAIN WAY (IS A SHOW). The simile functions as a mental-space filling process (A TARGET DOMAIN IS LIKE A SOURCE DOMAIN) by itself and as such appears to function as a source domain of the superior metaphor “light up your life (which is like a premiere)”. The all-encompassing metaphor of this ad is deeply rooted in American minds so the mapping is certainly rich and rather uncomplicated. The mapped features may include entertainment, celebrity status, glamour, wealth, beauty, success, etc., all of which fill the mental space in connection with the promoted product. The ad seems to be an overt one; it relies on a double-strong and clear metaphor mapping and delivers it via an imperative.

This is in direct contrast to (23), which presents the product with a negative statement containing a rather veiled metaphor. More cognitive effort is needed to process this message and establish the metaphorical mapping. The promoted product (clothes) is inherently metonymically understood as being the embodiment of “the art in the every day”. The underlying metaphor is LIFE IS A SHOW with the source domain being suggested by a cohesive chain of “long lines”, “tickets” and “art”, and the target domain drawn from “every day”. However, the logic of the statement goes against the suggested metaphor. The specific metaphor contrasting the conventional one is “EVERYDAY LIFE IS ART BUT IT IS NOT A COMMERCIAL SHOW”. The ad explores one of the deep-rooted American metaphors to criticize the commercial side of entertainment (with negatively delivered “long lines” and “tickets”) with mapping of snobbery, artistic freedom sacrificed for financial gain, mass culture, or pretense. In this way it sells on the basis of a possible meaning inference of the product representing the simplicity and sincerity of the non- business side of art/entertainment. In contrast to (22), the recipient is not

148 addressed directly; the metaphorical processing is more demanding due to imposing a polarity switch and a divergence from the cultural norm. This ad may be more appealing to philosophically-inclined and socially-sophisticated recipients; these may be desired target consumers as well.

The two ads reveal two sides of a metaphorical mapping spectrum. They also correspond to the low/high-involvement product promotion pattern: while (22) seems to be more overt in delivering its message and sells the most well known soft drink in a tabloid, (23) is more covert, difficult to process and promotes a fashion brand in a high-end magazine.

Metaphors in ads explore cultural values in varying ways. In (22) and (23) the metaphor itself depicts the cultural trait in question. The following example contains a culturally unrelated personification (HANDS ARE PEOPLE), yet being aware of cultural norms is essential for the successful negotiation of its meaning.

(24) Your left hand dreams of love. Your right hand makes dreams come true. Your left hand lives happily ever after. Your right hand lives happily here and now. Women of the world, raise your right hand. The diamond right hand ring. View more at adiamondisforever.com. A Diamond Is Forever. Diamond Trading Company. (VF10)

The personification of two hands as two different people is imaginative and a rich source of mapping possibilities. Each hand represents a different type of a personality with a different lifestyle; together they create contrast, one side of which is the product-related strength. However, the recipient needs to be aware of American culture norms to understand the contrast. A diamond ring worn on a woman's left hand symbolizes marriage, and associates with love, romantic dreams and a kind of emotional utopia often encountered in romantic stories (hence the intertextual reference of “lives happily ever after”). A diamond ring worn on the right hand is developed as an antithesis to the symbol of marriage, the connection of two elements or dependence on another person. It is understood as a representation of individual strength, personal achievement,

149 success, freedom, all embedded in real life. Only when recipients understand the shared knowledge of this cultural norm is it possible to decode the ad message appropriately. Example (24) combines metaphorical mapping, intertextual reference and traces of storytelling set in culturally-coded advertising context. Unlike examples (22) and (23), the cultural norms in (24) are meaning-creating elements even if they are not directly depicted by the metaphor.

6.2.2.5 Non-creative Metaphors Kövecses (2002, 43) labels the instances analyzed in the previous sub-chapters as “literary metaphors” creatively constructed by writers or poets and which, he claims, “often 'jump out' from the text; they have a tendency to be noteworthy by virtue of their frequently anomalous character ... [They] are typically less clear but richer in meaning than everyday metaphors”. Such cases evoke the cognitive activity that leads to filling of recipient‟s mental space. The metaphorical mapping is rich, and due to its uniqueness it enhances the attractiveness and memorability of the ad – two of the major advertising goals. However, not all the metaphors found in the ads are of this nature.

Metaphors are so deeply embedded in our lives and language that we are often unaware of using expressions that are metaphorical (Lakoff and Johnson, 1980). They are as common (or even more common) in daily language as they are in literature. Meaning of many concepts is created due to our capacity to infer it through metaphors. Among many cases, we make sense of the concept of time by speaking of it as money (TIME IS MONEY), which can be seen in expressions such as “you‟re wasting my time”, “this will save you hours”, “I have some minutes to spend now”, “budget your time well”, “use your time profitably”, “to investing time in a task” and “it‟s worth a while”. Metaphors in this sense can be seen as a “textual practice that contributes to our developing and changing consensus about linguistic meaning” (Jeffries 1998, 249).

In ads, such metaphors are rather common. They do not enhance attractiveness or memorability through novelty and creativity; instead, they seem to fulfill a function of explanatory devices for some difficult concepts. They are the same

150 metaphors and expressions that can be found in daily language use, so their placement in ads is not supposed to make recipient pause and speculate. Quite to the contrary; the recipient is expected to understand the concept without much effort. The concepts that are delivered through non-creative metaphors are often closely related with the advertised product, such as causes, effects, characteristics or conditions of use. It is highly advantageous when the cause for the product to exist or a desired effect caused by the product is clear and easy to understand. The following ads illustrate the use, with metaphors marked in bold:

(25) Goal by Beckham. Body by milk. Heads up. The protein in milk helps build muscle and some studies suggest teens who choose it tend to be leaner. Staying active, eating right, and drinking 3 glasses a day of lowfat or fat free milk helps you look great. So grab a glass and get in the game. Got milk? (David Beckham) (US3) (26) Nature intended for skin to breathe. St Ives Swiss Formula. Skin that can breathe is skin at its most natural and healthy. So, go natural, go Swiss. With St. Ives Apricot Scrubs and Cleansers. 100% natural exfoliants, never synthetic. To remove impurities, even from pores. Leaving your skin looking natural, looking healthy. Visibly healthy. Naturally Swiss. St. Ives Swiss Formula. (US3) (27) The antioxidant power of Pom Tea [Powered by Pom x]. Model Tea. Pom Tea is no ordinary iced tea. Every glass is perfection, to a tea. Pom Tea is made with the finest hand-picked, whole leaf tea and it's gently brewed for a delicious taste with only 4mg of caffeine. And it even comes in its own keepsake glass. But what truly makes other teas green with envy? Every refreshing ounce of Pom Tea is powered by Pom x - a highly concentrated blend of polyphenol antioxidants made from the same California pomegranates we use to make our Pom Wonderful 100% Pomegranate Juice. Which makes it nothing short of super model tea. Enjoy the tea. Keep the glass. Reap the benefits. pomtea.com. (P1)

The non-creative metaphor in (25) refers to the effect that is achieved when the product is consumed. Milk is seen as an active agent capable of physically

151 changing our bodies: PROTEINS (in milk) ARE BUILDERS is one of two conceptual metaphors clarifying the concept of the benefits of milk. It cognitively simplifies the complex process of the functioning of proteins; the lay recipients can easily imagine “bricks” of proteins adding volume to muscles. Another metaphor which is rather common in everyday language use is BODY IS A BUILDING; the other instances of its existence can be seen in expressions such as “windows to one‟s soul”, “heart of stone”, “he‟s well- built”, “clean the pipes”, “one‟s plumbing”, etc.

(26) contains the metaphor SKIN IS A LIVING ORGANISM that was discussed briefly with example (2). The complex process of skin interacting with the environment, the absorption of air particles, etc., is simplified and illustrated by the metaphorical processing of skin behaving as an individual living organism, i.e. breathing, among other processes. At the same time, if skin is considered a being, social norms of the western civilization ascribe it more valuable as well. The metaphorical expression in (26) helps explain the complex skin-related process and creates a positive image of a valuable living being. Skin is metaphorically understood as needing protection, care, being endangered by the outside world as almost any living creature might be.

Most non-creative metaphors in ads are delivered through noun-verb collocations (“proteins build sthg.”, “skin breathes”, “calories burn”, “use one‟s time”). Example (27) presents another option for a non-creative metaphor: a noun + noun collocation. Noun phrases are rather frequent in advertising discourse; a metaphorical concept delivered through such a phrase strengthens the genre-identification. The underlying metaphor, though, is not dependent on the grammatical structure. The “power of Pom tea” is an expression of a conceptual metaphor PRODUCT IS AN ACTIVE AGENT. Recipients understand that if the tea has power, it is capable of actively doing things. Substances are often seen as active, powerful agents, which is obvious in the expressions such as “serum erases wrinkles”, “age-defying ingredient”, “medication fights symptoms”, “energy-boosting drink”. The product in (27) is effortlessly presented as an active positive change-inducing agent. Activity is a generally valued and appreciated feature; the features associated with an active

152 agent are projected on the product and thus explain the effect of the product in a lay manner. The (27) ad contains a creative metaphor as well (“what truly makes other teas green with envy”) which is a rather standard occurrence. A combination of various types of metaphors within one ad enhances its functionality in both effortless understanding of potentially complicated contents and delivering products in an emotional way.

Non-creative metaphors can be seen as umarked linguistic choices, while creative metaphors resonate as marked. Coulmas (2005, 91) notes that “every unmarked choice functions as an affirmation of the existing … order, and every marked choice is a potential threat to it.” In this sense, unmarked metaphorical expressions present concepts in a usual, easy-to-grasp way and allow for efficient meaning-creation. On the other hand, marked metaphors present challenges to the recipient‟s ad interpretations. This poses a threat to the sender as the message can be rejected or misinterpreted. However, this threat is balanced out by the power of marked, creative metaphors to fill in the mental space of recipients. Thus, a seemingly individual interpretation of the message is enabled; nevertheless, the borders of mental space are still outlined by the advertisers. This corresponds to Fairclough's idea of control through consent, which in modern society means that powerholders (i.e. advertisers in this case) keep “integrating people into apparatuses of control which they come to feel themselves to be a part of (e.g. as consumers)” (1989, 36). Allowing the recipients to interpret the ad meaning through mental space seems to conform to the tendency “towards simulated egalitarianism, and removal of surface markers of authority and power.” (ibid., 37).

6.2.3 Ideological Metaphors Metaphors sometimes serve the purpose of delivering ideas (mappings or associations) which are not grounded in laws of nature, research, legal requirements or experience of ours or our ancestors. In order to sell some products, ideological reasoning has to be conjured. Ideologies, according to Fairclough (1989, 2), are strong power-control tools because “they are means of legitimizing existing social relations and differences of power, simply through the recurrence of ordinary, familiar ways of behaving which take these

153 relations and power differences for granted”. Studying political texts and talks, Chilton and Schäffner (2002, 29) claim that metaphors can build a “conceptual structure for a systematized ideology” embedded in many texts and thus provide “intertextual coherence” (ibid). To apply this view to advertising context, through recurring metaphorical delivery of some “common-sense” ideas and practices, the recipients take them for granted and unquestionable because they “fit” into the broad context of a consumer society. Metaphors seem to be effective means of delivering otherwise controversial contents, especially because the contents are delivered indirectly, through inference of meaning. The recipients may thus have the impression that it is they who control the meaning-creation.

The recipients who live in the environment that supports the ideology rarely realize they are being attacked by ideological constructs. Ideological metaphors are understood to be delivering “common-sense” assumptions that legitimize the reason for obtaining the product. What they hide is that real reason to buy may be questionable. “An ideological metaphor can be defined as that metaphor which conceals underlying social processes and determines interpretations” (Charteris-Black 2004, 7). Most frequently, these interpretations aim to be common-sense and universal.

Ideological metaphors are detected in nine ads within the corpus; the predominant occurrence is in Vanity Fair with eight instances. All the ads promote luxury products through the featured conceptual metaphor SKIN AGEING IS AN ENEMY. The whole branch of cosmetics relies on this metaphor. Their utility value is based purely on consumers taking the idea of aged skin as harmful. These products are sold with reference to preserving a youthful image, staying young- and beautiful-looking or hiding the signs of ageing. Even though social values in general include respect for senior citizens, looking young is a pervasive commercial ideology in our lives. Identifying aged skin as an enemy reflects Humphrys‟s view of manipulating readers through the use of language: assigning names to phenomena changes the way readers perceive them; “it takes something that may be extremely complex, removes the complexity, and produces a nice neat phrase … that we can all

154 understand” (Humphrys 2004, 264). Features relating to enemies are mapped onto aged skin and thus fill the mental space of the recipients. Such mapping is expected in the following examples:

(28) Fight Skin ageing Where it Starts. It is never too early - or too late - to intervene on your skin's behalf. NEW Anti ageing Emulsion SPF 30 Anti ageing Eye cream SPF 15 Available from 2nd October. la prairie SWITZERLAND (VF7) (29) Enjoy "virtual immunity" from the visible signs of ageing. Re-Nutriv Ultimate Lifting Serum. "Virtual immunity" means you'll see a noticeably more lifted look, a brilliant clarity, a newly refined smoothness. With rare ingredients and the latest science - like OGG1 enzyme technology that helps reduce the look of past UVA damage. You'll simply be astonished. Estee Lauder. (VF6) (30) Chanel Vitalumiere Discover renewed radiance. Lines and wrinkles are virtually erased. Vitalumiere. The antidote to tired skin. Nordstrom.com (VF10)

Vocabulary from the field of war in (28) establishes the source domain. “Fight” and “intervene” are words used in armed conflicts; the aged skin is expected to be seen as an enemy that must be actively fought. Skin ageing in itself is not endangering our lives; it is not a terminal disease or a condition significantly deteriorating the quality of our lives. However, due to the metaphor, recipients may view it as such. Metonymically, the product is seen as the fighter and agent of reversing such an undesired condition.

“Fighting” skin ageing occurs frequently throughout the corpus, and it is a pervasive metaphor of regular language use of many ageing American women. Humphrys (2004, 321) notes that repetition is a clue in establishing an ideology: “Repeat [metaphor] often enough and people forget it is a metaphor and take it literally. It creates a number of assumptions [which are] nonsense.”

Both (29) and (30) present skin ageing as an enemy, yet armed battle is not an immediate feature of the source domain. (29) suggests the product delivers

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“immunity” from the unwanted condition so a possible interpretation may be of skin-ageing as a disease. This is a rather obvious exaggeration, and the advertisers may risk being rejected or ridiculed; the use of quotation marks for the expression “virtual immunity” softens the imagery by purposefully admitting to stretching the meaning. The product is still seen as relieving us of an undesired condition; the condition which is reminiscent of a disease.

Another two facets of source domain of the “enemy” source domain are found in (30). The first is something unwanted that can be “erased”, possibly a spot or an undesired inscription. These may be interpreted as objects that can be hidden or masked with some effort. In this sense, the advertising would suggest that extra effort is not necessary, which is a rather weak idea of an enemy. To make the statement stronger and present the “enemy” idea as more dangerous, it is metaphorically portrayed as poison further in the ad with the phrase “antidote to tired skin”. The need to eliminate a life-threatening substance is stronger than masking a spot, both in real life and in mapping possibilities. Poison is associated with many literary or theatrical dramas, historic-political events and with wildlife, which offers a broad mapping range and intense emotional associations.

The idea of the enemy is obvious in all examples even though their portrayal differs. The ads also contain the reinforcement of the notion that the enemy must be fought. In cases (28) and (29) it is done grammatically: the message is delivered by the imperative form of the verb. In (30) the reinforcement is lexical: the dangerous enemy is specified as poison.

The difference between values encoded in culture (as discussed in Chapter 6.2.2.4) and the ones imposed on us through ideology is blurred and hard to define. The relationship does not seem to be mutually exclusive; ideological ideas are frequently socially and culturally conditioned. This is supported by Opt and Gring (2009) in their discussion of the leading American ideology of the American dream. “We participate collectively through conversations, movies, blogs, and so forth in an ongoing quest to create a more nearly perfect life... Perfection can be achieved by reifying symbolic categories such as

156 freedom, individualism, success, equality and progress” (2009, 101-102). Ideology develops and thrives within a socio-cultural environment. It seems to be in a hyponymical relationship.

6.3 Conclusion on Metaphor as a Discourse Strategy Mapping source domain features onto a target domain functions as mental- space filling in the process of the recipient‟s interpretation of the ad. The borders of mental space are outlined by establishing the source domain, which is most frequently done through explicit lexical clues. This is a sender- controlled part of the process, as the choice of concrete words appearing in ad messages belongs to the realm of copy-writers. Establishing the target domain and associating it with the suggested source domain is mostly left to the recipient. The target domain in advertising metaphors is frequently the promoted product or a phenomenon closely related to the product. The indirectness is justified by the expectations of recipients of the ads; recipients expect ads to be promoting a product or referring to related issues. Mapping of the features of the advertiser-suggested source domain to the target domain is controlled by the recipients. Filling the mental space is thus individual and may be regarded as a creative and empowering experience.

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7 Overlapping Discourse Strategies The discourse strategies of storytelling, intertextuality and metaphor enhance emotive rather than reasoning responses in the recipients, and thus they conform mostly to the advertising tickle strategy. Chang (2008) labels such strategies “rhetoric” and describes their role as follows: “[They] attract the audience‟s attention, … initiate cognitive poetic effects and advertising literariness, and … perform diverse pragmatic/communicative functions. Placing little emphasis on target commodity, they invite/encourage an active/imaginative audience to consume the texts and spell out a variety of weak implicatures involving feelings, attitudes, emotions and impressions along the textual lines.” All three strategies evoke an emotive and attitudinal response on the basis of exploring the recipient‟s mental space. The cues which are present in the ad text outline the mental space and the recipients are allowed to fill it in with the cognitive processing of their own choice. This is common for all the analyzed strategies.

The differences among them appear in how the mental space is explored. Storytelling is hinted at by cues introducing protagonists, the order of events, locating the possible story in a setting, etc., and the recipient is expected to develop the story further as if it was a story of his/her own. Storytelling as a strategy allows the recipients to let loose the reigns of their creativity and imagination and be a co-author of the message by developing the storyline. Intertextual processing, on the other hand, is hinted at by lexical or visual cues suggesting the presence of other voices, unspecified texts belonging to other genres or specific well-known texts. Based on these cues, the recipients become co-authors by drawing from their own experience with texts (or text types) already encountered. Thus they fill the mental space with recollections, memories or links they have stored. Well chosen cues grant that the recipient‟s recollections are pleasant, humorous or thought-provoking. And finally, metaphors operate on the principle of building associations between two unrelated concepts. The cues hinting at the metaphorical processing are lexical or visual items belonging to those concepts – the source and/or target domains. Building associations between them, or mapping features of one concept onto the second one, fills the mental space. The recipients are co-authors because of 158 the individual establishment of associations and inference of meaning. In conclusion, the three strategies seem to differ in the direction of thought processing: while storytelling flows to the hypothetical future, intertextuality draws from the past and metaphors operate synchronically.

The differences separating the strategies are tentative, and the borders among them are rather loose. It is determined by the partial parallelism of processes filling the mental space, and by the indefinite character of the cues and their use in ads. Some ads may contain more cues, each eliciting another strategy. Some cues may evoke two strategies at the same time. The cues in the ad texts can be interpreted differently by individual recipients. Employment of more than one strategy can be detected in several ads in the corpus. The overlap of two strategies can be observed in three variants: (a) storytelling with intertextuality; (b) storytelling with metaphor, and (c) intertextuality and metaphor. The following examples present unifying features of each combination.

7.1 Storytelling and Intertextuality Strategies of storytelling and intertextuality show several links which originate from their intrinsic characteristics. These links join them intuitively. The first lies in the connection of intertextuality and a story as a genre. Stories, when they appear in the ads in their full or hinted at form, may function as an echo of a literary genre within the ad. Storytelling cues, such as introducing the protagonists or the setting, may simultaneously function as cues evoking intergeneric intertextuality. The recipient may fill the mental space by developing the story further or by recollections of a similar story in the past. The following ads present such options:

(1) Grab life by the horns. Dodge. Avenge Internal Computer System. STEERING: listen up ppl, we're ina tight corner ESP: Electronic Stability Program at ur service! BRAKES: he hit the brakes hard ESP: im detecting slippage BRAKES: hydrolic break booster, work ur magic BOOSTER: NP im on it bro ABS: u r awesome. busy breaking L front and R rear ENGINE: lowering torque and throttle BTW ESP: yaw and lateral acceleration sensors

159 activated. man im good :-) TRACTION CONTROL: LOL giving rear wheels more traction ESP: gr8, cuz we r almost out of this corner ENGINE: yesssss! back on full throttle BRAKES: this is 2 easy IMHO ESP: cya l8r SEND SEE THE ALL-NEW AVENGER AT DODGE.COM/AVENGER (P1) (2) You don't have to learn to like my wines. Actually, I planned it that way. From the beginning, more than two decades ago, when I made my first small batch of wine from grapes I grew on my family ranch. I blended grapes from coastal vineyards in Northern and Central California to produce wines with unprecedented flavor intensity and complexity. And our "flavor domaine" philosophy was born. In Chardonnay terms, this means finding the delicate balance of the pineapple and mango flavors from Santa Barbara, the citrus and lime flavors from Monterey, and the red apple and pear flavors from Sonoma. Our Vintner's Reserve is a perfect illustration of our desire to create and deliver complex, world-class wines, the kind of wines people will enjoy the first time try them and for years to come. I have been told that many of you enjoy the taste of my wines, but you're not sure why. Hopefully, I can help with A Taste of the Truth. Jess Jackson, Founder of Kendall-Jackson Wine Estates (VF10) (3) Location: anywhere & everywhere Post Office: www.splenda.com Weather: daily SPLENDA sprinkles Official Flower: sweet pea Destination: Splendaville. You won't find it on any map. But you will find it in iced tea. It's sweet and delicious but without all the calories to spoil the joy. SPLENDA No Calorie Sweetener tastes like sugar because it's made from sugar. Be Dazzled. (P6)

These ads contain cues which may be interpreted in two ways. Characters in (1) are explicitly named (“STEERING”, “ESP”, “BRAKES”, etc.) and their presence is made obvious through their turn-taking in the communication. The communication itself is a story of how the characters try to manage a dangerous situation. The order of dramatic events and a happy ending strongly resemble a fully developed fiction story. Simultaneously, the conversation in (1) can be seen as representing the genre of instant message communication. Moreover, the explicit dialogic communication of the characters can be interpreted as the presence of voices. Both multigeneric and heteroglossic types

160 of intertextuality can be detected when the cues are surveyed from diverse perspectives.

A similar situation is repeated in (2), where the detected story is of a non- fictional character and the recipient is presented with a supposedly real product origin story. The time order of events relating to the main protagonist is explicitly given with the beginning set “more than two decades ago” and a sequence of grammar tenses gradually changing within the ad from past simple (“I planned”, “I made”) through present perfect (“I have been told”) to present simple (“I can help”). Setting is specified as “a family ranch”, “Northern and Central California”, and the main character, the producer of the promoted product, is identified by his full name. At the same time, the character talking about how he made the product may be understood as a heteroglossic presence. A voice other than the inherent ad sender speaks to the recipients and thus evokes a more intimate and emotional interpretation of the message. The dialogism is made explicit with the direct “you” address to the recipients. The genre of personal communication may be detected.

In (3), a hinted at story can be detected due to the cues introducing a location. Recipients may be provoked to develop a hypothetical construct of “what could happen in that location, with that weather, with that destination given”. At the same time, the cues resemble a travel guide description of a location, which may evoke the presence of a specific genre and thus illustrate multigeneric intertextuality. In all listed examples the recipients may fill the mental space with their own interpretations of stories or their own development of the storyline; or with intertextual associations linked to the speaking voices or the implanted genres.

7.2 Storytelling and Metaphor The discourse strategy of storytelling shares some features of filling mental space with the discourse strategy of metaphors. Textual cues introducing story characters, setting or the time-line of events can belong to one conceptual domain of a metaphor, or can constitute a metaphor as such. Due to such cues the ad can be processed as a metaphorical mapping or as a story. The

161 metaphorical expressions found in such ads mostly pertain to the source domain, as this is usually the more concrete one; the cues tend to be items known from the social and physical world, and they introduce a known and easily imaginable background. This may further serve as a platform on which the creative development of stories continues. Combining the two strategies can give rise to two concurrent processes of filling the mental space: storytelling, developing the plot line and hypothesizing about what could happen next; and metaphorically associating two otherwise unrelated concepts.

(4) Like a tropical rainforest, only you're the wildlife. New Tone Exotic Fusions: Water Lily & Sugar Cane body wash. It's an aroma-fest of 7 moisturizing botanicals. Mmm, the shower gods are smiling. (S1) (5) Take everything you know about design and nudge it. Push it. Simplify it. Modernize it. Liberate it. Inject it with life. Give it a point of view and 335 horsepower and hold on. Introducing the all-new Infinity M. Design is always moving. It's daring. It's purposeful. It starts with a Push Button Ignition. It leads with the only Lane Departure Warning system and Rear Active Steer in its class. And it captivates with Bose Studio Surround sound. The all-new M. Designed to outperform. Discover more at Infiniti.com (VF10)

Both of these examples contain storytelling cues which are simultaneously expressions belonging to a metaphorical domain. (4) contains the metaphor SHOWER IS A RAINFOREST with the source domain represented by expressions “tropical rainforest”, “wildlife”, “exotic”, “water lily”, “sugar cane”, “botanicals”, “smiling gods”. These expressions contribute to a specific image of the rainforest that is romanticized, lush, mysterious and mythological. “Wildlife” has a very specific function here as it denotes the role of the ad recipient in the source domain (“you're the wildlife”). Wildlife thrives in a lush, green and sacred jungle. Through such role assignment, the metaphor can be interpreted as TAKING A SHOWER (AND USING THE PRODUCT) IS LIVING AN ASTONISHING LIFE IN A RAINFOREST. Expressions such as “tropical rainforest” and “exotic” may at the same time function as storytelling cues helping the recipient imagine the setting of a story, where the main protagonist is the recipient in the role of wild rainforest

162 creatures. This story is incomplete, hinted at, and leaving most of the mental space of the recipient empty for creative filling. The outcome of the processing may be a rich metaphorical mapping of features of rainforest wildlife onto the experience of taking a shower; or a possible story that one may experience in such an environment.

The metaphor in (5) is more elaborate and not easy to interpret. Underlying it is the personification CAR IS A LIVING BEING; in this ad it is specified as DESIGNING A CAR IS CREATING A LIVING BEING. Expressions from the target domain of designing a car include verbs that contribute to the process of creating a mechanical item, e.g. “nudge”, “push”, “simplify”, “inject”. The car is to be interpreted as a living being due to expressions “with life” and “give it a viewpoint”. However, the metaphor DESIGNING A CAR IS CREATING A LIVING BEING can be interpreted as a story of the origin of the product. The ad presents a whole story of creating the car culminating in the desired product. It does not offer an imaginative setting, or vividly depicted domains. Nor does it leave much space for the recipient‟s imaginative work. It strengthens the emotional and personalized feeling by addressing the recipient directly through imperatives (“Take”, “nudge”, “push”, etc), thus placing him/her into the role of the designer/creator. The recipient is assigned an active and responsibility-bearing role of a product designer. This explicit dialogic approach adds personal immediacy, trust and ego-enhancing feelings to the process of filling the mental space.

Combining a detailed source domain with a hinted at fictional story, as appears in (4), is a strong emotion-enhancing and creativity-amplifying strategy. Mental space processing is rather easy; the vivid imagery of a rainforest setting and an uncomplicated metaphor fill the space quickly, without much interpretative effort. (5) represents a similar situation of combining metaphorical and storytelling cues, yet here the metaphor is more elaborate and the story is told in a rather complete version. This means that the recipient is required to interpret the message with more effort and is allowed less creativity. The award for processing (4) is an easily reached, emotionally appealing creative construct; the recipient of (5) gains pride and self-

163 confidence after decoding the sophisticated message. This corresponds to the type of product promoted with the ads: the more emotive (4) promotes a low- involvement cosmetic product while the more sophisticated (5) promotes a high-involvement car.

In some cases of ads simultaneously employing the strategies of storytelling and metaphors, story cues and metaphors do not overlap within the text. The metaphorical expressions do not merge with cues introducing characters, plot or setting. Such a use, where strategies operate consecutively rather than simultaneously, is illustrated by the following ad:

(6) One day, you wake up, you're 40… but you don't look it! This morning, your skin is smooth, signs of fatigue have disappeared and wrinkles are fast asleep. The most beautiful gift we can give ourselves is more years of youthfulness, thanks to Clarins Extra-Firming treatments and their powerful age-control benefits. You wake up and you're simply beautiful. NEW Clarins Paris Extra-Firming Day and Night Creams, innovative advanced age control that helps protect fragile skin to reveal a younger-looking complexion. A bouquet of rare and potent botanicals in the day cream (Euglena, White Tea, Succory Dock-Cress) provide energy and promote skin firmness. Vitamin E and Alfalfa in the night cream help revitalize and renew, so skin is more youthful-looking upon waking. It's a fact. With Clarins, life's more beautiful. Extra-Firming Day Cream. Tests showed up to an 83% reduction in the appearance of lines and wrinkles. Extra-Firming Night Cream. Tests showed up to 87% increase in skin firmness. (VF10)

The storytelling strategy can be detected especially at the beginning of the ad. Textual cues introduce a chronological order of events (“one day”, “this morning”) and leave the story itself untold. The recipient is left to fill the mental space with hypothetical stories in which they take the role of the main character (“you wake up”, “you‟re 40”). The explicit address to the recipient assigning them the main role enhances the dialogic character of the ad. From the very beginning, the recipient is approached in a spontaneous, personalized

164 way. This helps the advertisers direct the mental space processing in a desired, emotive and involved way.

Further in the text, two metaphors are employed. “Wrinkles are asleep” is a personification of the product-related item; “gift we can give … is … youthfulness” represents the metaphor YOUTHFULNESS IS A VALUABLE COMMODITY. The two metaphors are mutually unrelated, and they stand independently of the story hinted at in the beginning. Each metaphor evokes separate mental-space processing. The mapping of features of a sleeping being onto wrinkles and of youthfulness as a precious gift evokes a range of desired associations which are complimentary but otherwise cognitively unrelated.

In this ad, the most significant strategy seems to be applied in the second half of the ad text: the descriptive strategy. It is closely linked with evoking reason to obtain the product and thus appeals to its utility value. It may be suggested that three different instances of filling mental space (a story and two metaphors) in the relatively short span of one ad do not allow for deep and intense processing; they soften the reasoning strategy of the following description by adding surface emotive touch. The decision-making is based on reasoning, and it is aided by placing the reasoning in a pleasant, emotionally appealing cognitive environment.

7.3 Intertextuality and Metaphor Ads with personifications often feature the personified elements as speaking voices. Personifications classify as a special case of metaphors, and the presence of speaking voices is understood as heteroglossic intertextuality. In this point the two discourse strategies overlap and do not allow for a methodologically clear distinction of features pertaining purely to intertextuality or personification. One becomes the tool of another. The following two examples illustrate such meeting point.

(7) Is it possible for taste buds to have goosebumps, asked the Godiva. Godiva Chocolatier. Introducing the Platinum Collection. (VF 9)

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(8) So purifying, it's like a mini-sauna for your face. New Olay Warming Cleansers. Feel the exhilarating warmth of New Olay Warming Cleansers. Feel them not just cleansing, but purifying your skin. Removing impurities better than basic cleansing. Your pores will sit back, relax and say "Ahh..." Olay love the skin you're in. (P2)

Two personifications – taste buds and Godiva - can be found in (7); Godiva is explicitly presented as a speaking voice. Taste buds hypothetically experiencing goosebumps suggest that they are equipped with the ability of skin reaction to sensual perception which correspond to people experiencing thrilling stimulations. This sensual experience is the subject of Godiva's question, the personified product (chocolate). Godiva (portrayed as a woman eating chocolate pralines) explicitly asks about feelings of taste buds and thus indicates that she is a being who can think in an abstract sophisticated manner, who cares about the feelings of others and who can appreciate a thrilling experience. Based on her behavior in the ad the chocolate Lady Godiva is a mysterious character eliciting the curiosity of the recipients. She does not speak directly to the recipients; she is heard yet not to be talked to. The dialogism in this ad is of the desired type. The recipients wonder what kind of person Godiva is, and they wish they could talk to her and become acquainted. The personification and speaking voice of Godiva function simultaneously and evoke emotions and desires for Godiva – which is ultimately the promoted chocolate product.

The personification and speaking voice in (8) do not relate directly to the promoted product. The ad is based on a direct reasoning appeal to the recipient, thus accentuating the utility value of the product. However, emotions are incorporated into the interpretation through the personified pores, which, due to the product, experience newly gained comfort and share it by emitting a sigh of relief. Along with reason-enhancing, the recipients may fill the mental space with empathic feelings for their pores and the urge to care satisfactorily for a living being.

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While (7) is an ad featuring a personification and a speaking voice in a complex holistic way, (8) features the overlap as a frill, a special textual “ornament” at the end of the ad message, while the rest of the message is based on a reason-enhancing strategy. In (7), filling the mental space is the only process of meaning creation; in (8), the utility value of the product is beautified through the addition of the creative meaning inference. This corresponds to the high-involvement (luxury chocolate) vs. low-involvement (skin cleanser) strategy paradigm. The complex or partial interpretation of both ads is nevertheless expected to function as filling the recipient‟s mental space with certain attitudes and emotions towards the speaking voice; recollections of possible talks with friends where a thrilling experience gave us “goosbumps” or a sigh of “ahh” was a consequence of relief. The inanimate object (chocolate and pores, respectively) becomes a living speaking voice by means of personification. Thus, the emotional layer of meaning appearing in mental space due to intertextuality is attached to the speaking product with characteristics of a living being.

A direct reference to an existing text may also appear in ads employing metaphors. This can be seen as a dual strategy use as well, yet in such a case intertextuality and metaphor combine in a specific way. The horizontal type of intertextuality, as discussed by Hatim and Munday (2004, 87), is more static; the referred concrete text is not as subtle and permeable in meaning creation as speaking voices of hinted at genres. In order not to function as an imposition, the following ad incorporates the reference to a song in a polysemantic way: on one hand, it may function as an intertextual reference; on the other hand it may be seen as a possible metaphorical expression contributing to the mapping process of an underlying cognitive metaphor.

(9) Let the sunshine in. New Bic Soleil. Introducing Soleil with replacement blades. Sunny Soleil makes every day brighter, every shave more luxurious. Its Soothing Moisture Strip with aloe and shea butter and its three- blade pivoting head glides easily over your body's contours and pampers your skin for a flawlessly smooth shave. Feel the Soleil. (P1)

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Let the Sunshine In from the musical Hair is a well-known song which reached number one on U.S. Billboard charts in 1969. For the recipients who recognize the reference and remember the moving era or can recollect the catchy melody, it may function as an emotion-enhancing impetus for filling their mental space. It may evoke humor or deeper philosophical processing when recipients link the musical Hair and a promoted hair-cutting tool. For those who do not spot the reference, the headline phrase may function as a direct appeal to use the product and contribute to the mapping process extending from the employed metaphor LIGHT IS POSITIVE; in this specific ad elicited also through the product name “Soleil” – the French for “sun”. Ideally, both the recollections of enthusiasm and melody along with the mapping process of light as a desired attribute fill the recipient‟s mental space.

7.4 Storytelling, Intertextuality and Metaphor The discussed strategies overlap in ways which do not allow for clear separation of the three. Storytelling and intertextuality may overlap when the story is understood as an instance of a genre implanted into advertising, or the story characters may be seen as speaking voices. Storytelling and metaphors may share textual cues: the story cues can belong to the metaphorical domain and thus evoke both story lines and metaphorical mapping. Intertextuality and metaphors meet mostly when the speaking voices belong to inanimate objects, which spurs the personification processing of the objects. With each strategy overlapping the other it is inevitable that in some instances of ads, all three strategies based on filling the mental space of recipients operate simultaneously.

(10) Used to be Wild. [Is your hair trying to tell you something?] With Nexxus, your hair can say goodbye to its frizzy, flyaway past. New Sleektress Shampoo, Hydra Sleek Conditioner and Sleek Style Crème, scientifically developed and salon proven to tame unruly hair for a sleek, smooth finish. Your hair knows best. So take it to the Nexxus level. Nexxus. Salon Hair Care. Find Nexxus in your hair care aisle. (P1)

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(11) Samsonite Black Label. Life's a Journey. Some say you must never look back. Why not? Isabella Rossellini, actress. She travels with Vintage, the contemporary retro collection. (VF8) (12) Must be something in the water. What makes us attractive? Is it how we look, or how we feel? Maybe a bit of both. That's where Evian comes in. Every drop of Evian comes from deep in the heart of the French Alps. It's naturally filtered for over 15 years through pristine glacial rock formations. The result is a neutral pH balance and a unique blend of minerals, including calcium, magnesium and silica. So when you choose a bottled water to believe in, consider the source. Evian. Your natural source of youth.

(VF10)

(13) Your left hand dreams of love. Your right hand makes dreams come true. Your left hand lives happily ever after. Your right hand lives happily here and now. Women of the world, raise your right hand. The diamond right hand ring. View more at adiamondisforever.com. A Diamond Is Forever. Diamond Trading Company. (VF10)

The most unambiguous case of the three strategies operating within one ad is detectable in (10). The “Used to be wild” opening phrase is a cue suggesting a story plot line. It hints at a story of taming the protagonist whose words are presented as direct speech. This is not conventionally marked by quotation marks; instead, the following parenthetical remark of the message sender “[Is your hair trying to tell you something?]” denotes the previous text as a direct

169 speech of the speaking voice. This line explicitly marks two other strategies: it highlights the event of somebody speaking within the ad, which is an instance of heteroglossic intertextuality. Simultaneously, it introduces the speaking voice as hair, an inanimate object, and thus personification as a category of metaphor is made obvious. All three strategies are explicit and function harmoniously, filling the mental space of the recipient simultaneously in diverse directions. The hint of a story may evoke a further storytelling process of how the protagonist was tamed. The intertextual presence of voice evokes recollections of similar discussions the recipients are expected to have in everyday life. The explicitly dialogic character of the opening two lines invites the recipient into the process of meaning creation and enhances the feeling of involvement, intimacy and empathy. Finally, the personified hair as an immediate product user (hair cosmetics) is seen as a living being who went through a process of change and “knows best” what such change means. This evokes emotions and attitudes related to changes (e.g. initial dissatisfaction, restlessness, uncertainty, courage, personal resolutions) and to the final desired outcome (e.g. relief, ego-enhancement, happiness, satisfaction). The overall tone of the ad is light-hearted, colloquial and friendly. This seems to be the effect of spoken discourse features present in the initial part of the ad message. It combines with the filling of recipient‟s mental space initiated by the three strategies to establish a pervasively positive attitude and reinforce memorability of the ad.

The least explicit and congruent combination of the three strategies in the given examples is found in (11). The story is suggested by introducing a character – in this case it is Isabella Rossellini, an actress. The words “Some say you must never look back” are attributed to the protagonist only implicitly, yet these together with her activity of traveling and the slogan “Life is a journey” hint at a possible story of her life, an autobiography or a memoir. Intertextuality can be detected in the implicit suggestion of Isabella Rossellini uttering “Some say you must never look back. Why not?” and in echoing the allusion of a biography as a literary genre. The slogan “Life is a journey” explicitly presents one of the most pervasive conceptual metaphors, in everyday language found in expressions such as “ after graduation I was at a crossroads”, “with

170 this project we're heading the right direction”, “we have to move on and forget about the past”. Compared to (10), recipients of (11) are presented with broader possibilities of filling the mental space. The suggested story is a story of the life of a famous personality, provoking one‟s imagination in connection with her private life and all the roles she portrayed as an actress. The speaking voice addresses the recipients with a question of philosophical character which may spur sophisticated hypothetical dialogue. Finally, the employed metaphor LIFE IS A JOURNEY belongs among the most pervasive in the language use. The friendly and spontaneous tone of (10) as opposed to the sophistication and seeming limitlessness of (11) seem to conform to the promotion pattern of a low-involvement product (hair cosmetics) vs. a high-involvement product (luxury luggage).

Illustrations play a major attention-catching role in most of the printed ads. As exemplified with some ads in the analyses of each strategy, illustrations may function as a primary meaning-inducing device. In such cases, the textual meaning is fully dependent on the illustration meaning. With others, the illustration contributes vitally to the overall meaning. In (12), the illustration functions as a story cue introducing protagonists and suggests an intertextual presence of speaking voices. The photo shows two fresh blooming flowers in great condition. Their tender head-leaning position suggests the flowers are a couple in love. A love story may be the mental space filler at the first glance of the ad. The headline “Must be something in the water” is an elliptical sentence with a missing subject. Semantically, it functions as a speculation. Such grammatical deviation in connection with a speculative tone is typical for spoken language. Implicitly the headline can be understood as a spoken line. The sender of the words is not specified; however, the two flowers as characters in an ongoing story, or an anonymous observer of the tender love affair in the bottle of water, may be deduced as the speaking voices. The ad presents an internal dialog of the two lovers and later on, an explicit dialog of the ad sender and the recipients. This is apparent from the two questions posed by the sender “What makes us attractive? Is it how we look, or how we feel?” The involving “us” negates borders between the senders and recipients and contributes to the involvement of the speaker and intimacy between

171 participants. Further in the message, another story, a true depiction of the origin of the product (natural filtration in the French Alps), opens yet another possibility for filling the mental space. Intertextuality combines with storytelling in a compelling way, creating a strong emotional attitude. Personified flowers as lovers, who are beautiful and happy due to the benefits of the promoted water, contribute to the overall processing of mental space with metaphorical mapping of lovers' characteristics onto the product.

Contributing common knowledge or socio-cultural values can be seen in (13) along with the employment of storytelling, intertextuality and metaphors. Two stories are hinted at: the romantic one of a happily married woman; and the story of a grounded, reality-embracing independent woman. These stories are placed in contrast which, according to Urbanová (2011), is an indication and reflection of a dialogue, a powerful attention-catching device and an impetus for intertextuality. Metaphorically, the two contrasted women are depicted as hands, so hands (adorned with diamonds – the promoted products) are personified and mapped as living beings. The story of two contrasted women has a winner – the independent woman depicted by the right hand, as the line “Women of the world, raise your right hand” states. This is a culturally motivated choice, since in American culture, a left hand with a diamond ring is a sign of a marital bond and is almost always a gift from a fiancé. On the contrary, the right hand diamond ring is an accessory for women who can afford buying it by themselves, so it implicitly suggests that such a person is single and can possibly be a successful and powerful individual. The ad also reflects American values of independence, liberty and personal strength. All of these traits, along with creative mental-space filling derived from the stories, intertextual voices and personification, are efficient tools for creating a desired emotional and attitudinal stance.

The combination of two or three discourse strategies is rather common. The strategies operate on the same principle of filling the mental space with the recipient‟s own cognitive constructs, which allows them to participate in meaning creation and shape the discourse meaning as a whole. Through these strategies, the recipients have more power over the interpretation of the

172 advertising message. Advertising discourse comprises visual, textual and extra- textual elements (such as social values and shared knowledge); naturally they contribute to (and sometimes determine) the meaning creation.

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8 Statistical Summary The primary aim of this dissertation is to identify, observe and analyze the utilization of discourse strategies of storytelling, intertextuality and metaphor in American magazine advertising. Statistical summary of their employment in the corpus provides a supplementary observation angle and enables evaluation from an objective point of view.

Tab. 1 presents an overall number of ads in the corpus and their distribution among Vanity Fair and the collection of tabloids (People, Us Weekly, Life&Style, Star, OK!).

Number of ads in the Percentage value corpus (%) Vanity Fair 192 43 Tabloids 252 57 Corpus 444 100 Tab.1

Tab. 2 presents the number of ads extracted from each issue of the collected magazines.31

Magazine Number of Magazine Number of Issue ads Issue ads VF1 18 P1 22 VF2 14 P2 34 VF3 14 P3 19 VF4 8 P4 25 VF5 7 P5 33 VF6 5 P6 32 VF7 18 US1 15 VF8 10 US2 16 VF9 47 US3 28

31 The abbreviations used in Tab.2 are listed and defined in Ch. 2.3 Corpus Description and in the Bibliography. 174

VF10 51 LS1 5 LS2 5 LS3 3 OK1 6 S1 9 Tab. 2

The following tables present the distribution of ads identified as employing one of the analyzed discourse strategies.

Storytelling Tab. 3 presents the distribution of storytelling ads. They comprise 10% of the overall number of ads in the corpus. 60% of the storytelling ads appeared in Vanity Fair; 40% appeared in the tabloids.

Number of ads in the Percentage value corpus (%) Vanity Fair 27 60 Tabloids 18 40 Corpus 45 10 % of the complete corpus Tab.3

Intertextuality Tab. 4 presents the distribution of intertextuality ads. They comprise 14% of the overall number of ads in the corpus. 52% of the intertextuality ads appeared in Vanity Fair; 48% appeared in the tabloids.

Number of ads in the Percentage value corpus (%) Vanity Fair 33 52 Tabloids 30 48 Corpus 63 14 % of the complete corpus Tab.4

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Metaphor Tab. 5 presents the distribution of metaphor ads. They comprise 28% of the overall number of ads in the corpus. 43% of the metaphor ads appeared in Vanity Fair; 57% appeared in the tabloids.

Number of ads in the Percentage value corpus (%) Vanity Fair 53 43 Tabloids 71 57 Corpus 124 28 % of the complete corpus Tab.5

Tab. 6 presents the number of ads in the corpus employing one of the three analyzed strategies. They comprise 44% of the overall number of ads in the corpus. 48% of the respective ads appeared in Vanity Fair; 52% appeared in the tabloids.

Number of ads in the Percentage value corpus (%) Vanity Fair 93 48 Tabloids 102 52 Corpus 195 44 % of the complete corpus Tab.6

Tab. 7 presents the number of ads in the corpus employing other discourse strategies (e.g. descriptive discourse strategy, word play and punning, etc.) that are not analyzed in this dissertation. They comprise 56% of the overall number of ads in the corpus. 40% of the respective ads appeared in Vanity Fair; 60% appeared in the tabloids.

Number of ads in the Percentage value corpus (%) Vanity Fair 99 40 Tabloids 150 60 Corpus 249 56 % of the complete corpus Tab.7

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The statistical overview points to the prevalence of metaphor as a discourse strategy in the corpus. Metaphor is the only discourse strategy that is more numerous in the tabloids. Intertextuality and storytelling prevail in Vanity Fair. However, they are represented by fewer instances in the corpus.

A rather balanced distribution can be observed between the two types of magazines – a monthly glossy magazine (Vanity Fair) and a collection of tabloid weeklies. Fig. 6 points out that ads extracted from Vanity Fair represent 48% of all storytelling / intertextuality / metaphor ads while tabloid ads represent 52% of the respective discourse strategies distribution. However, the corpus is slightly disproportionate in the number of Vanity Fair ads (43%) as opposed to the tabloid ads (57%). To avoid possible shifts in the statistical evaluation a ratio of Vanity Fair vs. tabloids was calculated. After weighing the two categories proportionately, the percentage values from Fig. 6 shift slightly in favor of Vanity Fair: the VF ads employing one of the three analyzed discourse strategies comprise 53% of all the storytelling / intertextuality / metaphor ads, while the tabloids are represented by 47%.

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9 Conclusion 9.1 Functioning of Storytelling, Intertextuality and Metaphor as Discourse Strategies Modern American advertising discourse operates with numerous discourse strategies, some of which elicit reasons to obtain the promoted product while others enable recipients to build emotional and attitudinal stances towards the promoted items or the producers. In his paper on rhetorical strategies in advertising, Deighton (1985, 432) notes: “Some advertising merely generates awareness of choice options or supplies reasons to try one over another, some advertising can affect what is experienced when the product is consumed.” Deighton's rhetorical strategies correspond to the three discourse strategies analyzed in this dissertation. The discourse strategies of storytelling, intertextuality and metaphor are primary emotion-enhancing and attitude- building tools of meaning creation in printed advertising.

The principles which guide the functioning of analyzed strategies have been studied, the outcomes of their employment have been observed and their contribution to fulfilling the ultimate advertising goal has been evaluated. This effort can be undersigned with Jeffries' conclusion in her book Meaning in English (1998, 252): “It is necessary, if we are to learn anything about the way that language works, to divide the material into manageable layers and chunks.” I find narrative, intertextuality and metaphors to be three layers operating in a similar yet unique way in the “chunk” of printed advertising discourse. Both vertical and horizontal dimensions (of layers and chunks) elicit their own patterns and principles and create a matrix that allows us to learn something about how language works.

The three strategies and their combinations function on the basis of outlining and filling the mental space of recipients. Based on Hidalgo Downing's concept of text and discourse worlds (2000) and adapted according to Van Dijk's cognitive approach to manipulative discourse, the Fauconnier's notion of recipient‟s mental space (199432) as personalized interpretive frame has been

32 The term mental space was originally formulated in the first edition of the book published in 1985 by MIT Press. 178 proposed. It is understood as a cognitively outlined space which recipients may explore when provoked or challenged by the three strategies.

9.2 The Principle of Undercoding The major principle joining the three strategies and differentiating them from all the others is their undercoding. Eco (1976, 135) describes the notion as “imprecise coding, a tentative hypothetical „gesture‟ subsuming one or more large-scale portions of text”. The textual cues of the three strategies analyzed in this dissertation present the incomplete portions of a code; they may be developed into more elaborate coding by each recipient. This coding can be understood as individual, personalized message interpretation. This is in complete agreement with Eco's definition of undercoding: “Undercoding may be defined as the operation by means of which in the absence of reliable pre- established rules, certain macroscopic portions of certain texts are provisionally assumed to be pertinent units of a code in formation, even though the combinational rules governing the more basic compositional items of the expressions, along with the corresponding content-units, remain unknown.” (1976, 135-136). Adapted to the analyzed material, the storytelling strategy functions by undercoding the possibilities of events or fantasies that may hypothetically belong to the ad message; intertextuality is seen as undercoding of traits of life experience or recollections of texts from the past; and metaphors are employed as undercoding of synchronic associations, interpreting one concept in terms of another.

9.3 Power Relations in Advertising Discourse Undercoding allows the recipient to co-create meaning. Bruthiaux (2000, 307) sees it as a “subliminal display of linguistic sophistication” and understands it as a tool enhancing the self-image of the recipients. However, self-image and ego-enhancement are only some of the desired outcomes of allowing the reader to actively co-author the message. Fairlough (1989) explains it in complex social terms as a seeming empowerment of the media discourse recipients. Concerning mass-media discourse (which includes advertising), he claims the power-relations are often not clear. Nevertheless, the power-holders are those who have the ultimate rule over what is included in the discourse. Interpreters

179 are then, in his terms, power-seekers. When the recipients are allowed to co- create the message meaning due to the capacity of mental space, the senders seem to be giving up part of their power. Fairclough (1989, 72) claims: “It is quite possible for the expression of power relationships to be played down as a tactic within a strategy for the continued possession and exercise of power.” This can be seen as maintaining power by winning consent (ibid., 33-34), which Fairclough asserts is the last stage of the development of power relations in mass-media discourse.

Undercoding seems to be the trend in recent advertising. According to Lagerwerf, “Recently, one has seen a steady increase in the use of incongruent elements in advertisements... destabilizing tropes occur more frequently in current magazine ads than they used to do during the last five decades or so.” (2007, 1702-1703). Urbanová (2011) also notes that blatant ways of persuasion have been backgrounded and subtle ways via implicature and vagueness are preferred. Based on observation of tendencies within the collected corpus in this dissertation, strategies of storytelling, intertextuality and metaphor seem to be employed more frequently in ads promoting high-involvement and low- utility products. The more luxurious and glamorous the product appears to be, the more vague and imprecise message coding tends to be used. This conforms to Fairclough's claim of rule by winning consent: more luxurious products are purchased by more status-conscious consumers. Enhancing their ego by allowing them to co-author the message also means giving the recipients some power over the discourse. The notion that they have power and mental capacity to decide on the meaning of the message wins their consent.

9.4 Strategies Revisited The analyzed strategies allow the recipients of ad messages to fill their mental space with their own personalized contents and thus implicitly assign them the role of co-authors. Storytelling is a strategy based on filling the mental space with imaginary events and their possible outcomes. Intertextuality draws on recipient‟s experience of other texts and/or discourse situations and allows filling the mental space with constructs elicited from these past events.

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Metaphors fill the mental space with individualized mapping of one domain's features onto another, unrelated one.

The exploration of the mental space is evoked by cues appearing in the ad messages. These can be visual, textual or extra-textual (social norms or shared knowledge). The visual and extra-textual cues apply to all the printed ads regardless of the strategy used. Textual cues tend to be different for each strategy: narrative cues relate to setting the plot line, story characters and location at which the story takes place. Intertextuality cues are specific stretches of already existing texts or allusions to other texts or text types. Metaphorical cues establish the presence of a concept that is not the same as the denoted one. This can be done by words usually denoting a concrete item while the denoted concept is an abstract one; or words belonging to the conceptual domains of an item that is not in the scope of advertisers' attention.

The three strategies aid building the emotive and attitudinal layer of advertising message meaning. The dialogic nature of the strategies and frequent infiltration of spokenness into the respective printed ads concur with the emotion- enhancing function. Spokenness, according to Urbanová (2010), is a feature of a participant's involvement which allows for an evaluative rather than descriptive outcome. Storytelling exhibits dialogic character especially when the story characters participate in an internal dialog which the recipients reflect upon or the characters evoke explicit or implicit communication directly with the recipients. Dialogism is a defining feature of the majority of intertextual ads. The presence of speaking voices or echoes of other texts frequently suggest internal dialog with the recipients. Metaphors are overtly dialogic especially in the case of personifications, when inanimate objects behave as animate beings and encompass the ability and the need to communicate with their environment. Dialogism establishes an atmosphere of intimacy, mutuality, personal care and trust.

By enabling the creation of a very personal emotive stance towards the product or the producer, the three analyzed discourse strategies classify most of the respective ads as tickle advertising. Reason and rational thinking are evoked

181 only marginally, or when reason-evoking strategies (such as descriptive or problem-solving) are employed in an ad simultaneously. However, tickle ads are not a homogeneous type; they cover a spectrum of varying degree of effort needed for comprehension of undercoded messages. Ads with explicitly given cues outlining the mental space and with clearly established intertextual references or metaphors require less cognitive processing and thus keep more control over filling the mental-space. Such ads often combine tickle and reason strategies and tend to promote low-involvement and high-utility products. On the contrary, the less utility value and more luxury the products associate, the less control over the filling of recipient‟s mental space is detected in ads. Status-conscious consumers buying luxury products have more power over how they explore mental space outlined during the processing of luxury- promoting ads.

9.4.1 Storytelling Telling stories associates with downtime, relaxation and social bonding. Stories may ease the dissenting attitude towards ads. They set a pleasantly tolerant or curious tone to the process of perception and interpretation.

Two major types of stories have been disclosed in the analysis: fictional stories of fictional characters, and true accounts of the birth of the product, testing the product and using the product by a known person. Fictional stories evoke more creative interpretation and more active exploration of mental space. True accounts seem to offer reasons for obtaining the product and evoke rational thinking to a higher degree. Humor often plays an important role of adding an emotive layer to the true account stories.

Storytelling ads fill the recipient‟s mental space with appreciative feelings towards the events they were exposed to or with recipient‟s own creative continuation of the hinted events. This is enabled by narrative cues suggesting the stories. Active verbs and temporal adverbials are the cues hinting at story action, plot line and order of events. These mostly appear in true accounts; fictional stories are rather loose in their plot setting.

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Other cues include the vivid description of a scene and the introduction of story characters. The scene is either a well-known geographical location or an anonymous place such as a bar or dry-cleaner's. Well-known places draw on the general knowledge of the recipients when associating prototypical characteristics of that place. These associations may become a part of mental- space processing. Known locations appear mostly in true stories while anonymous places are mostly found in fictional ones.

Characters are of two types as well: sender and recipient feature as story characters in numerous cases. Their involvement as protagonists stresses the dialogic character of narrative strategy. Introducing fictional characters, on the other hand, functions as a strong imagination-provoking technique. Interestingly, most fictional characters in stories are women.

The more narrative cues that appear in an ad, the more the discourse feels to be a story. Both fictional and true accounts appear in forms of either full stories told through many textual cues or hinted stories suggested by a low number of cues. Fully disclosed stories fill the mental space almost completely and leave little space for the recipient‟s own further creative effort. However, they often evoke positive associations with the product due to their placement in the story. Full stories frequently combine with descriptive strategy, tend to be longer in word count and usually classify as true accounts. They tend to promote higher- utility products.

Tentative stories are evoked by a small number of cues. They leave most of the mental space open and recipients may fill it with their own continuation of the story or any fantasizing construct. They become co-authors in the true sense. In this view they fully correspond to the advertising tickle strategy. It is the fictional stories which are mostly left unfinished or are hinted at by a low number of cues. They appear in short body copies and tend to promote high- involvement luxury products such as perfumes or jewels.

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9.4.2 Intertextuality Within this work, intertextuality is understood as a specific or plausible text operating within the ad. The meaning of the advertising text is fully or partially dependent on a text that has been (or could have been) produced earlier. This understanding is compatible with the claim by Jeffries that “we (re-)construct the meaning of a text by looking around at other texts, or by referring to our previous experience of other texts. The meaning of any text, therefore, is partly based on its connections with other texts, both contemporary and historical.” (1998, 242).

In printed ads, intertextuality as well as storytelling and metaphors seem to be interpreted along the same principle of exploring the recipient‟s mental space. This concept is applicable with intertextual references of any type; however, the scope of the outlined space and the intensity of processing may vary. The cues evoking specific texts or allusions to text types (genres) prompt the recipients to fill the mental space with recollections of experience of the referred texts or the attitudes towards the speaking voices. These are expected to be linked to positive emotions or to build a positive attitude towards the promoted products. This processing establishes a desired product image. The other function that intertextuality seems to fulfill is enhancing the memorability of the ad. The ad or the promoted product may be recalled with recipient‟s future experience of the embedded text or text type.

Two basic types of intertextuality were identified in the ads: the heteroglossic intertextuality labels the presence of voices in the ads other than the inherent voice of the ad sender. Multigeneric intertextuality denotes the presence of texts of other genres in the ads. Another point of view reveals categories of vertical and horizontal intertextuality: the horizontal type marks a direct reference to texts, i.e. the presence of authentic texts, which are expected to be recognized by the recipients. The vertical type is understood to be an allusion to a text type; the ad text includes cues which remind the reader of other texts. The evoked texts are not present in the form in which they were created in the past. This category partially overlaps with the category of multigeneric intertextuality.

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Authentic texts which are well-known or which are expected to be known by the recipients (horizontal intertextuality), appeared sparsely in the ads. Mass- culture references to songs and films illustrate this use. They fill the mental space with memories of film-related characters, melodies, situations when the films or songs were encountered and experience associated with it. Vertical intertextuality dominates in the corpus. The texts which can be expected to be found in certain contexts, or texts which contain cues evoking certain contexts, provide the frame of a mental space which can be processed by the recipients and thus enable their co-authorship of the ad.

The texts embedded in the illustrations as their integral part are denoted as illustration-depicted intertextuality. These texts are not authentic; they resemble texts appearing in evoked situations, which corresponds to vertical intertextuality. In such cases, the meaning of the ad message is dependent on the intertextual encoding of the text within the photograph. Product packaging information, hand-written messages and newspaper cutouts represent the transplanted texts within the illustration in the corpus. They remind the recipients of familiar situations. Due to a complex verbal-pictorial input they allow filling the mental space with a range of recollections or plausible experiences.

Other numerous cases of vertical intertextuality can generally be interpreted without the illustration interference in meaning creation. These are labeled non-specific multigeneric intertextuality and are represented by genres of recipes, web sites and computer-mediated communication, scientific papers, travel guides, reports, quizzes, etc. The cues evoking respective genres are specific vocabulary and terminology, typical phrases, sentence structure, level of formality or structural organization of the text. They introduce contexts which the recipients may map into their mental space as pleasant, friendly, practical, adventurous, funny; they may also function as a detachment from the (often despised) advertising genre.

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Heteroglossic intertextuality is frequently represented by the presence of the voice of the producer. He/she tends to speak directly to the recipient, the speech being delivered in quotation marks. Their name is often given in full form so they appear to accept personal responsibility for what is said. Their words are trustful. Other cases of heteroglossic intertextuality are symbolic representatives, i.e. persons chosen by the producer to symbolize the product. These may be well-known names of entertainment or sports celebrities, thinkers or politicians. These symbolic representatives speak to the recipients by addressing them explicitly or deliver their product-related message in a tentative, implicit way. The latter is more usual and frequently appears in ads promoting luxury and high-involvement products. Similar symbolic representation can be seen in the use of foreign voices, where the foreign language or accent symbolically represents the product through associations which the recipients are expected to have with the speakers of the language.

Compared to other types of intertextuality and to other analyzed discourse strategies, heteroglossic intertextuality does not allow broad exploring of the recipient‟s mental space. This stays rather limited and functions as a device for responding to the speaking advertising voices. The recipients mostly remain in the position of the addressee of the speech and may fill the mental space with emotions and attitudes such as trust, responsibility, personal involvement and intimacy, which are usually related to an explicit dialogic approach.

The cues evoking intertextual references may be numerous and well-known, which means that the reference becomes easily recognizable. Explicitness is often emphasized by quotation marks, names and signatures of speaking voices, visual references to the referred texts or text types, or by lexical means which are in form or frequency typically associated with the respective text types. The more explicit the reference is, the easier the recognition process becomes. Low-involvement and high-utility products tend to be promoted by explicit intertextuality while luxury high-involvement items prompt more recognition effort and deeper mental processing of the message.

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9.4.3 Metaphor In advertising discourse, metaphors are seen from two perspectives. They are primarily understood as cognitive devices which enable meaning inference through relating two independent conceptual domains. Simultaneously, they are seen as figures of speech, linguistic expressions employed by skillful writers in order to achieve a senses-pleasing effect on the recipients. As a discourse strategy, metaphors operate along the principle of transferring features of one concept onto another, which guides the meaning creation. This process unfolds in the recipient‟s mental space.

Functions of metaphors as a discourse strategy are similar to the previously analyzed strategies. Primarily, by allowing the mental-space exploration and filling it with associations linking two depicted domains, metaphors are a strong emotion-enhancing and attitude-building device. Moreover, they sometimes establish the ideological raison d'être for products to be purchased. As an interpretive device requiring cognitive effort accompanied by a certain level of intelligence and creative abilities, metaphors also function as recipient‟s ego-enhancement when spotted, decoded and processed.

When metaphors are used as a discourse strategy, the recipient‟s mental space is outlined and filled by the associative links of two domains. The presence of at least one domain unrelated to the advertising message tends to be established by verbal or verbal-pictorial cues. When these are detected, the recipients are invited to create their own associations between the suggested (usually abstract) domain and the domain of the product, the producer or a phenomenon related to the use of the product (e.g. skin, when skin-care product is promoted). These associations tend to evoke positive emotions towards the promoted items or towards oneself.

The most frequently employed type of metaphors in ads seems to be the revealing one. These metaphors expose features which make the product attractive and desired. Two sub-categories appear in the corpus: creative metaphors exposing novel, unexpected associations, and non-creative ones exposing predictable, easily understandable links.

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The sub-category of creative metaphors evokes novel implicatures, thought- provoking and unexpected connections. Creative metaphors can be detected in ads with longer and shorter body copies with a slightly different function in each. When found in longer body copies, mostly low-involvement products in tabloid magazines tend to be the promoted objects. In such cases, metaphors are not the sole strategy employed; the longer body copies are often highly descriptive, offering an abundance of technical details on the product. Thus advertising reason strategy is emphasized. Metaphorical expressions are dispersed throughout the long body copy which tends to veil the metaphorical nature of the text. The associating of the two domains is backgrounded and adding the emotional value is secondary to the utility reasoning. This processing is mostly subconscious. In some cases, metaphors are only found in a headline or a slogan, which diminishes the mental-space processing even more.

Short body-copies containing metaphors allow rich mental-space exploration. Metaphors tend not to combine with descriptive strategy, which means that such ads are classified as tickle ads. The metaphorical processing is primary; the recipients are expected to invest more effort into the interpretation and filling the mental space. More cases were found in Vanity Fair than in tabloids; most ads in this sub-category promote high-involvement luxury products.

Personifications as another frequently identified type of revealing creative metaphors are predominantly found in tabloid magazines promoting high- utility products. They tend to fill the recipient‟s mental space with emotions and attitudes towards a product which would normally relate to a person. They often function as a dialog-evoking device since the promoted products seem to be explicitly speaking, addressing the recipients or implicitly suggesting the option of the recipients participating in the communication.

Non-creative metaphors are frequent in ads as well as in everyday language use. They are employed as explanatory devices for complicated concepts. They lower the need for interpretive effort by associating a complex phenomenon,

188 such as chemical processes in the human body, with a concept that is easy to imagine, such as building a house. These metaphorical expressions tend to be predictable and they strengthen existing ideas and beliefs rather than evoke novel ideas.

As opposed to frequently detectable revealing metaphors, the category of ideological metaphors is illustrated by several ads within the corpus. These metaphors veil the socio-cultural philosophies that function as selling mechanisms. The ads containing them are ideologically loaded as they implicitly present ideas which are not based on laws of nature, research or experience; nevertheless, these ideas are the reason for the product to be promoted and bought. Ads which most frequently contain hiding metaphors promote luxury, anti-aging cosmetic products.

Metaphorical cues that prompt filling the mental space with associations between two domains tend to be lexical items pertaining to semantic fields or cohesive chains of the source domain. The target domain is most often implicit; the recipients presume the associations are directed towards the product or a product-related item, which is directly linked to the primary purpose of printed commercial advertisements as a product promoting tool.

9.5 Hypotheses Revisited This dissertation describes the context of American magazine print advertising. The positions, roles and power-status of participants of advertising communication are observed and evaluated. Through the analysis of the corpus of ads collected from two categories of magazines, three discourse strategies are identified which build the emotive and attitudinal layers of the ad message. These three strategies are storytelling, intertextuality and metaphors. Exploring the recipient‟s mental space functions as a common interpretive principle in all three strategies. Due to this principle, recipients become co-authors of the ad message and gain more power over the production of advertising discourse. The mental space tends to be more limited with low-involvement high-utility goods and very broad with high-involvement low-utility goods. The former category is frequently promoted by combination with other reason-evoking

189 discourse strategies. The latter tends to be promoted solely by means of exploring recipient‟s mental space. Tabloids tend to promote more low- involvement products while high-end luxury magazines promote high- involvement goods. This distribution reflects the differences in employing the three analyzed discourse strategies.

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Urbanová, Ludmila. 2010. “Vztah mluveného a psaného jazyka v současném anglickém jazykovém úzu”. Inaugural Speech at Scientific Board of Masaryk University in Brno, June 17, 2010.

Urbanová, Ludmila. 2011. “Shop Until You Drop.” Paper presented at the conference Discourse Analysis in a Digital World, FF UKF Nitra, March 25, 2011.

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Verdonk, Peter. 2002. Stylistics. Oxford: Oxford University Press.

Velasco-Sacristán, Marisol and Pedro A. Fuertes-Olivera. 2006. “Towards a Critical Cognitive-Pragmatic Approach to Gender Metaphors in Advertising English.” Journal of Pragmatics 38: 1982-2002.

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Verschueren, Jef. 1999. Understanding Pragmatics. London: Arnold.

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Werth, Paul. 1999. Text Worlds: Representing Conceptual Space in Discourse. Harlow: Longman.

WFMA The Association for Circulating Marketing Professionals. 2011. “Magazine Publishing History. A Brief History of Magazine Publishing.” Accessed March 2011. www.wfma.org/magazine- publishing-history.asp.

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Xiao, Jiayan. 2006. “Metaphor and Register in Chinese Advertising Discourse: Toward the Cultural Implication.” US-China Foreign Language, Sept. 2006, Volume 4, No.9 (Serial No.36): 49-54.

Corpus Material Vanity Fair: VF1 October 2007 VF2 September 2007 VF3 June 2007 VF4 April 2007 VF5 March 2007 VF6 February 2007 VF7 November 2006 VF8 September 2006 VF9 November 2005 VF10 October 2005

People: P1 Style May 2007 P2 March 5, 2007 P3 December 25, 2006 P4 November 13, 2006 P5 July 17, 2006

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P6 July 10, 2006

US Weekly: US1 December 24, 2007 US2 April 23, 2007 US3 October 16, 2006

Life&Style: LS1 May 7, 2007 LS2 April 30, 2007 LS3 August 28, 2006

Star: S1 November 28, 2005

OK: OK1 March 12, 2007

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APPENDICES

Appendix I: Glossary of Terms actual sender the voice who the recipients most probably imagine to be the source of the message; usually it is the producer who pays to have the advertisement created by specialists advertising genre a category of conventionalized messages appearing in advertising context advertising message one instance of the advertising genre; one instance of promoting a product, a service or an idea via paid publicized message body copy (or copy) the core of the advertising text; the part of the message with the highest information density, usually in the small print character a protagonist of an advertising story introduced by textual cues or by an illustration claim the part of the advertising message containing a sound argument or a persuasive appeal classified (or no-frills) ad a printed ad appearing in a special (labeled) advertising section of a periodical, aimed at recipients searching for advertising information cognitive device a device enabling the process of perception, intuition and interpretation of knowledge; the tool of knowing and sense-making conjuncture a combination of events or external factors, especially the critical ones, that influence the communication

202 consumer ad a product ad targeting masses of anonymous non-specialist recipients contact data the least prominent textual part of the advertising message usually appearing at the very bottom of the advertising page; it contains the address, the phone number and/or the dotcom reference context circumstances and conditions in which the advertising communication takes place and which are relevant to the communicative situation; the natural environment of the message correspondence a systematic link between two conceptual elements pertaining to different conceptual domains co-text what precedes and follows the text under investigation creative revealing metaphor a type of metaphor conveying a range of non- standard, novel implicatures dialogism a feature of discourse that introduces explicit or implicit dialog between the voices in the discourse or between the participants of the communication directive function the function of an advertising text that appeals to the recipients directly by means of imperatives discourse the process of production and interpretation of a text as a social interaction; a social practice of language use discourse strategy the conscious choice of means from the spectrum of linguistic devices applied during the text-creation to make the text functional in its context

203 display ad an unlabeled printed ad appearing accidentally at any page of a periodical, aimed at unaware recipients embedded intertextuality a type of intertextuality in which one text is set in the other one embedded sender the voice that approaches the recipients from the advertisement as the messenger and that can be frequently deictically identified expressive function the function of an advertising text that draws on recipients‟ emotions and elicits their emotional reaction fictional account a type of an advertising narrative that presents fictional protagonists in a fictional story figure of speech an expression used to explore language in a non-literary or unusual way; a linguistic device employed by writers in order to express ideas in a novel or creative way and thus create a unique effect function of the text what the text is intended and/or expected to do goal of the advertising communication a composition of an advertisement that ensures addressing and exploring of the recipients‟ needs and desires genre a category of composition marked by a distinctive style, form, or content; a socially ratified way of using language in connection with a particular social practice goodwill ad a product ad the aim of which is building a good image of the company; the product advertised in such ad is the company itself hard-sell ad an advertisement using direct appeals to the recipient to buy a product because of its best price, limited stock, best quality, etc.

204 headline (sometimes referred to as caption) primary attention-seeking verbal part of a printed ad; usually the most prominent and first-to-read verbal part of the advertising message advice and promise h~ an advertising headline that instructs the recipient to do something in order to reach some effect command h~ (or demand h~) an advertising headline that imposes a direct appeal, most frequently by an imperative curiosity h~ an advertising headline that arouses recipients‟ curiosity, most frequently by asking a direct question news h~ an advertising headline that delivers a new piece of information; something that the recipient is not expected to know before reading selective h~ an advertising headline that delimits a target group of recipients heteroglossia a presence of many voices within a text heteroglossic intertextuality a type of intertextuality in which a presence of another text within the advertising text is marked by presence of more voices, each bearing a text of their own heuristic function the function of an advertising text which has been placed in a new context and thus becomes a learning material hiding metaphor a type of metaphor operating on the basis of establishing ideological concepts high-involvement product a type of product that is generally more expensive, purchased relatively infrequently, and requires more reflecting of the consumer before purchasing horizontal intertextuality a type of intertextuality which involves a direct reference to other texts

205 illocutionary act the communicative act; using the force associated with the message illustration the pictorial matter of the advertising message; visual elements of the advertising context illustration-depicted intertextuality a type of intertextuality that presents another text as a part of the illustration of an advertisement

Indirect Speech Act a speech act that does not exhibit direct imposition of force and the one in which the actual wording does not correspond directly to the effect it is intended to have; the identification and processing of which is fully context-dependent industrial ad a product ad aimed at commercially equal recipients, usually at companies in the related field of business or specialists within such companies inferring deriving at conclusions from what is known or suspected; establishing the concepts from the text that are based on the available facts as contained in the text inherent voice a voice of an impersonal unidentified sender with a persuasive intention that lies within any commercial message interpreter a recipient, whether a member of a target group or not, who becomes involved with decoding and interpreting of the message intertext a text that belongs to other discourse but influences the interpretation of the given text locutionary act the act of uttering the actual words of the message, recording the carefully chosen items of the message by the copy writer

206 low-involvement product a type of product that is usually of lower price, purchased frequently in supermarkets and convenience stores manifest intertextuality a type of intertextuality in which the switch of genres or voices is evident mapping reflecting correspondences established between conceptual domains marketing strategy the conscious choice of marketing means (such as photographs, texts, sounds, perfumed spots, substance, etc.) ensuring that the advertising is effective and fulfils the advertising goal mass-culture intertextuality a type of intertextuality that presents instances of entertainment texts within an advertisement mental space a cognitive model of a constructed context; an outlined space in recipient‟s conceptual capacity explored to represent and interpret what is explicitly or implicitly present in the discourse; a cognitive space used for individual interpretation of a particular discourse in a specific situation mixed intertextuality a type of intertextuality in which texts create a network of inter-related links multigeneric intertextuality a type of intertextuality in which a presence of another text within the advertising text is marked by presence of items typical for other genres multi-media intertextuality a type of intertextuality in which texts are present in other texts only as references within an intricate network of modern media non-commercial ad an instance of the advertising genre aimed at promoting a political, religious or charity idea with the primary goal of influencing the recipient‟s mindset or changing their opinions

207 non-creative revealing metaphor a type of metaphor that does not draw on creative strength; a recognizable metaphor that strengthens the existing ideas and opinions through employing predictable, non-innovative language patterns and metaphorical mappings non-print ad an instance of the advertising genre presented in spoken form, i.e. an instance of television and radio advertising non-specific multigeneric intertextuality a type of intertextuality that features a text within another text marked by a register or text forms which are typical of other genres participant the person taking part in the advertising communication (a sender and a recipient) perlocutionary act the effect of the message, e.g. when the recipients of the ad message become the customers by performing the act of acquiring the product personification a type of ontological metaphor in which the mapping occurs between an inanimate domain and a domain depicting a person phatic function the function of an advertising text that expresses solidarity and empathy; often found in headlines as an attention-catching device poetic function the function of an advertising text that evokes pleasure in the recipients presence a potential recipient who occupies a position that allows one to become a participant; an individual who may not read message, intentionally skips the advertising page or her/his attention is not directed to the message contents at the right time

208 printed ad an instance of the advertising genre appearing in periodicals (magazines and newspapers) and in non-periodical printed materials (catalogues, flyers, carrier bags, etc.), on the Internet and at outdoor surfaces product (or commercial) ad an instance of advertising genre aimed at promoting a product or a service with the primary goal of reaching financial gain product brand name the basic identifier of the product in the printed advertisement, usually appearing several times in different parts of the advertisement reason ad an advertisement evoking recipient‟s common sense; it suggests motives and offers reasons to obtain the product reason strategy a marketing strategy operating on the basis of evoking practical reasons to obtain the product recipient the reader or the listener of the message; the identity identifying and processing the message recipient design the adaptation and careful crafting of the message that is to ensure recipients‟ continued attention and understanding referential function the function of an advertising text that provides factual information about the items or offers contact data revealing metaphor a type of metaphor that is intended to reveal unique and pleasing associations sender the utterer of the message; the identity revealing the message to the recipient

209 sequential intertextuality a type of intertextuality in which one text successively follows the other one setting a story scene; the location where the advertising story takes place situation the participants‟ perception of the objects and people influencing the text slogan an easy-to-remember, low-information density line that functions as a signature; it tries to bridge the time gap between seeing the ad and buying the product soft-sell ad an advertisement promoting a product indirectly, implicitly; it relies on creating desirable emotional stance and positive attitude to the product strategy choices among options aimed at effectively executing a plan and reaching a communicative intention or a goal structure of the advertising message formal labeling and ordering of regularly appearing parts of an advertising message, such as the headline, the body copy, the slogan, contact data, the brand name and the illustration substance the physical material which carries the advertising target group the group of individuals whose characteristics make them most susceptible to become the product consumers text a product of socially embedded processes of language production and interpretation textual cue a textual signal that activates certain mental space in the recipient‟s mind and delimits its borders; a text item used as a mental space outliner that navigates the mental processing

210

tickle ad an advertisement which appeals to recipients‟ moods and emotions tickle strategy a marketing strategy operating on the basis of evoking positive feelings that urge prospective consumers into buying the product time-line a sequence of events in a story true account a type of an advertising narrative that depicts a seemingly true story of making, testing or using the product undercoding the operation that allows the recipients to co-create the meaning of the text; it is an operation through which portions of certain texts (textual cues) are taken as incomplete portions of a code since the reliable pre- established rules are not applicable or are not available unique selling proposition (USP) a marketing proposition pointing out a unique feature of the product vertical intertextuality a type of intertextuality in which the other text present in the referred text is rather an allusion or a mode of writing or style virtual interpreter an ideal member of a target group whom the advertisers portray during the process of the message creation virtual sender the actual advertising message creator; most frequently a member of a creative team in an advertising agency voice a speaking personality or a speaking consciousness in an advertising text

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Appedix II: Corpus of Ads (Textual Parts)

Cars (Tabloids)

The Edge is never dull. All-New Edge. With attention-grabbing styling and unique features like an available panoramic Vista Roof, this crossover is designed to inspire you to view the world in a different way. Plus, it offers the punch of class-leading 265 horsepower and does it with impressive fuel economy. So, stay sharp with the Edge, starting at $25,995 MSRP. And leave dull behind. Ford. Bold.

It never ceases to amaze Sarah how her Mariner gets her through just about anything, even uptight maitre d's. The 2007 Mercury Mariner. Sarah's friends were doubtful about their chances of getting in. But with Intelligent 4WD, an aggressive V-6 and style to match, Mariner has a way of turning heads. Now the new restaurant isn't the only place people are looking to get into. Mercury. New Doors Opened.

It's anything but cute. The all-new 2007 Dodge Caliber starting at $14,135. 172-horsepower 2.4 liter engine. Available MusicGate Power Boston Acoustics sound system with swing-down liftgate speakers. Visit dodge.com or call XXX. Grab life by the horns. Dodge.

Yaris. Clean. The thoughtfully designed Yaris Liftback. Starting at $11,530. Toyota. Moving forward.

Grabbed the clothes from the kid at the dry cleaners. Handed him twice what she owed. Offered to pay for the guy behind her and left a business card. It took five minutes before the call came. Ford. Boldmoves. It's nice to hear back from people. We recently heard from J.D. Power and Associates. Who ranked the Ford Fusion the "Most Appealing Midsize Car." That'll make some heads turn. Fusion.

This is our music. This is our truck. All New Chevy Silverado. As a longtime partner with the Country Music Association, Chevy is proud to celebrate 40 years of the CMA Awards by giving country songwriters some added inspiration: the all new Chevy Silverado. Catch Gretchen Wilson, Big & Rich, and more of your favourite country stars in the Chevy 2007 Country Music Calendar. See behind-the-scenes footage at chevymusic.com An American Revolution.

Cadillac. Life. Liberty. And the pursuit. 2007 Cadillac SRX Crossover.

Hyundai. Drive your way. RetHink Everything. Rethink your needs. 5-star crash test rating. 6 airbags. Rethink your wants. Heated front seats. 6-speaker CD/MP3 audio system. 8-way power-adjustable driver seat. Rethink the total no-brainer. The new Sonata with America's Best Warranty. Rethink everything. TheNewSonata.com.

Q. "Dear Dr. Z, What are the benefits of merging American and German engineering and design?" Dr. Dieter Zetsche, Chairman, DaimlerChrysler AG. A. The Chrysler 300C, for example. Its advanced five-link suspension not only improves handling, it also reduces cabin 212 noise. A. Two Flex Fuel Jeep vehicles are in production. And a Jeep Grand Cherokee with the world's cleanest diesel technology will be available in the future. A. MDS technology. Our HEMI V8 shuts down four cylinders at cruising speeds, improving fuel efficiency by 7% while providing plenty of power. Employee Pricing Plus. Experiencing the best in American and German engineering and design. Get Employee Pricing plus 0% APR financing. And right now, we're also offering a 30-day Return Program when financed through Chrysler Financial. Daimler Chrysler. The doctor is in at AskDrZ.com

Seven airbags for you. One for the planet. Designed for today and tomorrow. With emission- reducing hybrid technology to help protect the future. And a host of standard safety features to help make sure you're around to see it. Camry. When a car becomes more. toyota.com The all- new 2007 Camry. Toyota. Moving Forward

Super Tail Action! Move over, mullet! You are no longer the undisputed king of stylish tail technology! Mullet, it's time to pass the torch to the all-new Fit Sport with sleek body design and aerodynamic rear roofline spoiler! Super style meets super substance! Fit is loaded with enjoyable driving technology! Steering wheel-mounted paddle shifters! 6-speaker audio with iPod integration! Blue illuminated gauges! Mullet loses again! Fit is all business when it comes to safety! Standard front, side and curtain airbags are your driving companions! Standard anti-lock brakes accompany you everywhere! Mullet has no answer! The Fit is Go! Business under the hood! Sporty style in the back! Fit. New from Honda. Ignition time! Thrust onto the tolling blacktop! Feel the quiet roar of the vigorous 1.5-liter VTEC engine! Swift, stylish mover with satisfying efficiency! 38 mpg on the freeway ... Super Pump Beater! Cargo time? The roomy 5-door passenger Fit with 60/40 split 2nd row Magic Seat brings the versatility! Hatchback attack! fit.honda.com

Fall off the edge of the map. 4Runner. Expanding Your Universe. The Toyota 4Runner's arsenal of smart advancements can carry you up unbelievable inclines and over inhospitable terrain. So when you've reached the end of everyone else's world, yours is just beginning. Discover more at toyota.com Toyota. Moving Forward.

When it comes to safety, you shouldn't have to choose. The Ridgeline The CR-V The Odyssey The Civic Sedan The Pilot The Accord The Element The Fit At Honda, we have always believed in the importance of safety. That's why new Hondas have a comprehensive package of standard safety equipment: anti-lock brakes, front side airbags with an Occupant Position Detection System, side curtain airbags and features designed to reduce pedestrian injuries. It's all part of a thoroughly responsible approach to vehicles we call 'Safety for Everyone'. Safety for Everyone. Honda. The Power of Dreams.

When one is experiencing Giddyupidness, one must be aware of the cop hiding behind the billboard. If one loves to put the pedal to the metal, one must be aware of the responsive nature of the highly enlightened Kia Rondo. A new kind of crossover vehicle that combines the spaciousness and flexibility of an SUV with the handling and fuel efficiency of a car. With class-leading safety, 29 MPG Hwy, available 3rd-row seating and a powerful V6 engine. All backed by a 10-year/100,00-mile warranty program. Starting at $16,995. kia.com The all-new Kia Rondo. Welcome to Rondoism. Kia. The Power to Surprise.

Born to be wild. All-new Suzuki SX4. Attitude and AWD, all standard. We admit it. We've got a reputation for having fun. Giving a little attitude. So it's a natural for us to offer up the equally spirited Suzuki SX4. This new sport X-over features the only 3-Mode i-AWD in the class, plus the power of a 143-hp engine, all standard. Yaris, Fit and Versa don't offer either 213 one. There's ABS and the safety of a side-curtain airbags, standard. Plus available Electronic Stability Program (ESP) with TCS. The all-new Suzuki SX4. It's gonna be a great ride. suzukiauto.com Suzuki. Way of Life.

Ford. BoldMoves. This test had a lot of turns. And one big twist. (Ford Fusion beat Camry and Accord.) Recently, in Washington D.C., a town known for its strong opinions, Car and Driver invited 600 of its readers to compare three cars in performance, handling and styling. So, who won? Camry? Accord? Actually, the all-wheel-drive Ford Fusion came in first. If that surprises you, then find out what these Car and Driver enthusiasts have already discovered. Check it out yourself. Visit a Ford Dealer or go to fusionchallenge.com (graph included) Results from 600 drivers who were asked if the cars were attractive, were fun to drive, performed well and handled with precision. "Yes" responses scored one point. "No" responses scored zero. The results speak for themselves. Fusion Ford Challenge.

Inspiration pulled from your life. That's professional grade. 1. The easiest form of turn-by-turn navigation available. 2. Better fuel efficiency than any 8-passenger SUV. 3. Unparalleled safety features. 4. Dual sunroof with breathtaking sky views available. 5. StabiliTrack for multiple road surfaces. 6. DVD entertainment system available. 7. 12 cupholders. 8. Halogen projection headlamps. 9. Tri-zone automatic climate control available. GMC Acadia. Welcome to Acadia. The crossover from GMC.

The all-new Edge makes the scene with its panoramic Vista Roof. It's three times larger than the average traditional moon-roof. This crossover will inspire you to view the world in a different way. The Edge's flexible interior can adapt to any situation with the push of a button thanks to the available EasyFold rear seat back release and fold-flat front passenger seat. Plus, Edge has the most reconfigurable center console in its class, multiple powerpoints and a standard MP3 audio jack. It also offers the punch of a 3.5L V6 engine with class-leading 265 horsepower that's been recognized as one of "Ward's 10 Best Engines for 2007", and does it all with an impressive fuel economy of 25 mpg on the highway. So, stay sharp with the Edge and leave dull behind. Ford BoldMoves.

Grab life by the horns. Dodge. Avenge Internal Computer System. STEERING: listen up ppl, we're ina tight corner ESP: Electronic Stability Program at ur service! BRAKES: he hit the brakes hard ESP: im detecting slippage BRAKES: hydrolic break booster, work ur magic BOOSTER: NP im on it bro ABS: u r awesome. busy breaking L front and R rear ENGINE: lowering torque and throttle BTW ESP: yaw and lateral acceleration sensors activated. man im good :-) TRACTION CONTROL: LOL giving rear wheels more traction ESP: gr8, cuz we r almost out of this corner ENGINE: yesssss! back on full throttle BRAKES: this is 2 easy IMHO ESP: cya l8r SEND SEE THE ALL-NEW AVENGER AT DODGE.COM/AVENGER

Ford. BoldMoves. Both coasts have spoken. (Ford Fusion beat Camry and Accord again.) After Car and Driver readers put Camry, Accord and all-wheel-drive Ford Fusion to the test, Road & Track invited 400 car enthusiasts to do the same, this time in California. So, what happened? Ford Fusion did it again. Beating both Camry and Accord on performance, handling and styling. It's time for you to find out what so many others already have. Take the Ford Challenge and see why Fusion is the better choice. Visit a Ford Dealer or go to fordchallenge.com (results graph included) Results from 400 test-drive participants in California, who were asked if the cars were attractive, fun to drive, performed well and handled with precision. "Yes" responses scored one point. "No" responses scored zero. The results speak for themselves. Fusion Ford Challenge.

US2 214

Hyundai. Drive your way. If greatness is a destination, we're on the road to it. Hyundai Tucson is the "Highest Ranked Compact Multi-Activity Vehicle in Initial Quality." We're going places people never thought possible. Like the top of the automotive world. Our most recent milestone is no accident. It's the result of years of focus, determination, and drive. Not to mention lots of rethinking. When you follow a map of excellence, you're bound to pick up a few treasures along the way. HyundaiUSA.com TUCSON

US3

Freedom is a whole new dimension. Introducing the all-new 2007 Jeep Compass. Available Freedom Drive I four-wheel drive. ESP with Traction Control. Flexible seating and storage. Flip-down rear liftgate speakers. Starting at 15,985. It's your life… Bounce On to jeep.com "Keep it moving!" Jeep.

US3

CRAVE CR-V Presenting the all-new CR-V It's something new to crave. Ample seating for five. Standard side curtain airbags. And an available XM Satellite Radio. It's enough to make you want to put a cherry on top. Honda.

There's something new to CRAVE. CRAVE. The richness of available leather seats, a dual- deck cargo shelf and a Honda Satellite-Linked Navigation System. All together in one irresistible blend. Presenting the all-new CR-V. It's something new to crave. Honda.

US3

Cars (Vanity Fair)

Shyness Cured. Peugeot 207 CC. Drive of your Life. Peugeot.

VF4

On A Clear Day You Can See Innovations Stretching Back Over A Century. Introducing The R-Class.

It is a true six-seater that's truly much more. More spacious. More styled. More versatile. Designed to make room for people. For things. For life. The R-Class is the product of an unrivaled heritage of innovation and excellence. This very new, very different kind of automobile delivers luxury, light, sky and options on a grand scale. Introducing the R-Class. Legendary. Unlike any other.

VF10

Inspired by her stylish new Mercury Milan, Tina did what anyone else in her shoes would do - buy new ones. Introducing the all-new 2006 Mercury Milan. Milan's eye-catching style and two-tone leather seats gave Tina ample reason to add to her shoe collection; not that Tina ever needed reasons. The big question now is whether her closet will hold as much as Milan's trunk. Mercury. New Doors Opened.

VF9

After building three of the most capable 4x4s on Earth … we had our biggest idea yet. All New Jeep Commander.

VF9

Any smaller and it would be "European". The all-new midsize H3. Living up to the off-road reputation Hummer made famous. Hummer. Like Nothing Else.

VF10.

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Pull over occasionally and let your blood cool. The acceleration alone will take your breath away. Match it with a 165-mph top track speed and a suspension that feels tuned to your every thought, and the Cayenne Turbo is enough to send you on an endless drive. Stopping only for those occasions when your senses redline. Porsche. There is no substitute. The Cayenne Turbo.

VF9

Call the office. Tell them you're running early. Suddenly your commute is shorter. And more invigorating. As the Acura TL strikes a deft balance of sophisticated V-6 power and voice- activated technology. Your arrival will be fashionable. It just won't be late. The TL. Acura.

VF9

Life-altering events: Love, childbirth, turning the ignition. One simple turn of the key is all it takes. You hear deep, resonant sound of the engine. You feel the steering respond with such athletic agility. Suddenly, you change. Driving changes. Life has one less chore. And one more reward. Porsche. There is no substitute. The Cayenne.

VF10

Your first kiss. Shopping in New York. Those first designer shoes. The New Spider. Some experiences stay with you. For more information about the New Spider visit www.alfaromeo.co.uk, call xxx or text SPIDER to xxx. Alfa Spider.

VF4

Heart bpm… Engine rpm … Don't just drive the car. Be the car. All-New MX-5 Miata. Once again, Mazda has reinvented the sports car. You see it in every texture, stitch and sweep. You feel it in every shift, straightaway and turn. It sets a whole new standard to the true sports car experience. The all-new MX-% Miata is completely redesigned and rebuilt from the ground up. Every component is engineered to keep your senses firing on all cylinders. To deliver a unique oneness - a connection of car and driver so immediate, it's almost telepathic. Only Mazda could have delivered this seamless expression of pure motion. It's a mindset. It's an obsession. And once again, it's become a sports car. bethecar.com

VF9

Take everything you know about design and nudge it. Push it. Simplify it. Modernize it. Liberate it. Inject it with life. Give it a point of view and 335 horsepower and hold on. Introducing the all-new Infinity M. Design is always moving. It's daring. It's purposeful. It starts with a Push Button Ignition. It leads with the only Lane Departure Warning system and Rear Active Steer in its class. And it captivates with Bose Studio Surround sound. The all-new M. Designed to outperform. Discover more at Infiniti.com

VF10

New. Classic. No longer antonyms. The new Range Rover Supercharged.

VF10

Why coast through life when you can corner it. Introducing the all-new 2006 Lincoln Zephyr. It handles. It hugs. It performs. Lincoln Zephyr. With a sport-tuned suspension and class- exclusive six-speed automatic transmission. Seize your opportunity. Lincoln.

VF10

The new TDV8. The economy of a diesel, the performance and refinement of a V8. Range Rover Sport TDV8. Land Rover. Go Beyond.

VF3

The all-new 7-seat Jeep Commander. Winner of the 4x4 magazine's 4x4 of the year. The all- new 7-seat Jeep Commander. How do you win 4x4 of the year? We could say its "Retro looks

216 hide a modern and comfortable seven seater interior" or it has "genuine capacity to back up its genuine off-roader looks" but we'll just let 4x4 magazine say it for us. What we will say though is it comes with front and rear park assist, Boston Acoustic system, leather trimmed interior and a choice of either a 3.0 V6 diesel or the powerful 5.7 V8 Hemi engine. jeep.co.uk

VF7

What's a boundary? RX 400h. The world's first high performance hybrid SUV. Conventional logic is a boundary. Lexus logic is different. It brings together the unheard of combination of V8-like power, superior fuel efficiency, and lower, category-leading CO2 emissions. How? Through Lexus Hybrid Drive, which cleverly links a petrol engine with two electric motors. The result is the RX400h. A unique SUV, built to demolish boundaries and open up a whole new world of driving for you. Lexus. The pursuit of perfection.

VF8

The new Eos. Re-discover your senses. Smell … See … Hear … Touch a button, and the steel- and-glass roof folds elegantly away, transforming the new Eos coupé into a cabriolet and opening your senses to the world. From just ₤19,370 rrp including "Adelaide' alloys, fog lights and parking sensors. For more information, call XXX or visit www.rediscoveryoursenses.co.uk W Aus Liebe zum Automobil

VF8

The new Envoy Denali with available touch-screen navigation system. Our most luxurious appointments. Our most advanced ideas. And our highest level of engineering. All lie behind this grille. Visit gmc.com/denali. We are professional grade. Envoy Denali.

VF9

The passionate pursuit of perfection. Lexus. Welcome to the luxury hybrid. It's not just the debut of a new car, but of a new category. Lexus engineers have combined the attributes of a luxury sedan with the remarkable fuel economy and low emissions that only hybrid technology can provide. The result is a vehicle that offers you the best of both, without asking you to sacrifice anything. A V6 engine delivers the power of a V8 while producing only a fraction of the emissions associated with a standard SUV. Yet, this hybrid is also every inch a Lexus, sparing nothing in the way of your comforts and conveniences. Making it what may indeed be the first vehicle of its kind. One that treats you, and the world you live in, with equal respect. To learn more about the RX 400h, including the unique Paul McCartney signature edition commemorating the Paul McCartney US Tour presented by Lexus, please visit us at lexus.com/mccartney.

VF9

120 not-so-standard features (pictures with funny descriptions!!!!). One all new German engineered Passat. Drivers wanted. W.

VF9

Now you can get one before you ink the record deal. The all-new midsize H3. Living up to the off-road reputation Hummer made famous. Starting at $29,500. Hummer. Like nothing else.

VF9

The new Peugeot 308. Inspired by nature, driven with pleasure. Peugeot has created a car as elegant as it is efficient. Superb aerodynamics and refined engines, including the Hdi diesel engine with particulate filters mean that emissions start at only 120g/km of CO2. The new Peugeot 308 from ₤11,995. The drive of your life.

VF1

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Haven't we all seen enough of ordinary? New Bravo from ₤10,995. Fiat.co.uk. Beautiful and spacious, with the option of a turbocharge T-jet or MultiJet engine, the New Bravo is so far away from ordinary it's unreal. Fiat.

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Available in blur. The new C-Class. Serene Agility. The new Mercedes-Benz C-Class: emphasis on the new. Up until now there have been dynamic, sporty cars and there have been graceful, luxurious cars. That just changed. The C-Class has all agility of a performance car, yet with the serenity you expect from a Mercedes. But words are futile. Book a test drive and C for yourself. Mercedes Benz.

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There's no rest for the wicked. Until the next stoplight, anyway. Stow the hardtop with just a touch. Settle into the French-seamed leather. And just try to resist the call of the 320-hp Northstar V8. XLR. Break Through. A year of OneStar safely, on every Cadillac. Details at cadillac.com.

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Never Follow. For the culturally advantaged. The Audi A8 with a 335 hp V8 or 450 hp W12. With advanced technology like MMI, quattro all-wheel drive and an all-aluminum Audi Space Frame, it has been named "America's Best Luxury Car" by the readers of AutoWeek. Again. Making the A8, A8 L and A8 L W12 synonymous with luxury and intelligent design. It's greater to lead than follow. Audi.

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Chrysler. Inspiration comes standard. The most awarded new car ever. The Chrysler 300C.

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Phaeton #433. Silver Mirror over Anthracite leather with honed Eucalyptus trim. Purchased by Mark Hoidal, of Seattle, Washington. Equipped with a 335 hp V8, air suspension, standard all- wheel drive and a 4-zone climate control system that Mark happily reports, has cut complaints from back-seat passengers (ages 7 and 10) by well over fifty percent on long trips. The Phaeton, from Volkswagen. Starting at $66,950. Drivers wanted.

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Never follow. Audiusa.com The most enjoyable reason to arrive fashionably late. The Audi A8 with a 335 hp V8 or 450 hp W12. With MMI, quattro all-wheel drive and a lightweight all- aluminum Audi Space Frame. Once again named "America's Best Luxury Car" by the readers of AutoWeek, the A8, A8 L and A8 L W12 allow you to make an entrance no matter when you choose to arrive. It's greater to lead than to follow.

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Every Once In A While, A Vehicle Comes Around That Changes Everything. Introducing the 4-Wheel Drive R-Class Grand Sports Tourer. Look out the Panorama Roof and see the world framed beautifully. Look in and see luxury executed superbly. A sumptuous, versatile space that accommodates six effortlessly or any number of uses easily. The R-Class is, quite simply, a very new, very different kind of automobile. A very new, very different way to travel. R- Class. Unlike any other. Mercedes Benz.

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Jaguar. GORGEOUS TRUMPS EVERYTHING.

Jaguar. GORGEOUS doesn't care what others are doing.

Jaguar. Gorgeous gets in EVERYWHERE. VF9

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Jaguar. WHERE DID GORGEOUS GO? Prefergorgeous.com

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Cosmetics (Tabloids)

Covergirl. Plump 'em don't clump 'em. New Volume Exact Mascara Brilliant new brush with microchambers plumps each little lash without clumping for volume a whole new way. Go brush to brush and compare. Clumps on the brush could end up you-know-where! (photos) Volume Exact Brush Ordinary brush Find Queen Latifah's look at covergirl.com easy breezy beautiful COVERGIRL

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Skin so naturally clear it breathes. Skin that breathes is skin that can be free of breakouts and blemishes. So, go natural, go Swiss. With St. Ives Apricot Scrubs and Cleansers. Oil-free. 100% natural exfoliants, never synthetic. With salicylic acid to clean deep into pores. Removing dirt, oil and dead skin cells that cause blemishes. Allowing skin to breathe. So your skin looks fresh and clear. Visibly healthy. Naturally Swiss. St Ives Swiss Formula.

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So purifying, it's like a mini-sauna for your face. New Olay Warming Cleansers. Feel the exhilarating warmth of New Olay Warming Cleansers. Feel them not just cleansing, but purifying your skin. Removing impurities better than basic cleansing. Your pores will sit back, relax and say "Ahh..." Olay love the skin you're in.

So clean. So cool. So invigorating. Neutrogena Deep Clean Invigorating Foaming Scrub. Neutrogena. Dermatologist Recommended.

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New Colorstay Soft & Smooth Lipcolor. Stays gorgeous. Stays creamy. Stays on. Exclusive SoftFlex for hours and hours of luscious, feel-good color in one smooth step. Flaking or cakeing? Forget it. 36 sexy shades, from sheer to full. Revlon. Halle Berry is wearing Colorstay Soft & Smooth Lipcolor in Ruby Rapture.

It's a mousse revolution! Matte-perfect foundation with an amazing air-soft feel. Adriana Lima. Dream Matte Mousse Foundation. Feels as different as it looks. Maybelline New York. Maybe she's born with it. Maybe it's Maybelline.

Lashtrovert. New Lash Perfection Mascara. Want to stand out in a crowd? Get ahold of this. An advanced, flexible iFX brush reaches out to every little lash, base to tip, corner to corner, maxing out even minimal lashes. You won't believe the look. They won't believe your eyes. Carmen electrifies in Lash Perfection in Richest Black, MAXeye Shadows in Vintage Vixen and MAXeye Liner in Nightclub. For a retailer near you and for personalized makeup tips, visit maxfactor.com. MAX Factor. Makeup, maximized.

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Shower your skin in luxury. Discover Dove CreamOil Body Washes. The richest blend of cream and natural oil for ultra-moisturized, velvety skin - the ultimate moisture from Dove.

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Olay. When it comes to skin saturated with beauty, Quench reigns. It's the torrent of moisture in Olay Quench that transforms skin. Takes it all the way to beautiful. Skin is not just drenched, it's Quenched. All-over, body-beautiful moisture. Only Olay can make it so ... quenching! Quench. Love the skin you're in.

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Make your first impression a naturally glowing one. Jergens Natural Glow Face Daily Moisturizer Now also with SPF 20. Give your face a gradual healthy summer glow, just by moisturizing. The only glow with 3 customized shades that are specially formulated for face with oil-free, dermatologist tested formulas. Find it in the lotion aisle. Jergens. Put your best skin out there.

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Suddenly, my skin is an extrovert. No longer content to live in the shadow of my smile, it wants to be the center of attention. This new skin and I were made for each other. The new Jergens Moisturizing Collection. From our reformulated Original Scent to our new Shea Butter moisturizers, our unique collection transforms skin. Leaving it so remarkably smooth, soft and radiant, you won't be the only one who notices. Put your best skin out there.

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Dove Cool Moisture. A refreshing drink to your skin. Summer heat taking its toll? Freshen up with Dove Cool Moisture. The line of gentle-to-your-skin products created with 1/4 hydrating lotion. And the uplifting fragrance of cucumber and green tea. It's everything your skin thirsts for.

I no longer recognize my own skin. It's renewed, silky & smooth. Ready for action. And reaction. New Jergens Skin Smoothing. Get ready for new, reformulated Jergens Skin Smoothing moisturizer. Dual-action polishing beads gently exfoliate and dissolve as they deeply hydrate, leaving skin renewed, silky and smooth. Put your best skin out there.

Resolve to fight what ages you most. New Definity Foam for luminous, highly defined skin. This New Year, resolve to fight what ages you most - discoloration, dullness and wrinkles. Because fighting just wrinkles is sooo 2006. Olay. Love the skin you're in.

64 countries, 1 face care line. ) wrinkles. Nivea Q10 the world's #1 selling. As the world's #1 selling anti-aging face care line, NIVEA Visage Q 10 works to both reduce and help prevent the appearance of wrinkles. Save up to $5 on NIVEA Q10 products. Look in your local Sunday paper. NIVEA.

Three ribbons. Three levels of skincare. If you like an intensely moisturized feel, try BODY BUTTER ribbons. If you like a fresh-skin feel, try LOTION ribbon. If you like a creamy, moisturized feel, try CRÈME ribbons. Olay. Love the skin you're in.

Enter the deep end of moisture. Olay body wash plus CRÈME RIBBONS. Wrap your skin in two times the moisturizers (*vs. the leading body wash) with the only body wash that moisturizes with an added ribbon of rich skin crème. Olay. Love the skin you're in.

The Lycopene in tomatoes is proven to boost your immune system. Now it's in skincare that actually boosts skin's radiance from the inside out. New. Garnier Skin Renew. Nutrition + Dermatology. A 1st from Garnier. Skin Renew with unique dermatological nutrients refuels 220 calls within skin's deepest surface layers: LYCOPENE powerful anti-oxidant VITAMIN C surface cell renewal MAGNESIUM energizes + hydrates. A clinical study proves: in 3 weeks tone and texture are transformed for a deeper radiance. Great skin from the inside out. GARNIER. Take care.

ALMAY New Almay Hydracolor Lipstick 100x more water than regular lipsticks. Nourishes with plant extracts and Vitamin E. Hypoallergenic formula with SPF 15. 32 rich, refreshing shades. Hydration Sensation. So your lips feel as beautiful as they look.

Choose your radiance. Now AVEENO introduces a color-enhancing moisturizer that lets you customize your color. New CONTINUOUS RADIANCE Moisturizing Lotion has a patented dial technology - you choose the shade for the perfect summer radiance for you. A subtle color booster enhances your natural skin tone. And the moisture-rich soy formula is clinically shown to moisture for a full 24 hours, for healthy radiance that lasts. Aveeno. Active naturals. Discover nature's secret for healthy radiant skin.

What's in a big girl's toy box? The new Caress Body Wash collection. Six luxurious ways to beautify your skin. Caress. Play With Beauty.

Let him think that glow is because of something he did. A radiant, deep clean. Noxzema. Pretty. Smart.

If anyone's talking dirt, it won't be about your face. Purifying Blackhead Cleanser. Noxzema. Pretty. Smart.

LS3 tis the season for radiant skin. Dove SkinVitalizer daily facial cleanser Deeply cleanse and reveal incredibly soft, smooth skin to put your best face forward day after beautiful day.

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You're beautiful and smart… Eye 2 Eye Color & Contour Shadow The secret to sensational eyes! The perfect ratio of highlighter to contour. Why pay more? Quality cosmetics at a value price. N.Y.C. New York Color

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Like a tropical rainforest, only you're the wildlife. New Tone Exotic Fusions: Water Lily & Sugar Cane body wash. It's an aroma-fest of 7 moisturizing botanicals. Mmm, the shower gods are smiling.

Feed your skin Don't fuel it. (other brands … petroleum mineral oil, butylene glycol, vinyl neodecanoate… Juice Organics .. Organic orange, lemon, grape, apple, carrot & pomegranate juices, organic raw cane sugar …Made with certified organic ingredients) Your skin absorbs what you place on it. Nourish your skin with organic, toxin-free ingredients. Juice Organics. Healthy beauty.

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The difference between noticing your glow and being drawn to it. The difference is new NIVEA Sun-Kissed Firming Moisturizer, a gradual tanner that moisturizes as it firms for a slimmer, sun-kissed look. Notice a healthy-looking tan in just five days. For a complete glow

221 head to toe, try new NIVEA Sun-Kissed Facial Moisturizer. Find more temptingly touchable skincare ideas at www.NIVEAusa.com/sunkissed. NIVEA. Touch and be touched.

The difference between high collars and plunging necklines. The difference is NIVEA body Age Defying Moisturizer, formulated specifically for your body. It replenishes creatine, the anti-aging ingredient found in your skin, boosting your skin's natural age-defying power. For fewer wrinkles, less dryness and irresistibly younger-looking skin. Show off a confident new you with a night out from NIVEA. Enter to win a shopping spree and dinner for two at www.NIVEAusa.com/agedefy. NIVEA. Touch and be touched.

Nature's Cure Confidence in a Kit Lose your zits. Find yourself. Nature's Cure introduces as easy 3-step system that combines acne-fighting salicylic acid with skin-enhancing papaya enzyme. 1. Open Pores and deep clean your skin with the Acne-Clearing Papaya Cleanser. 2. Exfoliate and revitalize your complexion with the Pore-Perfecting Papaya Toner. 3. Fight Acne and soothe skin all day with Acne-Repairing Papaya Moisturizer. Go to www.papayakit.com to learn more. Also try our Body Acne Spray.

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Microdermabrasion at your fingertips. After one week of gentle cleansing, get professional microdermabrasion results. Microdermabrasion from a gentle cleanser. You already cleanse twice a day, every day. Neutrogena Illuminating Microderm Cleansing Pads can turn your everyday cleansing routine into something breakthrough. Just one week of use is clinically proven to deliver professional microdermabrasion results. Dull, tired skin becomes fresh and vibrant. Fine lines are smoothed and radiance returns. Dynamic dual action. Dual-textured, dual-formula pads are what makes this cleanser microdermabrasion-capable. Step 1: Microderm-polishers sweep away imperfections with foaming lather that cleanses deep down to remove dirt and oil. Step 2: Nourishing-stripes condition and replenish skin for a visibly brighte complexion with a silky, smooth feel. Neutrogena Illuminating Pads proved equivalent to professional microdermabrasion at improving the condition of skin attributes. No fine print needed. The best thing about the results? They're not "similar to" or "like", they're actually equivalent to one professional microdermabrasion treatment. To learn more about this cleansing breakthrough, log on to netrogena.com/illuminating.

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100% of women showed improvements in signs of aging. Introducing New Avon Solutions Ageless Results. With Avon's Daily Skin Allowance, the nutrients and supplements for your skin's particular needs. Ageless Results reveals improved skin texture, clarity and sun-damage. Only at Avon. Ask for your brochure today. Call your Avon Representative. Visit us at avon.com

There's more to our sunscreen than the SPF number. Our sunscreen has Helioplex. Q. What is SPF? A. SPF (sun protection factor) is a rating for the level of protection against sun-burning UVB rays. But there's more to sunscreen than an SPF number. Our sunscreens with Helioplex have the added benefit of performance stabilizing technology for longer lasting UVA protection. It's unbeatable. Q. What is Helioplex? A. It's a new patented technology so advanced it helps sunscreens deliver exceptional UVA/UVB protection. How does it work? It's all in the balance. Sunscreens can lose the ability to block UVA rays over time. Neutrogena sunscreens, with Helioplex stabilizing technology, provide superior UVA protection that lasts. So broad-spectrum protection is balanced. Q. What's the difference between UVB and UVA? A. UVB rays can cause sunburn (think B = Burning rays) and that can lead to skin cancer. UVA rays (think A = Aging) penetrate deepest into the skin. They accelerate the signs of aging. After long-term exposure, skin may appear dry, lines and leathery. Q. Why Neutrogena? A. Because Neutrogena sun protection products, engineered with Helioplex

222 technology, give you the exceptional broad-spectrum protection you and your skin deserve. It's the next generation in sun protection. Neutrogena. # 1 Dermatologist Recommended Suncare.

Microbeads are good for your face. Macrobeads make cute bracelets. The Microbead Cleanser. Noxzema. Pretty. Smart.

Covergirl. Now, go clump-free for free. Lash Exact Mascara. A breakthrough brush for a breakthrough mascara experience - one you can't get even with the leading department store mascara! We're so sure you'll love it more, we'll help you experience it free! Details @ covergirl.com. Easy Breezy Beautiful COVERGIRL

P4 a ™ hypoallergenic lashes, maximized Almay Tripple Effect the Mascara. Your Ultimate Lash Look. So much drama, so little time! The Triple Impact Brush thickens, lengthens and curls in one clump-free coat. Almay. Now in waterproof. Elaine Mellencamp is wearing Triple Effect Mascara in Black.

Plumalicious? Berry Rich? Think I'll try all 72. Super Lustrous Lipstick. Exclusive LiquiSilk pampers lips with silk-drenched mega-moisturizers and vitamins. No wonder it's America's #1 lipstick. Revlon. Eva Mendes is wearing Super Lustrous Lipstick in Goldpearl Plum.

Lightened? Darkened? Dove Advanced Color Care for Lightened Hair The lightening process can do wonders for your look, but it can also leave your hair feeling dry and brittle. Dove for lightened hair works deep inside the hair and restores softness and shine. Dove Advanced Color Care for Darkened Hair Darkening hair adds color, but it fades over time, and your hair is left feeling rough and looking dull. Dove for darkened hair coats hair with a protective layer, keeping that 'just colored feeling' longer. For a free sample, visit dove.com who knew the effects of lightening and darkening could be so different?

P3 be real. go online. get on air. REC THE NEXT BIG DOVE COMMERCIAL CREATED BY YOU 00:30 Dove makes products for real women like you. So who better than you to produce our NEW Dove Cream Oil Body Wash commercial? Create your ad at dovecreamoil.com the richest blend of cream and natural oil - the ultimate moisture from Dove.

Christmas past (photo of a common toothbrush). Christmas present (photo of Crest Spin Brush). Crest SpinBrush Pro-Clean battery-powered toothbrush cleans up to 70% more plaque in hard-to-reach places than your ordinary manual toothbrush. So this holiday, give them something to really smile about. Don't just brush. Crest SpinBrush.

Pure seduction. Pure Antonio. Antonio Banderas Seductive Fragrances.

Still using this? (photo of a common toothbrush). You could be leaving millions more plaque bugs behind. Better get Vitality. Fast. (photo of Oral B Vitality toothbrush). New Oral-B Vitality Precision Clean reduces up to 2X more plaque than a regular manual brush. Rechargeable. Under $20.

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New Head & Shoulders Intensive Solutions truly intensive scalp care no prescription necessary treats and helps prevent seborrhetic dermatitis and dandruff-related scalp problems: itching. flaking. dryness. irritation. redness protects hair against damage while leaving it free of visible flakes, guaranteed

Upgrade! Upgrade your life! Upgrade to new and improved Tampax Pearl! With three fabulous details, it's your best protection ever! Built-in Backup Braid Absorbent Core Anti-Slip Grip For a free sample, visit beinggirl.com/upgrade

Introducing a cleanser that gives, gives, gives more than it takes. New hydrate & cleanse micro-bead cleansing serum The alternative to cleansers that just take, take, take is here. With vitamin E and nourishing hydrators you can go beyond cleansing to refortify your skin's moisture. So, get a cleanser that actually gives more than it takes. Olay. Love the skin you're in.

Leave the past behind. Undo up to 2 years of damage in 1 month. Pantene New Time Renewal Turn back the hands of time. Advanced Dramatic Visionary Amazing pearlescent multi pro- vitamin therapy system repairs up to 2 years of damage from daily stress, highlights and blow- drying advanced technology mirrors the look of healthy hair see hair's health and shine visibly restored in just one month, guaranteed Pro-V Restoratives

P4 the Braid makes you Brave. Only Pearl gives you trusted Tampax protection and a revolutionary leek-catching braid. Free sample at tampaxpearl.com.

If you've ever checked your teeth in a butter knife, you're one of us. Areyouteethpeople.com The toothpaste for teeth people. Mentadent.

Leave the past behind. Undo up to 2 years of damage in 1 month. Pantene New Time Renewal Turn back the hands of time. Advanced Dramatic Visionary Amazing pearlescent multi pro- vitamin therapy formula repairs up to 2 years of damage from daily stress, processing and blow-drying advanced technology mirrors the look of healthy hair see hair's health and shine visibly restored in just one month, guaranteed Pro-V Restoratives

L'Oreal Thinking makeover? Start at the top with the crème de la crème haircolor. Excellence Crème Triple Protection Color Crème It's absolutely beautiful color that's hassle-free. So creamy rich, it doesn't drip. So protective, nothing leaves hair softer. And the color? Guaranteed beautiful. Triple Protection Excellence Creme. 100% gray coverage. Because you're worth it. L'Oreal Paris. Andie Macdowell uses Excellence Creme 5G Medium Golden Brown.

To get 43% further between teeth: Option 1: Accordion teeth Option 2: New Reach Inbetween The only toothbrush with extended Reach bristles. The new Reach INBetween gets 43% further between teeth because it's the only toothbrush with extended Reach bristles that are finer toward the tips. Now, you can be sure you're getting to those HARD TO REACH PLACES way between your teeth. And that's where plaque hides. So get the ultimate clean- mouth feeling ... without getting accordion teeth! Nothing is beyond REACH P6

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Fights frizz for 5x smoother hair, even with moisture in the air. Garnier Fructis Sleek & Shine The 1st long-lasting smoothing system with fruit micro-oils from Garnier. Fortifying facts: Nourishing fruit micro-oils help give long-lasting smoothness. Makes hair 5x stronger, 5x smoother and so much shinier. Gives hair the strength to fight frizz. Nutritive Fruit Micro-Oils: Vitamins B3 and B6, Apricot Oil, Avocado Oil. For hair that shines with all its strength. Garnier.

Put yourself in your best light. Radiant Highlights (Daniela brightens her blonde hair with champagne highlights) OR Sultry Lowlights (Daniela deepens her blonde hair with toffee lowlights). Now it's easy to get the custom look you want. Express your style, bring out your features, or fit the season. Choose from 4 stunning highlights shades or 3 gorgeous lowlights shades for the one that's perfect for you. Introducing CUSTOM EFFECTS Salon Quality Highlights or Lowlights - At Home. Revlon.

Gently exfoliates your skin every time you shave. Venus Vibrance. Battery Powered. Venus Vibrance gently exfoliates your skin, leaving it smooth and luminous, revealing a more radiant you. Venus. Reveal the goddess in you.

It's possible to have perfectly obedient curls without having to repeat yourself fourteen times. Say yes to beautiful without paying the price. Suave Healthy Curls.

PANTENE Hot as ice. Ice Shine. Get chills with the Ice Shine Collection from Pantene. The pro-vitamin formula heats up your look with 2X the shine in just one use. Learn cool ways to shine at pantene.com/iceshine.

A little lift with every change. When you feel clean, you feel good. That's why Always Clean is the first and only line of pads to come attached with individually wrapped wipes. So you can get a little pick-me-up when you need it most. Have a happy period. Always Clean. And a little lift every day. Always Thin Pantiliners. Have a happy period. Always.

My Secret. I sweat more than my boyfriend. Secret. Strong like a woman. Some of is don't perspire. Or glisten. We sweat. And now there's something we can do about it. Introducing new Secret Clinical Strength - prescription strength wetness protection without a prescription. Triple-Layer Protection: Rx Strength Wetness Defence. Odor-fighting microcapsules. Soothing ingredients. Secret Clinical Strength.

Everyone's skin deserves a little pampering now and then. (direct speech in a dream off a dog) For a gentle touch, try Cotonelle toilet paper with Aloe & E, enriched with the natural goodness of Aloe Vera. Its silky sheets are kind to your skin. Cotonelle Aloe & E

Used to be Wild. [Is your hair trying to tell you something?] With Nexxus, your hair can say goodbye to its frizzy, flyaway past. New Sleektress Shampoo, Hydra Sleek Conditioner and Sleek Style Crème, scientifically developed and salon proven to tame unruly hair for a sleek, smooth finish. Your hair knows best. So take it to the Nexxus level. Nexxus. Salon Hair Care. Find Nexxus in your hair care aisle.

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New Molten Metal Liquid Shadow go metallic Precious metal colors, liquid seduction. Smooth on sheer to bold, then line your eyes with New Revlon Luxurious Color Eyeliner. For intense luminosity in a flash. In 4 fiery shades. Revlon Limited Edition Collection.

White Trays How would you rather whiten your teeth? New Aquafresh White Trays have been designed by cosmetic dentists for whitening that fits you. They're easy to apply, flexible, disposable, pre-filled trays for a custom fit. For teeth that are visibly whiter in as little as 3 days, with full results in just 7. More information and money-saving offers at AquafreshWhiteTrays.com. Whitening that fits you.

Control frizz. Straighten. Shine! Before After It's the next revolution in straightening. The Infinity by Conair 100% solid ceramic straightener heats up in 30 seconds. Precision ceramic heater maintains optimum temperatures to smooth out frizz for show-stopping shine! Infiniti by Conair

Let the sunshine in. New Bic Soleil. Introducing Soleil with replacement blades. Sunny Soleil makes every day brighter, every shave more luxurious. Its Soothing Moisture Strip with aloe and shea butter and its three-blade pivoting head glides easily over your body's contours and pampers your skin for a flawlessly smooth shave. Feel the Soleil.

You can cover up your skin. Or unveil it. Powder Palette Multi-Colored Face Powders. Just the right combination of colors blend together to naturally enhance skin tone. For fine drug and discount stores near you, call XXX or PhysiciansFormula.com. Physicians Formula. Your eyes won't believe your face.

Rusk Professional Hair Care. Problem: Dry, Dull, Frizzy Hair. The sun, wind, daily styling routines and chemical services can create damage that diminishes hair's natural luster, strength and vitality. Solution: Rusk Sheer Brilliance! Instantly transforms dry, dull, frizzy or damaged hair into smooth, soft, silky hair with incredible shine. Ideal for revitalizing color and highlights.

Suave. The average mom devotes 87.9 minutes a day to meals and only 4.2 minutes to her hair. Say yes to beautiful without paying the price.

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CharlesWorthington London results and big hair gorgeous healthy strong intense shine salon beautiful everyday CharlesWorthington

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Pantene Pro-V The beauty of health. Winter Rescue Revive dry, winter-damaged hair with a deep moisturizing pro-vitamin formula for up to 10x damage protection. Rescue your hair today. Pantene.

"My color is so blah" "I hate this faded look" "I just did my color two weeks ago, and already it's dull." Refresh it! Fanci-Full temporary hair rinse breathes new life into faded color. Use it as often as you like, and wash it off when you're ready. No ammonia. No peroxide. No mixing,

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No damage. Easy on, easy off. No commitment. Fanci-Full is available in a wide assortment of colors that refresh your color instantly.

Lumineers Will Painlessly and Permanently Perfect and Whiten Your Smile … Fast No shots. No removal or painful tooth structure. No pain - Not even an aspirin. Lumineers porcelain veneer utilizes exceptionally thin porcelain technology that can be made as thin as a contact lens and are placed over existing teeth (even unsightly crowns!) without removing any painful tooth structure. Unlike traditional porcelain veneers, Lumineers is a painless, permanent cosmetic solution for stained, chipped, discolored, or misaligned teeth and is clinically proven to last over 20 years. Over 8,000 dentists offer Lumineers and the number is growing. Ask your dentist for Lumineers by name. Only Lumineers are made of patented Cerinate porcelain and come with a Certificate of Authenticity. Call Toll Free to find a Lumineers dentist near you. Lumineers by Cerinate. The most significant cosmetic enhancement ever!

A disposable razor has never taken a woman's legs so seriously. The performance of our most advanced razor. The convenience of a disposable. Introducing the Schick Quattro for Women Disposable. With four ultra-thin blades and two conditioning strips, no other disposable gives you a closer, smoother, more comfortable shave. The Power of 4 is now disposable. Schick Quattro For Women Disposable.

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Lumineers by Cerinate Get straighter, whiter teeth - painlessly! Lumineers porcelain veneers may be your answer - a safe, painless, permanent cosmetic solution for stained, chipped, discolored, or misaligned teeth. Unlike traditional porcelain veneers that require painful removal of sensitive tooth structure, no anesthetic is required for Lumineers. Lumineers porcelain veneers combine a bonding system with patented Lumineers system with patented Lumineers technology, the only system proven to last over 20 years. Lumineers can be as thin as a contact lens and placed over existing teeth (even unsightly crowns!) without removing any painful tooth structure. Only a Lumineers Smile is made from Cerinate Porcelain. Accept no substitutes. Over 11,000 dentists offer Lumineers. Only Lumineers is made from Cerinate Porcelain and comes with a Certificate of Authenticity. Call to find a Lumineers dentist near you and receive #100 towards your Lumineers Smile. To learn about Lumineers smiles from satisfied dentists and patients, visit lumineers.com. Safe. No shots. No removal or painful tooth structure. No pain.

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You're beautiful and smart … why pay more? Quality cosmetics at a value price. N.Y.C. New York Color. N.Y.C. Nail Glossies with Vinyl Shine & Pro Vitamin B5.

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Targeted Relief For Dry, Rough & Cracked Feet Ordinary body lotions simply aren't formulated to penetrate through tough foot skin. That's why your feet need Gold Bond Therapeutic Foot Cream. It's uniquely formulated with 7 intensive moisturizers plus Vitamins A, C & E that work in combination to make your feet noticeably softer, smoother and healthier. For Dry, Rough and Cracked Heels Gold Bond Foot Cream Triple Action Relief Therapeutic Foot Relief Ordinary Body Lotions Can't Deliver!

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I wish my hair could borrow volume from my butt. Sunsilk. Yellow for flat. Gethairapy.com Yellow for new Sunsilk Anti-Flat Weightless Volumizing Crème. Conditioner? Mousse? More like the best of both to give your hair more body than a centerfold. Sunsilk Anti-Flat.

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The toothpaste that never sleeps. Fights germs for 12 hours day & night. Colgate Total. # 1 Recommended by Dentists.

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Covergirl. Beautiful on you, guaranteed! New Sheer-Shine TruShine Lipstick Thought you couldn't wear red? Pink? Or brown? New TruShine colors, not covers - to complement your skin tone. So now, we guarantee your shade will look beautiful - or your money back. Complements 97% of skin tones. Easy Breezy Beautiful Covergirl.

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John Frieda Collection London Paris New York We see a heat shield flawless styles a grand entrance you We see the potential to stop frizz before it starts. So we created New Frizz-Ease Thermal Protection Serum to defend against heat styling and UV rays. With a Thermal Shield Complex, it wraps each hair strand with a protective sealant. Another salon breakthrough from the professionals behind the John Frieda Collection. John Frieda Collection. The beauty of invention.

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L'Oreal Paris Body Expertise 100% Natural-looking tan. No-streaks. Sublime Bronz Advanced Self-Tanning Innovations. Tan from head to toe. Super-smoothing self-tanners in innovative formulas and textures. Enhanced with gentle AHAs and Vitamin E. Super-even, fast-action sunless-tanning. Streak-free. Sun-free. Discover Sublime Body. Log on to www.lorealsublimebody.com to get application tips and tricks. Eva Longoria is wearing Sublime Bronze Tinted Self-Tanning Lotion in Medium Natural Tan. Because You're Worth It. L'Oreal Paris.

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Fresh and clean with natural twist. Introducing Crest Nature's Expressions. Three new toothpastes with the lasting freshness of pure peppermint oil, the clean sensation of natural lemon and mint, and the natural goodness of mint and green tea extracts. Healthy, Beautiful Smiles for Life. Crest.

US2

Feel the clean without the shower. Always Clean. Clean feels good. That's why new Always Clean is the first and only line of pads to come attached with individually wrapped wipes. So it helps you feel shower clean with every change. Have a happy period. Always Clean. An Ultra pad + individually wrapped wipe = one uplifting clean combo. Have a happy period. Always Clean.

US3

CoolMint Listerine. If you think it's just for your mouth, think bigger. Big news about oral care may change the way you think about rinsing with Listerine Antiseptic. Emerging science suggests that there may be a link between the health of your mouth and the health of your body. Physicians and dentists don't yet know the exact connection between the health of your mouth and the health of your body, but several theories exist. One thing everyone agrees on is that a healthy mouth can only lead to good things. That's why there's Listerine. It's proven to help keep your mouth healthier by killing the germs that cause plaque and gingivitis. In fact, rinsing twice a day with Listerine gives you 24-hour protection against the germs that cause plaque and gingivitis. To learn more, visit listerine.com, or ask your dentist, dental hygienist or physician about the mouth-body connection. Do it for your mouth. Do it for life. listerine.com

US3

Define the curl. Tame the frizz. Turn on the shine. New Garnier Fructis Curl & Shine. The 1st curl-defining system with active fruit concentrate from Garnier. Fortifying facts: Formulated with active fruit concentrate to give lasting curl definition to rebelliously curly hair. Makes hair 5x stronger, 5x smoother and so much shinier. Helps eliminate frizz for defined and shiny 228 curls. Active Fruit Concentrate: Vitamins B3 and B6, Fructose, Glucose. For hair that shines with all its strength. Garnier.

US3

Nature intended for skin to breathe. St Ives Swiss Formula. Skin that can breathe is skin at its most natural and healthy. So, go natural, go Swiss. With St. Ives Apricot Scrubs and Cleansers. 100% natural exfoliants, never synthetic. To remove impurities, even from pores. Leaving your skin looking natural, looking healthy. Visibly healthy. Naturally Swiss. St. Ives Swiss Formula.

US3

Lightened? Darkened? Dove Advanced Color Care for Lightened Hair. The lightening process can do wonders for your look, but it can also leave your hair feeling dry and brittle. Dove for lightened hair works deep inside the hair and restores softness and shine. Dove Advanced Color Care for Darkened Hair. Darkening hair adds color, but it fades over time, and your hair is left feeling rough and looking dull. Dove for darkened hair coats hair with a protective layer, keeping that 'just colored feeling' longer. For a free sample, visit dove.com. Who knew the effects of lightening and darkening could be so different?

US3

Cosmetics (Vanity Fair)

Fight Skin Aging Where it Starts. It is never too early - or too late - to intervene on your skin's behalf. NEW Anti Aging Emulsion SPF 30 Anti Aging Eye cream SPF 15 Available from 2nd October la prairie SWITZERLAND

VF7

Estee Lauder Re-Nutriv Enjoy "virtual immunity" from the visible signs of ageing. Re-Nutriv Ultimate Lifting Serum "Virtual immunity" means you'll see a noticeably more lifted look, a brilliant clarity, a newly refined smoothness. This extraordinary Serum is formulated with rare, precious ingredients and the latest science, like groundbreaking OGG1 enzyme technology that helps reduce the look of critical past UVA damage. And it indulges your every sense with the legendary luxury you expect from Re-Nutriv. Ultimate Lift Powerful ingredients enable skin to increase its own natural collagen production. Ultimate Clarity Proven skin brighteners vividly enhance skin translucency for a youthful glow. Ultimate Smoothness Next-generation optics and non-acid refiners create a velvety veil of perfection. www.esteelaude.co.uk

VF3

Chanel Vitalumiere Discover renewed radiance. Lines and wrinkles are virtually erased. Vitalumiere. The antidote to tired skin. Nordstrom.com

VF10

Say YES to great skin. Even if you thought nature said no. Clinique Liquid facial soap Clinique Clarifying lotion Clinique Dramatically different moisturizing lotion Yes. Dry skin can be dewy, smooth. Yes. Oily skin can avert breakouts. Yes. You can help evict visible fine lines. Refine the look of pores. Enjoy a more even tone. Wake to skin with transparency, clarity, visible life. In a mere two weeks. Let a Clinique Expert custom-fit your 3-Step Skin Care System of cleanse, exfoliate, moisturize. Just 3 products, 3 minutes, twice a day. It becomes second nature. Allergy Tested. 100% Fragrance Free. www.clinique.co.uk

VF3 one golden drop, one de-aging minute, one radiant face. Cellular Radiance Concentrate Pure Gold. La Prairie SWITZERLAND

VF3 229

Estee Lauder This little brown bottle holds the future of your skin. Advanced Night Repair Protective Recovery Complex Based on solid, scientific findings and 24 years of proven success, this is the one skincare treatment your skin shouldn't live without. Women around the world can attest to the remarkable powers of this patented formula. Now, with just a few drops applied every night, you really can help repair the appearance of skin damaged by daily exposure to our ageing environment. For every woman, every night, it significantly helps skin boost its natural repair response - critical for its look of well-being. Neutralises up to 90% of environmental irritants before they can cause your skin to look prematurely aged. Soothes daily visible irritation and builds a rich reserve of anti-oxidants and lipids to help replenish skin's natural protectants. Think of it as "insurance" for skin that stands the test of time.

VF2

Everything we know about skin care goes into our foundations. And Clinique knows a lot about skin. Most skins aren't oily or dry, but a confounding combination of the two. Craving hydration in places, prone to oily breakout in the T-zone. Superbalanced Makeup is the ingenious solution. Absorbing oil where needed. Keeping dry patches comfortable. Even reducing the appearance of fine lines. Find equally resourceful foundations for all skins, always custom-fit to your needs. Clinique. Allergy Tested. 100% Fragrance Free. Clinique.

VF2

Dior The secret of eternal youth? CAPTURE TOTALE The latest scientific breakthrough against time, signed by Dior: Capture Totale Day Crème, Eye Treatment and Eye Patch, enriched with the bio-technological extract Centuline, help preserve the skin's beauty and vitality. These new products help improve the appearance of all visible signs of ageing: the eye area appears brighter, the skin looks visibly younger. Dior Innovation: Centuline. More beautiful today than you were at 20. Sharon Stone. Capture.

VF1

Clarins introduces Skin Difference, the best way to get kissed every day. Always wanted shaving to be easier? Now it is. New from Clarins, Skin Difference is the first product to slow down stubble growth and soften beard. Applied at night, next morning shaving is quicker, easier and more effective. What's more, Skin Difference targets the entire face to smooth, soften and revive dull skin. Big differences you'll both notice. The first dual action night-time product for the shave zone and skin. Skin Difference. A patented plant-based formula. One pump of the double-vial bottle delivers a unique formula that's exceptionally rich in powerful plant extracts. Fibraurea Recisa softens hair texture and helps moderate growth. Bison Grass, Purslane, Chinese Ginger and Avocado help protect and moisturize while promoting firmer, more youthful-looking skin. ClarinsMen. Long live men's skin.

VF1, VF2 the eye-opening experience you've been waiting for la prairie skin caviar luxe eye lift cream skin caviar eye lift cream targets the seven most prominent eye-agers: fine lines, wrinkles, loss of firmness, loss of elasticity, puffiness, dark circles, and dryness. skin appears more radiant and luxurious than it has in years. what could be more ageless than that? la prairie SWITZERLAND

VF1

Dior Midnight Poison A new Cinderella is born. Eva Green. Midnight Poison.

VF1

Clinique Liquid facial soap mild Clarifying lotion Dramatically different moisturizing lotion Sleep in. It's just 3 minutes to great skin. Clinique's 3-Step Skin Care is such a simple, effective system, it takes just 3 minutes in the morning and again at night to wake up in great skin. Developed by dermatologists and custom-fit by Experts, this logical routine of cleanse, exfoliate, moisturise is all you need to rouse new transparency, clarity, life. Know how great your skin looks after a good night's sleep - clear, smooth, radiant. It could be like that. Every day. Clinique. Alergy Tested. 100% Fragrance Free. VF1 230

Terre D'Hermes Inspired by earth and sky Hermes Paris

VF3

Prada Parfums See the movie Thunder Perfect Mind by Jordan and Ridley Scott

VF3

The smartest protection in town. Even in the city, the sun and pollution can cause skin to lose its fresh look and feel. Wrinkles can appear along with age spots. This is why Clarins created UV Plus SPF40, an invisible shield which protects your face from UVA and UVB rays and pollution. UV Plus offers 100% mineral protection and a featherlight texture you'd never know was there. It's essential city day wear. UV PLUS SPF40 Protective Day Screen The remarkable power of White Tea. Very rich in antioxidant molecules capable of trapping free radicals. Also provides reinforced protection during peaks in pollution. Allergy and ophthalmologist tested. Clarins Paris. It's a fact. With Clarins, life's more beautiful.

VF4

Fact. Eating antioxidants may not be enough to save your skin. Eat smart, certainly. But know that when it comes to benefiting from all that goodness, skin is at the back of the line. So we developed a complex of eight antioxidants, both rapid and delayed-release, dedicated exclusively to skin. Helps keep it looking strong. Helps prevent visible signs of ageing - commonly referred to as lines, wrinkles and uneven skin tone. New Continuous Rescue Antioxidant Moisturizer. Great news for undernourished skins everywhere. Clinique. Allergy Tested. 100% Fragrance Free. Clinique.

VF4

An exquisite tan is the ultimate luxury. Introducinf Re-Nutriv Sun Supreme Collection. Enjoy a sexy radiance in the sun. Revel in the exquisite tan that follows. And love the younger, more beautiful look you'll see. All thanks to multi-faceted SPF 15 protection technology, and silky- rich textures that indulge your every sense. Re-Nutriv Sun Supreme, the ultimate sun luxury. Estee Lauder.

VF4

Be seduced… 212 sexy Carolina Herrera New York

VF5

Dior. The secret of eternal youth? Capture Totale. New Multi-Perfection Eye Treatment. The latest breakthrough against time, signed by Dior. New Multi-perfection Eye Treatment, enriched with the bio-technological extract Centuline, preserves the skin's beauty and vitality. This new product helps improve the appearance of all visible signs of ageing: the eye area appears revitalized and visibly younger. More beautiful today than you were at 20. Sharon Stone. Capture.

VF6

If electromagnetic waves can penetrate walls, imagine what they can do to your skin. Today, electromagnetic waves generated by a host of modern day electronic devices join a list of well- known pollutants which can damage skin. For the first time, Clarins Research reveals the link between exposure to artificial electromagnetic waves and accelerated skin ageing. Clarins introduces Expertise 3P (Poly Pollution Protection). Worldwide first. Clarins Expertise 3P. Exceptional plant extracts with super-adapting powers against all types of pollution: Thermus Thermopillus from the ocean and Rhodiola Rosea from Siberia. Together with free radical fighters, White Tea and Succory Dock-Cress, they form an advanced anti-pollution complex to help maintain skin's health and beauty. Innovative skin protection for today's world. Clarins Paris. It's a fact. With Clarins, life's more beautiful.

VF5

231

Yes. Gentle exfoliation can be effective. Sweep away the dullness, keep the glow. Twice-a- day exfoliation with Clarifying Lotion sweeps away dulling flakes. Nudges fresher, livelier looking skin to the surface. In four skin-typed strengths, it's the hearth of our dermatologist- developed 3-Step System of cleanse, exfoliate, moisturize. So yes, dry skins accept moisture better. Oily skins see fewer breakouts. Fine lines are visibly softened. Texture, refined. Can great skin be created? Yes. Come for a custom-fitting. Allergy Tested. 100% Fragrance Free. Clinique.

VF6

Enjoy "virtual immunity" from the visible signs of ageing. Re-Nutriv Ultimate Lifting Serum. "Virtual immunity" means you'll see a noticeably more lifted look, a brilliant clarity, a newly refined smoothness. With rare ingredients and the latest science - like OGG1 enzyme technology that helps reduce the look of past UVA damage. You'll simply be astonished. Estee Lauder.

VF6

The neck is meant for kisses and sweet nothings, not wrinkles. But external aggressions, rubbing of clothes and the head's movements call for special care of Clarins New Advanced Extra-Firming Neck Cream. Formulated to help lift, firm, revitalize and soften, your neck is more than beautiful, it's irresistible. NEW Advanced Extra-Firming Neck Cream. The potent power of plants. Plum Kernel, Sunflower Auxins, Bocoa and Anthyllis. From nature's most effective plants Clarins isolates their most active extracts. Working together, they help smooth lines, maintain elasticity and firm skin. Clarins Paris. It's a fact. With Clarins, life's more beautiful.

VF7

Euphoria live the dream Calvin Klein fragrance for men and women

VF7 ange ou demon she alone knows GIVENCHY

VF7 hypnose The hypnotizing fragrance Lancome Paris

VF7

Enjoy "virtual immunity" from the visible signs of ageing. Re-Nutriv Ultimate Lifting Serum. "Virtual immunity" means you'll see a noticeably more lifted look, a brilliant clarity, a newly refined smoothness. This extraordinary Serum is formulated with rare, precious ingredients and the latest science, like groundbreaking OGG1 enzyme technology that helps reduce the look of critical past UVA damage. And it indulges your every sense with the legendary luxury You expect from Re-Nutriv. Ultimate Lift Powerful ingredients enable skin to increase its own natural collagen production. Ultimate Clarity Proven skin brighteners vividly enhance skin translucency for a radiant, youthful glow. Ultimate Smoothness Next-generation optics and non-acid refiners create a velvety veil of perfection. Use it faithfully for skin that looks firmer, more lifted, more defined. You'll simply be astonished. Estee Lauder.

VF8 high definition lashes New defining lengths. Brush, comb. Create. With new High Definition Lashes Brush Then Comb Mascara. Brush-side coats with dramatic, long-wearing colour. Comb-side separates to perfection. Transforms each and every lash with extreme length and definition. Allergy Tested. 100% Fragrance Free. Clinique.

VF8

Lancome Paris. L'Extreme Instant Lash Extensions! Extend lashes up to 60%. New Instant Extensions Lengthening Mascara - exclusive Fibrestretch formula with supple fibers extends 232 lashes to the extreme. - patented extreme lash brush weaves-on lash extensions. - extreme length with instant lash extensions.

VF9 i.d. BareMinerals Bare Escentuals makeup so pure you can sleep in it

VF9

Onyx For men women love to love Azzaro

VF9

L'Oreal Never Chalky. Never Cakey. The first powder to precisely match your skin's texture and tone. NEW True Match super-blendable power THE MOST VERSATILE COVERAGE Imagine, powder so microfine it does it all. Blotyour T-zone to control shine. Blend all over for an even, natural finish. Build for foundation-like coverage. Totally controllable. However you wear it, it's virtually undetectable. THE MOST NATURAL MATCH. An exclusive triple- refined process makes it possible to match your skin's texture. Never looks cakey or chalky even after touch-ups. Never dusts up or settles into fine lines. 24 SKIN-TRUE SHADES A unique palette of Warm, Neutral and Cool tones that stays the hour after hour. Oil-free. Non- comedogenic. Because you're worth it. L'Oreal Paris. Beyonce Knowles is wearing True Match in Nut Brown.

VF9

Clinique. New look, new lush shine. New Colour Surge Butter Shine Lipstick. Our revolutionary gel formula delivers the shine of a gloss, the comfort of a lipstick. Drenches lips in moist, lush colour that glides on buttery-soft, feels luxuriously smooth. Allergy Tested. 100% Fragrance Free.

VF9

I live for the moments like this. Pleasures Estee Lauder (photo of Gwyneth Paltrow)

VF9

"Subtle and sensual, a fragrance should be an aura that surrounds us." Giorgio Armani. Black Code. armani black code the new fragrance for men GIORGIO ARMANI

VF10

One day, you wake up, you're 40… but you don't look it! This morning, your skin is smooth, signs of fatigue have disappeared and wrinkles are fast asleep. The most beautiful gift we can give ourselves is more years of youthfulness, thanks to Clarins Extra-Firming treatments and their powerful age-control benefits. You wake up and you're simply beautiful. NEW Clarins Paris Extra-Firming Day and Night Creams, innovative advanced age control that helps protect fragile skin to reveal a younger-looking complexion. A bouquet of rare and potent botanicals in the day cream (Euglena, White Tea, Succory Dock-Cress) provide energy and promote skin firmness. Vitamin E and Alfalfa in the night cream help revitalize and renew, so skin is more youthful-looking upon waking. It's a fact. With Clarins, life's more beautiful. Extra-Firming Day Cream. Tests showed up to an 83% reduction in the appearance of lines and wrinkles. Extra-Firming Night Cream. Tests showed up to 87% increase in skin firmness.

VF10

Cosmetic Surgery? I don't think so. Erno Laszlo. New TRANSpHUSE Topical Surgiceutical. With dermal fillers and topical muscle relaxers. Erno Laszlo brings together the most advanced technologies & ingredients, once limited only to invasive procedures, in a revolutionary, new surgiceutical treatment. Erno Laszlo. Be Seriously Beautiful.

VF10

233

Clinique. New Blushing Blush Powder Blush. Defining moment for cheeks. Ten fresh, silky colours sweep on effortlessly with custom-sculpting brush. Allergy Tested. 100% Fragrance Free. Clinique.com

VF10

RESURFACE-C MICRODERMABRASION Micro-polished smoothness. Now with the radiant power of pure vitamin C. NEW SKIN POLISHING AND RADIANCE RENEWING SYSTEM 2 simple steps inspired by professional microdermabrasion: Step 1: Reveals refined skin texture with micro-polishing crystals. Step 2: Renews radiance with pure vitamin C serum. So effective, 90% of women immediately saw more radiant skin, while 82% felt smoother texture. And in just 2 weeks, 80% experienced improved skin tone overall. See healthier- looking, more radiant skin, day after day. Lancome Paris. -1 MICRO-POLISH -2 RENEW RADIANCE

VF10

Estee Lauder What makes you different is what makes you beautiful. New. Individualist Natural Finish Makeup. Now there's a makeup that matches your true skin tone for the most natural, flawless look. With our exclusive Ideal Match technology, we can capture your skin's natural tone and give you your shade of difference. For a truly blandable, undetectable finish. It's makeup as individual as you are.

VF10

Jewels (Tabloids)

Tacori. Express yourself from a to z. Tacori.com

A diamond is forever. This spring slip on something timeless. The right hand ring. Preview the latest designs at diamondisforever.com

Paula Creamer, champion professional golfer. Silhouette Bangle. UNSTOPPABLE. Paula Creamer is. So is her Citizen Eco-Drive. Fueled by light, it never needs a battery. It's unstoppable. Just like the people who wear it. Citizen Eco-Drive.

LS1

Nicole Vaidisova, champion professional tennis player. Riega 32 Diamonds Black Mother-of- Pearl Dial. UNSTOPPABLE. Nicole Vaidisova is. So is her Citizen Eco-Drive. Fueled by light, it never needs a battery. It's unstoppable. Just like the people who wear it. Citizen Eco- Drive.

LS2, US1

Milestones Deserve Rewards … MOISSANITE Discover a unique jewel born of the stars. More fire & brilliance than any other gemstone. Surprisingly affordable. Genuinely dazzling. …Reward your milestone moments with moissanite. Discover moissanite at Macy's.

US1

It's your watch that tells most about who you are. Coutura. Refined elegance is reflected with a gleaming 20 diamond bezel and distinctive pink mother of pearl dial. Cabochon crown. 100 meter water resistance. SEIKO. Kay Jewelers.

US3

234

A diamond is forever. Slip into something timeless this season. Preview the latest diamond right hand ring designs at diamondisforever.com

US3

Jewels (Vanity Fair)

Boodle me if you dare. Boodles since 1798.

VF1

Boodle the night away. Boodles since 1798.

VF5

The facets of a woman's personality. Mont Blanc Jewelry.

VF9

Your left hand dreams of love. Your right hand makes dreams come true. Your left hand lives happily ever after. Your right hand lives happily here and now. Women of the world, raise your right hand. The diamond right hand ring. View more at adiamondisforever.com. A Diamond Is Forever. Diamond Trading Company.

VF10

Time is precious. Use it wisely. To invest in our future, we must nurture our children's fantasies, and inspire their creativity. This requires access to the arts that too few children have. Join Julianne Moore, the Entertainment Industry Foundation, and Montblanc in helping children develop their most valuable asset: imagination. With your purchase of a Montblanc watch or writing instrument, a donation will be made to EIF's National Arts Education Initiative. For more information, please call XXX or visit www.montblanc.com/eif

VF9

Time is precious. Use it wisely. To invest in our future, we must nurture our children's fantasies, and inspire their creativity. This requires access to the arts that too few children have. Join Johnny Depp, the Entertainment Industry Foundation, and Montblanc in helping children develop their most valuable asset: imagination. With your purchase of a Montblanc watch or writing instrument, a donation will be made to EIF's National Arts Education Initiative. For more information, please call XXX or visit www.montblanc.com/eif

VF10

Profession: Pilot Career: Actor People are acquainted with the star, the multi-faceted actor. But John Travolta is also a seasoned pilot with more than 5,000 flight hours under his belt, and is certified on eight different aircraft, including the Boeing 747-400 Jumbo Jet. He nurtures a passion for everything that embodies the authentic spirit of aviation. Like Breitling wrist instruments. Founded in 1884, Breitling has shared all the finest hours in aeronautical history. Its chronographs meet the highest standards of precision, sturdiness and functionality, and are all equipped with movements that are chronometer-certified by the COSC (Swiss Official Chronometer Testing Institute). One simply does not become an aviation supplier by chance. Breitling Navitimer, a cult object for aviation enthusiasts. Breitling 1884 Instruments for professionals.

VF8

Gehry Beauty without rules The Frank Gehry Collection Tiffany & Co.

VF5

235

Mont Blanc A unique diamond. A unique star. The Montblanc Diamond with its patented cut is the centrepiece of the new Montblanc Diamond Jewellery Collection. Katherine Jenkins, the young opera star and Montblanc ambassador for arts & culture projects, wears a creation from the "La Dame Blanche" line with white diamonds and black jade.

VF1, VF4

Unlock and conquer. Golden Bridge. The mystifying timepiece to release the passion within. The first Corum in-house movement, originally created in 1980, is a unique "in-line" movement suspended in a transparent case. Four sapphire crystals allow viewing of the movement from all directions. Each element is conceived and developed respecting the highest code of Haute Horlogerie, and hand-assembled by our master watchmakers. Visit www.corum.ch Corum La Chaux-de-Fonds, Suisse

VF3

Competitive spirit meets grace and beauty. Zara Phillips's charisma, energy and dynamism have won more than just the hearts of her fans; they've earned her both European and World eventing titles. With determination and grace, she's bringing a new spirit to the sport she loves. Elevating her from the elegant to the exceptional. Oyster Perpetual Lady-Datejust Pearlmaster in 18 CT White Gold Rolex

VF2

Performance. Prestige. Passion for innovation. A beautiful plane is a plane that flies well. Here at BREITLING, we share the same philosophy. It is expressed through a single-minded commitment to building ultra-efficient wrist instruments for the most demanding professionals. Our chronographs meet the highest criteria of sturdiness and functionality, and we submit all our movements to the merciless tests of the Swiss Official Chronometer Testing Institute. One simply does not become an aviation supplier by chance. Chronomat Evolution. Breitling. Instruments for Professionals.

VF5, VF7

Pure Performance. Absolute Precision. Unlimited Air Racing, Reno, Nevada. Navitimer World. The Breitling Cult Chronograph, GMT dual timezone version. Officially chronometer- certified by the COSC. Breitling. Instruments for Professionals.

VF2

Patek Philippe Geneve. You don't just wear a Patek Philippe. You begin an enduring love affair. The rose gold complements every skin tone. Thirty-four rare white diamonds provide a discreet sparkle. Yet it is the silken feel of Twenty-4 on the wrist that is so utterly captivating. Collection includes matching ring and earrings.

VF2

The world grows more sensible by the day. Refuse to go quietly. Harry Winston. Anjelica Huston by Richard Avedon.

VF9

Movado The art of time Smart Jewelers. Kerry Washington, acclaimed actress. Esperanza. New floating diamond bezel. Stainless steel. Mother-of-pearl dial. Swiss-made. Water- resistant. Movado is proud of its longtime association with the arts. Movado.com

VF9

Ebel Classic. Introducing the new Ebel Classic. Sleek. Thin. Sensuous. Ebel. The Architects of Time.

VF10

236

After a century or two, fashions come and go, but true beauty endures. Bailey Banks & Briddle. Where Treasures Live.

VF10

I LΩVE YOU OMEGA

VF7

(a photo of a piece of coal … a photo of a diamond) Wait. CAT'S EYE Bi-Retro Diamond-set white gold case, diamond-set gold dial and mother-of-pearl marquetry, Girard-Perregaux automatic mechanical movement, sapphire case back. Retrograde seconds and day-of-the-week displays, moon phases indicator. For any enquiries, please call XXX. GP GIRARD- PERREGAUX Watches for the Few since 1791.

VF1

BAUME & MERCIER & ME It's TIME to make a difference. To learn more about how Baume&Mercier and GARY SINISE contribute to programs that improve education for our children, seek to cure cancer and protect the environment, please visit: www.baume-et- mercier.com Baume&Mercier Geneve 1830 A Brilliant Choice.

VF1

GRAFF London The Most Fabulous Jewels in the World www.graffdiamonds.com

VF1, VF2

OMEGA Nicole Kidman. My choice.

VF1

HIRSH London Sienna Fabulous Collection of Rubies 7.60CT Fine Brilliant Cut and Pear Shape Diamonds 10.41CT Where every piece is a work of art. Sold exclusively in HIRSH stores.

VF2

TAG Heuer Swiss Avant-Garde since 1860 What are you made of? Uma Thurman and her Link Diamonds

VF2, VF10

Tiffany & Co. Tiffany Woven Diamonds Woven in Sterling

VF2

Vasari L'instinct sauvage www.vasarijewels.com

VF3

Dior Christal Special Edition Chronograph 488 diamonds black sapphire crystal "Always make time for an adventure" Sharon Stone

VF3

George Clooney's Choice. Omega.

VF3

Maybe It's Your Anniversary. Tiffany Celebration Rings. Tiffany & Co.

VF3

237

Maybe Just Because. Tiffany Celebration Rings. Tiffany & Co.

VF4

HIRSH London. SUNBURST A rare fancy yellow orange diamond 1.01CT surrounded by 1.50CT of fine white diamonds. Handmade in platinum and 18CT yellow gold. Where every piece is a work of art.

VF5

Fearless Luxury. Oyster Perpetual Lady-Datejust Pearlmaster in 18CT White Gold Rolex

VF6

The world's most perfectly cut diamond. Thrills Like no other diamond. Hearts On Fire. Visit heartsonfire.co.uk to find a jeweler near you.

VF7

TIRET (RE)Defining Luxury www.tiretnewyork.com

VF7, VF8

Marcus. The most important collection of watches in the world. De Grisogono Geneve.

VF7

Chatila Jewellers since 1860 The Art of Happiness.

VF7

TAG Heuer Swiss Avant-Garde since 1860 What are you made of? Uma Thurman and her Aquaracer Diamonds

VF7

Patek Philippe Geneve. You don't just wear a Patek Philippe. You begin an enduring love affair. Patek Philippe's first self-winding Annual Calendar for ladies displays day, month and date, which only needs resetting once a year. The 18 carat white gold case is adorned by 156 rare white diamonds. Is it love?

VF7, VF8

James Bond. My Choice. Omega. Limited Edition.

VF7

Hearts On Fire. The world's most perfectly cut diamond. For Everything She Is And Will Be … Only One Diamond Will Do. The Right Hand Ring by Hearts On Fire.

VF9, VF10

My "I deserve it" gold bracelet. There's one language everyone understands. Charms from the Bags and BelShoes collections in 14K gold and enamel. Rosato HSN Speak Gold

VF9

BAUME & MERCIER & ME It's TIME to make a difference. To learn more about how Baume&Mercier and Meg Ryan contribute to programs that improve education for our children, seek to cure cancer and protect the environment, please visit: www.baume-et- mercier.com Baume&Mercier Geneve 1830 Bailey Banks & Biddle Where Treasures Live.

VF9

238

BAUME & MERCIER & ME It's TIME to make a difference. To learn more about how Baume&Mercier and Kiefer Sutherland contribute to programs that improve education for our children, seek to cure cancer and protect the environment, please visit: www.baume-et- mercier.com Baume&Mercier Geneve 1830 Bailey Banks & Biddle Where Treasures Live.

VF9

Beaudry Signed Originals. What will your story be? Michaelbeaudry.com

VF9, VF10

Carnival. Create your own Carnival ring. Carnival in 18 karat white gold with cabochon cut rubellite, sapphire or aquamarine and pave-set diamonds, 10 ct tw. $5,200 Georg Jensen Since 1904

VF9

Patek Philippe Geneve. Who will you be in the next 24 hours? The rich gold complements every skin tone. The 34 flawless diamonds provide a discreet sparkle. Yet is is on the wrist that the Twenty-4 comes alive. Only there does its silken feel encourage you to be whoever you want to be in the next 24 hours.

VF9, VF10

Concord. Style defined. A passionate expression of individual style. An elegant geometry dazzling in its detail. Solid 15K gold or stainless steel with diamonds. Sophisticated, Swiss crafted, Water resistant. Concord-watch.com Introducing the new Concord Mariner

VF9

Concord. Style defined.

VF10

The Tiffany Grand. In grand style. Tiffany & Co.

VF10

Into the Night. Wittnauer. Wittnauer Swiss.

VF10

We admire and salute Tea Leoni's dedication to UNICEF, a charity close to her and her family's heart. As a mother, actress and humanitarian, Tea continues to inspire and motivate us all. Di MODOLO proudly supports UNICEF in Tea's honor. "Triadra" necklaces in 18K white gold. "Favola" rings in 18K white gold, onyx and white coral. Di MODOLO Presents Actress and UNICEF Ambassador Tea Leoni Di MODOLO Flagship Boutique New York.

VF10

He was once a phenomenal prospect. Now he's just PHENOMENAL. Marat Safin has always been known for his incredible potential. But, after showing a more controlled and mature game on the way to two Grand Slam titles and a turn as the world's top-ranked player, he's become much more than just a promising talent. Marat Safin has become an accomplished pro and one of the world's most phenomenal athletes. Oyster Perpetual Day-Date ROLEX

VF10

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Clothes (Tabloids)

The new ultra fit collection Instantly slims you. 1.Innovative tummy control panel. 2. No-gap waistband. 3. Long lean silhouette. Riders By the makers of Lee. Jeans that fit. Beautifully. P3

Choosing the perfect top can be difficult. Pronouncing what it's made of shouldn't be. Is it cotton, or is it mystery fabric? Cotton.

A style for every story. Lily Aldridge wears Levi's Low Boot Cut 545. The Original Levi's.

Gisele plays with Vogue Eyewear. (a photo of Gisele Bundchen in sun glasses)

P1, LS1

The perfect manicure slips you into party mode. Do your sunglasses? LensCrafters. Open your eyes.

A splash of white. Trina Turk. Belted one-piece swimsuit, $152. Lord & Taylor. The signature of American style.

Nothing to wear to the opera. That's why … bluefly.com

P1 there (a photo of a hugely ornamental bra) barely there (a photo of a neat bra) Our new spring Invisible Look bras are here. No ruffles. No seams. No funny shapes under your clothes. Barelythere.com

When I wear Bali I feel beautiful. Live beautifully. Bali. Seductive Curves Satin Shaping.

For the perfect shot, you need the perfect bra. Look who we've got our Hanes on now. Hanes. All-over comfort bra with Comfortsoft straps. The straps won't slip. The cushioned under-wire won't poke. And it's tagless so it won't itch. Jennifer Love Hewitt thinks it's perfect from every angle (Also available in wire-free).

Families tell stories. Friends show evidence. Have you found your perfect fit? Lee.

Great prices on comfy pajamas for all the pirates, princesses and superhero skateboarders on your holiday shopping list. WalMart. Save money. Live better.

US1

A style for every story. Anne Marie Kortright wears Levi's Vintage Flare 572 Jeans. The Original levi's.

US3

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Free Panty with any PINK purchase. See back for details. Victoria's Secret. Wear cute underwear! Pink. Victoria's Secret.

US3

New fits New styles New Lee Relaxed fit Midrise bootcut Find your perfect fit. Lee. Get what fits.

US3

Look again. Roller Buckle Boot $24.49. Payless Shoesource.

P4, P5

Dr. Scholl's For Her. How to take a sexy heel and turn it into a bombshell. Introducing 3 cusky insoles in 3 colors. Sole Expressions.

Sketchers for Guys. Style Him Up!

US3

Ashley Simpson Sketchers. Rock out with style!

US3

Clothes (Vanity Fair)

To be one of a kind. Brioni.

VF1, VF2, VF5

Lacoste. Un peu d'air sur terre.

VF2, VF8

Harvey Nichols Womenswear. For a wonderful life.

VF4

The fur salon Dennis Basso Saks loves devoted followers. Saks Fifth Avenue.

VF9

Legends of the fall. Nordstrom.

VF9

Why it's a dream Personalized fit designed size by size, from A thru DD Signature stretch-to- fit comfort cups for superior shaping Sweetheart neckline graduates to convertible comfort straps Soft two-ply sides create a smooth look under clothes Patented hidden wire channel Coverage where you want it Maidenform the Dream Bra Introducing the dream bra ... Maidenform the DREAM bra

VF9

DKNY Donna Karan New York In the Trenches Late night in the city, it's when you find yourself in … classic wool trench coat, that is. Wrap-up your own…. Piece. It doesn't matter where you're headed. Just … make a dash. In the city you have an open invitation ... (looks like a piece of newspaper article cut out)

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Kenneth Cole New York There are now 50 Red States thanks to the National Debt. -Kenneth Cole. New York - What's really material? That's a question we must ask ourselves every day … (a newspaper article cut-out)

VF10

The fur salon Celine. Saga Furs. Saks loves secret admirers. Saks Fifth Avenue.

VF10

Fresh American Style Eyewear. Tommy Hilfiger. (a photo showing a young married couple in glasses reading A Guide to Marriage; he has the book upside down)

VF10

There are no long lines or tickets required to see the art in the every day. Banana Republic.

VF10

Saks & Company. Wild about cashmere. Saks Fifth Avenue

VF10

Alanis Morissette. Favorite Song: Crazy, Seal. Favorite Jeans: Curvy Flare. Favorite. There's more at gap.com. How Do You Wear It? Gap. Fit How You Feel.

VF10

The Purple Label Collection. In the timeless tradition of Savile Row tailoring, Purple Label from Ralph Lauren offers an iconic collection of heritage-inspired menswear and accessories, exquisitely crafted from the world's most luxurious fabrics for the ultimate expression of modern elegance. Ralph Lauren.

VF10

Samsonite. Life's a Journey. Character is all about retaining a strong identity. Jean Reno, film and theater actor, making a statement as he travels with Samsonite Graviton.

VF1

Truly RADLEY Deeply about choosing wonderful colours. Radley.

VF1

Dance with the orange ribbon. "Lindy" bag in soft crocodile. Car coat and cap in patina calfskin. Ring in rose gold and brown diamonds. Long necklace in rose gold. Hermes.

VF1

A journey brings us face to face with ourselves. Berlin Wall. Returning from a conference. Mikhail Gorbachev and Louis Vuitton are proud to support Green Cross International. Louis Vuitton.

VF1

Sometimes, home is just a feeling. Take three, last day of shooting. Paris. Catherine Deneuve and Louis Vuitton are proud to support The Climate Project. Louis Vuitton.

VF2

Samsonite Black Label. Alexander McQueen. Life's a Journey. Escape the ordinary. Alexander McQueen, fashion designer. He travels with his own creation for Samsonite Black Label.

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When Shoes have a soul. Berluti Bottier depuis 1895 Paris.

VF7

Samsonite Black Label. Life's a Journey. Some say you must never look back. Why not? Isabella Rossellini, actress. She travels with Vintage, the contemporary retro collection.

VF8

Made like you. Victorinox Swiss Army.

VF9, VF10

Ugly can be beautiful. Crocs. (a photo of a smiling kid with braces)

VF10

Household Products (Tabloids)

(a photo of a fitting room door) 97 items. 15 minutes to closing. We can't help you find the right fit but we can help you keep it. Cheers TrueFit. (an ad for a wash detergent????)

Magic Eraser was here (finger-written on a dirty bathtub) Clean tubs, counters, floors, you name it. Mr. Clean Magic Eraser. Cleans like magic.

May they spread their wings, not their germs. Clorox disinfecting products kill the germs that may make kids sick. Clorox. Cleaner world. Healthier lives.

Blast away in 3 seconds. Liquid Plumber Power Jet. Blasts clogs in 3 seconds.

There's an easier way to save white. (a photo of a boy eating ice-cream wearing a dog protective collar) Clorox Bleach Pen

Hefty OneZip A _____ can close it. Husband (ticked) Kid (ticked) Family dog (not ticked) Even when you're not watching, it gets closed. First time, every time.

Get a year of Brita water without changing a filter. Introducing the Brita Disposable Faucet Mount Brita

Mine Mine Mine Mine (written on the bottoms of soda cans placed in the fridge) Yours (written on the lunch box in the same fridge) Keep one handy. Sharpie Mini Permanent Marker. (actual size) Now available in 20 colors. Sharpie. Write out loud.

Relaxes like a back massage (Costs a lot less and lasts a lot longer) Calming Decosphere Relaxation Scented Oils Revitalization Mobil'Air We could all use a little break. That's why

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AIR WICK designed a range of aromatherapy products with a unique blend of essential oils that will revitalize your spirits. Air Wick. It's Good to be Home.

Trusted by six generations. All the rage since 1913. Clorox.

The bleach you can pour directly on your whites. The Unexpected Bleach. Clorox.com

From stove tops to kitchen floors, clean tough dirt and grease with five rejuvenating scents inspired by nature. Cleans like magic. Mr. Clean

Our development process was basically a militant guy in a lab coat shouting "More power" 408 times. 409 All Purpose Cleaner. Behold the Power. The Clorox Company.

When it comes to performance "Heavy-Duty" is a lightweight. Because even though they call them "Heavy Duty", these zinc batteries rely on different, less powerful technology. That's why Duracell will last up to 4 times longer than one of those so-called "Heavy Duty" batteries. Duracell. Trusted Everywhere (the second T in TRUSTED is made of math symbols 'plus' and 'minus')

Glad Press'n Seal Versatile Sealing Wrap. Custom fit, to seal air out and freshness in.

The only trash bag with stretchable strength. Glad ForceFlex.

Clean never smelled so good. Tide Simple Pleasures Laundry Detergent. Introducing new Tide Simple Pleasures Magnolia & Orange Blossom. A new laundry detergent inspired by natural citrus essences to give you a great clean for all your clothes.

US2

Household Products (Vanity Fair)

Navigate life. Nautica.

VF9

Amdega living. Contemporary Classical Totally Original To request a brochure, please telephone XXX or visit www.amdega.co.uk Amdega Since 1874

VF1

Everything you need to create perfect home Delicious food served all day in two cafes Discover Design Centre Chelsea Harbour "Haute Couture for the home" The Observer "Europe's flagship for design and decoration" House & Garden Hundreds of car parking spaces + valet parking Design Centre Chelsea Harbour London All visitors welcome Monday to Friday 9.30am to 6pm. VF1

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Discover Kohler. A world of innovative and inspiring bathroom design awaits. As I See It, £ 1 in a photographic series by Sanjay Kothari. Destination: Guilin, China. Transportation provided by our enchanting Escale Suite with clean, upward-sweeping lines. The bold look of Kohler.

VF1

Amdega living. Everything you knew it would be. Something you never dreamed it could be. Amdega living. To request a brochure, please telephone XXX or visit www.amdega.co.uk. Amdega Since 1874

VF2

Patrick Mavros Harare London The Elephant and Tortoise Havana Ashtray, cast in Sterling Silver, for short and long cigars.

VF2

Never economise on luxuries … Halcyon Days London Catalogue upon request

VF5

Armstrong Your ideas become reality. For every person, for every personality, there is an Armstrong floor. Armstrong Hardwood, Armstrong Laminate Hardwood Resilient Cabinets Linoleum Laminate Ceilings

VF9

"Room after room after room a Dyson doesn't lose suction" James Dyson There's a fundamental problem with vacuum cleaners: they start losing suction after just a few rooms. Our unique patented system is different. It separates dirt from the air at incredibly high speeds, so a Dyson never loses suction no matter how much you vacuum. Visit dyson.com or call- XXX Dyson.

VF10

DESIGN SHAPES A '57 Roadster. The perfect shell. A grandfather clock. A wallpaper pattern. An antique telescope. Thomas O'Brien is a visual detective, a designer who finds clues of inspiration all around him. And who knows how to turn those inspirations into inspiring objects. Like the perfect vase, the just-right lamp, the salt and pepper shakers that work with any tabletop. Inspired, timeless, timely ... that's great design. Thomas O'Brien Salt and Pepper Shakers, 2005, $2.99 each. Expect More. Pay Less. Design for All. Target.

VF10

Technology (Tabloids)

Sleek, sexy, stunning. (Kate's not bad either) (a photo of Kate Moss holding a camera) Coolpix. The Nikon's Coolpix S Series, featuring the new Coolpix S9. Stunning design. Stunning pictures. Starting at $249.95 MSRP. Visit StunningNikon.com/coolpix. Nikon. At the heart of the image.

P3, P4

Not just a cell phone. A Treo. The NEW Treo 680 smart device, exclusively at Cingular for only $199.99. Email. Phone. Web. Palm OS. PDF Viewer. Sms. Mms. Camera. Video. MP3. It's time for a new kind of cell phone. Not just the kind that offers smart features like email, web browsing, texting, and more. But one that lets you do all these smart things with the kind of ease and efficiency you can only get from Palm. Open an email attachment, update a meeting time, or edit an Excel spreadsheet. Access multiple email accounts, videos, and more. Do it all with the Palm Treo 680 smart device. New and only from Cingular. Microsoft Word,

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Excel, Powerpoint. International roaming. New from Palm only at Cingular. Cingular. Raising the bar. (a small image of phone signal bars fully up)

Canon. Make every shot a Powershot. PowerShot is packed with things that make pictures powerful. For instance, our DIGIC II Image Processor creates amazingly vivid, bright colors. There's 6.0 megapixels for pinpoint sharpness. And, you can view your shots on a huge 3-inch LCD screen. More than that, it all comes in a decidedly fashionable package. Substance and style. Remind you of any particular 6'2'' female tennis star? For more information on how you can get more impactful digital photos, visit us at www.powershot.com. Canon. Image anywhere. (the photo at the display of the camera shows Maria Sharapova)

A light bulb that uses 75% less energy. Your planet thanks you. Switching from a regular incandescent to a comparable GE Energy Smart bulb can save $35 to $59 in energy costs over its lifetime. GE. Imagination at work.

The difference is clear. Dect 6.0 Digital Interference Free. The new Dect 6.0 technology from GE avoids interference from electronics in your home. The result … crystal clear communication. GE. Imagination at work.

Imagine a small color laser printer that's big on the inside. Imagine getting more for less with the CLP-300 mini personal color laser printer from Samsung. Representing a new standard in color printing, it's the smallest color laser printer in the world. The CLP-300 is quiet, prints in amazing color, and its unique and innovative compact toners make having to change them as easy as opening a box - a really small one. With the mini-CLP-300, it's not that hard to imagine. Samsung.

Katana. A new legend begins… www.sanyo-katana.com. Sanyo. (a cell phone)

Pick up your photos on the way to the kitchen. Versatile. From photos to homework. Print, scan and copy. It's the world's fastest All-in-One. The HP Photosmart 3210. $279.99. Frameable. Get perfect color in 4x6, 5x7, 8x10, even panoramas. It was the July 26, 2005 PC Magazine Editor's Choice. The HP Photosmart 8250. $179.99. Portable. Get the optional battery and you're off to the game, party, wherever. Slide in just about any memory card and print 4x6s. The HP Photosmart 335. $129.99. See how to get photos for as little as 24cents each and find special offers at hp.com/go/photoprinters, call XXX or visit Best Buy, Circuit City, Fry's, Micro Center, Office Depot, OfficeMax or Staples. Brilliantly Simple. HP. Invent.

YUM! Only at T-Mobile. The Motorola Pebl in three new colors. Digital camera, Bluetooth Connectivity. Motorola. T-Mobile. Get more. (cell phones packed as candies)

Talented, versatile, slim. Everything you need to make it in music these days. Carry all your favorite songs on a hot Sprint music phone. Preview from over a million songs at the Sprint Music Store and download your favorite wirelessly to your phone whenever you want. Our line-up includes the ultra-thin MotoKRZR K1m, FUSIC by LG and the sleek Red Moto RAZR V3m. Motorola and Sprint are collaborating with (Product) RED to help eliminate AIDS in Africa. Joinred.com. Sprint. Power up. P2

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Imagine a phone that will transform the way you text. The new Samsung u740 pivots from a phone to a keyboard faster than you can say QWERTY. And it does so with a surprisingly slim profile. So now you can switch from talking to texting on a dedicated keyboard with one pivot. With the Samsung u740, it's not that hard to imagine. Samsung.

Talk is cheap. Motorola C139 Now only $14.99. Limited time offer. No bills. No surprises .You're in control. Tracfone. America's £1 Prepaid Cell Phone.

OK1

She didn't like your music, your clothes or your friends. Be sure that she likes your Mother's Day gift. Give her a gift that's all about her. We make it easy to choose a personalized gift that suits her perfectly. Kodak Easyshare V1003 Zoom Digital Camera.

LS1

Get to know Kristin Cavallari. Wireless Web. Kristin's not what you'd expect from a Hollywood star. Sure, you can often find her doing something glamorous at the beach, in the gym or even snowboarding. No matter what she's up to, she's always on her phone, compulsively checking stats for her fantasy football team. Unlimited Texting. Wherever you find Kristin, it's a safe bet her phone is nearby - she calls it her lifeline to all of her friends. And chances are, there's a whole lot of texting going on. Satellite Radio. When Kristin is on the go, she's got to have something to listen to. That's why she's all about satellite radio on her phone. Fashion Updates. No matter where she's going, Kristin is always on the best dressed list. But that doesn't just happen - it takes work. So she keeps up with what's hot with fashion updates and pics sent directly to her phone. What can AT&T do for your digital world?

US!

Sony. Shoot in High Definition just like a network cameraman. On a Sony. The same Sony minds behind the high-definition broadcast cameras used by nearly every sports network are behind the Sony HD Handycam camcorders. So even if you aren't a professional sports cameraman, you can be sure an HD Handycam camcorder will capture your memories with the clarity and life-likecolor that comes with 1080 lines of HD resolution. Your memories deserve the Full HD experience, so why would you ever use another camcorder? High Definition. It's in our DNA. Find out more about which HD Handycam camcorder is right for you at sony.com/hdna. like.no.other

US1

Sharapova rule £1. Make every shot a PowerShot. If you're anything like Maria Sharapova and you love taking pictures, then you need a new Canon PowerShot digital camera. And now every PowerShot automatically adjusts focus, exposure and flash on up to 9 faces. So you always get the shot you want. We call that GENUINE CANON FACE DETECTION TECHNOLOGY. Canon. Image Anywhere.

US1

Now there's a BlackBerry Pearl for every occasion. Now in Gold, Ruby, Black, White and Sapphire. This color collection can be found exclusively at T-Mobile or T-Mobile.com. T- Mobile. Stick Together.

US!

People shouldn't have to pay ridiculous ink prices to print at home. So we created the Kodak EasyShare All-in-One Printer. Now you can save up to 50% on every photo and document you print. Down with pricey printing. To learn more or find out where to buy, go to printfreedom.kodak.com. Kodak.

US1

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Samsung. Juke A new spin on the music phone. Samsungjuke.com.

US1

Venus by LG. Work it. Dual screen. Photo slideshow. Touch screen. Vibetouch Interface. Exclusively at Verizon Wireless. LG Life's Good.

US1

Your dad is not a horse's behind. A Sony Cyber-shot camera knows this. (a photo of a person next to a horse with focus on horse's behind) without face detection (a photo of a person next to a horse with focus on the person's face) with face detection Sony Cyber-shot cameras with face detection automatically adjust lighting, focus, color and exposure for up to eight faces. Because the face makes the photo. Trust your memories to Sony Cyber-shot cameras, the world's most innovative camera experience. Sony. like.no.other

US2

Phone origami. Open it from the front or from the side, it's an all-around twisted phone with a full keyboard for instant messaging, plus it's V CAST-enabled with a music player that's ready to rock. Introducing the flexible Samsung SCH-u740, exclusively from Verizon Wireless.

US2

The ceasefire of the sexes. Sony Bravia. Bravia LCD TV. The world's first television for men and women. It's true, men and women can actually agree on a television. Specifically, the only one that can deliver both performance and style in Sony Full HD no matter what you choose to watch. So while men and women may like different features of the BRAVIA, there's one thing they both like. The world's most powerful HD experience. Find out more at sony.com/HDTV. like.no.other

US3

Sony Cyber-shot. Michelle Wie is known for making extraordinary shots, and now for taking them. Inspiration for a sixteen-year-old golf phenomenon can be found anywhere from the golf course to the beach. That's why Michelle pockets her Sony Cyber-shot DSC-T10 camera anytime she and her friends get together. Using features like Super Steady Shot optical image stabilization, she can capture clear, crisp pictures, even in low-light situations. So she keeps the mood without a blast from her flash. Perfect for a pro used to getting the shot she wants. Turn on inspiration. Turn off blur. like.no.other

US3

You'll instantly become a chocoholic… and you can't say we didn't warn you. Everybody loves Chocolate by LG. www.lgusa.com/chocolate. LG. Life's Good.

US3

Technology (Vanity Fair)

You actually pay more for performance than appearance. But adding style does not dilute that performance. It makes it a Bang & Olufsen. The result is a sensory experience that simply must be seen and heard to be believed. Call XXX or visit bang-olufsen.com for directions. Bang & Olufsen.

VF1

Trade up to Bose now and get back up to $400 for your old system. Experience high performance, elegance and simplicity from Bose. Take away the left speaker. Take away the DVD player. Take away the amplifier. Take away the right speaker. Presenting the LIFESTYLE DVD home entertainment system from Bose. The complete home entertainment

248 solution, combining high performance with elegance, simplicity and expandability. They come with Bose-only innovations that make listening to music and enjoy home cinema uncomplicated and more enjoyable. "...the uMusic system not only stores hundreds of hours of music and learns your preferences, but actually tailors future playback to your tastes. Your music collection just got better." - Square Meal about the uMusic intelligent playback system, an integral part of the LIFESTYLE 48 system. Hear the difference. Visit an authorised Bose dealer, take your old system with you and ask for a demonstration. Bose. Better sound through research.

VF1

Designed to be admired. Made to be held. This is your phone. Constellation by Vertu. Finished in the finest leather. Handcrafted from stainless-steel, sapphire crystal and ceramic. Twenty- four hour concierge service. Vertu.com

VF3

Buy now and get an amazing experience of your choice! Experience something new … New LIFESTYLE system from Bose. We named our new Lifestyle range of DVD home entertainment systems with care. They combine purity of style with technical Bose-only innovations that make listening to music an enjoying home cinema uncomplicated and more enjoyable. See how the new horizontal centre channel speaker complements today's flat panel screens. Observe how our ultra-compact ACOUSTIMASS module is 30% smaller than before, making it even easier to hide away. Note how our new wireless surround link (optionally available) saves you running wires from the front of the room to the rear surround speakers, yet maintains full, exciting audio performance. LIFESTYLE systems are a complete home entertainment solution, combining high performance with elegance, simplicity and expandability. Buy now and get the experience of a lifetime! With every Bose system purchased you will have the opportunity to select an experience of your choice. There are many experiences for you to choose from in the relevant collections, from a thrilling rally drive to a luxurious pamper day. Hear the difference Bose technology makes. Ask for a demonstration at an authorised Bose dealer. Bose. Better sound through research.

VF6

New! Elegance on the outside. Bose only innovations on the inside. New, different and better. ADAPTiQ audio calibration system. Customises sound to your room layout, speaker placement and listening positions. New Music intelligent playback system. Stores your CD collection and learns what kind of music you prefer. Play music according to your mood. New Bose link. Expand your Lifestyle system to other rooms and enjoy Bose performance throughout your home. Our new Lifestyle range of DVD home entertainment systems is aptly named. They reflect how people prefer to live today. And they combine purity of style with technical 'Bose only' innovations that make listening to music and experiencing home cinema uncomplicated and more enjoyable. Lifestyle systems are a complete home entertainment solution, combining high performance with elegance, simplicity and expandability. Hear the difference Bose technology makes. Ask for a demonstration at an authorised Bose dealer near you. Experience the new Lifestyle today!

VF7

My Leica. A Leica is not just a camera. It is an instrument you create with. It is your hands and your eyes. It is a part of you. . Leica.

VF7

Lifestyle DVD home entertainment systems from Bose. Enjoy quality sound combined with elegance and simplicity in your living room. Now with quality sound in an extra room FOR FREE! Your favourite music is too good to confine to one room. Ask an authorised Bose dealer about Bose Lifestyle DVD home entertainment systems and extending the pleasure with a free RoomMate system. Bose Lifestyle DVD home entertainment systems combine purity of style with technical Bose only innovations that make listening to music and enjoying home cinema uncomplicated and more enjoyable. Lifestyle systems are a complete home 249 entertainment solution for high performance, elegance and simplicity. And with Bose link technology these systems are easily expandable to other rooms, because your favourite music is too good to confine to one room only. The Lifestyle RoomMate system is a complete solution for expanding a Lifestyle system into other areas of your home. Its small footprint, room-filling performance, Bose link technology and advanced remote make it an ideal extension of a Lifestyle system in the kitchen, study or bedroom - wherever Bose quality sound is desired. Hear the difference Bose technology makes. Ask for a demonstration at an authorised Bose dealer near you. Bose. Better sound through research.

VF8

Nokia Connecting People. Do you believe in love at first touch? Performance has never been this polished. With state-of-the-art technology set inside a sleek stainless steel body, the Nokia 8801 phone is a mobile masterpiece. Nokia 8801

VF9

Palm. We will talk less but say more. We will speak multimedia. We will send more interesting memos. We will be as reachable as we want to be. We will wonder how we managed before. It's time for Treo. Email. Phone. Web. SMS. seeTreo.com

VF9

Experience all the irresistible hot drinks you could ever wish for. With one machine. At the touch of a button. Visit www.tassimo.com or fine retailers near you. Tassimo. The Coffeeteacappuccinolattehotchocolateespresso machine. Braun.

VF9

Sony. Like.no.other Take a picture. Leave an impression. Seductively thin profile., blazingly fast start-up and remarkably engineered with a dazzling 2.5" LCD screen, the T7 is another great innovation from Sony Cyber-shot cameras, digital from day one. From the moment you pull out the Sony Cyber-shot T7 digital camera, you'll be turning more than a few heads. Cyber-shot.

VF9

Sony. You'll never see it coming. (a photo of the 'invisible' US Army bombarder) But you'll definitely hear it. From only 2 speakers and a subwoofer, the deftly sleek Sony Platinum DVD Dream System delivers uncompromised full theater surround sound, thanks to Sony's exclusive S-FORCE Pro technology. And HDMI connectivity brings you the newest standard in digital quality and ease. Fewer wires. Less clutter. Total home entertainment at full throttle. Sony HD Audio: HEAR THE BIG PICTURE. The DAV-X1 Platinum DVD Dream System - one of forty-five products from Sony featuring HDMI technology. Discover more at sony.com/hearhd. like.no.other

VF9

Always choose Kodak memory cards. The Kodak EasyShare V550 zoom digital camera. It's compact. But packed with good stuff. Each camera has 5.0 megapixels, stunning 30 fps video, zoom during video (with image stabilization), a 2.5-inch high-res screen and Kodak's color science technology for true color and clarity. See it at kodak.com.

Amazing camera, amazing prints. No matter how good it looks, you can't frame a camera. You need prints. And here's a simpler way to get them. Introducing the new Kodak EasyShare printer dock plus series 3. It can print waterproof, stain-resistant, long-lasting, real Kodak pictures in only 60 seconds, with just one touch. No software hassles. No cables. No computer required. And it's wireless ready. So you can print from Wi-Fi, Bluetooth and IR technology- enabled devices. Great pictures should have great prints. This is how. See it at kodak.com. It's simple. It's affordable. It's also fun. For lots of tips and tricks on cool, fun ways to use and share your photos, just visit kodak.com/go/printerdock

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Your potential. Our passion. Microsoft. Start something Sonic. Start discovering new music. Collecting the old stuff. Start recording your own. Mixing and mashing. Taking it on the road. Start creating your personal soundtrack. Windows XP. With a world of software and devices that run on Windows XP, the choice is yours. Go to windows.com and start anything you like.

VF9

Start something curious. Start discovering lost cities. Learning new languages. Mastering equations. Making scale models. Amazing your teachers. Start feeding your brain. With a world of software and devices that run on Windows XP, the choice is yours. Go to windows.com and start anything you like. Windows XP. Your potential. Our passion. Microsoft.

VF10

1,000 songs: Impossibly small. iPod nano.

VF9

Food and Beverages (Tabloids and Vanity Fair)

Godiva Chocolatier Introducing the Platinum Collection Unique textures. Decadent ingredients. Beautiful design. And of course, rich, delicious Godiva chocolate.

VF10

Godiva Chocolatier. Platinum Collection. Some women know exactly what they'll be wearing this fall. The Godiva knows exactly what she'll be eating.

VF10

Sparkle. It's a Diet Coke thing. Dietcoke.com

VF10

Must be something in the water (a photo of blooming flowers stuck in a bottle of evian water) What makes us attractive? Is it how we look, or how we feel? Maybe a bit of both. That's where Evian comes in. Every drop of Evian comes from deep in the heart of the French Alps. It's naturally filtered for over 15 years through pristine glacial rock formations. The result is a neutral pH balance and a unique blend of minerals, including calcium, magnesium and silica. So when you choose a bottle water to believe in, consider the source. Evian. Your natural source of youth.

VF10

If your kid can't leave the table until he eats it, it probably needs some Ranch. The way Ranch is supposed to taste.

Finally, a cereal for your inner outdoorsman. Introducing new Nature Valley Cereal, with honey-drizzled flakes, crisp rolled oats and huge crunchy chunks of Nature Valley Granola Bars. It's 100% natural and 100% delicious. The Cereal Nature Intended.

For the kid in you. Nestle Crunch. Come play at forthekidinyou.com

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New! Roasted Vegetable RITZ crackers. Ripe for the snackin'. Introducing Roasted Vegetable Ritz, with real vegetables roasted in for a delicious twist on a classic taste. Look for inspired snack ideas at ritzcrackers.com. Ritz it up.

The snack that comes with a hug. At school, at home, at play … don't forget the fun snack made with real cheese filling. Ritz Bits Sandwiches. They're a tasty reminder of how much you care. Real Food. Real Fun.

Wheat bagels everywhere are waving the white flags. Introducing DiGiorno Harvest Wheat Crust. A tasty way to enjoy whole wheat. 25% less fat (than frozen pepperoni pizza). It's not delivery, it's DiGiorno.

Duncan Hines. Score major brownie points with your family. Duncan Hines Easy Brownie Pointer. Duncan Hines Rocky Road Brownies. Bake Duncan Hines Chewy Fudge Brownies. Mix one cup of marshmallows and one cup of walnuts with Duncan Hines Milk Chocolate Frosting and spread generously on cooled brownies. Top with additional walnuts, if desired. So Rich. So Moist. So Very Duncan Hines. When it comes to making the best for your family, trust Duncan Hines. All you need is Duncan Hines Brownies and Duncan Hines Frosting. For a valuable coupon and other simple, yet sensational, frosted brownie recipes.

OREO. Milk's favourite cookie.

Joy to the world and joy to desserts. Sara Lee. The joy of eating. The joy of joy. Sara Lee.

Kellog's Special (Re)solution. Introducing the New Special K Challenge. Losing up to 6 pounds in 2 weeks just got easier. Start every day with any of our delicious Special K cereals. Plus, now you can enjoy our new Protein Meal Bars, Protein Snack Bars and Special K2O Protein Water. Search "Special K" at Yahoo! today to design your Challenge. What's the difference between making a resolution and keeping one? The difference is K.

Discover the frozen dinners Italian chefs don't want you to warm up to. Bertolli dal 1865. Restaurant-quality meals you simply saute and serve. Like farfalle pasta and grilled chicken served with tender asparagus in a tomato Romano cheese sauce with a touch of vodka and cream. No wonder chefs are acting so cold. Now you don't have to be an Italian chef to be an Italian chef.

Every diet needs a little wiggle room. And just like your fitness routine, sticking to a healthy diet means changing it up to keep it fun. The Biggest Loser trainer Kim Lyons specializes in making fitness and good eating fun as she helps contestants transform their bodies. The Biggest Loser. Yello 100 Calorie Packs. Keep it light with The Biggest Loser. Wiggle Room for your diet with trainer Kim Lyons. Spoonful of fun. Try these tips on dressing your favourite 100 Calorie Jell-O Fat-Free Pudding Snack. - Serve it in a fun desert glass. - Accessorize with fresh fruit, such as strawberries, banana slices, blueberries or raspberries. - Top with COOL WHIP Sugar Free Whipped Topping (2 tbsp.) - Sprinkle with low fat granola (1 tbsp). - Try it with one of these tasty treats as a "dipper:" -A couple of Reduced Fat NILLA Wafers -Apple slices or strawberries -A couple of low fat pretzels Every Diet Needs A Little Wiggle Room. 100 Calories per cup. Wiggle with delight. Rich, creamy JELL-O Chocolate Vanilla Swirls in 100 calorie pudding cups. P4

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Russell Stover Organic Chocolates. Rest assured that Russell Stover Organic chocolates come with USDA-sanctioned Organic certification and 100% Russell Stover taste. USDA-sanctioned Organic, assuring you of products that are at least 95% wholly organic. Russell Stover Organic.

Crème Savers Hard Candy. It is "Creamilicious Orangetastic" or "Orangeistible Creaminess"? It's the sweet taste of oranges swirled with rich cream. Indulge in the hard candy that's beyond words. Swirl Away.

We give your kids more than toys. We give them choices. New Wendy's Kids' Meal. Wendy's gives kids more choices than ever. Like the new Turkey & Cheese and Ham & Cheese Kids' Meals. With a choice of new Yogurt & Granola on the side. Bring your kids to Wendy's. so they can do what tastes right. Do what tastes right. Wendy's Old Fashioned Hamburgers.

Hello It's your Wakeup Call. Did some extra weight sneak up on you over the years? Try the Post Eat 2 Lose 10 Plan. Replace 2 meals a day, each with a bowl of a tasty Post Healthy Classics Cereal, as part of a reduced-calorie diet and exercise program. Lose the fat, not the muscle. It's good for your heart, and good for your body. Drop up to 10 lbs in 12 weeks. And up to 3 inches from your waist. Variety breeds success. Flavor-packed choices like these mean you won't get bored before you reach your goal. These hearty, fiber-rich whole grains are as satisfying as they are delicious. Feel like you did 10 lbs ago. Energized - without that extra weight dragging you down. Answer the call. Start the Post Eat 2 Lose 10 Plan today.

P5 infatuation by chocolate Presenting Chocolate Delight Cookies Spring 2006 Pepperidge Farm.

This morning, I woke up in an alley. Morning got you down? Try new Nestle Stixx. 6 crispy wafer sticks filled with a smooth crème middle and dipped in Nestle chocolate. New! Give your afternoon a lift with new Nestle Stixx.

The fine art of dressing. Good Seasons. Red Raspberry Vinagrette with Poppyseed Dressing. Dazzling Ruby Red Hues and flavors to match. A great burst of tanginess with bright raspberry tones. Tantalizing on the palate, crisp and brilliant. Not unlike your salads.

"Toasted is always in Good Taste" George Hamilton. Toasted full of flavor, not fried. Find them in the cracker aisle. Wheat Thins TOASTED Chips Veggie, RITZ TOASTED Chips Original, Wheat Thins TOASTED Chips Multi-Grain.

Home-baked taste. And only one bowl to wash. Crunchy pecans with toasted whole grains, plump raisins and dates, inspired by the delicious taste of homemade. Not big on raisins and dates? Look for Great Grains with crunchy pecans. Post Selects Great Grains.

Oh, my aching jaw New Stride The ridiculously long lasting gum

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Oh, I wish … this bite could last forever. Deli shaved ham. For thinly sliced, deli fresh taste, you can count on Oscar. Oscar Mayer Shaved Virginia Brand Ham. New!

Nabisco. Tell your kids not to feel bad: bears would eat THEM in a heartbeat. -Snack Fairy. Mini Teddy Grahams Cinnamon Cubs. 100 calories. Snack happy. Sensible snacking: Good Source of Calcium, 5g Whole Grain, 0g Trans Fat per serving.

With a variety of great tasting whole grain breads, Oroweat is the perfect fit for a healthy life. Oroweat. Bread Perfected.

Location: anywhere & everywhere Post Office: www.splenda.com Weather: daily SPLENDA sprinkles Official Flower: sweet pea Destination: Splendaville. You won't find it on any map. But you will find it in iced tea. It's sweet and delicious but without all the calories to spoil the joy. SPLENDA No Calorie Sweetener tastes like sugar because it's made from sugar. Be Dazzled.

Commitment: Lose your goal and you have lost your way. Eat a bad energy bar, lose your lunch. High in protein, vitamins and minerals. Everything you expect from an energy bar, with the great taste you expect from SNICKERS. New Snickers Marathon Energy Bar Specially fortified for women

Be faithful to your spouse - Play around with your salad. Paul Newman. If you're particularly faithful to just one of my delicious all-natural salad dressings, why not loosen up and try something different? Perhaps flavors seasoned with fresh-from-the-garden herbs & spices could persuade you. Just one fling with these tempting alternatives will make you glad you stayed. Newman's Own. Paul Newman and the Newman's Own Foundation donate all profits to charities. Over $200 million has been given to thousands of charities since 1982.

Four wholesome grains. One great-tasting snack. New! Tostitos Multigrain Tortilla Chips are made with the wholesome goodness of four grains. They're a fun, great-tasting snack that your family will love and a perfect companion to 100% all-natural Tostitos Salsa. Meet me at the tostitos.

Craves Corner. Wendy's Kids' Meal The Newest Choices on the Wendy's Kids' Menu. Tasty choice performances the kids will love. An escape from the typical kid's meal, this menu has it all. A cast of tasty choices co-stars with a terrific toy … keeping everyone happy from start to finish. Wendy's. Do what tastes right.

We don't believe in feeling hungry on the Beach. South Beach Diet Meal Replacement Bar. Helps fight hunger with 19g of protein and 6g of fiber. Life's better on the Beach.

What makes bars on the Beach so satisfying? Five times the protein and three times the fiber compared to Kellog's Special K Cereal Bars. South Beach Diet High Protein Cereal Bar. Life's better on the Beach.

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100% ooey-gooey. 33% less fat. It's amazing how rich and flavorful our Kraft 2% Milk Shredded Cheese is - especially with 33% less fat than our regular shredded cheese! For better- for-you cheese ideas, go to kraftfoods.com

Atkins Advantage Nutrition Challenge We're so confident you'll prefer our great taste and nutrition, we'll give you 1 bar free! Log on to Atkins.com for a free bar offer. Feel the Advantage. More protein, more fiber, less sugar. Advantage.

Campbell's make in minutes. Prep: 10 min. Bake: 35 min. Tuna Noodle Casserole. 2 cans (10 3/4 oz. each) Campbell's Cream of Mushroom Soup, 1 cup milk, 2 cups cooked peas, 2 cans (about 12 oz. each) tuna, drained, 4 cups hot, cooked medium egg noodles, 2 tbsp. dry bread crumbs, 2 tsp. butter, melted. 1. Stir soup, milk, peas, tuna and noodles in 3-qt. casserole. 2. Bake at 400degF. for 30 min. or until hot. Stir. 3. Mix bread crumbs with butter and sprinkle on top. Bake for 5 min. more. Makes 8 servings. Better For You Possibilities: Whole Grain: Use whole wheat noodles instead of egg noodles. Substitution Options: Use Campbell's 98% Fat Free or 25% Less Sodium instead of regular soup. M'm! M'm! Good! Casserole Possibilities.

Joye Devlin Idalia, Colorado Football Mom & Police Officer Lucs Devlin Idalia, Colorado Football Team Captain EAS AdvantEDGE All-Stars Energy for student athletes, and the moms who keep up with them. The Exclusive Sports Nutrition Partner of the National High School Athletic Coaches Association. The National High School Athletic Coaches Association trusts new and improved EAS AdvantEDGE delicious bars and creamy shakes when it comes to sports nutrition for their student athletes. For your FREE bar, go to eas.com or call XXX.

Make lunch more Whooo-Hooo!-able An excellent source of calcium, protein, and total kid celebration. Serve up more SHOUT OUT LOUD-able lunchtime fun for your kids and check out all of our nutritional improvements at lunchablesmom.com. It's more than lunch. It's Lunchables. Oscar Mayer.

Pure Joy is nothing but net. Score every time you open a bag of LAY's brand potato chips. They're made with 100% pure sunflower oil. That great taste you love has 50% less saturated fat than regular potato chips. And that's 100% pure joy. Swish. Lay's 100% Pure Joy.

The meatball hero's hero. 100% Natural Prego Italian Sauce Traditional. A unique combination of sweet tomato taste and savory Italian seasonings is inside every jar of Prego Italian sauce. So you don't need to add a thing to liven up any Italian dish. It's in there. Prego Easy Meatball Parm Hero Prep: 5 min. Makes: 4 sandwiches. 2 cups Prego Traditional Italian Sauce, 16 (1 oz. each) frozen cooked meatballs, 4 long hard rolls, split, 1 cup shredded mozzarella cheese, Grated Parmesan cheese. 1. Heat sauce and meatballs in 3 qt. saucepan over medium-high heat to a boil. Reduce heat to low. Cook for 20 min or until meatballs are heated through, stirring occasionally. 2. Serve meatballs and sauce in rolls. Sprinkle with mozzarella and Parmesan cheeses. Dig in and enjoy. For more easy delicious recipes, just go to Prego.com.

Campbell's Microwavable Soup Bowls Caution: Contents are extremely delicious. When consumed at work, they may cause incoherent speech, mind-wandering and file-dropping. Inattention to urgent emails and sudden loss of interest in spread sheets may occur. P2

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Think you know one of the healthiest names in snacking? I don't really consider myself to be in the business of making healthy snacks, but when you consider that my hot and buttery Orville Redenbacher's SmartPop! Is made with whole grains, and it's 94% fat free, well, that's evidence I'll put my name on. Orville Redenbacher's SmartPop!

No unnatural ingredients for my 100% natural body, thankyouverymuch. Here's how I see it. If I'm getting all the great taste without all the preservatives, why should I make my sandwich with anything else? Heather Hazelwood. When you eliminate preservatives without sacrificing taste, it's better than good. Hormel's Honey Deli Ham Natural Choice. Create something great.

Get hooked on Bumble Bee in a whole new way. Already Cooked. Just Heat & Serve. Introducing Premium Bumble Bee Prime Fillet Chicken Breasts. Moist, delicious chicken breast entrees. From pouch to plate in 30 seconds! Spend less time preparing your meal and more time enjoying it with new Bumble Bee Prime Fillet Chicken Breasts. Moist and tender whole chicken breasts that are pre-seasoned and ready-to-serve in 30 seconds. Just add your favourite side dishes and your meal is complete. Choose from three delicious flavors: zesty Garlic & Herb, smoky-sweet Barbeque or savory Southwest Seasonings. You can find these delicious chicken breast entrees in the canned tuna and chicken section of your favorite grocery store. One bite and you'll discover what the buzz is all about.

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Ifyoucant-pronounceit-don‟t-eat-it.com SoyJoy. Eat like you mean it. Say no to preservatives. And believe in naturally nutritious nutrition bars. This is SOYJOY. All-new, all-natural. Whole soy. Dried fruit. And a home-baked taste. Look for us in the nutrition-bar aisle of your favorite store. Real is Revolutionary. SoyJoy.com

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You guys won't last a minute out here! Introducing the goodness of oatmeal in a chocolate chip cookie. They go fast! Chips Ahoy!

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Before they realize it has 60% less fat, they'll have eaten 100% of the bag. It's right there on the bag: Chex Mix has 60% less fat than regular potato chips. But just one taste of that crunchy, mouth-watering mix, and words won't matter. ChexMix Brand Snack. Snack on!

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CinnaMon Tue Wed Thu Fri Sat Sun Try New Honey Bunches of Oats with Cinnamon Clusters. Real cinnamon baked into every crunchy cluster. One taste and you'll want it every day. Honey Bunches of Oats. There's a whole bunch to love.

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Recipe for a perfect viewing party. Follow this helpful recipe to make your next movie night with friends a hit. Gather your fellow movie-lovers and enjoy one of your favorite films with the classic big cheese snack, Cheez-It. Ingredients: One crowd-pleasing movie. A bunch of bowls (for the perfect group snack). One TV remote control. Cheez-It Baked Snack Crackers. The Big Cheeze.

Actual taste. ( a photo of a big piece of a cracker) Actual size (a photo of a tiny cracker). Cheez-It. The Big Cheeze.

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Good morning. Diet Coke. OK1

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Got milk? All figured out. Motherhood brings fulfillment, and a new focus on getting back into shape. Here's a clue: it's not just about what you eat, but also what you drink. Milk has 9 essential nutrients new moms need. And some studies suggest milk can play an important role in achieving a healthy weight. So stay active, eat right, and drink 24 ounces of lowfat or fat free milk every 24 hours. Case closed. Think about your drink. Milk your diet. Lose weight! (Mariska Hargitay - The Cold Case actress)

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Energy for good A user's Guide 1. Drink Essential Energy. 2. See girl getting sunburn. 3. Be human sunscreen. When you drink good, you do good. Naturally energizing, with the goodness of real juices, vitamins and herbs. SoBe Essential Energy.

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When I know I look my best, I hum. Relax. Twirl. Glow. (last possibility ticked) Crystal Light. The most refreshing way to turn the water you need to drink into something beautiful. Crystal Light Lemonade. Bring out your beauty.

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Relax with the Caribou. Caribou Coffee Chocolate Mocha. A new breed of coffee break in a bar. (an ad for a coffee nutrition bar)

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Goal by Beckham. Body by milk. Heads up. The protein in milk helps build muscle and some studies suggest teens who choose it tend to be leaner. Staying active, eating right, and drinking 3 glasses a day of lowfat or fat free milk helps you look great. So grab a glass and get in the game. Got milk? (David Beckham)

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The antioxidant power of Pom Tea [Powered by Pom x]. Model Tea. Pom Tea is no ordinary iced tea. Every glass is perfection, to a tea. Pom Tea is made with the finest hand-picked, whole leaf tea and it's gently brewed for a delicious taste with only 4mg of caffeine. And it even comes in its own keepsake glass. But what truly makes other teas green with envy? Every refreshing ounce of Pom Tea is powered by Pom x - a highly concentrated blend of polyphenol antioxidants made from the same California pomegranates we use to make our Pom Wonderful 100% Pomegranate Juice. Which makes it nothing short of super model tea. Enjoy the tea. Keep the glass. Reap the benefits. pomtea.com. In produce.

The antioxidant power of Pom Tea [Powered by Pom x]. Power Sip. Pom Tea is no ordinary iced tea. Every sip of all-natural Pom Tea is an investment in you. It's made from the finest hand-picked, whole leaf tea and it's gently brewed for a delicious taste with only 4mg of caffeine. And it even comes in its own keepsake glass. But the real power in choosing Pom Tea is Pom x - a highly concentrated blend of polyphenol antioxidants made from the same California pomegranates we use to make our Pom Wonderful 100% Pomegranate Juice. Grab a straw, and take your health and your thirst into your own hands. Enjoy the tea. Keep the glass. Reap the benefits. pomtea.com. In produce.

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General Foods International Hot Beverages. Between pick-ups, drop-offs, and drop-ins, find your moment. Your day may not slow down, but for a moment, you can. Make time to savor the sweet, creamy taste of General Foods International. There's always the right moment to find a little flavor. Chai Latte, French Vanilla Cafe, Suisse Mocha. Also available in sugar free.

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Over 40 blends to choose from. Pace yourself. Find out what flavor you are at Millstone.com Ground Millstone Coffee Company.

The coffee you make can make a difference. Yuban New Dark Roast. When you choose our new Dark Roast coffee, you're helping protect the environment and support the people and wildlife in coffee growing regions. That's because Yuban is the world's largest supporter of Rainforest Alliance Certified coffee beans. So every time you enjoy a cup of Yuban, you know you're making a difference. www.yuban.com

Yuban Original Sustainable Development Conserving the environment & Supporting coffee farmers. The coffee you make can make a difference. Yuban is the world's largest supporter of Rainforest Alliance Certified coffee beans. This partnership protects the environment and supports the people and wildlife in coffee growing regions. So every time you enjoy a cup of Yuban, you know you're making a difference. www.yuban.com

It's here. Capri Sun Coastal Cooler. Summer just got a lot more cool. (an ad for a juice)

Live like it's one big premiere. Light it up. Diet Coke.

From the moment I wake up, I want to read. Shower, jog. Shine. (last option ticked) Crystal Light Sunrise. Three gorgeous flavors. A good source of calcium and 100% of the daily value of vitamin C. It's the most refreshing way to turn the water you need to drink into something beautiful. Every morning. Crystal Light. Bring out your beauty.

Surprisingly complex. Fresca. A distinctively crisp, moderately smooth, intriguingly citrus, totally refreshing soda. In Original, Black Cherry and Peach.

Our ingredients? You're lookin' at 'em. The amazing, straight-from-the-orange taste that can only be called Tropicana Pure Premium. Have a Tropicana Morning.

The taste of summer in red. Give your family the bold, refreshing taste of summer with Sunny D Fruit Punch. Only Sunny D has a real fruit punch flavor with that crisp splash of citrus that kids love, plus a full day's supply of vitamin C. Fruit Punch Sunny D. Summer 4 Ever.

Starbucks Coffee. Iced Coffee Italian Roast. A new way to refresh. New Iced Coffee from Starbucks.

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New. Somewhere between Diet Soda and More Diet Soda is Diet Ocean Spray. After drinking diet soda all day, you're probably looking for a change. Meet Diet Ocean Spray juice drink. A light, refreshing five-calorie retreat for the diet drinker, with a burst of fruit flavor and plenty of Ocean Spray goodness to go around. It's a great alternative to that second, or ummm ... fifth diet soda. So next time you're in the juice aisle, why not swing on by and say hi! Straight from the Bog. Ocean Spray. P6

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Start your kid's day with a plus. Minute Maid. Kids Plus has the vitamins and minerals kids need like A, B1, C, D, E and calcium (for strong bones). It's goodness kids can draw from all day long.

So rich it should come with a pre-nup. Coke Effervescence with Coffee Essence. The new Coke Blak. A fusion of rich, cold Coke taste with coffee essence to awaken your mind and lift your mood.

Burning calories is now officially delicious. Introducing Enviga, the refreshing sparkling green tea that invigorates your metabolism to gently increase calorie burning. It's another positive step you can take towards a healthy, balanced lifestyle. The Calorie Burner Enviga Nestea. Be positive. Drink negative.

Nestle Coffee-Mate Astonish your sense of texture Amaze your sense of aroma Satisfy your sense of surprise Renew your sense of discovery Ignite your sense of adventure Encourage …your sense of daring Stir your sense of pleasure Tempt your sense of exploration Intensify your sense of desire It's enough to test the loyalties of even the most devoted milk user. Get a free 7 day supply and discover for yourself why Coffee-Mate is coffee's perfect mate. With its rich aroma, enticing appearance and incredible flavor, Nestle Coffee-Mate coffee creamer transforms coffee into a total sensory experience. But don't take our word for it. Discover for yourself the many reasons why Coffee-Mate is Coffee's Perfect Mate. To get a 7 day supply, just go to coffee-mate.com.

Folgers Gourmet Selections Ground Coffee. Morning Café. Inspired by a little café at 8:02 a.m. We thought of new Folgers Gourmet Selections Morning Café coffee in the a.m., naturally. Light-bodied and made from our most aromatic beans. Try one of many varieties, available in ground and whole bean. One sip, and you'll want to enjoy it every day. Get a taste of gourmet every day.

No new. No improved. Nature perfected FIJI Water long before we bottled it. Our rainfall is purified by trade winds as it travels thousands of miles across the Pacific Ocean to the island of Fiji. Once it arrives here, it filters through ancient volcanic rock over hundreds of years. During this process, FIJI Water collects life-essential minerals, like silica, until finally gathering in a natural artesian aquifer where it is preserved and protected from external elements. It's perfect without improvement. FIJI Water. Untouched.

Alcohol (Tabloids and Vanity Fair)

Bombay Sapphire Distilled London Dry Gin. “Perfectly balanced” glass design by Tom Dixon. A unique combination of 10 exotic botanicals subtly balanced through vapour infusion for a crisp, light taste. Bombay Sapphire Inspired. Enjoy Bombay Sapphire Responsibly.

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A day is chopsticks A year is Chopin. Glenfiddich. Every Year Counts. Skillfully crafted. Enjoy responsibly. (the photo shows a piano keyboard)

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Style changes. Good taste remains the same. Martin Miller's Gin. Be a Tastemaker. Martin Miller's Gin, distilled in England, blended in Iceland for a gin of uncompromised perfection. Tall or short, casual or traditional, Martini or Mojito. However you like it the good taste of Martin Millers will shine through. That's because our gin is small batch pot distilled in England using the freshest hand picked botanicals. This guarantees the correct balance of juniper, spice and citrus notes. It‟s also why it travels to Iceland to be blended with the purest water on earth. Martin Miller's, the one that goes the distance to create a gin of unparalleled taste, Arctic clarity and uncompromised perfection. Available from Oddbins, Sainsbury's, Selfridges, Harvey Nichols, Harrods and other good wine merchants.

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Belvedere Vodka. Taste the beautiful life. (photo shows bottles of vodka from different angles so pieces of information on labels are visible: distilled and bottled in Poland, crafter for over 500 years …)

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Some find tranquility off-piste. Where will you find it? Glenmorangie. Gaelic for Glen of Tranquility. Glenmorangie Single Highland Malt Scotch Whisky. Please savour responsibly.

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Godiva. Worthy. Chocolate is indulgent. Chocolate liqueur takes it one step further. Godiva Liqueur in Original, White Chocolate, Chocolate Cream and Cappucino. Indulgence to the nth degree. Godiva Truffletini: 1 oz. Godiva Original Liqueur, 1/2 oz. Godiva White Chocolate Liqueur, 1/2 oz. Ciroc Vodka, Stir with ice and strain into martini glass. Garnish with your favorite Godiva Truffle. Please Indulge responsibly.

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Cheer up. It's right behind you. Amstel Light. Live tastefully. Enjoy Amstel Light Responsibly.

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Gulf Shrimp From Nebraska? Valencia Oranges From Maine? Champagne Not From Champagne? No way! A sparkling wine may look or claim the part. But if it's not from Champagne, it's simply not true Champagne. That's because Champagne is a specific place 90 miles east of Paris that produces the only grapes that yield the taste of Champagne of legend. Champagne's one of a kind climate, chalky soil and long history of winemaking expertise combine to produce a wine impossible to duplicate. So, it does matter where wine comes from. A Napa wine is only from Napa, a Willamette wine is only from Willamette and a Walla Walla is only from Walla Walla. And if it's not from Champagne, it's simply not true Champagne. Champagne is from Champagne.

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In a blind tasting of 21 of the world's finest vodkas, which one did The New York Times declare their "hands-down favorite"? Clearly Smirnoff. "What set Smirnoff apart, we agreed, was its aromas and flavors which we described as classic." Eric Asimov, The New York Times, 1/26/2005. Smirnoff Premium Triple Distilled Vodka. Drink Responsibly. 1.5 oz. per serving.

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Dear Ketel One Drinker Ketel One makes the perfect gift for all your friends and relatives this holiday season (especially the ones you're likely to be visiting). Ketel One Vodka distilled from wheat.

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The world's best Martini starts with Grey Goose. Grey Goose. World's Best Tasting Vodka. Grey Goose Vodka Distilled and Bottled in France. Sip responsibly. VF9 260

… it makes a beautifully balanced vodka tonic. -Bon Appetit, July 2004. … it's satiny and citrusy. -Men's Journal, June 2004. … drinking excellence. Go on, fill that jelly glass. -Vibe, April 2004. Tops with our testers who declared it smooth … -US News & World Report, may 3, 2004. A superb unflavored vodka that's going to turn lots of heads. -Wine Enthusiast, Dec. 31, 2004 Move over Grey Goose, there's a new super-premium vodka on the block - Level vodka. -Simply the Best, November/December 2004. Thick and ripe, it flows across the palate ... a hauntingly delicious finish. -Robb Report, June 2004 "LEVEL" Imported Vodka. Balance Enjoyment with Responsibility.

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[yellow tail] Australian Bush Doctors (as written on the side of a small plane) [yellow tail] Shiraz. Have you spotted it?

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You don't have to learn to like my wines. Actually, I planned it that way. From the beginning, more than two decades ago, when I made my first small batch of wine from grapes I grew on my family ranch. I blended grapes from coastal vineyards in Northern and Central California to produce wines with unprecedented flavor intensity and complexity. And our "flavor domaine" philosophy was born. In Chardonnay terms, this means finding the delicate balance of the pineapple and mango flavors from Santa Barbara, the citrus and lime flavors from Monterey, and the red apple and pear flavors from Sonoma. Our Vintner's Reserve is a perfect illustration of our desire to create and deliver complex, world-class wines, the kind of wines people will enjoy the first time try them and for years to come. I have been told that many of you enjoy the taste of my wines, but you're not sure why. Hopefully, I can help with A Taste of the Truth. Jess Jackson, Founder of Kendall-Jackson Wine Estates

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Blue State Independence Day New York City, NJ November 10, 2033. Svedka vodka salutes the brave men, women, roustabouts, strippers, social smokers and travestites who sacrificed their lifestyle during the Blue State Secession of 2032. The future of adult entertainment. SVEDKA Vodka. Play responsibly.

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Watch out! This Wine Jumps Out of Your Glass! FishEye. Www.fisheyewines.com

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Budweiser Designate A Driver. 'Tis The Season. The world renowned Budweiser Lager Beer. Responsibility matters.

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Bright Now The new ultra lights orange box. Pall Mall Ultra Lights Famous American Cigarettes. Imagine that. Pall Mall. Pall Mall lasts longer, but the trial offer won't .. .(See back for details) Enjoy four on us. You decide. Get four free packs of any Pall Mall Filtered Style. Call XXX or visit pallmallusa.com. Send us 4 UPCs from any cigarette brand, and we will send you 4 packs of Pall Mall Filtered Box (your choice). Offer ends 9/30/2007. Limit one offer per person. Other restrictions apply. Imagine that.

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New Camel No.9 light & luscious

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Appendix III: Corpus of Ads (Full Ads) See the attached CD for the corpus of scanned ads.

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