IRENA SMETONIENĖ

Vilnius University

FORMS OF INTERTEXTUALITY IN ADVERTISING

KEYWORDS: allusion, anti-proverbs, quotations, intertextuality, proverbs, paraphrase, reference, advertising.

INTRODUCTION

The concept of intertextuality emerged in the literary sphere and is associated with postmodernist criticism: “Intertextuality is a concept often associated with postmodernism, more precisely with that area of postmodernism where literature encounters critical theory” (Haberer 2008: 136). However, research on intertextuality soon spread throughout the humanities, and, according to Audronė Šolienė, for several decades now intertekstualumas has been one of the most frequently used terms in scholarly discourse (Šolienė 2005: 101). One reason may be that intertextuality can manifest itself at every level of textual organization, including phonology, morphology, syntax, and semantics, while intertextual references have particular cultural significance for a given national, linguistic, and cultural community and help it understand the true meaning of a text, since they point to other texts or certain features of texts.

The theory of intertextuality itself developed in several stages. The French semiotician Julia Kristeva examines intertextuality as a kind of disclosure of the collective unconscious (Кристева 2000: 429). In his monograph on intertextuality, Graham Allen describes it as one of the most frequently and even most inaccurately used terms in contemporary critical discourse, and studies intertextuality itself as a phenomenon of modern scholarship. In his view, the origins of this phenomenon lie in twentieth-century linguistics: “It can be said that intertextuality, like contemporary literary and cultural theory itself, emerged in twentieth-century linguistics, specifically in the constructive work of the Swiss linguist Ferdinand de Saussure” (Allen 2000: 2). The author also states that “Julia Kristeva’s attempt to bring together F. de Saussure’s

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and M. M. Bakhtin’s theories of language and literature gave rise to the theory of intertextuality in 1960” (Allen 2000: 3). Irina Melnikova, one of Lithuania’s most prominent intertextuality scholars, believes that “the concept of intertextuality has become a sign of the contemporary person’s understanding of the world and of the self: a person who understands the world as a text and believes that everything has already been said at some point, and that something new can be created only according to the principle of the mosaic” (Melnikova 2003: 5). Another contemporary scholar of intertextuality, Roland Barthes, discussing the concepts of the work and the text, identifies the key propositions, with the text at their center. In his view, the text “is associated with method, genres, the sign, plurality, transmissibility, reading, pleasure” (Barthes 2011: 122). According to Aurelia Leonavičienė, we also encounter the broad discourse surrounding every text, which can subsequently be reproduced in various ways: in whole or in part, verbatim or inaccurately, in other texts (Leonavičienė 2005: 15). It is also important that the perception of an intertext does not end with recognizing its source—the foreign idea evokes the addressee’s emotional memory and takes on new meanings and nuances. It is then that we realize that most phrases have been heard before, yet this realization changes the meaning of the text being read. The ultimate recognition of a text’s meaning depends solely on the addressee’s ability to notice hidden references and reveal them.

The understanding of the term intertextuality in linguistic scholarship differs from its understanding in literary studies. In her book Genre Boundaries and Borderlands: Experiences of the Press, Rūta Marcinkevičienė emphasizes that the linguistic conception of intertextuality encompasses a broad range of possibilities for using elements of one text in another, whereas according to the literary-studies conception, any work of art—a painting, play, film, or sign—can be considered a text, and their combination constitutes intertextuality (Marcinkevičienė 2008: 72). Literary scholars state that “intertextuality can manifest itself as a quotation, anagram, allusion, parody, imitation, pastiche, etc.” (Satkauskytė 2001: 186); R. Marcinkevičienė distinguishes five types of intertextuality: quotation, paraphrase¹, free retelling, mention/reference, and allusion (Marcinkevičienė 2008: 73); rhetoric specialist Regina Koženiauskienė offers an even broader classification: quotation, direct speech, indirect speech, free indirect speech, imagined dialogue,

¹ R. Koženiauskienė states in footnote 43 of her book Rhetorical and Stylistic Analysis of Journalistic Texts that “Paraphrase (a free retelling of another author’s text in somewhat different, one’s own words, without distorting the idea) should not be confused with periphrasis. Periphrasis is a trope in which an object’s actual designation, its true name, is replaced by a descriptive, vivid expression” (Koženiauskienė 2013: 60).

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paraphrase, the renewal of phraseology, parody, reference (mention), allusion to a well-known text, reference (Koženiauskienė 2013: 60–61).

The features of intertextuality in advertising have been examined in Daiva Aliūkaitė and Simona Amankevičiūtė’s article “The Dissemination of Precedent Texts in Advertising.” The article’s abstract states that it “analyzes Lithuanian print advertisements by assessing the actualization of precedent text, precedent name, precedent utterance, precedent situation, and the precedent phenomenon in general. Essentially, an intertextual analysis is conducted, but to avoid conceptual confusion, the discussion is limited to the theoretical approaches of Russian cognitivists and the corresponding methodological tools; that is, it applies a scheme for the study of intertextuality modified by Russian cognitivists” (Aliūkaitė, Amankevičiūtė 2009).

This article uses a qualitative method to examine forms of intertextuality in advertising. It draws on R. Koženiauskienė’s classification of intertextual forms; moreover, when studying journalistic texts, the article’s author finds the perspective of a rhetoric specialist on the concept of intertextuality most acceptable (“elements of the content and form of other authors’ texts, borrowed and used in the author’s text” (Koženiauskienė 2013: 60)), since advertising texts are distinctive but nevertheless belong to the journalistic style. The professor’s point about the relationship between polyphony and intertextuality is also very important: “Polyphony may also be called intertextuality if we view spoken language as a text” (Koženiauskienė 2013: 60), because there is no point in distinguishing written from spoken text in advertising. Playing with texts, encoding a text repeatedly, continually playing with quotations, recalling earlier texts, and innovatively repeating what has already been said or written by someone else are especially useful to advertising creators: they can draw on authorities, influence the addressee through familiar sayings, link several advertised products, and so on. It is worth noting that advertising has distinctive forms of intertextuality, for example, texts in several different styles within the same advertisement. Unlike in fiction, where the interweaving of dialogue and narration is taken for granted, an insert from a text in another style becomes a highly important means of persuasion, enabling an advertisement to reach quite different addressees.

1. Combining texts in different styles

within the same advertisement is the most common form of intertextuality. Such play with texts may serve several purposes: 1) inserts in another style are placed within a text in one style so that the benefit of the advertised product can be demonstrated in practical terms, and its positive

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qualities are highlighted comprehensively; 2) styles are mixed to achieve a comic effect. The first approach can be used to create advertisements for medicines, household products, hygiene products, and food. They quite often have both spoken and written versions. In a visual or audio advertisement, this presentation is much more effective because it creates an everyday setting, the characters are ordinary consumers, and the situations are also familiar to the addressee; moreover, the advertised product’s benefits can be clearly seen or heard, while the narrator’s voice-over once again emphasizes its positive qualities in the style of popular science. Advertising researchers maintain that addressees are attracted to and more readily persuaded by advertisements that mention a scientific experiment or proof that the advertised product is very good, and describe the product’s ingredients using impressive-sounding names. This may take the form of a recommendation for the advertised product inserted into a dialogue, or an explanation of its ingredients:

– Well, who’s first? Don’t fall behind! Tired already?

– Oh, my stomach!

Rennie tablets, pleasant-tasting and containing natural carbonates, reduce stomach acidity within minutes and relieve pain, heartburn, and burning.

– Well, how is it?

– Thank you, you’re a true friend!

– Well, who’s first, then? (Rennie)

– Maryte, have you still not rented out the apartment?

– I’m still slogging away!

– No wonder, darling! No one would be tempted by an apartment with a bathroom like that.

– I’ve been sweating for half the day already!

– Depends on what you use to clean it. Try “Comet”!

– Is it really possible to restore its former whiteness?

– Your bathtub will look like new again. Look!

When a surface is old, stains penetrate deeply. Ordinary cleaners may only work on the surface, but “Comet” has a unique formula. It contains chlorinol, which penetrates deeply and removes even the most stubborn stains.

– Great, it’s white! Just like new! I can go for a bath right now! (Comet)

One of the aims of advertising is to reach as diverse an audience as possible and convince them that the advertised product is needed; therefore, journalistic-style commentary may be inserted into the dialogue when composing the text. Such comments are warmer and more approachable for the recipient, and are presented as friendly advice:

– Mom...

– Son, we can’t buy everything, you know!

– The big shopping trip?

– Yes, I’m counting every penny.

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– I don't think it's worth buying two small tubes of toothpaste!

– Really?

– But one large tube costs less!

The new 100-milliliter „Blend-a-med“ tube. Twice as much toothpaste. And you'll save as much as fifteen percent. Guaranteed protection against tooth decay!

– And you know what, you're right! Thanks, Ieva! Guess what I've got for you?

– Yay!

The new 100-milliliter „Blend-a-med“ tube. Bigger tubes mean broader smiles!

Styles can be mixed when the aim is to influence the audience through comic elements. This can be achieved by parodying advertisements that are already being broadcast:

While eating or just having a snack, your acid-alkaline balance may be disrupted.

But what if your car is stolen while you're having lunch?

– Oh, damn!

Your wallet will be thrown off balance too, and that's much worse!

„Kliford“ car security system:

Parody can be viewed not through the mixing of textual forms and styles, but through the lens of a certain kind of quotation or encoding; it is then understood as a form of stylization. In the aforementioned „Kliford“ advertisement, two different voices can be heard: one is the text of a medicine advertisement, retaining the form, tone, and sound of an authentic text; the other is completely different in both form and tone. It seeks to provoke an unexpected emotion, frighten the audience, and thereby influence them to buy the advertised product.

2. Proceeding logically from parody, as a reworking of a particular well-known text, we can discuss another form of intertextuality—p e r i p h r a s i n g—since it, too, aims to create playfulness and a particular kind of amusement. The essence of this form of intertextuality is to make readers consider what lies hidden beneath the text, and to use associations to link several different yet similar things. As John Frow states, every text incorporates fragments of formulas, rhythmic patterns, and social dialects, which are rearranged within it, since language always exists both before and around the text (Frow 1986: 25).

Text creators know that audiences are impressed by an encoded text that they can easily decipher, because the key to the code is their knowledge and personal experience: Around the World in 80 Pages (social advertisement). This is a paraphrased title of Jules Verne's novel Around the World in 80 Days. The new slogan stirs emotions, engages the imagination, evokes personal memories and associations, and takes readers back to childhood, when many imagined themselves as heroes of J. Verne's novels, traveling with the author to unknown places and having countless adventures.

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One can try to impress the audience by also rephrasing an advertisement familiar to them: Probably the tastiest… little herring. (Desė). The audience has undoubtedly already memorized the “Kalnapilis” slogan repeated many times, Probably the best beer, and will therefore also notice the adapted advertisement, perhaps even associating two things very dear to beer lovers—beer and fish. Nor can another aim of the creators be denied: to provoke negative emotions. Some members of the audience may be outraged by the adaptation and raise the question of plagiarism or copyright infringement, but this reaction, too, is very important, because even negative emotions produce the same result—the audience buys the advertised product.

A simpler, but also very effective, method is to present an advertisement in some well-known form, for example, as a letter:

Dear light-fingered ones,

Please don’t trouble yourselves. The residents of this house have already taken care of their home’s security.

Respectfully, PLAZA windows

Advertisers also exploit people’s weaknesses, such as their inclination to collect various recipes or read horoscopes:

A recipe for a good mood in autumn.

Wrap a monotonous, rain-soaked mood in a warm, fluffy cloth. Stretch on the soft leather. Finish with a comfortable heel and a moisture-proof sole. Cozy and warm? Have a colorful autumn! (Lilonija)

“Dolita’s” horoscope

The time is especially favorable for those planning to buy new shoes! Shoes born this year will be high-quality, stylish, and sturdy. Sunspots foretell an approaching storm, but if your shoes are good, we will easily leap over puddles of trouble. This period will be especially successful and fun for WATER signs...

In the first example, the text is styled as a recipe, while rhetorical figures make it playful and witty. The text of the second advertisement follows the style and composition of horoscopes; by weaving in the store’s name and choosing a product instead of the customary zodiac sign, it creates a distinctive mood. Such advertisements will appeal to many addressees: both those who cannot imagine life without horoscopes or recipes and those impressed by a different, non-traditional text.

An attempt was made to influence the addressee by breaking stereotypes and traditions in an advertisement for pizza, too: Give us our daily pizza today (Charlie pizza). The slogan received a mixed response from the public: some condemned it, seeing it as a parody of a prayer, while others praised the advertisers for their boldness. The authors of the idea probably achieved what they intended, since the slogan sparked discussion and the brand was mentioned many times.

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3. The reworking of a text also includes the paraphrasing of paremias, or anti-proverbs², although owing to their specific nature they may be discussed separately. According to R. Koženiauskienė, “this distinctive form of intertextuality is hybrid—it is both an insertion from another, well-known text and the author’s own creation, an occasional derivative of that other text” (Koženiauskienė 2001: 72). Dalia Zaikauskienė distinguishes as many as seven models of anti-proverbs: the structure of a particular traditional proverb is retained, but familiar vocabulary is replaced by words denoting current realities; one half of a paremia is quoted while the second part is reworked; a traditional paremia is quoted and a comment is added; two paremias are combined into one; a statement contrary to a traditional paremia is made; another meaning of a polysemous word is used; or a new saying is created according to the structure of a traditional paremia (Zaikauskienė 2004: 133–134).

When the structure of a paremia is retained and only one word is changed, the paremia itself is very easy to recognize, but it is precisely the changed word that gives the advertisement a different resonance and relevance: Everywhere is nice, but “Rimi” is best! (Rimi). The paremia’s main idea remains: a shopping center is just as pleasant as home. The changed word may be directly associated with the image; it can be assumed that it is what determines the choice of a particular paremia: Seize success by the horns! (Vikingų loto)—the promoters of this game wear helmets with horns.

The reworked second part of the paremia draws attention through its unexpectedness: Everyone does techno as they can—with Marcel Heese. (Event advertisement). This method of reworking may have a comic tinge or at least make one smile: One head is good, but two are somehow improper. (Jenkki). Another advertisement for the same lollipops creates, with the second part of the anti-paremia, an ambiguity that each recipient decodes in their own way: Better a sparrow in the hand than a goose in bed!

When the entire paremia is left in the text and only a comment is added, this form of intertextuality looks similar to a quotation. However, the comment itself suggests that it is an anti-paremia, since its usual aim is to make the recipient reflect and question the meaning of the paremia or a generally accepted

² In more recent linguistic studies, proverbs, proverbial sayings, and aphorisms are examined together and referred to by the term paremias, while their reworkings are called anti-proverbs. R. Koženiauskienė and many Lithuanian linguists use the terms phraseological paraphrase or phraseological renewal. Kazys Grigas wrote about the relationship between idioms, proverbs, and proverbial sayings in his book Lithuanian Proverbs. He argues that some linguists rely on a broad understanding of phraseology, which also encompasses proverbs and proverbial sayings; however, a proverb, like an aphorism, is a product of oral folk creativity, and therefore, in terms of its functions, it belongs to both phraseology and lexicon (Grigas 1976: 31–33). This article uses the terms paremias and anti-proverbs because the models for reworking proverbs, proverbial sayings, and aphorisms are entirely identical.

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truth: Really? The well-fed do not sympathize with the hungry. (maistobankas.lt); There is a time for everything. And what time is it now? (Indance).

Perhaps the aim is most often to astonish the recipient by creating a statement that is entirely contrary: May the milk never dry from your lips! (Baltoji varnelė); The wind follows them, but their pockets are not whistling. (NORD/LB).

A word from a paremia, used with a different meaning, rings out unexpectedly in an advertisement: Eglė and Mantas decided to shake a leg. Then their arms. And later, sing as well. (Radiocentras). The usual meaning of the paremia shake a leg is “to die,” whereas in this text the word shake should be understood literally—as give a shake.

When creating anti-proverbs, the structure of a paremia is sometimes used to create a new saying: A cheat sheet is no garment; it cannot cover an empty head. (Social advertisement). A saying well known to the recipient can be reworked more than once and adapted to different advertised products: I save, therefore I think! (Snoras). The same aphorism, paraphrased to advertise a radio station, sounds different again—I think, therefore I can. (Žinių radijas)—while in an advertisement encouraging people to read, only the form remains similar: I read, therefore I live. (Social advertisement).

4. Another form of advertising intertextuality, allusion, is also related to paraphrase: a statement that recalls a familiar saying, work, idea, fact, or event. According to R. Marcinkevičienė, allusions are coded messages that require additional knowledge to understand (Marcinkevičienė 2008: 73).

Like paraphrase, or anti-proverbs, allusion seeks novelty, to surprise the recipient and evoke associations, so that the advertised product appears even more attractive and trustworthy. Folklore is especially suitable for this purpose, since folk wisdom is trusted much more and is thought to have stood the test of time: Long, long ago there lived... Lithuanians. And they lived well. And had everything... (Lecture advertisement). The allusion to the opening of fairy tales was chosen to advertise the lectures for a reason, since the lecture series is devoted to the way of life and customs of ancient Lithuanians.

An allusion to the opening formula of fairy tales may also have comic elements: Once upon a time there lived a woman named Onytė. And she paid her taxes... (Aviva). In this case, the folklore motif has no direct connection with the advertised product (a pension savings plan); the creators aim to surprise the recipient and also lift the spirits of those for whom this information is irrelevant.

An allusion to the closing formula of fairy tales is also possible: They lived happily ever after... Happily for one month, then for fifty years... (Jenkki). This advertisement, which has by now become a joke, aims simply to create a good mood and thereby attract the recipient’s attention, since there is no direct connection with the advertised product (mint lollipops).

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Welcome to the place where the cat’s days begin! (katinodienos.lt). The addressee will understand the slogan’s true meaning only after finding out or recalling what the expression cat’s days means. The allusion to the expression allows much more information to be conveyed than would be possible in an ordinary informational text about a rural tourism homestead. About people’s best friends—in the new issue of GEO. The allusion to the saying A dog is man’s best friend suggests that the issue will be dedicated to dog owners and enthusiasts.

An allusion to an ancient spell can create an air of mystery and romance, evoke a faint sense of fear, and thereby affect the addressee: Three times nine… The enchanted stone moves… Green nine-herb tea—the aroma of mystery in your cup.

Associations with a popular comedy film should also attract the addressee; We haven’t eaten anything for three days now… Yes, but at least we’ve got an apartment! (the “Pastogė” supplement to Respublika). The advertisers chose words spoken in French—“je ne mange pas six jours” (“I haven’t eaten for six days”)—by the hero of “The Twelve Chairs,” a character well known to several generations. The ending of the beer advertisement (Good beer, a buttered fig! Blinda beer—genuine, just like you!) is likewise a well-chosen allusion by the advertisers to the popular Lithuanian film “Tadas Blinda.” To understand why the advertisers chose the film hero’s witty expression, spoken by a Roma character, the addressee must have seen the film, since the advertisement’s image does not convey the full emotional force and mood of the expression.

An allusion to mystical symbols requires a certain degree of knowledge. They can shock, offend, or surprise, but they are undoubtedly effective. In the same pizzeria advertisement that paraphrases a prayer, an allusion is made to the so-called devil’s number: Give us our daily pizzas today—up to 66.6% off pizzas. The juxtaposition of two opposites aims to create a positive effect: divinely delicious, devilishly cheap.

5. An advertisement may use a very remote association—a type of allusion called a r e f e r e n c e. For some addressees it may be entirely indecipherable if the source is unfamiliar; even those who sense where the idea comes from may have doubts: A student is no shepherd (Snoras). One can only guess that this might allude to the drinking song “A Tavern by the Road,” but the expression can also be understood literally (not small, grown-up, mature).

6. Pure, or marked, q u o t a t i o n s, although called the most prominent form of intertextuality, do not create as much playfulness in advertising as unmarked ones. They are usually anonymous (undocumented), since they are well known from both literary works and colloquial speech, though documented examples also occur:

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Where there is no health, there you will find no happiness! (Folk wisdom) (Sorpo).

Folklore quotations add a little more color to advertising. A proverb can make up a slogan on its own: You can’t put sense into a belt. (Social advertising); You can’t jump higher than your navel (CAC), or it can be incorporated into the closing sentence of an advertisement: “Mato baldus” could be talked about at length, but, as they say, it’s better to see once than hear ten times! or into a slogan: Meet Enrique Iglesias face to face. (Concert advertisement); “Ežys” is as cheap as the devil. (Mobile plan advertisement)). The proverbs were chosen here not only because the addressee trusts folk wisdom most, but also because they meet the advertising requirement to speak concisely and simply, yet effectively.

In their texts, advertising creators may also quote anonymous direct speech, whose speaker is unnamed or identified only in general terms: ...and you’ll never say “never again” (Chogeten); They say: “You won’t feel any sweat. Ever.” Don’t believe it? Let’s try it! (Old Spice Active Life); They say: a dream is a revelation, a dream is a mystery, a dream is the language of the soul (Rūta’s Gallery). This anonymous speech aims to show the addressee that they, too, are participants in the advertising act, members of the community that “says” this.

CONCLUDING REMARKS

1. Various forms of intertextuality affect the addressee’s mind and feelings; through them, text creators strive to interest or intrigue potential buyers and prompt them to purchase a product. They also help advertising creators highlight the advertised product’s qualities.

2. Combining texts of different styles in the same advertisement is a form of intertextuality specific to advertising. By means of it, the advertising creator can present the advertised product comprehensively, emphasizing its merits and associating it with scientific achievements and practical benefits.

3. The essence of paraphrasing is to make the addressee wonder what is concealed beneath the text, what the original source was, and to recall what they have read or seen; to consider what new meaning has been given to the reworked text; and to use associations to connect several different yet also similar things. Advertisements for other products and well-known book titles can be paraphrased, and a familiar text form (a recipe, horoscope) can be used.

4. Anti-proverbs and allusions also require additional knowledge from the addressee, but their aim is more to surprise and make an impact through an unexpected thought

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or even to shock. When creating anti-proverbs, the structure of a proverb may be retained while only one word is changed—this kind of reworking can have a comic effect; the entire proverb may be retained in the text, with only a comment added to it; a completely opposite statement can be created, or a new saying can be formed using the structure of a proverb. Allusions may refer to the beginning or the ending of fairy tales, to incantations, or even to mystical symbols.

5. Among direct quotations, quotations from folklore stand out. By using them, advertising creators draw on the addressee’s belief that folklore consists of time-tested truths and is therefore accepted unconditionally. It is also well known that folk wisdom can both instruct and astound, and, most importantly, express an idea briefly yet powerfully.

LITERATŪRA

Aliūkaitė D., Amankevičiūtė S. 2009: Precedentinių tekstų sklaida reklamose. – Lietuvių kalba. Prieiga per internetą: <http://www.lietuviu-kalba.lt/index.php?id=135>.

Allen G. 2000: Intertextuality, London and New York: Routledge.

Barthes R. 2011: Nuo kūrinio prie teksto. – XX amžiaus literatūros teorijos: chrestomatija aukštųjų mokyklų studentams II. Sudarytoja A. Jurgutienė, Vilnius: Lietuvių literatūros ir tautosakos institutas.

Frow J. 1986: Marxism and Literary History, London: Oxford.

Grigas K. 1976: Lietuvių patarlės, Vilnius: Vaga.

Haberer A. 2008: Intertextuality in Theory and Practice. – Postmodernism and After: Visions and Revisions, Cambridge Scholars Publishing.

Koženiauskienė R. 2001: Retorika: iškalbos stilistika, Vilnius: Mokslo ir enciklopedijų leidybos institutas.

Koženiauskienė R. 2013: Retorinė ir stilistinė publicistinių tekstų analizė, Vilnius: Vilniaus universiteto leidykla.

Кристева Ю. 2000: Бахтин, слово, диалог, роман. – Французская семиотика, Москва: Прогресс.

Leonavičienė A. 2005: Lietuvių ir prancūzų politinės spaudos tekstų heterogeniškumas (daktaro disertacija), Kaunas: Vytauto Didžiojo universiteto leidykla.

Marcinkevičienė R. 2008: Žanro ribos ir paribiai. Spaudos patirtys, Vilnius: Versus Aureus.

Melnikova I. 2003: Intertekstualumas: teorija ir praktika, Vilnius: Vilniaus universiteto leidykla.

Satkauskytė D. 2001: Intertekstualumas. – Lietuvių literatūros enciklopedija, Vilnius: Lietuvių literatūros ir tautosakos institutas.

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Šolienė A. 2005: Intertekstiniai elementai politiniame diskurse (Dž. Bušo ir Dž. Kerio rinkimų kalbose). – Respectus Philologicus 7(12), 101–111.

Zaikauskienė D. 2004: „Nauji metai – nauji lapai“: šiuolaikinės patarlių raidos tendencijos. – Tautosakos darbai XXI, Vilnius: Lietuvių literatūros ir tautosakos institutas.

Gauta 2013 10 09

Priimta 2013 12 20

FORMS OF INTERTEXTUALITY IN ADVERTISING

Summary

Based on the qualitative method, the article analyses the forms of intertextuality in advertising in terms of rhetoric. It relies on the classification of the forms of intertextuality proposed by R. Koženiauskienė and concludes that various types of intertextuality help the author of an advertisement to highlight the properties of the item being advertised, to raise interest in it or to intrigue the potential buyer and to drive him/her into buying the good. The composition of the texts of different styles within the same advertisement is the form of intertextuality which is solely characteristic of advertising. The author of an advertisement may use it to present the item being advertised by thoroughly highlighting its strengths, associating it with scientific achievements and practical benefit. The key point of rephrasing is to make the addressee guess what is hidden underneath the text, what its primary source was, to remember what he/she has previously read or seen and what new meaning is assigned to its new version, to try to link several different and simultaneously similar things through associations. Anti-proverbs and allusions also require the background knowledge from the addressee; however, their primary aim is to surprise, influence by the unexpectedness of thought or even to shock. Folklore citations stand out from pure citations. By using them, the creators of advertising refer to the addressee’s attitudes according to which folklore is made of time-tested truths, which are accepted unconditionally. It is also known that folklore may serve the purpose of teaching and surprising but most importantly – it is a means to express the thought in a brief, yet effective manner.

KEYWORDS: allusion, anti-proverbs, citation, intertextuality, proverbs, rephrasing, reference, advertising.

IRENA SMETONIENĖ

Vilniaus universitetas

Universiteto g. 3, LT-01513 Vilnius

[email protected]

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