The Raven

The Raven By Edgar Allan Poe
Once upon a midnight dreary, while I pondered, weak and
weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a
tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the
floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost
Lenore—
For the rare and radiant maiden whom the angels name
Lenore—
Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
This it is and nothing more.”
Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came
rapping,
And so faintly you came tapping, tapping at my chamber
door,
That I scarce was sure I heard you”—here I opened wide the

door;—
Darkness there and nothing more.
Deep into that darkness peering, long I stood there
wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream
before;
But the silence was unbroken, and the stillness gave no
token,
And the only word there spoken was the whispered word,
“Lenore?”
This I whispered, and an echo murmured back the word,
“Lenore!”—
Merely this and nothing more.
Back into the chamber turning, all my soul within me
burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window
lattice;
Let me see, then, what thereat is, and this mystery
explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”
Open here I flung the shutter, when, with many a flirt and
flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or
stayed he;
But, with mien of lord or lady, perched above my chamber
door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure
no craven,
Ghastly grim and ancient Raven wandering from the Nightly
shore—
Tell me what thy lordly name is on the Night’s Plutonian
shore!”
Quoth the Raven “Nevermore.”
Much I marvelled this ungainly fowl to hear discourse so
plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber
door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he
fluttered—
Till I scarcely more than muttered “Other friends have flown
before—
On the morrow he will leave me, as my Hopes have flown
before.”
Then the bird said “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden
bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust
and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of
yore
Meant in croaking “Nevermore.”
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated
o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an
unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels
he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
“Prophet!” said I, “thing of evil!—prophet still, if bird or
devil!—
Whether Tempter sent, or whether tempest tossed thee here
ashore,
Desolate yet all undaunted, on this desert land enchanted—

On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I
implore!”
“Prophet!” said I, “thing of evil!—prophet still, if bird or
devil!
By that Heaven that bends above us—by that God we both
adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name
Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
“Be that word our sign of parting, bird or fiend!” I shrieked,
upstarting—
“Get thee back into the tempest and the Night’s Plutonian
shore!
Leave no black plume as a token of that lie thy soul hath
spoken!
Leave my loneliness unbroken!—quit the bust above my
door!
Take thy beak from out my heart, and take thy form from off my
door!”
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is
dreaming,
And the lamp-light o’er him streaming throws his shadow on
the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!

Web Exercise 2
Focus Text – Chapters 5 & 6
In this exercise, you will identify elements of the
communication process and then analyze the
source, message, and channel factors for Toyota’s Sienna
campaign. First, watch the “Swagger
Wagon” video for the Toyota Sienna, which you can view at
https://www.youtube.com/watch?
v=pUG3Z8Hxa5I
(If clicking the link above doesn't work, please copy and paste
the URL in a new browser window
instead)
This music video is based off a campaign of Sienna
commercials that became viral sensations. After
watching the video and exploring this site, visit the following
websites for additional components of the
campaign:
http://www.youtube.com/user/sienna
https://www.facebook.com/sienna
http://www.toyota.com/sienna/#!/Welcome
Successful completion of the following questions will require

you to integrate information from the
Chapter 5 and 6 readings. Please provide your answers to the
following questions in the Web Exercise
submission area within this folder.
1. Who is the source for the Sienna “Swagger Wagon” ad? Who
are the receivers and audience of this
campaign?
2. Source attractiveness encompasses similarity, familiarity, and
likability. How persuasive do you think
this campaign is to its receivers, based on these characteristics?
3. What is the meaning that the company is trying to convey in
the Sienna campaign?
4. What appeal is being used in this campaign? Why do you
think Toyota chose this type of appeal?
5. How can feedback for this entire Sienna campaign be
collected, and how would it determine
effectiveness of the campaign?
https://www.youtube.com/watch?v=ql-N3F1FhW4
http://www.youtube.com/user/sienna
1
Copyright © 2015 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written
consent of McGraw-Hill Education.

Chapter 5
The
Communication
Process
5-2
Communication
ght
between a sender and a receiver
- Language
5-3
A Model of the Communication Process
5-4
Basic Model of Communication
Source

• Person or organization that has information to share
with another person or group of people
Encoding
• Putting thoughts, ideas, or information into a symbolic
form
Message
• Contains the information or meaning the source hopes
to convey
5-5
Graphic
• Pictures
• Drawings
• Charts
Verbal
• Spoken
Word
• Written
Word
• Song
Lyrics
Musical

• Arrange-
ment
• Instrum-
entation
• Voices
Animation
• Action/
Motion
• Pace/
Speed
• Shape/
Form
Verbal Graphic Musical
There are many forms of message encoding
Encoding
5-6
and receiver
-personal channel or mass media
receiver

- Direct communication between two
or more persons
-of-mouth (WOM): Informal communication among
consumers about products and services
-of-mouth
discussion
2
5-7
Personal
Channels
Personal
Channels
Communications Channels
Nonpersonal
Channels
Personal
Selling
Word of
Mouth/Mouse
Print
Media
Broadcast

Media
5-8
-relevant
messages with the help of individual consumers
of consumers who will be used to start spreading the
message
5-9
thoughts or information
thought

experience
attitudes, and values a person brings to the
communication situation
5-10
process
xperience of the
sender and receiver don’t overlap
hearing, or reading the message
communicated back to the sender
5-11
Methods of Obtaining Feedback in the
Response Hierarchy

5-12
Implications of the Traditional
Hierarchy Models
purchasers from unawareness of a product to
readiness to purchase it
l
buyer is in
effectiveness
3
5-13
Evaluating Traditional Response
Hierarchy Models
about the particular product or brand

Affective stage
brand
5-14
Implications of the Alternative
Response Models
marketers might pursue in different situations
differentiation
service
5-15
The Social Consumer Decision Journey

5-16
Cognitive Response Approach
Cognitive responses
• Thoughts that occur to individuals while reading, viewing,
and/or
hearing a communication
Counterarguments
• Thoughts the recipient has that are opposed to the position
taken in the message
• Relate negatively to message acceptance
Support arguments
• Thoughts that affirm the claims made in the message
• Relate positively to message acceptance
5-17
Cognitive Response Approach
Source derogations
• Negative thoughts about the spokesperson or organization
making the
claims
• Leads to a lower message acceptance
Source bolsters

• Positive thoughts about the spokesperson or organization
making the
claims
Ad execution-related thoughts
• Affect attitudes toward the advertisement as well as the brand
Attitude toward the ad
• Represents the receivers feelings of favorability or
unfavorability toward the
ad
5-18
Elaboration Likelihood Model (ELM)
consumers
process and respond to persuasive messages
that occurs in response to a persuasive message
bility

4
5-19
Counterarguments Support arguments
Source derogation Source bolstering
Thoughts about
the ad itself
Thoughts about
the ad itself
Source bolsteringSource derogation
Support argumentsCounterarguments
Affect attitude
toward the ad
Cognitive Response Categories
Product/Message Thoughts
Source-Oriented Thoughts
Ad Execution Thoughts
5-20

Focuses on the way consumers respond to persuasive
messages, based on the amount and nature of elaboration
or processing of information
Peripheral route –
ability and
motivation to process
a message is low;
receiver focuses more
on peripheral cues
than on message
content
Central route –
ability and
motivation to process
a message is high and
close attention is paid
to message content
Routes to Attitude Change
5-21
motivation to process a message is high and close
attention is paid to message content

motivation to process a message is low
message content
5-22
Implications of the ELM
Customers level of involvement has important
implications for marketing communications
- Sales presentation should
contain arguments that are difficult to refute
- Peripheral cues are more
important than detailed message arguments
route to persuasion
1
Copyright © 2015 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written

consent of McGraw-Hill Education.
Chapter 6
Source,
Message, and
Channel
Factors
6-2
Persuasion Matrix
Helps marketers see how each controllable
element interacts with the consumer’s
response process
6-3
Decisions Evaluated with the Persuasion Matrix
Receiver/
comprehension
Can the receiver
comprehend the
ad?
Channel/
presentation
Which media will
increase

presentation?
Message/
yielding
What type of
message will
create favorable
attitudes or
feelings?
Source/
attention
Who will be
effective in
getting
consumers’
attention?
6-4
Source
message
- Delivers a message and/or endorses

a product or service
- Draws attention to and enhances
the appearance of an ad
6-5
Skill
Knowledge
Expertise
Unbiased
Trustworthy
Objective
Unbiased
Trustworthy
Expertise
Skill
Knowledge
Source Credibility
Source
Information

6-6
Source Credibility
ill,
or experience
information
communicator and the belief that information from
this source is accurate
2
6-7
Source Credibility
by:

- and low-credibility sources are equally
effective when arguing for a position opposing their
own best interest
eness of a message
increases with the passage of time
6-8
Source Attractiveness
similarity, familiarity, and likability
type of relationship with the source
behavior
6-9

ities as spokespeople
6-10
Resemblance
between the
source and
recipient of the
message
Similarity
Knowledge of the
source through
repeated or
prolonged

exposure
Familiarity
Affection for the
source resulting
from physical
appearance,
behavior, or other
personal traits
LikeabilitySimilarity Familiarity
6-11
Trust
Risk
Familiarity
Likability
Choosing a Celebrity Endorser
Factors
Match
w/audience
Match w/product

Image
Cost/ROI
6-12
Top Celebrity Endorsers
fer Lopez
3
6-13
The celebrity’s behavior may pose
a risk to the company

The target audience may not be
receptive to celebrity endorsers
The celebrity may be overexposed,
reducing his or her credibility
The celebrity may overshadow
the product being endorsed
The target audience may not be
receptive to celebrity endorsers
The celebrity may be overexposed,
reducing his or her credibility
The celebrity may overshadow
the product being endorsed
Risks of Using Celebrities
6-14
Meaning Movement and
the Endorsement Process
6-15
Source Power
punishments to the receiver

and scrutiny
source’s
persuasive influence and acquiesces to his or her
position
punishment
6-16
Perceived control
Perceived concern
Perceived scrutiny
Perceived control
Perceived concern
Source Power
Source Power
6-17
Message Factors
• Order of presentation
• Conclusion drawing

• Message sidedness
• Refutation
• Verbal versus visual messages
Message
structure
• Comparative advertising
• Fear appeals
• Humor appeals
Message appeals
6-18
Message Structure
- Strongest arguments should
be presented early or late in the message but never
in the middle
effective
persuasive

4
6-19
Message Structure
- Messages with explicit
conclusions are more easily understood and
effective in influencing attitudes
6-20
Message Structure
-sided message: Mentions only positive
attributes or benefits, effective if target audience:

dy holds a favorable opinion about the topic
-sided message: Presents both good and bad
points, effective when the target audience:
6-21
Message Structure
l: Communicator presents both
sides of an issue and then refutes the opposing
viewpoint
- When verbal
information is:
immediate and delayed recall
lue, addition of pictures do not
increase recall
6-22

Recall and Presentation Order
R
e
c
a
ll
Beginning Middle End
6-23
Fear
Appeals
Comparative
Ads
Fear
Appeals
Comparative
Ads
Message Appeal Options
Humor
Appeals
• May stress
physical danger or
threats to health
• May identify social

threats:
disapproval or
rejection
• May backfire if the
level of threat is
too high
• May be especially
useful for new
brands
• Often used for
brands with small
market share
• Frequently use in
political
advertising
• They can attract
and hold attention
• They are often the
best remembered
• They put the
consumer in a
positive mood

6-24
Message Appeals
naming competitors in an ad and comparing one or
more attributes
threat and arouse individuals to take steps to
remove the threat
-confident and prefers to cope with dangers
product
5
6-25
Message Appeals
- States that ads using
fear appeals should give the target audience
information on the:

e
6-26
Figure 6.5 - Relationship between Fear
Levels and Message Acceptance
6-27
Message Appeals
- Humorous ads:
ve mood
toward the product
the message
when seen or heard repeatedly

6-28
Humor Appeals Advantages and
Disadvantages
Advantages
• Aid with awareness and
attention
• Aid name and simple copy
registration
• Aid retention
• Aid persuasion to switch
brands
• Create a positive mood
that enhances persuasion
Disadvantages
• Harm recall and
comprehension
• Harm complex copy
registration
• Do not aid persuasion in
general
• Do not aid source
credibility

• Not very effective in
bringing about sales
6-29
Channel Factors
versus nonpersonal channels - Information
received from personal channels is more persuasive
than that received from the mass media
-paced - Readers process the ad at their own rate and
study it as long as they desire
- Transmission rate is controlled by the
medium
6-30
Self-Paced
Media
Self-Paced
Media
Self versus External Paced Media
• Newspapers

• Magazines
• Direct Mail
• Internet
• Radio
• Television
Externally Paced
Media
vs.
6
6-31
Channel Factors
on a message
message
r: Amount of advertising in a medium

The Raven

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