what is the eupheumism to try to convice the animals that there is food

Linguística

Taofeek Olaiwola Dalamu lifegaters@yahoo.com

University of Lagos, Nigeria

Euphemism: The commonplace of advertising culture

Acta Scientiarum. Language and Civilization , vol. 40, no. two , 2018

Universidade Estadual de Maringá

Received: 08 April 2018

Accepted: 11 September 2018

Abstract: Politeness is a concern and necessity in advertising considering of sensitization goals to exist achieved in the midst of cultural, legal and competitive challenges. Thus, this study examined the utilization of euphemistic devices that facilitate mild persuasion in advertisements. 10 advertisements served every bit the data of investigation. The theoretical explication rested on Barthesian denotative and connotative annotations and Halliday's transitivity concepts. The written report revealed concealments in forms of the socio-cultural affiliation and clan (solo), domination (power, the Hero), distinction (made of more), and superiority (Indomitables). Also, personification and personalization (bigger boy; your globe), cocky-worth (greatness), borrowing (Naija), and transfer of professional significant (credit menu) functioned every bit replacements for seemingly inappropriate lexicons. Advertisers hide behind the metaphor (a taste of black), discrimination (cull greatness), and comparing (more, bigger) to expedite recipients' response. Therefore, as euphemisms are everyone's linguistic behavior, the report suggested that their analyses and applications need to follow a similar grade. That might assist language users to curb communication crises.

Keywords: advertising, connotation, denotation, euphemism, transitivity, publicidade, conotação, denotação, eufemismo, transitividade.

Resumo: Polidez é uma preocupação e necessidade na publicidade por causa dos objetivos desensibilização a serem alcançados em meio a desafios culturais, legais eastward competitivos. Assim, este estudoanalisou a utilização de dispositivos eufemísticos que facilitam a persuasão em anúncios. Dez anúnciosserviram como dados de investigação. A explicação teórica baseou-se nas anotações denotativa e conotativabarthesianas e nos conceitos de transitividade de Halliday. O estudo revelou encobrimentos em formas deafiliação sócio-cultural e associação (solo), dominação (poder, o herói), distinção (feita de mais) esuperioridade (indomáveis). Além disso, personificação e personalização (maior menino; seu mundo),car-estima (grandeza), empréstimo ('Naija') east transferência de significado profissional (cartão de crédito)funcionavam como substitutos para os léxicos aparentemente inapropriados. Anunciantes escondem-se portrás da metáfora (um gosto de preto), discriminação (escolha de grandeza) e comparação (mais, maior) paraagilizar a resposta dos destinatários. Portanto, como bone eufemismos são o comportamento lingüístico detodos, o estudo sugeriu que suas análises e aplicações precisam seguir um curso semelhante. Isso podeajudar os usuários de idiomas a reduzir equally crises de comunicação.

Introduction

An advertisement (henceforth: advertising) is an interface between manufacturers of goods and services and consumers. That is why Packard (1977) pinpoints advertising activities as the producers' means of encircling recipients with appropriate fascinating resources of conviction. To Packard, those resources influence the human senses of hearing and perception as manifestations of emotion realized through imagination. All these inputs aid advertisers to achieve the desire of inspiring the target audience. Thus, an ad serves some business purposes of disseminating information to convince readers to patronize appurtenances and services. The position that ads occupy seems to influence the advertising industry to channel strategies in persuading the audience. Euphemism, in this case, 1 could say, serves a useful purpose in advertisers' domains to motivate the audience to consumption.

Apart from the organization that is germane, the text and prototype are fundamental in ad plates (Sells & Gonzalez, 2003). In the theory of persuasion, advertisers do not use the text and paradigm haphazardly because of the intended persuasive warfare. The text and image in the advertisement semiotic field promote goods and services. Owing to that merits, advertisers shape the text and image in such a way that creates a metaphorical domain for a product. In that sense, the duality of the text-cum-image performs an integral function of conceptual networks for products. One could fence that euphemism fulfills some socio-cultural routines and professional person mappings in communications in representational forms. Allan and Burridge (1991, p. xi) explains that a euphemistic construct is deployed as an "[…] alternative to a dispreferred expression, in social club to avoid possible loss of face either one's face up or, through giving offensive, that of the audience, or of some third party". The crux of euphemism, in Allan and Burridge'south (1991) perspective, is that a term serves as commutation for the other.

In that regard, communicators utilise euphemism equally an intentional facility in all facets of life to lubricate their social engagements. The code replacement could operate in professional person conducts, cultural norms, religious bug, ceremonial activities, etc. Equally euphemistic expressions might activate as a darkening of altruism in certain quarters; they could also help in eliminating social taboos in society. In all these, interactants might deploy language nuances to cover or expound advice practices. The relationship between euphemism and advertising, i could attest, is based on social connections and concerns. On the one hand, euphemism is an chemical element observed in all ramifications of life (McDonald, 1988). On the other hand, advertising prepares messages relating to socio-cultural norms (Ewen, 1976; Fiske, 1989; Hermerén, 1999). In a fashion, euphemism is a raw material of advertising going past its expansive jurisdictions.

Running along the Allan and Burridge'due south (1991) phraseology of 'dispreferred expression', advertisers are mild in communicating their thoughts to the public because of the specific job of motivating readers to buy their products. Besides, sounding difference is a civilisation in the advertising persuasion. This is because every product in its competitive world intends to be distinguished from others in 1 mode or some other (Brierley, 1995). As advertisers avert the repetitive use of the dictionary, 'buy' (Forceville, 1996); information technology becomes imperative for experts to disguise every bit a form of discernment of being cunning to renew communicative strengths. Having the foresight that the target audience are virtually times recalcitrant to advertising messages (Melt, 2001), publicists mandatorily avoid repugnant messages. On that ground, advertising professionals, past all ways, do abroad with offensive-cum-taboo constructions. Copywriters rather fabricate pieces of information parallel to consumers' socio-cultural treasures (Willis, 1990) to excite readers. The to a higher place remarks, among others, inform the utilization of euphemisms every bit stimulating principles of persuasion. Therefore, the study taps its currency of analyzing euphemisms (Pfaff, Gibbs, & Johnson, 1997; Domiguez & Benedito, 2000) from the above perspectives to demonstrate the behaviors of the advertising manufacture toward euphemisms specially in the Nigerian context.

Treasuring euphemism

It is emphatic that English lexemes have etymological relationships. While some words are linked to wars, upheavals, neologisms, and cross-cultural transmissions (Fromkin, Rodman, & Hyams, 2003); others are connected to scientific inventions, invasions and possibly, a desire to exist unlike (Algeo & Pyles, 2002). Owing to those views, there are two prospects to the historical sources of euphemism. Alkire (2002) says that euphemism is a Latinized masculine lexicon 'eupemismos', meaning the deployment of words of proficient omen to readers. The argument draws on the Norman Conquest of 1066 on England. To Alkire, 'euphemismos' translated to euphemism is a member of the Centre English discussion stock. Yet, the merits of Enright (2004) considers euphemism equally a dictionary originated from the Ancient Greek. The argument refers that: (i) 'euphēeme/euphemia' is an apotheosis of two morphemes of 'european union' = well and 'phēme' = speaking. Linguistic accounts also report that the Greek lexemes of 'euphēmizein' and 'euphemismos' office as the apply of precious words and the use of advisable words to replace uncomplimentary inconvenient ones. This claim became effective in the 16^th century (Ayer, Worthen, & Cerise, 1986). In some respect, both 'euphēmizein' and 'euphemismos' are advanced constructs of 'eupheme' in social reality.

Possibly, the sensitivity of communicators to indirect expressions in diverse eco-social domains has influenced Radulović (2012) to allocate roundabout expressions into orthophemism and dysphemism. Such categorization has to exercise with the conveying meaning from a source to another in an implicit form or shape either as a positive resemblance or negative marker. Out of these, the notions of positive euphemism (euphemism) and negative euphemism (dysphemism) have get very relevant in communication exercises. Although, there is a thin line between euphemism and dysphemism (Krӧll, 1984; Allan & Burridge, 2006), two of them could comfortably be accommodated in the same euphemistic framework. The distinctions lie in their engagement to realize social values. Euphemism and dysphemism are entwined social communicative facilities. Thus,Holder (2005, p. 118) accentuates that euphemism is mild but a varied expression employed to substitute inappropriate vocabulary.

Following such usage decoration, Bolinger (1987) elucidates a unique form of dysphemism as auditory malapropisms. The remodeling applies that the user'due south inquisitiveness lies on "[…] the misuse of one discussion for another that resembles it in audio and is vaguely like in meaning." Advertisement gurus sometimes deploy indefinite lexicons to fascinate readers especially in Nigeria ('lyte' for low-cal; 'luv' for love; 'kulture' for civilisation; 'ur' for your; '4rm' for from; etc.). Also, euphemism creates association with figures of speech (Allan, 2001; Cruse, 2004), collocation (Zhou, 2015), political propaganda and public relations (Jačková, 2010), and manipulation of consumers that might lead to vagueness (Leech, 1966). Connecting those lines of defense to euphemism is an exposé of the behaviors of every language user, which is the motive for Bolinger (1987) to farther posit that "[…] euphemism is everyman's sin." Exchange and integration of lexemic conceptual networks demonstrate the imagination prowess of an interlocutor in social contents. Out of socio-cultural spheres, advertising creators source material (euphemistically) to sensitize recipients to product patronization. In Myers' (1994) point of view, advertizement experts attain persuasion through the commonplace of euphemism channeled through word connectives, behavioral associations, referent partnerships, and affiliation with narrators.

Theoretical scope

In the field of social semiotics, signification is fundamental, as it functions in different orders in connection to the environment. The first order in relation to the scope of the study is sign constructed inside the signifier and signified domains. The 2d level is appreciated as denotation and connotation (Dalamu, 2018). Denotation and connotation display the degrees at which the signified expounds the signifier. Chandler (2012) illuminates a sign as something referring to another object outside itself. That annotate implies that a sign is an illustration of an object in which human beings derive meanings. The signifier and the signified associate with the concept of sign (Saussure, 1916/1983). To this end, a sign is a plane where the signifier and the signified part in relation to a social context. Dyer (2005, p. 118) claims that the signifier is "[…] a fabric vehicle and the signified is 'a mental concept or reference". Dyer too adds that "[…] a signifier has potential just not the actual meaning whereas the signified is the meaning which the signifier refers to". The signifier, 1 could argue, is either visual or auditory communicative object in the social system such as text, image and sound; the signified points to the meaning abstraction from the signified. That explanatory distribution illustrates the significant decoded from the text, the epitome or the sound.

Having stated that the signified is the revealer of the meaning in the concept of the signifier, denotation and connotation initiate the guild of significant derivatives of a code (a code is a sign but a sign system is not always a code). This remark suggests that connotation unveils the semantic implications of an object in a way different from that of denotation (Dalamu, 2017a). Then, the dual concepts compose some distinctions of meaning-production levels for the signified (Panofsky, 1970). As assembly of pregnant exemplifications, the relationships of denotation and connotation are somewhat copulated. That characteristic has fabricated it extremely difficult to clearly divide the former from the after. Equally intertwining entities, withal, denotation serves as the starting time-social club of pregnant generation from a sign system or a lawmaking, while connotation expounds the pregnant of an entity within the 2d-order of meaning derivative (Hjelmslev, 1961). Thus, connotation is precursory to denotation. That is why Barthes (1967) submits that denotation leads to clusters of connotation in order to supply additional meaning representations. The meaning realization in denotative sign is all-comers' affair because of its literal, self-evident, commonsensical, and natural appearance. I might also add together that the likelihood of lexicon pregnant and universality (e.thousand. of text) positions denotation every bit disposing meaning at the first level (Hall, 1980). However, connotation is 'polysemous' and can be heavily cultural affiliated. In Fiske'southward (1982) point of view, denotation is the photographic image and the process of its projection is connotatively discerned. Nonetheless, Wilden (1987) elucidates the sometime as digital and the subsequently every bit counterpart.

Although, scholars (Barthes, 1967; Fiske, 1982; etc.) have expressed their views on the orders of signification, it is crystal clear that both denotation and connotation exhibit cultural and ideological undertones. Socio-cultural and ideological values are the strongholds of language. The aforementioned principles seem applicable to images and their functional applications (Kress, 2010). Advertisers take cognizance of these contextual norms to make the fortresses the identify of refuge in advertising communications. Then, experts construct every advertizing of

a customs as an accommodation of that environment. Texts and images are deployed to rule readers based on the people's cultural, social, and ideological expositions and fortifications else a copy of an ad functional in society A might be blurred in social club B vice versa. Copywriters are quite aware that the essence of a good ad is not about simply translating the wordings of the frame; it is very significant to encode the right concepts, and those concepts may well vary from one culture to another (Goddard, 2002). Following Willemen'due south (1994) estimation that the level of assay determines the line that demarcates denotation and connotation, the study in the comparative reference, has utilized the former as meaning exemplification of the literal level and the later explores pregnant at the metaphorical/multiple level.

Creating a connection with the duality of denotation and connotation of the paradigm, Barthes (1967) suggests a third concept, which is the linguistic text equally playing either the anchoring or the relaying office. Perchance, the Barthesian proposal provides a backdrop for Forceville (1996) to argue that explanations of image can be subjective, while that of the text objective. The reason provided is that there are 'concise' theoretical works on the grammar of language whereas that of image is nevertheless unattainable. Dictionaries and theories on texts serve that purpose. Given that argument and Daramola'south (2008) position that the scope of an investigation allows for theoretical triangulation method (Sunderland, 2010), the author has adopted the transitivity system as textual processor of the selected advertising communications. Transitivity, in Halliday and Matthiessen's (2004) premise, is the grammatical transpose of ideational metafunction, which accommodates experiential and logical relations. Iii variables dominate experiential relation. These are participant, procedure and circumstance (Dalamu, 2017b). Participant, Thompson (2014) deduces, is either animate or inanimate elements, involved in the meaning-making procedures. And the process represents the goings-on in the communication. Bloor and Bloor (2013) describe the goings-on that the participant engages in as internal (thoughts, beliefs, feelings, etc) or external (happening, doing, sensing, etc.) world. Halliday and Matthiessen (2014) articulate that the experience shared might sometimes occur in a particular setting. On that note, Martin and Rose (2013), and Fontaine (2013) gloss that circumstantial devices augment the data that the participant and procedure provide the audition (Eggins, 2004).

Methodology

There are many euphemistic devices in the ads collected from the Punch newspaper and the Internet. Even so, the option of the ads for analysis is prioritized based on their relevance to the study. Among the choice ads, the study gave preference to alcoholic drinks communications. The goal was to exemplify how ads of alcohol conceal data to inspire recipients to consumption. Earlier the transitivity analysis, in Figure 1, the writer presented the text in clauses with slashes '//' to bear witness their scope. The procedure was based on Halliday and Matthiessen (2004) as a pointer to the limit of the uncomplicated clause. The transitivity organization applied in Figure 1, which was later on converted to Table ane, assisted the study to account for the linguistic components of the clauses in relation to content meanings. The frequency, as shown in Table 1, was after translated to Figure ii in gild to summate and account for the position of each transitivity facility as appeared in Effigy 1. The sequence might aid readers to easily appreciate the catamenia of the goings-on. With the assistance of denotative and connotative terminologies, the discussion revolves around the transitivity system. The symbol '®' indicates a registered company equally Tx in the table is an abbreviation of text.

Table 1.

Recurrence of the transitivity components. Figure ane below is a product of Table i higher up

Transitivity	Value										Total
	Tx1	Tx2	Tx3	Tx4	Tx5	Tx6	Tx7	Tx8	Tx9	Tx10
Cloth	ane	1	ane	1	0	1	1	two	0	1	nine
Mental	0	0	0	0	0	0	0	0	i	0	1
Relational	0	0	0	0	0	i	0	0	0	0	1
Bahavioral	0	0	0	0	0	0	0	0	0	0	0
Verbal	0	0	0	0	0	0	0	0	0	0	0
Existential	0	0	0	0	0	0	0	0	0	0	0
Circumstance	0	0	0	2	0	0	1	0	1	0	4

Data presentation

Figures three to 12 (The Punch Newspapers; www.guinness.com/en-af/advertizing; http://www.sevenup.org/home/), with endpoint slashes, bespeak the clauses of the advertising plates 1-10, explored in Figure 1.

Data analysis

Figure i below represents the systemic analysis of the selected ads' texts.

The study translates the transitivity analysis in Figure ane to a readable table and graph in Figure 2.

Figure ane.
Grammatical (transitivity) analysis of the ads.

Figure 2.
Graphical analogy of the ads' transitivity components

Effigy three.
//Some are made of more//.

Figure 4.
//Refresh your world//.

Effigy five.
//Introducing the 'Indomitables' pack//.

Figure vi
//Store now with our credit bill of fare//

Figure 7.
//Pride power 'Naija'//.

Figure 8.
//Go beyond borders// Be the hero//.

Effigy 9.
//Boot off with a taste of blackness//.

Figure x.
//Stay truthful to yous and create something new//.

Figure 11.
//Sense of taste the feeling// Solo or bigger boy// Aforementioned perfect match for this sumptuous meal//.

Figure 12.
// I choose greatness//.

Results

Following Dalamu's (2017d) digital applications and reporting styles, Table 1 and Figure 2 brandish the grammatical components of the ads' texts every bit the linguistic device, recurred in different semiotic slots.

Material Processes, as demonstrated in Effigy two, operate nine times more than than any other process in the advert texts. Besides the coexisting elements that recur four times, Mental and Relational Processes function but once respectively. The advent of the graph reveals that the advertisers fascinate the target audience through the deployment of the Material Processes, inspiring readers to act in accordance with the text. This exhibits that 'happening' and 'doing' boss the information, circulated to the public. Still, the circumstances, indicating location and means, serve as chatty devices enhancing the messages of the goings-on.

Discussion

The transitivity analysis, as applied in Figures 1 and 2, displays the texts in diverse semiotic slots taking care of denotative meanings, yet, leaving untouched connotative representations. As the transitivity attainment is limited to texts at their face values, the analyst utilizes the discussion medium as a channel of investigating discursively both denotative and connotative concerns of the images. That perspective has also helped in the semantic discourses of the texts. In all, descriptions of euphemistic devices of the advertising frames follow later on Barthes (1967), Allan and Burridge (1991), Cruse (2004) also as Domínguez (2005).

The clause in Effigy iii, 'Some are made of more', from the point of view of the transitivity system, is declarative. The Fabric Procedure of 'are made of' employs 'Some' and 'more than' as Histrion and Goal respectively. The going-on, 'are made of', has 'are' as the marking of the verbal group with the phrasal verb, 'fabricated of', indicating the composition of the internal contents of Guinness^®. Such apotheosis of constituents engineers the product to act in a certain manner that could be euphemistically projected. First, the lexicon, 'Some', constructs a sort of hypocritical thought for readers because it is a concealment of 'Guinness' alone. However, 'Some', refers to certain entities of indefinite corporeality. Of a truth, the advertiser cannot be concerned with whatsoever other object out in that location other than 'Guinness' which promotion is the motive of the advertizement. Referring to a few items, illustrated as 'Some', is evasive. In a sense, 'Some', is a pro-form of 'Guinness'. The imagery clearly demonstrates that merits with the appearance of the butterfly larva, seemingly crawling on the arm of the tree. The process, 'are made of more than', creates a likely misunderstanding for readers, in the sense that, the copywriter does not categorically state the elements that 'are made of more'. It is an open statement inviting logical reasoning. Then, a question could emanate thus: Is it the butterfly larva or 'Guinness' that is superficial or any other entities in the social arrangement? Lack of clarification leaves a recipient to his/her logical reasoning, as earlier mentioned.

The Goal, 'more', is manipulative. 1 could suggest that 'more than' is comparative in significant deductions. This refers that the way at which 'Some' (as concealed) gets things washed is at a higher charge per unit and 'Guinness' belongs to that group. And so, 'more' does not just portray speed; the stirring component as well indicates quality as well as distinction (Bedroll, 2007). The images of different kinds of trees that the larva designs on the ii leaves are a proof of that argument. The designed features connote a degree of perfection and excellence. Besides, it is referable that the advertiser does not only show the larva as beingness a distinguished designer in the domain of inventiveness; but that the larva has done an impossible task. Images in ads sometimes fail to match both the internal and external features of the product that they depict. Experts deploy such every bit fascinating objects to soothe consumers' feelings in order to lure them to consumption (Boorstin, 1963). In another sense, the impossibility is exhibited in the two leaves all-around about five grown trees (in two and three respectively). 'Guinness' equates the larva'south activities. The advertising expert taps from the animal kingdom to illustrate the excellence of 'Guinness', operating in a high social position and of proficient worth for homo consumption. The distinctions that euphemisms accord 'Guinness' as beingness perfect, proficient and with unusual characteristics are attempts to sway recipients to the consumption of the beer. Such features, in the perspective of the advertiser, are consumers' in order to perform across human expectations subsequently drinking 'Guinness'. Nevertheless, intoxication, which is dysphemism that the product might cause consumers, is subconscious.

Command is the construction of Effigy 4 equally analyzed in Figure 1. The imperative clause, 'Refresh your world', has 'Refresh' equally the Material Process accompanied with the Goal, 'your world'.

The clause orders readers to patronize Pepsi^®. Yet, 'Refresh' is a connotative tool of confidence in a perception that readers are asked to revitalize their strengths through 'Pepsi'. This ways that the beverage is an energizer, which consumption can reinvigorate consumers' bodies. Instead of the advertiser to control consumers to drink the soft drink, the ad instructs recipients with syntactic taxonomies of periodic renewal and reloading. Moreover, 'your globe' is metaphorical. 'Your globe' is a concept that characterizes homo stomach. As such, there is a transfer of meaning from one domain to another (Enright, 1985; Domínguez, 2005) as a means of pleasing the target audience. Observations also display the nominal grouping, 'your world', every bit an ambiguous linguistic organ. As 'your world' points to the consumer's abdomen in a connotative form; it also illustrates the global world equally the natural man inhabitant. The substituent seems to create confusion because just educated readers could decode the information in its propriety. The lexical euphemism further reveals darkening and individuality in the post-obit dimensions. The thrilling structure attenuates the pains of hunger in a very polite manner; and personalizes 'world' with possessive determiner, 'your', to convey ownership, familiarity and mutuality. 'Your' is a human referent to satisfy essence. The communication also evades the lexicon, drink, with the replacement of 'Refresh' and the text does not mention 'Pepsi' except that its image is positioned vertically on the frame. The goal of the euphemism is to be friendly in order to easily, cleverly and cunningly seduce the public to consumption.

Both the image and text of the advertising in Effigy 5 are euphemistic contents. The text, 'Introducing the Indomitables pack', is a fragmented clause. Some of the linguistic structures are deleted to achieve persuasion (Hoey, 2000; Carter & Nash, 2013). The clause has a Material Process, 'Introducing', which makes the communication to sound in a polite manner. The 'Indomitables pack' is Goal, euphemized to inspire recipients, well-nigh of which are children. 'Introducing' operates as the marker of the clause because some linguistic facilities are considered eliminated. The evasion of the lexical items is perchance for a reason of economic system (Cook, 2001). Apart from the lexical concealment noticed, there is likewise an incredible morphological fabrication of the lexicon, 'Indomitables'. To achieve such communicative prudery, the advertising professional eliminates the character e from the word Indomie^® and then that the brand name can sensationally resonate equally 'Indomitable'. The substitution is impressionistic by conveying an overcoming message to readers. That coinage implies that consumers of 'Indomie' are physically and mentally strong to surmount all obstacles that come their means. And so, eating 'Indomie', in the point of view of the advertiser, represents prevalence over challenges of life. In other words, consumers of 'Indomie' play a domineering office in any situation they detect themselves in the eco-social system. The consumers of 'Indomie', the ad claims, are superior over their counterparts. Notably, too, 'Indomitables', pluralized, adopts the font of the production, 'Indomie' as a reconstruction that affiliates with each other.

Although 'Indomitables' is hypocritical in disposition; it is metaphorical. The advertising guru creates a sense for children equally demonstrated by the pictures of the memes. The western-children culture projected is humorous likewise as fascinating. The comic creatures in caricature forms are animated to perform unusual tasks. The creature at the back of other characters is very amusing for constructing its shape equally desires. The funny behavior is busy thusly to attract children to patronize 'Indomie', having provided children a sense of belonging through cartooning animation. The human activity could be ornamental and alluring to children. Besides the beautification achieved in the reconstruction of 'Indomie' to 'Indomitables', the beautification structure nominalizes an adjective 'Dogged' to 'Indomitables', which further collocates 'pack'. The advertiser employs 'Indomitable' to substitute 'Indomie' as a connotation that portrays consumers of 'Indomie' Noodles^® equally unbeatable beings (Rawson, 1981). Does that mean, ane could ask, champions in life are consumers of 'Indomie'? Or the consumers of the noodle are always captains of institutions? The advertising creator prettifies the message in order to present 'Indomie' in a good light for full general acceptability in the competitive food market.

The systemic analysis of Figure 6 demonstrates 'Store' as Cloth Process, while 'new' and 'with our credit card' are coexisting elements of location and style respectively. In its entirety, the clause is imperative demanding appurtenances-and-services from readers. 'Now' and 'with our credit card' are indicators of time and as additional information to the persuasive message. The commutation begins with the procedure 'Shop' as a reference to an act of buying. 'Shop' replaces buy every bit a transfer of significant in order to please the target audience. The advertiser also euphemizes the concrete resources for attaining the shopping practise. The advertising refers to the transactional instrument every bit 'our credit card'. 'Our' is a possessive determiner, operating as a concealment of a team of fiscal professionals, which is illustrated in the proceeding text, that is, 'Stanbic IBTC^® a member of Standard Banking concern Grouping^®'.

I also observes an evasive behavior in 'our credit card' as a nominal group. 'Our credit bill of fare' sounds equally a free instrument of obtaining complimentary cash from the bank. The deployment of 'our credit menu' but suggests politeness; the financial recharge is that of consumers. So, with 'our credit carte' seems mendacious for the cash content does not belong to 'Stanbic IBTC'. In improver, 'credit card' likewise known as accuse business relationship is a collocation entry. There are as well credit hazard, credit agreement, credit facilities, credit limit, etc. (Channell, 2000). Another way in which the copywriter attempts to please recipients is by utilizing the acronym, 'IBTC', instead of providing the total stretch of the text. 'IBTC' mean Investment Bank Trust and Visitor (Farlex Inc., 2017), which readers are expected to supply (Goddard, 2002).

There are three pronounced images in the plate. From the perspective of Systemic Functional Linguistics (SFL) one could locate the frame as an entity of theme and rheme (Dalamu, 2017c). That points to the point of departure and the kernel of the message (Rashidi, 1992; Kress & van Leeuwen, 2003). The theme has two images of a lady and the shoe; the rheme has the logo of 'Stanbic IBTC Depository financial institution'. To the public, the trademark only identifies the institution without spelling out the meaning of its elements to readers. The connotation of the symbolic sign is non but curtained; it is confusing for the semantic entailment is for the advertiser and not for readers. The thematic images – the lady and the shoe – culturally, perhaps, denote common pregnant of the mode world. However, the connotative pregnant is hidden in the sense that shopping attracts some financial terms that the depository financial institution fails to emphasize. Readers, in the perspective of 'Stanbic IBTC', should retrieve of the financial implications of buying ane item or some other, which the shoe represents.

'Pride Ability Naija' in Figure vii is a punctuated structure of a high degree. The consignment of Participants to the linguistic organs attests to that because there is no procedure to betoken their kinds. 'Pride Power Naija' is a combination of iii nominal elements. The employment of the lexeme, 'Pride', is a substituent that portrays Guinness^® with connotative attributes of self-esteem, superiority and beauty. Those features of dignity become necessary in order to nullify the mindsets of consumers, regarding alcoholic nature of the beer. 'Pride' conceals any negative thoughts most 'Guinness'. Every bit a effect of that, the advertiser manifests politeness to represent the quality of 'Guinness'. The cosmos of self-respect could excite recipients to patronize the product. In that regard, it is suggestible that if a copywriter gets the verbal creativity right, the public must surely consume the product (Ogilvy, 2013). That remark implies that powerful constructs work wonders in the psyches of readers.

The ad reveals the concealment of 'Power Naija' in the text beneath the frame, that is, 'Guinness', 'the power of Naija'. 'Pride' equally a euphemistic lexicon exalts 'Guinness' to a domineering position of influence. Thus, the production's dominance does not only perform competent roles; it makes consumers to have the capacity to be effective in neat tasks. Such prominent conduct is metonymic (Pérez-Sobrino, 2017) every bit revealed through the moving picture of a young man in the frame. The punctuated clause also has 'Naija' equally a word. The euphemistic demonstration of 'Naija' exhibits a borrowing exercise of the copywriter (Sagarin, 1968). 'Naija' is slang with a cultural undertone. The novel coinage represents shortening and a neologism form of Nigeria. The clipping-cum-neologism assists 'Guinness' to associate with a social norm in the Nigerian public sphere (Domínguez & Nerlich, 2002) likewise every bit gaining access to manipulate the people. The muffler of green-white-green color around the neck of the young person connotatively illustrates the partnership of 'Guinness' with 'Naija' citizens.

There are ii imperative clauses in Figure 8. These are 'Go beyond borders' and 'Exist the Hero^®'. As the phrasal verb, 'Go beyond', is a Material Procedure on the one paw; 'Be the Hero', on the other mitt, is Relational Process, identifying the personality of a consumer every bit a dignified human being. The two clauses have their participating entities equally Goals, 'borders' and 'the Hero' respectively. The first euphemized business of 'Become beyond' is the collocation advent, which has made the two linguistic organs as inseparable elements that produce a singular meaning. Commanding readers to move ahead of others is an excitement that motivates recipients non to finish where the strengths of others end. Consumers are rather encouraged to navigate in a higher society as much as possible to create a marginal space in obtaining and producing a better result. The phrasal verb positions a reader, as someone who is a habitual performer that contributes differently to events. Thus, a recipient is phenomenal for the private has agility to go out others who do not eat 'Hero' beer behind. This is attained by creating a remarkable distance for the unwilling. 'Go beyond' has other connotation concealed in the advice. Such counsel yields a greater result that surpasses others. The phrase as well signifies an addition to what others had earlier done. These qualities will influence consumers of 'Hero' to break records as well as contributing observable margins, characterized with scores of distinctions.

Metaphorically, 'Get beyond' draws a comparison between a consumer of 'Hero' and others of different choices of beer. The advertiser taps the attributes of a consumer of 'Hero' as very significant to others, allergic to the beer. In that wise, the copywriter presents the figure every bit a high flier that pulls a greater weight in guild by adopting and applying a different arroyo to matters. That procedure is a seeming strategy that permits the private to succeed in an endeavor better than any other individual. It is on that basis that 'Be the Hero' becomes a curtained message substituted for become far-off as the advancement to furthermore. The 'Heroes', the message states, are those who are charged with 'Hero', the beer. The consumption volition energize a drinker to greater bravery in order to perform some extraordinary deeds. Thus, such individual could exist labeled as a protagonist, a role model, and a probable legendary personality, leaving indelible marks behind the scenes (Grice, 1975). The paradigm of the young artist standing akimbo is the referent to the argument. This is a handsome person, actualization for readers to envy.

Boosted connotative comparing is the image of the bottle in a dignified manner. The bottle of 'Hero' is not only bold; it is besides pronounced as well every bit higher than the immature man. Another facility contributing to the euphemism is the drinking glass accommodating the beer content in its foaming condition. The foaming connotes attraction. Out of the three images – a young artist, a bottle of 'Hero' and a drinking glass of 'Hero' – the concern of the advertising practitioner is goose egg more than 'Hero'. The communication professional person exhibits that past ensuring that 'Hero' is boldly embossed in both the bottle and the glass. Even the text illustrates that position.

The semantic entailment-cum-concealment also shows in the relationships among the heights of the immature celebrity, the canteen, and the glass. The bottle is manifestly higher than the young man; the drinking glass is almost the top of the communication's participant personality. That beliefs connotes that the advice is for 'Hero' beer; nonetheless, all other tools only contribute to the sensitization tactic. Therefore, the exchange of 'the Hero' for the consumer is to satisfy the yearning of recipients and also to create a sense of belonging for consumers. The transferring of pregnant is an evasion of annihilation that could offend readers of the ad. To pronounce the drinker equally the Hero is more honorable than labeling the individual as the alcohol consumer. To dignify a consumer as 'the Hero' is a means of manipulating the drinker to exist cocky-of import, which could wheedle the pain of existence an alcoholic. Despite the deceit, it is much better to exalt a consumer as a 'hero' than an alcoholic equally displayed in Figure eight. That seems the method of survival for the producer of 'Hero' in the midst of criticisms, obscuring excess alcoholic consumptions.

Effigy 9, 'Kick off with a taste of black', contains ii components of the transitivity, that is, 'Boot off' as the Material Procedure, indicating an action and 'with a sense of taste of blackness', a circumstantial element of manner, signaling accompaniment as well as cause. 'Kicking off' conceals connotative meanings such every bit the outset of a purposeful mechanism, launching of a sensible attack, and an invaluable tackle on an object. Significantly, the appearance of 'Kick off' in the ad is a probable proficient strike on a football successfully accomplished with one's leg. The relationships of a Guinness^® bottle and a football demonstrate such hit. A 'Guinness' bottle, given that operational status, exerts pressure on the ball to brandish a start up of a sporting event. The result is a water-similar splash, observed after the 'Kick off', as shown in the frame of Figure ix. The 'idiomaticity' of 'Kicking off' is a copywriter'due south attempt to delight recipients. Information technology is much ethical to communicate to readers to 'Boot off' with 'Guinness' rather than announcing to them to 'charge' their actions with alcohol connotatively deployed equally 'a taste of blackness'.

'Taste' is a awareness, revealed through the natural language. This indicates a savory quality of the food in the form of aesthetic, understood through experience. Apart from the circumlocution being a substituted lexicon; the employment of 'taste' is dignifying (Levison, 1983). The sense is this: 'sense of taste' is an inducement. Tasting, as the experience, might drag the morale of a consumer to drink as much bottles as possible. The textual hypocrisy of the advertiser could accelerate excess consumption of 'Guinness'. 'Taste' is a bait to enhance the hope of selling the product. The concept of 'black' is a exchange that is ambiguous every bit well as 'polysemous'. On the i manus, 'black' is a color code. On the other hand, 'black' refers to certain ethnic groups of African, Aboriginal, and Maori descents. Nevertheless, the verbal utilization of 'black' implies that an entity has the capacity to absorb all forms of lite without reflecting anyone. It could exist pleasing to recipients to understand that 'Guinness' is neither translucent nor lucid (Burridge, 2004). Thus, the product is indirectly more powerful than others. And so, 'Guinness-blackness', as the advertiser points out, subdues other beers underneath its social 'regiments.' In another interpretive vein, ane might pinpoint the darkening of 'black' as connecting to blackcurrant every bit a production of edible fruits/berries. As blackcurrant is a beverage so is 'Guinness'. The frivolity as well as the poetic license of the advertizement industry (Xhignesse, 2016) toward social treasures might propel the advertiser of 'Guinness' to verbally label the product as resourceful in edible berries. In a simple way, 'Kicking off', 'gustation' and 'blackness' are terminologies of darkening and hypocrisy, explicating the behavior of the advertisement practitioner toward euphemizing the 'Guinness' stout to corking consumption.

'Stay true to you and create something new' of Effigy x are punctuated and hidden. This is on the ground that the analyst suggests [Orijin^® volition] and ['Orijin volition assist you to'] as the deleted structures of the clauses. The 2 organs will produce the clauses in the following means: ['Orijin will'] 'stay truthful to you'; ['Orijin will assist you to'] 'create something new'. The conjunction, 'and', simply functions equally a paratactic linker (Halliday & Matthiessen, 2004). The transitivity organisation illuminates every bit a Material Process, supporting the consumers of 'Orijin' like a manstrope. Also, 'create', a Cloth Process, in the domain of the systemic metafunction, exalts readers as individuals, who are imaginative with abilities to bring to an existence novel designs that are however to exist orchestrated in a social system. The 2 Fabric Processes of 'Stay' and 'create' accept 'true to' and 'something new' as Goals respectively.

Furthermore, clause 8a indicates 'you' every bit another participant serving as Recipient. In the message, readers could translate 'you lot' as referring to a particular individual or pointing to a collective taxonomy (Ang, 1991). In that respect, the deployment of 'y'all' is somewhat disruptive because of the ambiguity that the component displays. 'Truthful' besides collocates 'to', illustrating the conformity of 'Orijin' to the promise of loyalty. 'True to' affirms and legitimizes the faithfulness of 'Orijin' to consumer in relation to generation of new ideas. In the advertiser'southward discernment, the consumption of the product will induce readers to imagine 'something new', as earlier said, and it will construct a 'new' shape of objects that could serve as a mark of distinguishing consumers of 'Orijin' from the multitudes in the public space. The advertiser supplements the argument with the paradigm of a local musician, representing the entertainment industry along with its cultural norms. The mission is to please and inspire the audience. The prototype connotes dignity with a remarkable ovation. Euphemizing 'Orijin' with the features of human being entity (personification), though concealed, is mendacious to readers (Crystal, 1998). The substitution by null (Halliday & Hasan, 1976) is also an evasive strategy to inform the audition to supply the missing linguistic items to create a link of the pregnant potential (Goddard, 2002). Pleasing recipients is the foremost responsibility of ads. That seems the motive for 'Orijin' to prominently seduce the public with polite language and appropriate imagery. These are illuminated in terms of substitution, concealment, connotation, and evasion of profanity.

Figure 11 presents three clauses of which 'Taste the feeling' is imperative. The other ii, 'Solo or bigger male child' and 'Same perfect friction match for this sumptuous meal', are fragmented facilities. The transitivity communicates 'Taste' as a Mental Process, reflecting a human perception in the practice of cookery. In other words, 'Taste' is an appealing lexeme, soliciting consumers to condescend in lodge to fraternize with the synthesized delicacy that Coca-Cola^® has prepared for readers. It is from this signal that the connotative nature of 'Taste' begins. Although concealed in meaning, the mental perception infers a sense of food consumption with the images of different bottles of 'Coca-Cola' with a plate of nutrient in between the bottles. The Phenomenon of the transitivity is 'the feeling'. 'The feeling', in that regard, is a substitution for semantic implications such every bit emotional sensitivity, intuitive impression and a response of a consumer'south stimuli to a practice in a empathetic degree. These could further manifest as an expression of the reader's tremendous sensibility to certain outcome, stimulated with attraction. The politeness illustrates the willingness of the expert to proffer a sense of belonging to readers' consciousness both internally and externally.

'Solo' as a participant in the text is semantically concealed and connotatively 'polysemous'. The reasons are that the later might display 'Solo' equally a slice of music performed by an individual; a full-bodied coffee (i.e. espresso), a task executed or a construct in relation to sports. By sports, the study refers to a card-game and a Gaelic football game in Ireland, involving fifteen players, sometimes with the awarding of hands. Withal, the former entailment in the Nigerian context does not take respective meanings with the to a higher place remarks. 'Solo' is slang in the Nigerian social sphere, implying a pocket-sized size. The advertiser goes a borrowing to acquaintance 'Solo' to a cultural norm for every reader of the ad to empathize the message (Domínguez, 2005; Kress, 2010). As well that substitution, 'Solo or bigger' indicates a comparative communication where a consumer could call for a 'Coca-Cola' bottle of his/her selection. The two different sizes are referents of that consecration. The ad further illustrates a comparison that both the textual facilities and images stand for in personified forms. That seems the basis for labeling either of the bottles as 'boy'.

The 3rd clause, 'Same perfect friction match for this sumptuous meal', comfortably adopting a circumstance of cause, constructs an associative meaning with 'Solo or bigger boy' in the sense that the ad presents the entities – 'Coca-Cola' and food – as a articulation need. The utilization of perfect match is an indictment on other relative beverages, either of the alcoholic or non-alcoholic categories. This is because the concept of 'perfect' suggests that there is no drink of the past, nowadays and futurity, and any other kind that can withstand the provision that 'Coca-Cola' has made for those who eat food. In the perspective of the advertizement professional, the combination of 'Coca-Cola' and food has no equals. 'Coca-Cola', the copywriter emphasizes, provides the strong palatability of satisfaction for consumers of all races. Even so, one might query whether the product is meliorate than h2o? Or that those people, who practice non consumer saccharide, could too consider the perfection articulated worthwhile? The 'perfect lucifer' usage initiates a probable defoliation. This pinpoints the extremity of the advertising communication regarding disarming recipients. The flying label inscribed as 'new' on the neck of the 'Solo' bottle connotatively gives recipients an impression that the current 'Coca-Cola' mixture is brand new and recently manufactured. The 'Coca-Cola' potable, the advertizing claims, has been revived to suit the 'sense of taste' and meet the need of consumers. The text establishes euphemistic appreciations in terms of concealment in almost of its ramifications. This tends to evoke solicitation for recipients' favors.

The clause, 'I choose greatness', is declarative. It is a statement that provides consumers basic data near Guinness^®. In the transitivity, 'cull', as the Material Process, has 'I' as Role player and 'greatness' as Goal. The Thespian, 'I', is personalized, indicating a reference to oneself. The procedure, 'choose', and the participant, 'greatness', are euphemistic devices of the clause. One could locate concealment likewise as substitution in the lexicons of 'cull' and 'greatness'. The linguistic units are connotative with 'polysemous' semantic implications. Given those backdrops, 'choose' is representational in a paradigmatic form. Paradigmatic order is a kind of a kind, that is, one entity 'hobnobs' with another ones (Halliday & Matthiessen, 2014; Dalamu, 2017d). The ad is a good case that creates the option of 'Guinness' solitary for consumers in the form of friendliness. The epitome of hand-cum-'Guinness' drinking glass depicts that assertion. The fusion of hand and glass is a wise fashion of demonstrating comparability authority of the message with something else. This relationship connotes that a consumer makes a pick out of the available drinks presented earlier the private. Equally the advertiser is interested in selling 'Guinness'; the individual is also very conscientious not to permit the promotion to harm or injure anyone including competitors. Thus, the ad parades a concern campaign of morality (Holder, 2002). The communication enterprise, nevertheless, emphasizes the quality of 'Guinness' as having an edge over other products in a mild manner. The deployment of 'choose' protects the thought of being offensive. Such linguistic communication seems obedient to ceremoniousness past creating a sense of belonging for heterogeneous readers. This becomes a necessity because competitors are possible consumers of 'Guinness'. Playing on lexemes in politeness could captivate recipients to the consumption of 'Guinness'.

The term, 'greatness', is a exchange for 'Guinness' possessing euphemistic concealment in 'polysemous' forms. 'Greatness' represents arrogance. That is, the pride of the mind and ability, expressed equally cocky-aggrandizement from someone's subconscious residual. The analyst could also connect that to superiority, adoration too as command in relation to thoughts, deportment and personal feelings. The characteristic of 'greatness' might have informed the tacking of some entities with the terminology. For instance, history has reported almost Alexander the great, (in Europe) and Aloma the great (in Africa). In the contemporary, there is a renowned Bully U.k. in the European continent, and Great Akokites and Great Ife as slogans of some Nigerian universities in the African content. Fundamentally, on that footing, ane could elucidate 'greatness' as an extraordinary power, uncommon gift and blessing in the domain of an entity to attain required results, accommodated in great tasks. And then, transferring 'greatness' to 'Guinness', autonomously from producing seemingly similar sounds, implies that its consumers are not only strong and powerful; they are also mighty in achieving smashing results. Thus, 'Guinness' is euphemized every bit a production of significance with an expression of gladness. In sum, the declarative clause, 'I cull greatness', is intimidating because the advertising narrator accents that to invite this seeming question from readers: What nearly you? The text and prototype are euphemistic devices of inspiration that could excite recipients to consumption. The persuasive tools explicate to readers every bit a privilege of choosing inside a bars scope. Although, 'Guinness', as the preference, is discriminating in a very tactical model; the advertising adept markets the beer as the choice among assortments, the all-time amid varieties and the nigh desired in the midst of diversities.

Determination

The goal of advertising is to influence recipients to consumption. That eco-social burden informs the nature of the messages disseminates to the target audience. Polite texts and images dominate the pick communications investigated. The writer observes those qualities in the course of metaphors, substitutions, connotations, and ambiguities. The transfer of meanings assists advertisers to evade taboo constructs likewise as linguistic-cum-semiotic elements that could either hurt or damage the products, individuals or institutions. Although, the intention to manipulate the audition to consumption is principal; the advertisers deploy their messages with circumspection through semantic options that dignify readers. Such behavior is either promoting the qualities of the products or attenuating pains in a way that readers can be pleased or comfy. Euphemisms in advertising satisfy recipients by creating them a sense of belonging.

Given that alluring mission, the report reveals the substituent of distinction, adornment, personalization, and borrowing as curtained in the singled-out beliefs of the larva in Effigy three, 'Indomitables' in Figure 5, 'your world' in Figure four, and 'Naija' in Figure 7. Connotations in terms of supremacy, replacements, personifications, and way parameters, equally observed in 'Ability' in Figure seven, 'Hero' in Effigy 8, 'Kick off' in Figure 9, 'Stay… to yous' in Figure 10, and superiority in Figure 12, are some of the euphemized communicative instruments in the analysis. Of importance are devices of comparing equally in 'more' in Figure 3, and 'bigger male child' in Figure eleven, which exhibit a mild manner of exerting authority over other competitive products. The report recommends euphemisms every bit worthwhile facilities of stimulating readers in marketing exercises. Such applications need to be extended beyond casual use of confidence for consumption. The utilization of euphemisms could be encouraged in all facets of human endeavors, mayhap, the practice could assist world citizens to avert crises especially those ones acquired by verbal warfare. If researchers could commence on analyzing euphemisms every bit much as metaphors have enjoyed; the applications of the outcomes might prompt linguistic communication users to remodel formula of their chatty etiquettes.

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