Intertekstualumo formos reklamoje

I. SmetonIenė. Forms of intertextuality in advertising 167 IRENA SMETONIENĖ University of Vilnius Forms of intertextuality ADVERTISING KEY WORDS: allusion, antiparemies, quotes, intertextuality, paremies, paraphrase, reference, advertising. INTRODUCTION The concept of intertextuality emerged in the literary medium and is associated with the critique of postmodernism: “Intertextuality is a concept often associated with postmodernism, more precisely with the area of postmodernism where literature encounters the theory of criticism” (Haberer 2008: 136). However, rather quickly the research on intertextuality spread throughout the humanities and, according to Audronė Šolienė, intertextuality has been one of the most frequently used terms in scientific discourse for several decades (Šolienė 2005: 101). One reason may be that intertextuality can manifest itself at all levels of text organization, including phonetics, morphology, syntax, semantics, and intertextual references have a particular cultural significance for a particular national, linguistic and cultural community and help it to understand the true meaning of the text by referring to other texts or certain characteristics of texts. The theory of intertextuality itself was formed in several stages. The French semioticist Julia Kristeva examines intertextuality as a kind of revelation of the collective subconscious (Кпистева 2000: 429). In his monograph on intertextuality, Graham Allen identifies it as one of the most frequently and inaccurately used terms in contemporary critical discourse, and examines intertextuality itself as a phenomenon of contemporary science. In his view, the origins of this phenomenon lie in 20th century linguistics: “It can be said that intertextuality, as the very theory of contemporary literature and culture, arose in 20th century linguistics, namely in the constructive work of the Swiss linguist Ferdinand de Saussure” (Allen 2000: 2). The author also states that “Julia Kristeva’s attempt to combine F. de Saussure’s 168 Language Culture | 86 and M. M. Bachtin’s theories of language and literature gave rise to the theory of intertextuality in the 1960s” (Allen 2000: 3). Irina Melnikova, one of the most prominent researchers of intertextuality in Lithuania, believes that “the concept of intertextuality has become a sign of world and self-perception for the modern man, who understands the world as a text and thinks that everything has already been said and something new can be created only on the principle of mosaic” (melnikova 2003: 5). Another contemporary researcher of intertextuality, Roland Barthes, speaking about the concept of work and text, distinguishes the most important statements, in the center of which is the text. In his view, text “relates to method, genres, sign, multiplicity, inheritance, reading, pleasure” (barthes 2011: 122). According to Aurelija leonavičienė, we are also faced with a broad discourse surrounding each text, which can be further produced in various ways: in whole or in part, literally or inaccurately reproduced in other texts (leonavičienė 2005: 15). It is also important that the perception of the intertext does not end with the recognition of the source – the foreign thought excites the emotional memory of the recipient, colouring it with new meanings and shades. then it is realized that most of the phrases have been heard before, but this perception changes the meaning of the text being read. The final recognition of the meaning of the text depends solely on the ability of the recipient to detect the hidden references and reveal them. The perception of the term intertextuality in linguistic studies differs from literary perception. rūta marcinkevičienė in the book Genre Limits and Boundaries. Press experiences emphasize that the linguistic concept of intertextuality encompasses a wide range of possibilities of using elements of another text in one text, while according to the literary concept, any work of art – a painting, a play, a film, a poster – can be considered a text, and intertextuality is a mixture of all of them (marcinkevičienė 2008: 72). literary scholars claim that “intertextuality can be expressed as a quotation, anagram, allusion, parody, imitation, pastiche, etc.” (Satkauskytė 2001: 186); r. marcinkevičienė distinguishes five types of intertextuality: quotation, periphrase1, free retelling, reference, allusion (marcinkevičienė 2008: 73); Rhetoric specialist Regina Koženiauskienė provides an even broader classification: quotation, direct speech, indirect speech, imaginary direct speech, imaginary dialogue, 1 r. Koženiauskienė in the book Rhetorical and stylistic analysis of publicistic texts in footnote 43 states that “Paraphrase (free retelling of another author’s text in somewhat different, own words, without distorting the thought) is not to be confused with periphrase. Periphrasis is a trope by which the real name of an object is replaced by a descriptive figurative description” (Koženiauskienė 2013: 60). I. SmetonIenė. Forms of intertextuality in advertising 169 paraphrase, phraseology updating, parody, reference (mention), allusion to a known text, reference (Koženiauskienė 2013: 60–61). Signs of intertextuality in advertising are investigated in the article “Precedent texts in advertising” by Daiva Aliūkaitė and Simona Amankevičiūtė. The article’s annotation states that “Lithuanian printed advertising is analyzed by evaluating the actualization of the precedent text, the precedent name, the precedent statement, the precedent situation and the precedent phenomenon in general. In essence, intertextual analysis is carried out, but in order to avoid confusion of concepts, it is limited to the theoretical provisions of Russian cognitivists and the appropriate methodological tools, i.e., the modified scheme of Russian cognitivists’ studies of intertextuality is applied” (Aliūkaitė, Amankevičiūtė 2009). This article examines the forms of intertextuality in advertising using a qualitative method. In addition, the author of the article prefers the rhetoric specialist’s approach to the concept of intertextuality („the author’s text uses elements of content and form of other authors, foreign texts“ (Koženiauskienė 2013: 60)) when studying journalistic texts, since advertising texts are distinctive, but still attributable to the journalistic style. also very important is the professor’s thought about the relationship between polyvocation and intertextuality: “Polyvocation can also be called intertextuality if we look at verbal language as a text” (Koženiauskienė 2013: 60), because in advertising there is no sense to separate written text from verbal. Playing with texts, multiple encoding of texts, constant play with quotations, reminding of previous texts, innovative repetition of what has already been said or written by others, especially useful for advertising creators – it is possible to rely on authorities, influence the addressee with well-known sayings, link several advertised products, etc. It should be noted that there are specific forms of intertextuality in advertising, for example, texts of several different styles in the same advertisement. The insertion of a text of a different style, unlike in fiction, where the dialogue and narrative plot is a matter of course, becomes a very important tool of impact, allowing advertising to reach quite different targets. 1. Composing texts of different styles in the same advertisement is the most common form of intertextuality. such a play with texts can have several purposes: 1) in one style text inserts of another style are inserted in order to be practically visible the benefit of the advertised product, and the good 170 Languages Culture | 86 features are emphasized comprehensively; 2) styles are mixed in order to achieve a comic effect. The first way can be used to create advertising of medicines, household products, hygiene products and food products. Quite often they have both a verbal and a written version. In visual or audible advertising this presentation is much more effective, because it creates an everyday environment, the characters are ordinary consumers, life situations are also close to the addressee, in addition, the benefit of the advertised item is clearly visible or audible, and the voice of the narrator behind the frame once again emphasizes the good characteristics of the science popularization text. Advertising researchers claim that the recipient is attracted and better convinced by advertising texts that mention some scientific experiment or proof that the advertised item is very good, the product composition is described with impressively sounding names. it can be a recommendation of the advertised item inserted in the dialogue or explaining the composition: – Well, who first? That's unfortunate! Are you tired? – Oh, stomach! Pleasant tasting tablets,,Rennie“ with natural carbonates in a few minutes reduces the acidity of the stomach, relieves pain, heartburn, burning. - Well, how? – Thank you, you are a true friend! “Well, who’s first?” (rennie) – Maryte, have you not rented the apartment yet? - I'm still squeaking! “No wonder, darling! No one could be tempted by an apartment with such a bath. – I’ve been sweating all day! - Looking at what you're doing with her? Try the Comet! – Is it possible to return the former whiteness? – Your bathroom will look like new again. Look at that! When the surface is old, stains penetrate deeply. Conventional cleaners can only work on the surface, but Comet has a unique composition. It contains chlorinol, which penetrates deeply and removes even the most stubborn stains. - Great, it's white! Like new! I can go for a swim right now! (Comet) One of the goals of advertising is to reach as many different recipients as possible and convince them that the advertised item is necessary, so when composing the text, commentaries of a journalistic style can be inserted into the dialogue. They are warmer, closer to the addressee, they are given as friendly advice: - Mom... - Son, we can't buy everything! – Big purchase? – Yes, I count every cent. I. SmetonIenė. Forms of intertextuality in advertising 171 – I don’t think it’s worth buying two small bottles of toothpaste! - Really? – After all, one big one costs less! The new Blend-a-med 100 ml bottle. Double the amount of toothpaste. And you save up to fifteen percent. Guaranteed protection against caries! “Oh, you know, you’re right! Thank you, Ieva! Guess what I got for you? - Yeah! The new Blend-a-med 100 ml bottle. Larger nozzles – wider smile! The styles can be mixed if the recipient is to be affected by comic elements. this can be achieved by parodying the advertisements that are already broadcast: You can break the acid-base balance while eating or just snacking. But what if you get hit by a car during lunch? - Oh, damn it! The balance will be upset in the wallet, which is much worse! Car security system,,Kliford“. It is possible to look at parodi j a not through the mixing of text forms and styles, but through a certain prism of citation, encryption, then it is perceived as a form of stylization. In the aforementioned Cliford advertisement, two different voices are heard: one is the text of a drug advertisement, which retains the form, tone and sound of the authentic text, and the other is completely different in form and tone. It tries to cause an unexpected emotion, intimidate the addressee and thus influence him to buy the advertised item. 2. continuously moving from parody, as a reconstruction of a certain known text, we can talk about another form of intertextuality – pe r fra z avi m ą, because it also seeks playfulness and a kind of entertainment. The essence of this form of intertextuality is to force us to think about what is hidden under the text, to try to connect several different and at the same time similar things through associations. According to John Frowas, every text contains fragments of formulas, rhythmic patterns, social dialects, which are rearranged in it because there is always language before and around the text (Frow 1986: 25). The writers of texts know that the recipient is impressed by such encrypted text, which he easily deciphers, because the key of the encryption is his knowledge, his personal experience: Around the World in 80 Pages (social advertising). Around the World in 80 Days (1895) The new slogan evokes emotions, affects the imagination, causes individual memories, associations, brings back to childhood, when many imagined being the hero of J. Verne’s novels, traveling with the author to unknown places and experiencing many adventures. 172 Languages Culture | 86 You can try to impress the recipient by paraphrasing a well-known advertisement: Probably, the tastiest… herring. (Sausage). The recipient has undoubtedly already remembered the many times repeated slogan of Kalnapilis “Perhaps the best beer”, so he will also pay attention to the recycled advertising, perhaps even link two very close things for beer lovers – beer and fish. could not deny another aim of the creators – to cause negative emotions. Some recipients may be outraged by the rework and raise the question of plagiarism or copyright infringement, but this reaction is also very important, because even negative emotions give the same result – the recipient buys the advertised product. A simpler, but also very effective way – advertising in some well-known form, for example, a letter: Mr. President. Longfinger, please don't bother. The residents of these houses have already taken care of the security of their housing. With respect PLAZA windows advertising creators also take advantage of human weaknesses, such as the tendency to collect various recipes or read horoscopes: Recipe for good mood in autumn. Wrap the monotonous and wet from the rain mood in a warm fluffy cloth. Tighten with soft leather. At the end – a comfortable heel and moisture-resistant sole. Cozy and warm? Colorful autumn! (Lilonia) The Dolitas Horoscope The time is particularly favorable for buying new shoes! Shoes born this year will be high-quality, stylish and durable. Sunspots speak of an upcoming storm, but if the shoes are good, we will easily jump over the scourge of trouble. For WATER signs this time will be especially successful and fun... In the first example, the form of the recipe is stylized, and the text itself becomes playful and funny due to rhetorical figures. The text of the second advertisement corresponds to the style and composition of the horoscopes, and by inserting the name of the store and choosing a product instead of the usual Zodiac sign, a special mood is created. such advertisements will affect many recipients: both those who do not imagine life without a horoscope or recipes, and those who are impressed by a different, non-traditional text. In addition to the traditional pizzas, there is a variety of pizzas made with the same ingredients, such as the "pizza pizza". The slogan received mixed reviews from the public: some condemned it as a parody of prayer, while others praised the creators of the ad for their courage. it is likely that the authors of the idea achieved what they wanted, because the slogan sparked discussion and the brand was mentioned many times. I. SmetonIenė. Forms of intertextuality in advertising 173 3. re-creation of text is also considered p ar em ij ų p er fr a z av im as, a r ba antiparemijos 2, but because of its specificity can be discussed at separately. According to R. Koženiauskienė, “this peculiar form of intertextuality is mixed – it is both an insertion of another, well-known foreign text, and at the same time the author’s own creation – a consequential product of that foreign text” (Koženiauskienė 2001: 72). Dalia Zaikauskienė distinguishes as many as seven models of antiparemies: the structure of a specific traditional paremia is maintained, but the usual lexicon is replaced with words that identify current realities; half of the paraphrase is quoted and the second emphasis is re-created; the traditional paremia is quoted and a commentary is added; two paramies are combined into one; the opposite of the traditional param is stated; the use of another meaning of a polynomial; according to the structure of the traditional paremia a new phrase is created (Zaikauskienė 2004: 133–134). when the structure of the paremia is maintained and only one word is changed, the paremia itself is very easy to recognize, but it is the changed word that gives the advertisement a different sound and relevance: Everywhere good, Rimi is the best! (Rhyme) The main idea of paramia remains – shopping in the supermarket is just as pleasant as at home. The changed word may be directly related to the image, it can be assumed that it determines the choice of a specific paramia: Grab luck by the horns! (Viking Lotto) – the advertisers of this game wear helmets with horns. The reimagined second focus of the party is surprising: Who knows how, knows how to techno – with Marcel Heese. (advertising the event). such a way of re-creation can have a comic touch or at least make you smile: One head is good, but two – somehow unsightly. (Jenkki). Another advertisement for the same ice cream with the second part of the antiparemia creates an ambiguity, which each addressee decodes in his own way: Better a sparrow in the hand than a goose in bed! When the entire paremia is left in the text and only its commentary is added, this form of intertextuality looks similar to a quotation, but it is the commentary that suggests the existence of an antiparemia, because it is usually intended to make the addressee think, question the idea of the paremia or the universally accepted 2 In newer works of linguists, proverbs, proverbs and sentences are examined together and called the term paremias, and their reconstruction – antiparemias. Koženiauskienė and many Lithuanian linguists use the term phraseology rephrase or phraseology updating. The relationship between phraseologisms and proverbs and proverbs has been written by Kazys Grigas in the book Lithuanian proverbs. He claims that some linguists rely on the broad concept of phraseology, which also includes proverbs and adverbs, but the proverb, like the sentence, is a product of the oral creation of the people, and therefore its functions are to be the object of phraseology and lexis (Grigas 1976: 31–33). In this article, the term paremies and antiparemies is chosen because the patterns of reconstruction of both proverbs and adverbs and sentences are exactly the same. 174 Languages Culture | 86 truth: Is it true? Satisfaction does not pity hunger. (maistobankas.lt); Everything has its time. What time is it now? (Indance). perhaps most intended to surprise the recipient by creating a completely opposite statement: Let the milk from the lips do not dry up! (white check mark); The wind accompanies them, but does not whistle in their pockets. (norD/lb). unexpectedly in the advertisement the word paramija is used with another meaning: Eglė and Mantas decided to shake their legs. Then your hands. And then to sing. (radio stations). The usual meaning of paramiah shaking the feet is “to die”, and in this text the word shake must be understood directly – to shake. In creating antiparemias, the structure of the paremia is sometimes used, but a new phrase is created: Asparagus is not a garment, empty head cannot be covered. (Social advertising). A well-known phrase for the recipient can be re-created more than once, adapted to different objects being advertised: I save – that means I think! (Snoring) paraphrasing the same sentence in advertising a radio station sounds even differently – I think, so I can. (News radio), and in the advertisement inviting to read, the similarity remains only in the form: I read – that is, I live. (Social advertising). Another form of advertising intertextuality that is close to paraphrase is a l i u zija – a statement that recalls some known phrase, work, thought, fact, event. According to Marcinkevičienė, allusions are encrypted messages that require additional knowledge to be understood (marcinkevičienė 2008: 73). As with paraphrases or antiparemies, allusion aims at novelty, to surprise the recipient, to cause associations, so that the object being advertised appears even more attractive and reliable. Folk tales are particularly suitable for this, because people trust the folk wisdom much more, it is believed that it has been tested by time: Seniai seniai gyveno… lietuviai. And they lived well. And they had everything… (Lectures advertisement). The allusion to the beginning of the fairy tales was not chosen by chance, because the lecture cycle is dedicated to the lifestyle and customs of ancient Lithuanians. The allusion to the beginning formula of the fairy tales may also have elements of comedy: Once upon a time there lived Onytė. And they paid taxes… (Aviva). In this case, the folklore motif has no direct connection with the object being advertised (the way of accumulating pensions), the creators aim to surprise the recipient, as well as raise the mood of those for whom this information is not relevant. They lived happily ever after for one month, then for fifty years long… (Jenkki). This advertisement, which has already become a joke, is simply aimed at creating a good mood and thus attracting the attention of the recipient, because there is no direct connection with the advertised item (mint ice cream). I. SmetonIenė. Forms of intertextuality in advertising 175 Welcome to where the cat’s day begins! (katinodienos.lt). the true meaning of the slogan the recipient will understand only after finding out or remembering what the phrase cat day means. The allusion to the saying allows you to add much more information than would be in the usual informative text about the rural farm. About people’s best friends – in the new GEO issue. The allusion to the saying Dog – man’s best friend suggests that the issue of the magazine will be dedicated to dog breeders and lovers. An allusion to an ancient curse can create a mood of mystery, romance, cause barely felt fear and therefore affect the recipient: Three times nine… The cursed stone moves… Green nines with tea – the aroma of mystery in your cup. Associations with a popular entertainment film should also attract the addressee: We haven’t eaten anything for three days… Yes, but we have an apartment! (resus publication supplement “Shelter”). The advertisers chose the well-known words of the hero of the Twelve Chairs in French for several generations: “je ne mange pas six jours” (I have not eaten for six days). The end of the beer advertisement (Good beer, fat beer! Blindos beer is real, just like you!) is also a successfully chosen allusion to the popular Lithuanian film “tadas blinda” by the advertisers. In order to understand why the ad authors chose the funny saying of the film’s hero, the audience must have seen the film, because the image of the ad does not convey the whole emotional charge and mood of this phrase. The allusion to mystical symbols requires some knowledge. They may shock, may outrage, may surprise, but they are definitely impressive. the same pizzeria advertisement, in which the prayer text is paraphrased, uses an allusion to the so-called diabolical number: Daily pizzas give us today – up to 66.6% picoms. By contrasting two opposites, the aim is to create a positive result: divinely delicious, devilically cheap. 5. advertisement may use a very distant association – a variation of allusion r e f e r e n c i j a. For some of the addressees it may not be decipherable at all, if the source has not been heard, and even those who feel where the idea was taken from may have doubts: Student – not a shepherd (Snoras). One can only guess that this could be an allusion to the song “By the way bittersweet”, but it is possible to understand this saying directly (not small, grown, mature). 6.The pure, or marked, c it at o s, although they are called the most prominent form of intertextuality, do not create the same playfulness in advertising as the unmarked ones. Most of them are anonymous (undocumented), because they are well known and