The Language of Cosmetics Advertising

Transcription

1 The Language of Cosmetics Advertising

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3 Helen Ringrow The Language of Cosmetics Advertising

4 Helen Ringrow School of Languages and Area Studies University of Portsmouth Portsmouth, United Kingdom ISBN ISBN (ebook) DOI / Library of Congress Control Number: The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Printed on acid-free paper This Palgrave Pivot imprint is published by Springer Nature The registered company is Macmillan publishers Ltd. London

5 For Olivia and Leah

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7 ACKNOWLEDGEMENTS I would like to thank all of my supportive colleagues at the University of Portsmouth, Queen s University Belfast, and beyond. It seems clichéd to state there are too many to mention, but it is true. My sincere thanks in particular go to Paul Simpson, Janice Carruthers, Andrea Mayr, Simon Statham, Manuel Jobert, Clara Neary, Ben Clarke, Thomas Rodgers, Alessia Tranchese, James Bullock, Mario Saraceni, Sue Wright, Emily Horrocks, and Caoimhe Nic Lochlainn. Funding from the Department for Employment and Learning (NI) and the Centre for European and International Studies Research (Portsmouth) made this project possible. Thanks to the Société de Stylistique Anglaise for the reproduction of material in Chapter 5. I am also grateful to Palgrave Macmillan for their support during the publishing process. Thank you to my family and friends on both sides of the Irish Sea, especially to my mum, Anne. Thanks to Adam for fixing a lot of problems, technical and otherwise, and thanks to Louise for proofreading. Last but definitely not least, thank you to Niall for all the moral support. vii

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9 CONTENTS 1 Beauty Advertising in a Cross-Cultural Context 1 2 Language, Gender, and Advertising 13 3 Problems and Solutions: Pursuing the Youthful, Ideal Body 31 4 Femininity as a Sensual Identity 59 5 Scientised Beauty Advertising Discourse: With Peptides or Paraben-Free? 81 6 The Case for Feminist Critical Discourse Analysis 105 Index 115 ix

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11 LIST OF FIGURES Fig. 3.1 The Problem-Solution pattern 34 Fig. 3.2 A proposed Problem-Solution pattern for cosmetics advertising discourse 37 Fig. 3.3 Worked example of Aussie Lusciously Light 3 Minute Miracle deep conditioner 41 Fig. 3.4 Worked example of Neutrogena Multi-Defence Daily Moisturiser 43 Fig. 3.5 Worked example of Clarins Multi-Active Jour [Multi-Active day cream] 45 Fig. 3.6 Worked example of Max Factor False Lash Effect Fusion Mascara 47 Fig. 3.7 Worked example of Eucerin AQUAporin Active moisturising cream 48 Fig. 5.1 Concordance for pseudo-scientific from COCA, magazines category 85 xi

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13 LIST OF TABLES Table 4.1 Product Actions 65 Table 4.2 Product Effects 66 Table 4.3 ASA list of characteristics unsuitable for outdoor advertising 71 Table 4.4 Broad definition of nudity 71 xiii