Rhetorical Analysis
Visual elements are an important component of many advertisements. Although the role of imagery in shaping consumer response has long been recognized (Greenberg and Garfinkle 1963), only recently have visual elements begun to receive the same degree and sophistication of research attention as the linguistic element in advertising
(Childers and Houston 1984; Edell and Staelin 1983; Meyers-
Levy and Peracchio 1992; Miniard et al. 1991; Scott
1994a). The area is now characterized by conceptual and methodological diversity, with a variety of new propositions and findings emerging.
Historically four approaches can be distinguished, each with its own strengths and weaknesses. The archival tradition is perhaps the oldest (e.g., Assael, …show more content…
Given our overall commitment to linking the text-interpretive and experimental traditions, rhetorical theory appears ideally suited to the task of generating specific predictions, amenable to experimental test, about the impact of stylistic variation in advertising visuals. With its semiotic foundation, the rhetorical tradition can provide a wealth of ideas for differentiating and integrating aspects of visual style (see, e.g., Durand 1987). Furthermore, the practical bent that has characterized rhetoric from its beginnings facilitates experimentation—rhetoricians have always sought the particular style most able to compel an audience response. Lastly, building on the link to the reader-response tradition developed by Scott (1994b), rhetorical analysis can also be applied to generate a rich account of the consumer meanings that visual style might be expected to potentiate.
In the following sections we first define, explain, and differentiate various types of rhetorical figures, concluding that a visual embodiment of this historically linguistic notion should be possible. We then develop the impact …show more content…
Familiar examples of figures of speech include rhyme and metaphor; dozens more are catalogued in classical sources (Corbett 1990). Because they are artful, rhetorical figures are not errors or solecisms; and because the template is independent of the specific content asserted, figures may be considered a stylistic device. Under this conception, rhetorical figures could be advantageous to advertisers for several reasons. Most important, artful deviation adds interest to an advertisement. For instance, a cigarette ad that proclaims “Today’s Slims at a very slim price” should be more engaging to the consumer than one that
38 JOURNAL OF CONSUMER RESEARCH reads “Today’s Slims at a very low price.” Moreover, the advantage of any stylistic device is that it can potentially be added to an ad without disturbing the underlying attribute claim—thus, in the example above, the rhetorical figure still communicates a low-price positioning for the brand but does something more as
(Childers and Houston 1984; Edell and Staelin 1983; Meyers-
Levy and Peracchio 1992; Miniard et al. 1991; Scott
1994a). The area is now characterized by conceptual and methodological diversity, with a variety of new propositions and findings emerging.
Historically four approaches can be distinguished, each with its own strengths and weaknesses. The archival tradition is perhaps the oldest (e.g., Assael, …show more content…
Given our overall commitment to linking the text-interpretive and experimental traditions, rhetorical theory appears ideally suited to the task of generating specific predictions, amenable to experimental test, about the impact of stylistic variation in advertising visuals. With its semiotic foundation, the rhetorical tradition can provide a wealth of ideas for differentiating and integrating aspects of visual style (see, e.g., Durand 1987). Furthermore, the practical bent that has characterized rhetoric from its beginnings facilitates experimentation—rhetoricians have always sought the particular style most able to compel an audience response. Lastly, building on the link to the reader-response tradition developed by Scott (1994b), rhetorical analysis can also be applied to generate a rich account of the consumer meanings that visual style might be expected to potentiate.
In the following sections we first define, explain, and differentiate various types of rhetorical figures, concluding that a visual embodiment of this historically linguistic notion should be possible. We then develop the impact …show more content…
Familiar examples of figures of speech include rhyme and metaphor; dozens more are catalogued in classical sources (Corbett 1990). Because they are artful, rhetorical figures are not errors or solecisms; and because the template is independent of the specific content asserted, figures may be considered a stylistic device. Under this conception, rhetorical figures could be advantageous to advertisers for several reasons. Most important, artful deviation adds interest to an advertisement. For instance, a cigarette ad that proclaims “Today’s Slims at a very slim price” should be more engaging to the consumer than one that
38 JOURNAL OF CONSUMER RESEARCH reads “Today’s Slims at a very low price.” Moreover, the advantage of any stylistic device is that it can potentially be added to an ad without disturbing the underlying attribute claim—thus, in the example above, the rhetorical figure still communicates a low-price positioning for the brand but does something more as