3. Discourses in Adverstising
Simões, 2010
focuses on recent forms advertising
discourse has been assuming since the
advent of digital technologies and the
boom of social media
PART VIII
Advertising has been affected by new
technologies and is now a major player in
social media environments.
4. Discourses in Adverstising
PART VIII
reflects on advertising as a
most relevant object of
interest for the discipline of
discourse analysis (DA)
(Cook, 2001; Simões, 2014, 2020a)
5. • hybrid discursive
characteristics
• construed as a form of
mercantile discourse, and
• borrowing credibility from
other, more reputable,
discourses…
Defining advertising discourse
6. Simões, 2020
…considering them as
discourse types will help
enlighten the different
ways people communicate
and relate with each other.
“Ads are perfect
examples of the diverse
roles discourse can fulfil
in society…
7. (Johnson, 2008)
Due to the way in which
advertisements function
thriving on ambiguity and
ellipsis, they challenge standard
attempts at classification…
(Cook, 2001)
Advertisements also often disguise their
discursive status, assuming the form of other
discourses.
“
“
8. Simoes, 2008
Advertising is often
criticized for resorting to
vagueness, half-truths,
exaggeration or blatant
lies…
…advertising’s main purpose
is to influence consumers
rather than to provide factual
claims. (Potter, 2015)
9. Advertising is a pervasive and
omnipresent cultural form…
BUT whose features are undefined and
unclear, and does not provide a clearly
focused corpus for analysis.
(Simoes, 2014)
10. Ads can associate the brand
they are promoting with
whatever social values they
see fit or acceptable.
11. Ads have always been valuable
documents on how society evolves
and what consumers view as
acceptable and desirable.
(Simoes, 2014)
12. Simões, 2020
to new discursive forms
where active engagement
on the part of the audience
is sought…
a transition from a
model where ads
intruded on people’s
lives…
13. Cook, Guy (2001) The Discourse of Advertising. Second edition. London and New York: Routledge.
Simões, Elsa (2004). ‘Similar concepts, different channels: intersemiotic translation in three Portuguese
advertising campaigns’, in Beverly Adab and Cristina Valdés (eds.) The Translator, 10 (2): 291–311.
Special issue: Key Debates in the Translation of Advertising Material. Manchester: St Jerome Publishing.
Simões, Elsa (2008) Taboo in Advertising. Amsterdam and Philadelphia, PA: John Benjamins.
Simões, Elsa (2010) ‘Advertising the medium: on the narrative worlds of a multimedia promotional campaign
for a public service television channel’, in Marie-Laure Ryan and Marina Grishakova (eds.) Intermediality
and Storytelling. The Hague: Walter de Gruyter, pp. 479–484.
Simões, Elsa (2014) ‘Language of advertising’, in Constant Leung and Brian V. Street (eds.) The Routledge
Companion to English Studies. London and New York: Routledge, pp. 505–515.
Simões, Elsa (2016) ‘Crude and taboo humour in television advertising: an analysis of commercials for
consumer goods’, in Chiara Bucaria and Luca Barra (eds.) Taboo Comedy: Television and Controversial
Humour. London: Palgrave Macmillan, pp. 173–189.
Simões, Elsa (2020a) ‘Factuality and fictionality in advertisements’, in Monika Fludernik and Marie-Laure Ryan
(eds.) Narrative Factuality: A Handbook. Berlin: De Gruyter, pp. 479–484.
Simões, Elsa (2020b) ‘Stories, slices of life and identity (re)presentations in multimodal ad campaigns for
Nespresso: “what else?”’, in Maria Antónia Lima (ed.) Everything Is a Story: Creative Interactions in
AngloAmerican Studies. Braga: Edições Húmus, pp. 350–358.
REFERENCES
