Advertising Rhetoric

Introduction

Advertising communications should be addressed and analyzed from various points of view, complexity is large because the configuration is divided into several semantic aspects which are embedded in each message. The aspects that we must always present to the understanding of these advertisements we see on the iconography that deals more deeply with iconographic codes, codes stylistic codes in the unconscious, codes of taste and sensitivity and codes are rhetorical images.

Although we only analyze the rhetorical codes must always bear in mind that each can be analyzed and studied individually without affecting the object of study. As is well known advertising communication has to meet various mercantilist objectives or the same communication and often rely on advertising techniques that break the rules of the language only for the sole purpose of captivating the recipient, but is worth many times the transgression of these rules cause messages are more complex and very difficult to understand them.

Discussion

When we focus on the rhetorical codes as a starting point for the analysis of advertisements must bear in mind that these are based on six features, the emotion that is appealing to the feelings, the reference that describes the products, aspects facts which are in fact the metalinguistic referring to the explanatory part of the tongue, where there are aesthetic proper use of semantic structures and finally there is the imperative that we see the intentional part of what you want to be then, of these six functions the most important is the aesthetic of their importance to maintain consistency in both the text with graphic or in other words that neatly all well and look beautiful in all its expression as advertisement, clear this often tropes (the name given to the rhetorical figure) were not shown separately, unrelated to the argument but it is known that his intention is to make advertising messages more impressive (Pracejus, Douglas Olsen & O'Guinn).

While it is known that all advertising code operates from two registers one is the verbal and the other eye where the former has the function to set the message as often the only visual function fails to communicate, so should be supported verbal registry to achieve communication objectives (Stathakopoulos, Theodorakis & Mastoridou). With respect to visual communication is possible to identify four levels of encryption, the first is where the iconic look anything as data representative of something, in this level we can find icons with the highest burden of emotion that are called culinary icons such as the smoke in foods that are advertised not only do we represent that they are hot but it implicitly there is another hidden message palatable, this is where our desire is strongly encouraged.

The second level we observe is the iconographic and this is divided into two, the historical character is when resorting to the use of conventionalized meanings by society and the advertisements which are imposed by iconograms advertising medium, created as stereotypes to be used as a universal format. Now, the third level, the tropological, ...