Figurative Language In Under Milk Wood

Advertisements are everywhere; no matter where you are there will be many different advertisements surrounding you. You see them on billboards, you hear them on the radio and Pandora, you are surrounded by them in shopping malls, etc. Have you ever wondered who created advertisements? I always asked myself that question because I was surprised by how many different advertisements there are. It was until I read “The Language of Advertising” by Charles A. O’Neill that I found the answer to my question. O’Neill believes that advertising language mirrors the fears, quirks, and aspiration of the society that creates it. I agree with O’Neill because advertisements are affected by society; if advertisements had nothing to do with society there would be no point in advertising objects.

Advertisements have become a huge part of society in the modernized world of today. Around the world, many people can see all of the various advertisements not only on TVs and newspapers but also on billboards, buses, and walls of buildings. Advertising is an influential part of life and we can easily realize that it has useful purposes for public and private manufacturers and companies throughout the world. Advertisements can either give consumers a great amount of knowledge about the products or just convince them to buy and want the products. Advertisements also help sell the products which keep the economy growing, but people should also be aware of how much they spend because they may not actually need every product that they see that they want to purchase. In the Daisy by Marc Jacobs’s perfume advertisement, the artist uses many different techniques to emphasize the advertisement. Some of the different techniques that the artist uses are color, symbolism, and composition.

Introduction The book, The Unwanteds, by Lisa McMann, is an adventurous story about a creative boy named Alex, and his very bland and boring twin brother Aaron. Alex and Aaron are split apart because Alex took the blame for something that Aaron did, and at the Purge, when they were both thirteen years old, Alex was sent to his death, and Aaron was sent to the university of Quill, where he would become a governor. Alex, however lived because of a man named Mr Today, and the secret world of Unwanteds. Aritme was full of talking statues, magical creatures, and lots and lots of colors.

Like mentioned in the reading, “The depiction of nature in advertising disconnects and estranges us from what is valued, and we attempt to reconnect through products, creating a circular consumption.” Moreover, the media is the

He and Lutz’s arguments coincide on the grounds that advertising is primarily about selling a product, and that there is unique language involved in doing so. O’Neill suggests that “Advertising is nothing more than the delivery system for salesmanship” and asserts that it is the consumer, not the advertisers, with the power to buy or not buy a good or service. He later delves into the many techniques used by advertising agencies, from their unique advertising speak to the powerful imagery used to capture the attention of their demographic.

Kilbourne demonstrates three major main criticisms of advertising. First, advertising objectifies people and objects for the purpose of sales. This critique promotes products as more important than people and exploits human deeds and desires. Kilbourne offers ample evidence to support her first criticism of advertising. For example, Kilbourne examines advertisement such as the Thule car-rack - which humorously places more value on sports equipment been a child's life - is evidence of the trend that advertising is “objectif[ing] people…trivializ[ing and exploiting] our most heartfelt moments and relationships. Every emotion [,person, animal, and natural phenomenon] is used to sell us something” (Kilbourne, 2006, 369). Second - according to Kilbourne - advertising promotes and perpetuates the unnatural passion for products rather than personal relationship. “Advertising corrupts relationships and then offers us products, both as solace and as substitutes for the intimate human connection we all long for and need” (Kilbourne, 2006, 370). Within this concept, advertising also commits ‘cultural rape’ by manipulating sacred symbols for their utilization as emotional leverage in advertising. Third, advertisements damage the personality and structure of culture. For example the Giwch’in tribe’s traditional culture was almost erased by the introduction of advertising through television. “As multinational chains replace local character, we end up in a world in which everyone is Gapped and Starbucked…[Thus] rampant commercialism undermines our physical and psychological health, our environments and our civic life, and creates a toxic society” (Kilbourne, 2006, 371), which robs individuals of cultural and personal diversity. Based on the evidence presented by Kilbourne, I strongly agree with all three of these

Product advertising campaigns are detected roughly every day and it is due to the competing businesses that currently exist. The ongoing debate of who will obtain the trade-mark “It’s the real thing”, is a hilarious dispute that occurs between the representatives of a beverage and book company. This debate gets to the point where circumstances are sufficed and it is a longing children's tantrum. The letters of two different personalities representing, two diverse industries, portray two sides of an argument, however, Richard Seaver’s reply to Ira C. Herbert is a notably more commanding letter that emphasizes onto its true claim and does so through his distinct use of rhetorical devices and strategies.

Today’s quick-moving world of technology has media texts such as advertisements to make sure that people understand with just a glance. Having adverts on magazines, social media and billboards allow them to use tools such as semiology, genre and narrative because it makes their messages clear instantly. These signs allow us to carry meaning through advertisements, connotations and the signification process. These tools let brands, mainly celebrities, and the option to produce and create a myth of the product such as “Be daring. Be an inspiration” to sell it to the world. We are in a time where advertisers use ‘simplicity’ in their adverts; there are no more paragraphs. It is mainly down to the person and the few words shown in that advert.

Adverts have been around for hundreds of years, and have since developed hugely as technology has enabled us to advance even more. Adverts have developed from illustration with text in the early 1700’s to large high definition photograph/illustration on billboard or TV advertisements with high definition. (Adage, website, 1999) Advertising in the 21st century doesn’t just stop at billboards and TV advertisements. We have now gone onto using every space available to us to advertise, we are surrounded by adverts, or even advertisements surrounds us. Its endless, everywhere we go, we see adverts posted on a wall or on websites that we visit.

Henry Wadsworth Longfellow’s poem “The Children’s Hour” shares a messages that evokes love, passion, and strong emotions. After devastation, the speaker realizes the importance of family and starts appreciating the special moments with his daughters. Through tone, diction, structure, imagery, and metaphor. Longfellow demonstrates how important the theme of caring, loving, and spending time with loved ones is.

History, employment of artists and dependence all have a part in making advertisements the official art of capitalism, according to Raymond Williams. Going through William’s essay Advertising the Magic System, one can understand the connection that these two forces have between one another.

The ‘Dove Evolution’ advertisement is a perfect example of postmodernism advertising and complements the above discussion of hyper reality. The advertisement presents the full process in creating a billboard worthy advertisement. Firstly, the segment provides a behind-the-scenes look at how the model is, essentially ‘created’, and shows the audience how the ‘original’ image becomes the final product, unlike modernist advertisements which just presents an already final and ‘beautiful’ product. Emphasis on the use of photo-shop illustrates how technology has become a tool in modern day advertising and highlights Baudrillard’s (1994) view that the people of today live in an ‘unreal’ and fake world. Filming and disseminating this process “allows us to live without the illusions that modernity dangled before us” (Hart pg 9) The background classical music that has been slightly distorted illustrates Hart’s (2004) belief that “Postmodernism takes what it likes from high culture (classical music) and puts it to work in popular culture (advertising)” (Pg 8, Hart, 2004), further illustrating the idea that postmodernism involves removing “things out of their contexts, fragmenting them…and, well, playing with them” (pg 8, Hart, 2004). The final cut shows the billboard up, without showing the process of how that image came to be, reiterating Mills (1956) argument that the public would be unable to tell that it is a hyper-real image. This advertisement exemplifies Harvey’s (1990)

“Advertising is far from impotent or harmless; it is not a mere mirror image. Its power is real, and on the brink of a great increase. Not the power to brainwash overnight, but the power to create subtle and

The aim of this literary review is to look over the knowledge and ideas that have been established on the topic of what makes advertising effective, and to discuss their strengths and weaknesses, using a critical approach of it.

This research is a quantitative, cross-sectional, exploratory and descriptive content analysis of selected advertisements from two different magazines published in August 2012 using the nine different creative concepts as main emphasis.