Search results for: alliteration

Authors: Suwimol Apapol, Punrapha Praditpong

Abstract:

The objectives of the study were to find out the frequencies of figures of speech in fragrance advertising captions as well as the types of figures of speech most commonly applied in captions. The relation between figures of speech and fragrance was also examined in order to analyze how figures of speech were used to represent fragrance. Thirty-five fragrance advertisements were randomly selected from the Internet. Content analysis was applied in order to consider the relation between figures of speech and fragrance. The results showed that figures of speech were found in almost every fragrance advertisement except one advertisement of several Goods service. Thirty-four fragrance advertising captions used at least one kind of figure of speech. Metaphor was most frequently found and also most frequently applied in fragrance advertising captions, followed by alliteration, rhyme, simile and personification, and hyperbole respectively which is in harmony with the research hypotheses as well.

Keywords: advertising captions, captions on internet, consumer purchasing decision, e-commerce

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Authors: Panprae Bunyapukkna

Abstract:

This study investigated figures of speech used in fragrance advertising captions on the Internet. The objectives of the study were to find out the frequencies of figures of speech in fragrance advertising captions and the types of figures of speech most commonly applied in captions. The relation between figures of speech and fragrance was also examined in order to analyze how figures of speech were used to represent fragrance. Thirty-five fragrance advertisements were randomly selected from the Internet. Content analysis was applied in order to consider the relation between figures of speech and fragrance. The results showed that figures of speech were found in almost every fragrance advertisement except one advertisement of Lancôme. Thirty-four fragrance advertising captions used at least one kind of figure of speech. Metaphor was most frequently found and also most frequently applied in fragrance advertising captions, followed by alliteration, rhyme, simile and personification, and hyperbole respectively.

Keywords: advertising speech, fragrance advertisements, figures of speech, metaphor

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Authors: Ashok Sachdeva

Abstract:

This research paper delves into the application of digital tools, especially Voyant Tools and AntConc version 4.0, for the analysis and interpretation of Seamus Heaney's poems. Scholars and literary aficionados can acquire deeper insights into Heaney's writings by utilising these tools, revealing hidden nuances and improving their knowledge. This paper outlines the methodology used, presents sample analyses and evaluates the merits and limitations of using digital tools in literary analysis. The combination of traditional close reading with digital analysis tools promises to offer new paths for understanding Heaney's vast tapestry of poetry. Seamus Heaney, a Nobel winner known for his vivid poetry, provides a treasure mine of literary discovery. The advent of digital tools gives an exciting opportunity to reveal previously unknown layers of meaning within his works. This paper investigates the use of Voyant Tools and AntConc version 4.0 to analyse and understand Heaney's writings, demonstrating the symbiotic relationship between traditional literary analysis and cutting-edge digital methodologies. Methodology: To demonstrate the efficiency of digital tools in the analysis of Heaney's poetry, a sample of his notable works will be entered into Voyant Tools and AntConc version 4.0. The former provides a graphic representation of word frequency, word clouds, and patterns over numerous poems. The latter, a concordance tool, enables detailed linguistic analysis, revealing patterns, and linguistic subtleties.

Keywords: digital tools, resonance, assonance, alliteration, creative quotient

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Authors: Min-Hua Wu

Abstract:

The untranslatability of an established poet’s tour de force is thoroughly explored by Matthew Arnold (1822-1888). In his On Translating Homer (1861), Arnold lists the four most striking poetic qualities of Homer, namely his rapidity, plainness and directness of style and diction, plainness and directness of ideas, and nobleness. He concludes that such celebrated English translators as Cowper, Pope, Chapman, and Mr. Newman are all doomed, due to their respective failure in rendering the totality of the four Homeric poetic qualities. Why poetic translation always amounts to being proven such a mission impossible for the translator? According to Arnold, it is because there constantly exists a mist interposed between the translator’s own literary self-obsession and the objective artistic qualities that reside in the work of the original author. Foregrounding such a seemingly empowering yet actually detrimental poetic mist, he explains why the aforementioned translators fail in their attempts to bring the Homeric charm to the British reader. Drawing on Arnold’s analytical study on Homeric translation, the research attempts to bring Yu Kwang-chung the poet vis-à-vis Yu Kwang-chung the translator, with an aim not so much to find any similar mist as revealed by Arnold between his Chinese poetry and English translation as to probe into a latent and veiled literary and lingual mist interposed between Chinese and English, if not between Chinese and English literatures. The major work studied and analyzed for this study is Yu’s own Chinese poetry and his own English translation collected in The Night Watchman: Yu Kwang-chung 1958-2004. The research argues that the following critical elements that characterizes Yu’s poetics are to a certain extent 'transformed,' if not 'lost,' in his English translation: a. the Chinese pictographic and ideographic unit terms which so unfailingly characterize the poet’s incredible creativity, allowing him to habitually and conveniently coin concrete textual images or word-scapes almost at his own will; b. the subtle wordplay and punning which appear at a reasonable frequency; c. the parallel contrastive repetitive syntactic structure within a single poetic line; d. the ambiguous and highly associative diction in the adjective and noun categories; e. the literary allusion that harks back to the old times of Chinese literature; f. the alliteration that adds rhythm and smoothness to the lines; g. the rhyming patterns that bring about impressive sonority and lingering echo to the ears of the reader; h. the grandeur-imposing and sublimity-arousing word-scaping which hinges on the employment of verbs; i. the meandering cultural heritage that embraces such elements as Chinese medicine and kung fu; and j. other features of the like. Once we appeal to the Arnoldian tribunal and resort to the strict standards of such a Victorian cultural and literary critic who insists 'to see the object as in itself it really is,' we may serve as a potential judge for the tug of war between Yu Kwang-chung the poet and Yu Kwang-chung the translator, a tug of war that will not merely broaden our understating of Chinese poetics but deepen our apprehension of Chinese-English translatology.

Keywords: Yu Kwang-chung, The Night Watchman, poetry translation, Chinese-English translation, translation studies, Matthew Arnold

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