Ministry of Education and Science of Ukraine

Kyiv National Linguistic University

Department of stylistics and linguistics

Course Paper
”Idioms in Commercials: Pragmatic Aspect”

Scientific supervisor:
Associate Professor V.V. Timofeyeva

Kyiv-2006
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Contents

CONTENTS
INTRODUCTION
CHAPTER 1. THE LINGUISTIC ESSENCE OF IDIOMS
1.1. DEFINITION OF THE IDIOM AS A LINGUISTIC PHENOMENON
1.2. BASIC FEATURES OF IDIOMS
CHAPTER 2. PRACTICAL USAGE OF THE IDIOMS IN COMMERCIAL
ADVERTISING
2.1. MANIPULATING BY IDIOMS. FOREGROUNDING
2.2. IDIOMATIC LANGUAGE IN COMMERCIALS
2.3. CREATIVE USAGE OF THE IDIOMS. EXTENSION AND ALTERATION
CONCLUSION
RESUME
BIBLIOGRAPHY

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Introduction

The English language provides a great array of means created for the
expression and rendering thoughts. In this work we focus on one of the most efficient
expressive tool, namely, an idiom. In brief, an idiom is an expression (i.e. term or
phrase) whose meaning cannot be deducted from the literal definitions and the
arrangement of its parts, but refers instead to a figurative meaning that is known only
through conventional use. In linguistics, idioms are widely assumed to be figures of
speech that contradict the principle of compositionality. [10; 79]
Idiom is an indispensable part of the language. It helps to create a brighter
image, to render concisely an extended idea or create the particular impression with
the listener. Many researches are dedicated to the use of the idiom in literary works
by poets and prose writers.
However, such a powerful language element could not be also overlooked by
the people who search for ways of manipulation and persuasion for their own purpose
and in business. Therefore, we will analyze the usage of the idioms in business
advertising. With a speedy tempo of contemporary life and high rates at media time
the usage of idioms in order to make the commercial advertising more effective
becomes more important which brings about the actuality of this study.
The aim of the research is basically to define the idiom as a tool of commercial
manipulation and underline the pragmatic aspect of this language phenomenon in this
respect.
This study sets a row of specific tasks to be completed during the research,
namely:
- To study and classify the phenomenon of the idiom as a linguistic
element,
- To analyze the value of idiom both for the conversational and
commercial use,

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- To bring out the pragmatic aspect of the idiom in the sphere of
commercial advertising.
The object of the research paper is the idiomatic phrases and words in English
language and their usage.
The subject of the study is the use of English idioms in commercial advertising
regarding their pragmatic aspect.
The paper consists of the introduction part, two chapters, the conclusion, the
reference list of the literature used and a resume.

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Chapter 1. The linguistic essence of idioms

1.1. Definition of the idiom as a linguistic phenomenon

idiom linguistic commercial advertising
The English language abounds in idioms like any other highly developed
tongues. Idioms consist of set phrases and short sentences, which are peculiar to the
language in question and loaded with the native cultures and ideas. Therefore, idioms
are colorful, forcible and thought provoking.
Idiom is an expression in the usage of a language that is peculiar to itself either
grammatically (as no, it wasn't me) or in having a meaning that cannot be derived
from the conjoined meanings of its elements.
We can draw a simple classification of the idioms.
Category and Level. First, we might wish to group them according to their
category and level. Lexical idioms (ignoring mono-morphemic lexical items) can be
nouns, verbs, and adjectives. Phrasal idioms can be adjectival ("stark raving mad").
Nominal ("notary public"), verbal ("come a cropper"), prepositional ("in a brown
study"), or sentential ("it takes one to know one").
Function. For the idioms that are not syntactically dependent on other
elements, we could classify them according to their function. Some formulaic
expresses accompany acts ("this hurts me more than it hurts you"), some accomplish
acts ("I declare the meeting adjourned"), some are comments on the ongoing
discourse ("I wouldn't touch that with a ten-foot pole"), some are parenthetical,
qualifying what is being said ("you might say"), and so on.
Sentence Type. Sentential idioms can be classified according to the sentence
type. Some are imperatives ("knock on wood", "shut up"), some are conditionals ("if
the shoe fits, wear it"), some are questions ("who knows?", "can the leopard change
its spots?"), and some use certain special constructions ("the more the merrier", "the
bigger they come, the harder they fall").

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Gaps. Many idioms are not complete "runs" but have gaps in them. Some such
gaps are complete sentences ("it's (about) time [you brushed your teeth]", where the
sentence has to be in past tense form), some are verb phrases ("I wouldn't [marry
Louise] for all the tea in China"), some are noun phrases ("play second fiddle to
[Harry]"). Possessive gaps can be co-referential to the subject, in the case of verbal
idioms ("to blow [one's] nose"), or referentially distinct ("to pull [someone's] leg"),
and some can go either way ("to cook [(some) one’s] goose").
Collocations. Collocations are phrase made up of two or more words, in some
grammatical relation to each other, where it appears that one or both of the words is
has some special conventional association with the other. In some cases, one of the
word only, or almost only, occurs in the phrase in question (the "blithering" of
"blithering idiot", the "aspersions" of "cast aspersions"), sometimes each word occurs
frequently elsewhere but the combination has a special sense or a special frequency of
occurrence ("spontaneous combustion", "manual labor", "consenting adult"), and so
on. [1; 62]
In many cases a dependent or modifying word fulfills a necessary function in
respect to the other word, such as that of intensifying: "broad daylight", "dark red",
"fancy footwork", "vast majority", etc.
In the case of sentential idioms, it is important to distinguish between the
conventional meaning that a construct built on them might have and the kind of
reasoning that is involved in cooperative conversational interaction. If a mother says,
"I wonder who could have left their dirty socks on the middle of the floor", she
probably expects her intended addressee to take this as a sarcastic request to pick the
socks up and put them where they belong. A lot has been written about the
mechanisms for this kind of reasoning; one reasonable view is that the mother expects
what she says to be taken as the first part of a potentially continuing conversation that,
given the relationships that hold between speaker and hearer, is going to lead to a

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specific conclusion; the cooperative child can anticipate this path and act on the
inference without requiring the whole conversation to be played out. [1; 63]
But now consider certain negative "why" questions, in particular, questions
such as those exhibited here:
"Why don't you try again tomorrow?"
"Why don't you just memorize your Social Security Number?
"Why don't you visit me some time?"
"Why don't you be the leader?"
An attempted pragmatic reasoning explanation for these sentences might follow
some such train as train as this: if someone asks me to explain a state of affairs that I
am involved in, it might be that she thinks there's something wrong about that state of
affairs, and making that inference might lead me to doing something to change it.
Such reasoning will perform quite well with certain kinds of questions, but I will
claim that it doesn't work in the case of these sentences.
If you hear, "Why aren't you wearing your shoes?", your natural inclination
might be to think that the speaker finds this situation questionable and is suggesting
you should put your shoes on. Such an inference, however, does not depend on the
question being negative in form: it would be called on just as well if the question had
been "Why are you going barefoot?". [1; 86]
The argument that the first group of negative "why" questions make up a
special construction, even though constructs built on it closely resemble ordinary
questions, includes the following points:
(1) "Real" questions with "why" can generally be paraphrased as something
like "situation S exists; explain that". Thus, "You are not wearing shoes; explain
yourself." The "why" questions that are taken as suggestions cannot. "Why don't you
be the leader?", for example, cannot be paraphrased as "You don't be the leader;
explain!".

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(2) Instances of the construction can use "do" with "be", true also of
imperatives (obligatory, in the negative "don't be obtuse" and optional in the
affirmative, as in the gushy "do be careful"). Notice the difference in interpretation
between "Why aren't you the leader?" and "Why don't you be the leader?". The first of
these does permit the two-part paraphrase. ("You aren't the leader; tell me why").
(3) "Real negative "why" questions are generally negative polarity contexts
negative-why-question suggestions are not. In the following two sentences, notice the
difference between the suggestion, with "something", and the ordinary question, with
"anything.
"Why don't you try something new?"
"Why don't you (ever) try anything new?"
Our conclusion, using the preceding observations and a few others, will have to
be that there exists in English a way of expressing suggestions that has the form of a
negative "why" question and has some of the internal trappings of a positive
suggestion. [13;26]

1.2. Basic features of idioms

All English idioms possess basic common features.

Non-compositionality: The meaning of a collocation is not a straightforward
composition of the meaning of its parts. For example, the meaning of kick the bucket
has nothing to do with kicking buckets. (Kick the bucket means to die.)
Non-substitutability: One cannot substitute a word in a collocation with a
related word. For example, we cannot say kick the pail instead of kick the bucket
although bucket and pail are synonyms.
Non-modifiability: One cannot modify a collocation or apply syntactic
transformations. For example, John kicked the green bucket or the bucket was kicked

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has nothing to do with dying. (Although John kicked his bucket and John's bucket was
kicked are both valid)
It is likely that every human language has idioms, and very many of them; a
typical English commercial idiom dictionary lists about 4,000. When a local dialect of
a language contains many highly developed idioms it can be unintelligible to speakers
of the parent language; a classic example is that of Cockney rhyming slang. But note
that most examples of slang, jargon and catch phrases, while related to idioms, are not
idioms in the sense discussed here. Also to be distinguished from idioms are proverbs,
which take the form of statements such as, "He who hesitates is lost." Many idioms
could be considered colloquialisms [24;88].
Many idioms were first created by working people. These idioms consist of
familiar terms which are associated with their own trades and occupations. Such
idioms were all colloquial and informal and once confined to a limited group of
people in the same trade or activity. But they proved terse, vivid, forcible and
stimulating so that later they broke out of their bounds and gradually gained wide
acceptance. As a result, their early stylistic features faded in part, and many became
part of the common core of the language and are now used in different situations.
Despite the fact, idioms are generally felt to be informal and some are
colloquialisms and slang, therefore inappropriate for formal style. Occasionally, we
find idioms, which are extremely formal and used only in frozen style[8;37].
The same idiom may show stylistic differences when it is assigned different
meanings. In addition, slang expressions are often peculiar to social or regional
varieties. Some may be used only in British setting; others may be suitable for certain
groups of people. All this needs care on the part of the user in the course of
production.
Apart from the stylistic features, idioms manifest apparent rhetorical coloring in
such respects as of phonetic manipulation, lexical manipulation and figures of speech.
1. Phonetic manipulation. This manipulation includes alliteration and rhyme.

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2. Lexical manipulation. Lexical manipulation embraces repetition, reiteration
(duplication of synonyms) and juxtaposition (of antonyms).
3. Figures of speech. Idioms are terse and vivid because of the copious images
created by them. Large numbers of idioms are used in their metaphorical meaning.
Since idioms are peculiar to the native culture and language, many images appear
exotic to foreign learners but are expressive, impressive and effective. The figures of
speech, which can be found in idioms, are: simile, metaphor, metonymy, synecdoche,
personification and euphemism.
Characterized by semantic unity and structural stability, idioms do not allow
changes as a rule. But structural stability is not absolute. When idioms are used in
actual context, they do experience grammatical changes such as different forms of
verbs, agreement of personal pronouns and number and so on. Occasionally, we may
find changes in constituents of idioms: addition, deletion, replacement, position
shifting, dismembering.
1. Replacement. In some idioms, a constituent may be replaced by a word of
the same part of speech, resulting in synonymous or antonymous idioms.
2. Addition or deletion. In some instances, some constituents can be added or
deleted, which does not affect the meaning of the idioms.
3. Position-shifting. The positions of certain constituents in some idioms can be
shifted without any change in meaning.
4. Shortening. This occasionally occurs in proverbs and sayings, where only a
part of them is used instead of the whole.
5. Dismembering. It is what I mean by breaking up the idioms into pieces, an
unusual case of use of idioms particularly in literature or popular press to achieve
special effect.
As we can see, idioms are very important elements of the language with a
elaborate structure and various ways of expressing thoughts which can be effectively
used both in literature and for some practical purposes as well [27;328].

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Chapter 2. Practical usage of the idioms in commercial advertising

2.1. Manipulating by idioms. Foregrounding

Idioms are bright, short and image provoking as we mentioned before. This
gives a lot of opportunities to use them for advertising and product promotion.
Advertisers have as their rhetorical purpose the presentation and exhibition of a
product or service and the exhortation and coercion of the potential purchasing
population to the extent that that population becomes actual. Simply put, advertisers
try by the various means at their disposal to get people to buy the product or service
advertised. Moreover, advertisers want potential purchasers to consider what is
advertised to the exclusion of all other similar products or services [8;13]. They
therefore attempt to construct an advertisement that will fully involve the attention of
the potential purchaser and which will have a suasive effect. Advertisers thus create a
semiotic world in order to persuade their audience of the essential "rightness" of
purchasing the product or service advertised.
The creators of most print advertisements, however, couple some kind of visual
material with ample linguistic material and, often, this linguistic material is
manipulated over and above the more commonly expected rhetorical uses of
language. What is meant here is that it is, of course, the case that advertisers will use
language in as clever, tight, stylized, and suasive a way as they can to persude
someone to go out and buy the product or purchase the service which is the subject
and substance of the advertisement [19;180]. However, what often occurs is that the
very structure and form of language is additionally manipulated - we may say that
rules are intentionally and sytematically broken -presumably to achieve an even
greater, more salient, more pervasive, more penetrating, and ultimately more
persuasive effect on the viewer/reader. It is to this type of manipulation that we now
turn.

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Manipulation of linguistic form and structure implies that linguistic material
beginning with the smallest or most discrete of segments or forms and leading to quite
large linguistic entities will be fashioned to undergo some change, transformation,
mutilation, mutation that is relatively unexpected on the part of the viewer/reader.
This is done clearly with the purpose of providing another means of directing the
viewer/reader's attention squarely onto what is the subject and substance of the
particular discourse in which the manipulation occurs. In print advertising, this comes
out to manipulating some linguistic item - breaking a rule in some systmeatic fashion
- so that maximum suasive effect for the product or service advertised is achieved in
and by the ad [10;81]. It seems almost trivial to state that to the extent that the creator
of an advertisement can find and achieve more and more means and devices of getting
the attention of the potential purchasing population riveted onto the product or service
advertised and to the extent that these means have the suasive effect of getting the
potential purchasers to view and consider the product or service to the exclusion of all
others, then the ad will have its proportionately successful outcome - an increase in
the actual purchasing population for that product or service. The claim inherent here is
that manipulation of linguistic structure and form over and above the commonly
understood and utilized rhetorical uses of language coupled with visual material in
print advertising will increase the probability of that happy effect [4;49].
One must view the manipulation of linguistic entities as a type of
foregrounding. Foregrounding is a linguistic process in which some elements, such as
words, phrases, sentences, stressings, intonations, or the like are given prominence or
made more meaningfully significant by the communicator/language-user, in this case
the creator(s) of an advertisement. The author utilizes the conceptual linguistic
framework - a synthesis of the concepts and insights relating to foregrounding-as
devised in Harris in order to examine and explain several advertisements (see the
appendix) below. It is the contention herein that only by attempting to account for the
knowledge of formal processes (in this case, "foregrounding/backgrounding" and,

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therefore, "communicative intent") which are available to and utilized by
communicators in discourse (here, advertising) do we avail ourselves of necessary and
sufficient information to be able to interpret adequately the symbols each lexical,
phrasal, or sentential utterance of the discourse conveys. This information allows us to
assign and to distinguish between possible meanings that the individual brings to and
takes from a particular environment. As Pelz says, The fact of the matter is that only
when meaning or sense is attached to words, linguistic expressions, to sentences,
texts, indications, symptoms, syndromes, signals or to symbols -in brief, to signs-do
we deal with the semiotic concepts of meaning or with the semiotic concepts of sense.
Thus, this is both an investigation into the syntactic, semantic, and pragmatic
properties of a sign and into applied semiotics, i.e., semiotic (here linguistic and
communicational) methods are used to analyze some fragment of reality. Pelz
mentions. Nonetheless, the results of the application of semiotic methods to a walk of
life, field of knowledge, or branch of art can be presented in the form of theorems
which are subject to proofs, classifications, orderings, and some of which follow from
other theorems; to put it briefly, a system of knowledge, sometimes a scientific
discipline which is precisely a semiotics of the given fragment of reality, appears.
Finally, investigations such as these may be viewed as abductions or "guesses"
that are made regarding specific aspects of the studied culture (in this case, the
"world" of the advertiement). These abductions arise from a linguistic theory of
foregrounding and a communicative theory of language behavior. Virginia Fry
mentions that these investigations are the type of "guess" that Peirce says takes the
form of an hypothesis which then requires validation through concrete observation.
She contends, furthermore, that guessing and confirming are often correlative and
simultaneous activities rather than distinct processes and that what allows one to
discriminate among observations and also to evaluate the trustworthiness and validity
of those observations is "canons of judgment," a concept attributed to Hymes. Just as
Fry contends that the dramatism of Burke and the semiotics of Peirce and Eco are

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distinct abductions for studying communication and culture, so we contend here that
foregrounding and communicative intent are equally valid abductions for studying
aspects of the communication and culture in advertising.

2.2. Idiomatic language in commercials

It is important to clarify the linguistic means by which the material in the ads
will be analyzed. Typically, in any sentence or longer piece of discourse, the
communicator signals the intention of bringing some element of information into
prominence, i.e., the information is foregrounded. He or she marks that element,
emphasizes it, stresses it, or contrastively signifies it by manipulating various
linguistic structures or devices. Concommitantly, other elements are systematically
backgrounded or disappear from the linguistic string entirely. After Wallace Chafe, we
may say that passivization of a relatively basic sentence such as "Tom kicked Harry"
to "Harry was kicked by Tom" or "Harry was kicked" is an example of the fairly
well-understood foregrounding/backgrounding phenomenon. Clefting of the same
sentence to "It was Harry whom Tom kicked" is another example of the phenomenon
of foregrounding. Chafe observes that foregrounding and backgrounding
constructions or devices are concerned principally with how the communicator
presents certain information to the addressee (the auditor, the audience), thereby
altering the meaning or significance of that information. This choice of the linguistic
device reveals some special intention or decision, contrary in some sense to usual
expectations, on the part of the communicator and is, then, at the heart of the notion of
"foregrounding."
As Kenneth Pike says, " A crucial characteristic of human nature is our ability
to select and guide into attention almost anything that we please." Essentially, then,
foregrounding is a semiotic, linguistic process of establishing significance or special
prominence given the intentions or decisions of the communicator. By means of

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various linguistic devices, the communicator decides to mark, emphasize, stress, or
contrast in a significant way, and this information, and this information alone, is
conveyed to the addressee (Cf. Harris 1981 or, especially with regard to markedness,
Shapiro 1983). In examining the process of foregrounding with regard to the material
in print advertisemts, I will attempt to see how the manipulation and use of elements
or forms in the sentences, here sound, morphological, lexical, phrasal, sentential,
supersegmental, supersentential, and /or orthographic items, alter the relative
prominence of those elements and forms. In other words, I will attempt to reveal, by a
careful, abductive, linguistically-based analysis, the degree, type, and extent of
meaningfulness conveyed by the manipulative use of items within the linguistic
masterial of the selected ads and what, then, may be construed semiotically as the
actual meaning of those items with regard to the rhetorical purpose of the ads.
Communicative Intent It is also important to clarify what the notion of
communicative intent is and how I will use this notion to explain and describe the
manipulation of elements within the linguistic material of the ads. I refer to the
interpretation of communicative intent in the work of Albert Mehrabian as made
explicit in his book, Silent Messages (1981), based upon earlier work by Wiener and
Mehrabian (1968). Although Mehrabian (1981) treats both the phenomena of verbal
and non-verbal communication, we center on his notions of the manipulation of
"language" and how that manipulation is made manifest in the earlier Language
Within Language.
Mehrabian suggests that it is quite important to note "the numerous and
frequently overlooked subleties of speech itself that are a part of the expression of
feelings and like-dislike." He maintains that the concept of approach-avoidance,
which he has explained with reference to relatively non-verbal communication, may
now be ". . .helpful in understanding the seemingly arbitrary and stylistic aspects of
speech, as well as the apparently inconsequential variations in implicit [non-verbal]
behavior."

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Mehrabian claims that many kinds of speech variations indicate the speaker's
attempt to place something at a spatial or temporal distance or otherwise to minimize
the speaker's relation to or involvement with the thing described. Mehrabian says,
Variants of verbal avoidance subtly minimize the speaker's responsibility for what he
says by implying that the contents of this message are obvious to everyone including
himself; or the contrary, that these statements are conditional and doubtful.
Alternatively, responsibility is minimized by implying that the events were beyond the
control of the actors, one of whom may be the speaker.
Thus, by entwining a careful, linguistically-based analysis with a explanation of
communicative intent, I will attempt to reveal the degree, type, and extent of
meaningfulness conveyed by the manipulation of linguistic material in the selected
ads and what may then be construed as the actual meaning of those ads. In some
sense, therefore, a reinterpretation of the manipulations in these ads along the lines of
the foregrounding phenomenon and the correlation of that analysis with the notion of
communicative intent will reveal, abductively, the semiotic "world" of the subject of
the ads. Pelz sums it up very neatly from a semiotic perspective:
Thus the theoretical foundations of semiotics . . . are always: first of all, logic
and linguistics, since it is on them that the structure of theoretical semantics rests, and
then the theory or methodology of the disciplines to which we apply semiotic
methods. Theoretical foundations are, albeit indirectly, psychology and epistemology
since interpretation of sign is a psychic and cognitive process, neurophysiology
because thinking is an activity of living organisms, history and sociology, since the
process of thinking occurs in time and in a community. Such then are the foundations
of semiotics.
From both a linguistic and communicative point of view, then, we will perhaps
be able to grasp what the creator(s) of an advertisement had in mind to say, or not to
say, in the design and construction of the "best" means to achieve a suasive effect over
the potential purchasing population.

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Manipulation of Forms In analyzing the content of the advertisements below
from a foregrounding perspective, it is immediately apparent that the advertiser
manipulates forms and structures, i.e., makes decisions regarding which form or
structure will appear in the surface sentence string, within well-understood linguistic
categories. The advertiser intends the manipulation of - or breaking of rules for -
certain structures, primarily sound (or its equivalent in print), word formant, word,
phrase, sentence, idiom, spelling, orthographic style and the like in order to convey
different, more suasive meanings. The analysis utilized here proceeds both from an
assumption of the validity of abduction [cf. inter alia, Fry's explanation of Peirce] as a
bona fide scientific perspective and from the assumption of the existence of canons of
judgment (asserted by Hymes) as a means of discriminating among observations and
evaluating the trustworthiness and the validity of those observations. The analysis is a
slight modification, therefore, of an implicitly abductive conceptual framework as
constructed in Harris, From Linguistic Theory to Meaning in Educational Practice
(1981), for the categorization, analysis, and treatment of linguistic structures that
foreground or background information.
Application Two essential principles are seemingly adhered to by advertisers in
practically all linguistic manipulations and it is important to state them at the outset
[4;40]:
1) it is rarely if ever the case that one component, such as sound or word-form
or lexical item, is manipulated in isolation; that is to say, rules are broken or
manipulations operated at several levels and are, therefore, inextricably bound up
amongst several entities. Even, say, in the case of so simple an ad as the picturing of a
single bottle of Stolichnaya vodka with the words, "Stolichnaya The Vodka," must we
note that the viewer/reader of the ad is presented with a manipulation at several
levels: one must know that the underlining (orthographic manipulation) of "the" refers
to the pronunciation of the item as "thee" (sound manipulation) and that this, in turn,
signals a particular interpretation and use of the article other than "definiteness"

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(morphological manipulation), i.e., the is to be read as "the unique, the singular, the
only" (lexical and idiomatic manipulation).
2) the last observation above leads immediately to this second principle - the
viewer/reader must be familiar with the environment of the ad visually, on the one
hand, and linguistically, on the other. This implies a maxim that advertisers must
adhere to: "Fashion the ad visually and linguistically so that the potential purchasing
population will recognize the visual material of the ad easily and will also be familiar
with the words, idioms, etc. that are manipulated."In other words, as an hypothetical
linguistic example, one would not expect an ad that involved the now almost archaic
idiom "be hoist on one's own petard" [to be defeated by one's own device] since the
general population would find the words and meaning opaque. The success of the ad,
then, would be marginal at best!
In line with the above, let us review several ads and attempt to understand the
manipulations in situ.
A very simple, elegant manipulation is performed in providing a phonetic
rendering of a word such as was done with lexical items such as "performance,"
"manage," or "direction" in Rockewell International ads [13;35] . The purpose here
was to draw the viewer/reader's attention, for example, to a word such as 'man-ij
paired with a dictionary-like definition in order to convey the notion of Rockwell's
excellent record and competence in the aerospace, electronics, and automotive
industries. Clearly, this involves manipulation of sound rules and orthography, but
also implies by the highly technical presentation a highly technical and ultimately
competent company.
Often, one can find manipulations of sound that are referred to as alliteration,
rhyming, and the like. In an ad for Ford Motor Company, a smiling, ten-person, car-
assembly team is grouped around a new, partially assembled Ford. "Body Builders."
is placed squarely above. In addition to the familiar, comfortably-repeated sound, the
viewer/reader is also impressed by the noun-noun compound that is, in fact, in this

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health-conscious age, a well-known bound idiom. The idiom conveys the notion that
the team is strong and dependable and so, therefore, will be the product. Similarly, an
elegantly dressed couple, the male with gin-and-tonic in hand, the female with
martini, are seated above a bottle of Beefeater London Distilled Dry Gin. Juxtaposed
in the middle are the words: "Befittingly Beefeater." Here, besides the repeated
sounds, the viewer/reader is enticed by a lexical item that is closely associated to
British usage and which conveys a "posh" connotation. Lastly, in a Myers's Original
Rum Cream ad, a bottle and a ladle that is filling a glass of the liqueur are placed
besides the rhyme: "Cream & Rum. Yum!" From both a sound and lexical perspective,
a lucsious combination is achieved.
Often, the pronunciation of a word is purposely violated to achieve a
particularly dramatic effect [27;327]. This kind of punning is evidenced in an ad for
Ford Escort. A red Ford Escort Turbo GT is pictured broadside. Remember, at the
outset, the American penchant for and love-affair with fast, red cars. There is a good
deal of explanation in four tightly-worded, short columns below the picture of the car.
Above are the words, "Raise your standard of leaving." The manipulation is achieved
at the lexcial level, the sound level, and the idiomatic level. At the syntactic level, the
viewer/reader is impressed with the message that tells him/her by means of an
imperative sentence that purchase of the Escort will lead to the American dream of a
"hotter" car and, therefore, a better life.
At a morphological level, we have manipulations such as in a Nissan
advertisement for a 4x4, flatbed truck. Over the words, "To sport," we see a very
flashy, well-equipped, black Nissan 4x4 ST. Below this, occupying the lower half of
the frame, is the same flatbed now loaded with a flashy yellow motorcycle and
yellow-shirted motorcyclist/driver. This is above the words, "Or transport." Note that
this is to be considered more properly as a morpho-phonological manipulation in that
the viewer/reader experiences the similar sound of the "sport/transport" alternation as
well as the necessity to re-form (morphologically) the word "transport" to conform

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with the word "sport." Moreover, note that this is an allusion to the Shakespearean
"To be or not to be," but that this is more of a veiled imperative than it is syntactically
a rhetorical question begging of a decision. The message conveyed must be construed
as something like: "Here is the ultimate in sporty automobiles for you. Not only is it
sporty but it will transport whatever you need or want and it will never lose its allure.
Therefore, if you want to be the best, purchase the best!"
Another type of morphological manipulation is the pairing of a morpheme with
a nongrammatical counterpart or the creation of a pseudo-morpheme [13; 32]. In the
case of the former, one is immediately reminded of the Seven-Up Corporation's
eminently successful "uncola" ads in which the negative morpheme "un-" was paired
with a noun rather than an expected adjective. Clearly, we were not talking of "Coke"
here! In the case of the latter, we have as an example the GTE Phone Mart ad which
depicts products from the store with the words, "How to keep up with the phoneses."
This pseudo-morpheme then calls to mind the spelling and pronunciation of the
Joneses and the newly-created, phrasal pseudo-idiom sends the message: "If you want
to be at the same socio-economic level as all your friends and neighbors, purchase
your phones at our store." In both cases, this purposeful rule-bending and -breaking
rivets the viewer/reader's attention and conveys definitive and clear-cut messages
regarding the "rightness" of purchasing the particular advertised products.
At the lexical level, punning is at a premium. In an ad for Dexter shoes, we
have a picture of a Dexter shoe worn by a foot and leg in a jean on one side and the
same Dexter shoe worn by a foot and leg in a dress pant on the other. The word below
says it all: "Ambidexters." The fortuitous similarity of the company's name is
capitalized upon to achieve a manipulation over the word "ambidextrous." Although
at first blush this seems only a lexical manipulation, as I have pointed out before, this
is virtually impossible. The pronunciation of the word hinges, of course, on the
breaking and reforming of sound rules as well [24; 82].

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Lexcial manipulations are often puns over well-known, bound idioms [10; 79].
We have examples such as the Brooks ad for its running shoes ("Roads Scholar."), the
Levi-Strauss advertisement for its painted denims ("Painted Denims. Strokes of Levi's
Jeanius."), the Holland-America Trans-Canal ad for its less-expensive voyage across
the Isthmus ("Connect the docks and save $600."), the Nissan "Feel your Pulsar
quicken." ad, or the Martini & Rossi vermouth quip: "Martini & Rossi. In a glass by
itself." These all constitute manipulations at the levels of sound and spelling,
"roads/Rhodes," "genius/jeanius," "docks/dots," "pulse/Pulsar," "glass/class" which
lead immediately to manipulations at the level of bound idiom: a Rhodes scholar, a
stroke of genius, connect the dots, feel your pulse quicken, in a class by itself.
This in turns leads, semiotically, to our messages: If one buys Brooks's shoes,
one becomes an expert in running on the roads; the idea of painted/colored jeans is a
stroke of genius and one who wears them will be a fashion "genius"; one need only
look at the map, connect the dots leading to the dock where one embarks and the dock
where one debarks to see how one is getting a good bargain in traveling with Holland-
America across the Isthmus of Panama; if one drives a Nissan Pulsar, one will be
excited - one's pulse will quicken because it is an exciting car; if one drinks Martini &
Rossi vermouth, one will be drinking a product which is incomparable to others.
Sometimes, a lexical manipulation may be achieved by capitalizing on the
meaning of a foreign word which happens to be part of the advertisement. A
particularly poignant example is Goodyear's depiction of its tires on a Pontiac Fiero:
"Fiero means 'proud," performance means Eagles." Here, a pseudo-definition is
concocted out of the fortuitous pairing of the foreign-named car with the advertised
Goodyear tires. Out of this, the viewer/reader get notions of "proud performance =
Eagles," a rather neat, albeit somewhat bogus, formulation.
Almost all syntactic manipulation emerges directly from lexical manipulation.
The psychological term, "alter ego," supports the manipulation sententially of "Alter
your ego." in an advertisement by Chevrolet for the purchase of its Celebrity Eurosprt

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car. "Moosehead Beer stands head and antlers above the rest" is the manipulation of
the sentential idiom "One stands head and shoulders above the rest." Smithsonian
magazine tells readers that "The F-Stops Here." an allusion to the wonderful and
qwuality pictures that are a hallmark of the magazine and a clear alteration of the
sentential, well-known bound idiom: "The buck stops here." (In this same ad which
depicts a huge lens, Smithsonian also quips in tiny letters in the lower right corner:
"2,000,000 subscribers put their money where their minds are.") Maxell Gold disks
are proclaimed as "The floppy disk that turns Apples golden, keeps AT&T on-line,
and makes every Texas Instrument a gusher." This multiple idiomed, multiple-
allusioned advertisement contains manipulations at the morphological, lexical,
idiomatic, historical, environmental, referential, and syntactic levels.
There is more. Again at the level of sentential manipulation, Nissan tells us that
a Nissan Sentra XE going uphill in the photo implies that you must "Make the grade,
no matter what course you take." An ad for Palm Springs, California, with all of its
sights, relaxations, and refreshments, depicts a beautiful woman in a bathing suit lying
on a floating mat in a pool with the appropriate and requisite male at her side. The
caption tells us that "In times like these, you need times like these." A Seagram's Gin
bottle poses as the letter "I" in between two gold letters, "G" and "N" with the caption:
Seagram's Gin makes your screwdriver letter perfect." This is a somewhat long-
winded sentential extension of the well-known bound idiom, but it seems to achieve
its rhetorical purpose [27; 313].
Up to this point, we have avoided several ads in my collection which
manipulate in much the same way as the above but have the additional dubious
feature of being exploitative in a way that is, in my opinon, somewhat noxious. Of
course, all advertisements exploit in the sense of wanting to convey the impression of
the "rightness" of the product or service advertised. These ads, however, are different
in that they typically contain manipulations aimed at the sexual appetite of the

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viewer/reader. Most often, but not always, the target is the American, purportedly to-
be-dominated-and-therefore-to-be-exploited female.
While it is clear that in a society and culture which makes a regualr habit, nay a
ritual, out of being titillated sexually, advertisers in that society can be expected to
attempt to capitalize on that tendency, one can hardly find a reason for necessarily
condoning such manipulation. It is not my purpose to discuss it at length here. It is,
indeed, the subject of an entirely different piece. I merely present a few examples for
your interest and understanding:
Shofar kosher frankfurters and salamis depicts a very shapely female posterior
in a pair of almost revealing cut-off jeans. A package of Shofar kosher midget salami
is crammed in one back pocket. The ad is titled "Little Nosh." [Yiddish for "a little
something to eat]. Suffice it to say that "salami" has a phallic connotation in the
popular culture and let your imagination do the rest!
In a milder yet equally exploitative fashion, Sassafras swimwear presents a
photo of four very comely young ladies all dressed in fashionable, not particularly
risque', swimwear. However, they are all posed full length, from the rear. The title of
the advertisement is "Beach bums," an obvious allusion to the posteriors as well as to
the well-known bound idiom. Solorflex somewhat less mildly or subtley exploits
males by depicting the very well-muscled and proportioned Ken Norton with the
linguistic manipulation: "A hard man is good to find." Lastly, an ad that drew so much
criticism a few years back that it was eventually pulled: the Canadian Black Velvet
whiskey bottle is placed under a very comely young woman in a strapless, black-
velvet evening gown. The caption, "Feel the Velvet Canadian" is placed over the
figure in such a way that the words, "feel the," are squarely over her breasts. The
seeming message: "If we men [and men as potential purchasers are the obvious target
of the ads] would but purchase the whiskey, we may vicariously experience this
woman's breasts." Again, this is a very clever linguistic manipulation at the lexical

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and syntactic level. It is however, a poignantly exploitative and noxious example of
the kind of semiosis American advertising as an institution could well do without.
Thus, if we analyze the language of commercials, we will clearly see how
important is the use of idioms in advertisement. Advertising occupies a central
position in the landscape of consumer culture. Advertisers commit major resources to
finding out how the purchase of a product could fulfill consumer needs and desires -
which may or may not have anything to do with the product's purpose. While
advertising's immediate goal may be the promotion of a specific item, its legacy is a
standard of values and behavior, which have made advertising copy into idiomatic
expressions.

2.3. Creative usage of the idioms. Extension and alteration

Here we will analyze an extended idiom. Extended idioms were described in

the introduction as being featured in their original form together with an additional
piece of text that somehow makes a comment on the idiom itself. This comment is
often fairly concise and occurs in direct proximity to the idiom, either directly
preceding or immediately following it. The main effect provided by the comment is to
draw attention to the literal meaning of the idiom.
Burn the candle at both ends, then get rid of the smoke
This extended idiom is found in an ad for a product by Comfort called Refresh,
which is sprayed onto clothes to remove smells, or as the slogan promises, it “puts
freshness back into clothes”. The entire background of the ad consists of a picture of a
woman wearing a dress and a cardigan, but it seems to have been cut in two pieces,
with the left half showing her at night in a dark and smoky room, her hair slightly
disheveled and her cardigan flailing open, revealing the straps of her dress. In the
right-hand half of the picture it is daytime, she standing in a brightly lit room with a
desk and a computer visible in the background. Her hair has been combed and her

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cardigan is neatly adjusted. The woman is holding a spray bottle of Comfort Refresh
in her left hand, spraying its contents towards the smoky left-hand half of the picture.
The idiom itself, burn the candle at both ends, is written across the smoky half of the
picture, while the comment, then get rid of the smoke, is superimposed on the other
side. The idiom is partly motivated by conceptual metaphor(s), but it is also possible
that conventional knowledge plays a part in forming mental images, at least for some
speakers. According to Szabó, the underlying metaphor behind this idiom is energy is
fuel for the fire, but it is unclear exactly what they mean and they fail to give a more
detailed analysis. Presumably, if we understand energy in terms of fuel for a fire, it
means that we need energy to keep the fire burning, in this context perhaps the fire of
life. My attempt at an explanation would be that if we burn the candle at both ends,
i.e. use up too much energy late at night and early in the morning, there will not be
enough left.
Nighttime is when we recuperate and gather more energy, and if that time is cut
short there will be no fuel for the fire. However, is it not possible that some other
metaphor is involved as well, one that involves time rather than fuel for a fire? One
very common metaphor we use in order to understand time is by seeing it as a
physical object, sometimes more specifically as a container, which we can move in
and out of, as in expressions such as We’re well into the century and He’s like
something out of the last century, or as a moving object. In my view, burning the
candle at both ends could be partly motivated by this metaphor as well, if we think of
a period of time as a bounded entity or slot, that can be shortened at both ends. The
candle burning at both ends would then correspond to our night rest being shortened
at both ends [24; 90]. Interestingly enough, the reference in this ad is not specifically
to the lack of energy that is caused by late nights out and early mornings, but rather it
addresses the problems associated with smoky venues and how to feel clean and fresh
the next day. The focus is thus not on the short period of rest, but on the short period
of time in which you must get your clothes feeling fresh again. What our conventional

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knowledge tells us, and which could influence our mental images associated with this
idiom, is that it is often dark late at night and early in the morning. Being up at these
times would therefore require some form of light source, such as a candle, which then
would have to be burned at both ends of the day.
Regardless of the exact motivation behind the idiom, it is clear that the element
smoke in the comment is grounded both in the literal meaning of the idiom, according
to which a candle is burning, and in the wider situation associated with the
metaphorical meaning of the idiom, i.e. the knowledge that late nights are associated
with going out to smoky bars or clubs, which is information that is partly provided by
the picture. Out of context, the idiom would perhaps be difficult to understand, since
our attention is drawn to its literal meaning by the comment clause then get rid of the
smoke. Gibbs et al., reporting on earlier studies by Gibbs, point out that “people do
not ordinarily process the entire literal meanings of idioms,” which often results in a
“double-take” when they encounter idioms in a non-metaphorical context [22; 127].
This is clearly what has been exploited by the makers of the ad in question.
When reading the idiom burn the candle at both ends, we are more likely to access the
metaphorical meaning, which is why we might react when we get to the word smoke,
which triggers the literal meaning. This incongruity draws our attention to the
underlying metaphorical mappings, and allows us to access the input spaces. The
source domain object/fuel is elaborated as a candle space, which contains the candle,
the process of burning, and the smoke, or perhaps rather soot, that results from it. The
target domain time/energy is instead elaborated as a nightlife space, in which a person
stays out late, frequents venues where people smoke cigarettes, and as a result end up
with clothes that smell of smoke.
In the headline, which may be understood as a conceptual blend, both these
spaces are activated at the same time, and a humorous effect is created by the double
literal interpretation of the element ‘smoke’ against both the inputs.

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This makes this example similar to the double grounding constellation
proposed by Feyaerts and Brône (in press), and it might also be argued that there is
metonymic tightening in the blend, since the smoke stands for the previous night out
on the town. In that input space, the smoke was one element among others, while in
the blend it represents all the others, and in fact forms the evidence that has to be
removed.
А good example of an altered idiom in commercial is following:
Comfort is in the eye of the beholder
This ad one for Focus contact lenses, which appeared in Marie Claire in March,
1997. The main part of the ad is taken up by a picture of a woman dressed in a white
knitted polo jumper, cuddling a fluffy toy animal that might be a teddy bear. The
headline above the picture is written in white against a green background and reads
Comfort is in the eye of the beholder, a variant form of the idiomatic expression or
proverb Beauty is in the eye of the beholder. As with the previous ad, the headline is
ambiguous and may be interpreted both literally and metaphorically. Again, the fact
that the idiom has been altered triggers the otherwise non-salient literal meaning, but
perhaps not as strongly as in the previous ad, since Comfort is in the eye of the
beholder may actually be understood in an entirely metaphorical sense, as opposed to
Don’t get your panty liners in a twist, where a literal interpretation is inevitably
highlighted.
Let us start with the original idiom, which is partly motivated by the conceptual
metaphor ‘feelings are objects’ or in this case rather personal characteristics or
abstract notions are objects. Being seen in terms of an object is what enables beauty to
be located in different places, in this case in the eye of the beholder as opposed to in
the face of a woman. Fittingly enough, contact lenses are also objects that are located
in the eyes of some beholders, namely those with poor eyesight. The source domain
objects is elaborated as a more specific space, which will be referred to as lenses, and
it includes the simple scenario in which lenses are worn or placed in a person’s eyes

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[22; 130]. In addition, we can identify two elaborations of the target domain feelings/
characteristics, where one may be labeled comfort and the other beauty. In the
comfort space, there is the feeling of comfort, which exists in the opinion of the
person experiencing the event, while in the beauty space; there is the characteristic of
beauty, which exists in the opinion of the observer. In the altered idiom in the
headline, all these spaces are activated simultaneously, and contribute to the
understanding of what it means to use the Focus lenses. Not only will they improve a
person’s eyesight, they are also comfortable for the wearer and make her/him look
good in the eyes of other people. Moreover, all three input spaces may be understood
to be reflected in the image, in particular the comfort space, to which the warm
jumper and cuddly toy belong, but perhaps also the beauty space, which in that case is
reflected in the face of the woman, and possibly also the lenses space, if we assume
that the woman in the ad is wearing them. However, they are also signaled in the text
or slogan at the very bottom of the ad, which says “see better,” “feel better” and “look
better,” and these are of course linked to the three different input spaces lenses,
comfort, and beauty.
The altered idiom in the headline may also be seen as a comment on the image,
which actually illustrates some examples of what comfort may involve, but at the
same time asks what it really means for something to be comfortable. Is it wearing a
warm jumper and cuddling a fluffy toy as the woman in the picture is doing, or is it
something else? That is all up to the beholder, which of course carries a possible
negative implication as far as the aim of the ad is concerned. Are the contact lenses
really comfortable or is that also, metaphorically, in the eye of the beholder?
The role played by metaphor and conceptual blending in these creative
examples shows that advertising language follows the same cognitive principles as
everyday language, but many processes, which are normally unconscious and
therefore largely go unnoticed may be highlighted and made more noticeable

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Conclusion

In this paper we tried to analyze and identify the impact, which is produced by
the usage of the idiomatic language on the recipient of the information in terms of the
pragmatic aspect of the usage of idioms in commercials. To keep it simple, usage of
idioms is a powerful source for creation of the desirable effect with the potential
customer. The basis of this phenomenon lies within the sophisticated subliminal
organization of the idiomatic expressions. We do not split these expressions into parts
but perceive them as a holistic thing.
The idioms are found either in the headline or in the body copy of the ads and
occur in two main patterns, which we referred to as extended idioms and altered
idioms, respectively. The extended idioms are found in their original form,
accompanied by an additional piece of text that is either a continuation of or a
comment on the idiom, hence the label. This comment or complement provides an
elaboration on the idiom itself, sometimes by drawing attention to its literal meaning,
as in Burn the candle at both ends. Then get rid of the smoke. In the altered idioms, on
the other hand, one lexical item has been replaced in a context where in normal cases
it would not be replaced, for example in Don’t get your panty liners in a twist, or
syntactically altered in a way that does not occur in regular use. In short, the main
difference is the location of the creative or unexpected surface element—as a
complement to the idiom or inside the idiom. Besides, every person has a clear and
instantaneous image in mind that is tightly welded with the particular idiomatic
expression. So whereas the motivation of the promoters is quite clear, the mechanism
of the linguistic influence through idioms leaves much to be learned about.
However, it is important to note that this paper does not state exactly what
features are mapped or which conceptual links are established each time a particular
idiom is deconstructed. Similarly, no claims are made as to how individual people
would interpret the ads and there is no suggestion that everybody would understand

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them in exactly the same way, which means that there are many questions that still
need to be answered.

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Resume

Курсова робота під назвою «Ідіоми в рекламних слоганах. Прагматичний

аспект» торкається проблеми вікористання ідіоматичниго словнику в рекламних
оголошеннях та слоганах з огляду на прагматичний аспект використання
фразеологізмів та їх похідних.
Головна мета роботи полягає у дослідженні феномена ідіоми в англійській
мові та використання ідіоматичних виразів як інструмента маніпуляциії
свідомостю покупця.
Робота включає в себе декілька основних завдань:
- Проаналізувати ідіоматичнє мовлення, виділити основні типи ідіом
- Проаналізувати використання ідіом в усному мовленні і в сфері
реклами
- Дослідити вплив ідіом на свідомість покупця
Об’єктом дослідження є ідіоматичні вирази та сталі вирази в англійській
мові, шо використовуються в рекламі як ідіоми.
Суб’єктом дослідження є використання ідіом в рекламі (друкованій та на
телебаченні) з огляду на прагматичний аспект.
Робота складається зі вступу, двох частин, висновків, резюме та списку
використаної літератури.

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