Фоносемантика в английском языке.

муниципальное бюджетное общеобразовательное учреждение средняя общеобразовательная школа № 60 имени пятого гвардейского Донского казачьего кавалерийского Краснознаменного Будапештского корпуса Советского района г. Ростова-на-Дону

(МБОУ СОШ № 60)

Phonetic means in stylistics

in English and Russian languages

Реферат подготовила

обучающаяся 8 «Г» класса

Казаникова Людмила

Руководитель: Т. Ю. Некрасова

Ростов-на-Дону

2013г.

Contents:

1. Introduction
2. Theoretical part

• Alliteration
• Onomatopoeia

3. Practical part
4. Phonosemantics
5. Conclusion
6. Resources and literature

1. Introduction

In modern times people read not so much as it used to be decades ago. Let alone the fact that many of them don’t really understand the use of studying such field of science as philology. As for me I love literature and understand that it is a valuable part of Russian culture. When we study pieces of literature we analyze many stylistic means and devices and among them there are such as alliteration and onomatopoeia. I wondered whether they are in English Language. It is language exactly that I am speaking about, not only literature, because in Russian language we face this phenomenon in commercials, advertisements, headlines, showbiz, political slogans.

First of all we studied the notion of the phenomenon itself, its definition and the history of the problem. Comparing these notions in English and Russian languages we came to conclusion that they exist in both of them, they have much in common, including the purpose and spheres of usage. Many years ago alliteration was used instead of rhyme by writers of both countries. Moreover like rhyme, alliteration is a great help to memory. It is powerful a device that prose has borrowed it. It is the alliteration which makes us remember phrases.

Then we got interested in modern application of this device. We looked through newspaper headlines on the Internet, advertisements, political blurbs, fashion magazines, brand names, famous quotes and phrases, watched commercials. The result of our research is the number of lists in different categories.

While research we came across a dictionary by Margaret Margus which provides a listing of many English phonesthemes together with the common monosyllabicic words which exemplify these phonesthemes. And our further work is seen to us as the analysis of our lists with the notions in this vocabulary. We would like to find out whether this system really works or not.

2. Theoretical part

Alliteration

Alliteration is a phonetic stylistic device which aims at imparting a melodic effect to the utterance. The essence of this device lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words:

"The possessive instinct never stands still. Through florescence and feud, frosts and fires it follows the laws of progression." (Galsworthy)

Alliteration is the repetition of initial sounds in neighboring words.

Assonance and Consonance.

Alliteration is the genus, whereas, assonance and consonance are the species. So an example would be alliteration and then more specifically and exactly consonance or assonance: "lady lounges lazily" is both alliteration and consonance . Example:
In cliches: sweet smell of success, a dime a dozen, bigger and better, jump for joy
Wordsworth: And sings a solitary song That whistles in the wind.

The matching or repetition of consonants is called alliteration, or the repeating of the same letter (or sound) at the beginning of words following each other immediately or at short intervals. A famous example is to be found in the two lines by Tennyson: 

The moan of doves in immemorial elms,
And murmuring of innumerable bees.

The ancient poets often used alliteration instead of rhyme; in Beowulf there are three alliterations in every line. For example: Now Beowulf bode in the burg of the Scyldings, Leader beloved, and long he ruled In fame with all folk since his father had gone . . .

Modern poets also avail themselves of alliteration, especially as a substitute for rhyme. Edwin Markham's "Lincoln, the Man of the People" is in unrhymed blank verse, but there are many lines as alliterative as:

She left the Heaven of Heroes and came down To make a man to meet the mortal need A man to match the mountains and the sea The friendly welcome of the wayside well

Robert Frost's "The Death of the Hired Man" begins:

Mary sat musing on the lamp-flame at the table
Waiting for Warren. When she heard his step. . . .

The eye immediately sees the alliteration in the "m's" in "Mary sat musing" and the "w's" in "Waiting for Warren. When. . . ." But it is the car that picks up the half-buried in "sounds in" lamp-flame sounds which act like faint and distant rhymes.

Like rhyme, alliteration is a great help to memory. It is powerful a device that prose has borrowed it. It is the alliteration which makes us remember such phrases as: "sink or swim," "do or die," "fuss and feathers," "the more the merrier," "watchful waiting," "poor but proud," "hale and hearty," "green as grass," "live and learn," "money makes the mare go."

While alliteration is the recurrence of single letter-sounds, there is another kind of recurrence which is the echo or repetition of a word or phrase. This is found in many kinds of poetry, from nonsense rhymes to ballads. The repeated words or syllables add an extra beat and accentuate the rhythm. They are often heard in "choruses" or "refrains," as in Shakespeare's "With a hey and a ho and a hey nonino" or Rudyard Kipling's:

For it's Tommy this, an' Tommy that, an' " Chuck him out, the brute!
But it's "Savior of 'is country" when the guns begin to shoot.

Excellent use of repetition occurs through the whole of Rudyard Kipling's "Tommy" "Danny Deever" and Alfred Noyes's "The Barrel-Organ" especially in such lines as:

Come down to Kew in lilac-time, in lilac-time, in lilac-time;
Come down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with love in summer's wonderland;
Come down to Kew in lilac-time (it isn't far from London!)

The Old English poetry

         Old English poetry had no known rules or system left to us by the Anglo-Saxons, everything we know about it is based on modern analysis. The first widely accepted theory was by Eduard Sievers (1885) in which he distinguished five distinct alliterative patterns. The theory of John C. Pope (1942) uses musical notations which has had some acceptance; every few years a new theory arises and the topic continues to be hotly debated.

The most popular and well known understanding of Old English poetry continues to be Sievers alliterative verse. The system is based upon accent, alliteration, the quantity of vowels, and patterns of syllabic accentuation. It consists of five permutations on a base verse scheme; any one of the five types can be used in any verse. The system was inherited and exists in one form or another in all of the older Germanic languages. Two poetic figures commonly found in Old English poetry are the Kenning, an often formulaic phrase that describes one thing in terms of another, e.g. in Beowulf, the sea is called the swan's road and Litotes, a dramatic understatement employed by the author for ironic effect.

Most Old English poets are anonymous; twelve are known by name from Medieval sources, but only three of those are known by their works to us today: Caedmon, Aldhelm, and Cynewulf. Caedmon is the most well known and considered the father of Old English poetry. He lived at the abbey of Whitby in Northumbria in the 7th century. Only a single nine line poem remains, called Hymn, which is also the oldest surviving text in English:

• "You'll never put a better bit of butter on your knife."
  (advertising slogan for Country Life butter)
• "A moist young moon hung above the mist of a neighboring meadow."
  (Vladimir Nabokov, Conclusive Evidence)
• "Guinness is good for you."
  (advertising slogan)
• "A lot of alliteration from anxious anchors placed in powerful posts!"
  (Albert Brooks as Aaron Altman in Broadcast News, 1987)
• "The soul selects her own society."
  (Emily Dickinson)
• "[S]he had no room for gaiety and ease. She had spent the golden time in grudging its going."
  (Dorothy Parker, "The Lovely Leave")
• "Good men are gruff and grumpy, cranky, crabbed, and cross."
  (Clement Freud)
• "Forget the most obvious problem with collegiate calorie counting, that studying Kierkegaard or Conrad after a dinner of seitan and soy chips would render even robust stomachs seasick, sometimes outright ill. And I won’t harp on the clear link between vigorous salad consumption and sulkiness."
  (Marisha Pessl, "Seize the Weight." The New York Times, Oct. 6, 2006)
• "Miss Twining teaches tying knots
  In neckerchiefs and noodles,
  And how to tell chrysanthemums
  From miniature poodles."
  (Dr Seuss, Jack Prelutsky, and Lane Smith, Hooray for Diffendoofer Day! Knopf, 1998)
• "In a somer seson, whan soft was the sonne . . ."
  (William Langland, Piers Plowman, 14th century)
• "The sibilant sermons of the snake as she discoursed upon the disposition of my sinner's soul seemed ceaseless."
  (Gregory Kirschling, The Gargoyle, 2008)
• "The mass of men lead lives of quiet desperation."
  (Henry David Thoreau, Walden)
• "The wind had blown off, leaving a loud, bright night, with wings beating in the trees and a persistent organ sound as the full bellows of the earth blew the frogs full of life."
  (F. Scott Fitzgerald, The Great Gatsby)
• "Pompey Pipped at the Post as Pippo Pounces"
  (sports headline, Daily Express, Nov. 28, 2008)
• "Alliteration, or front rhyme, has been traditionally more acceptable in prose than end-rhyme but both do the same thing--capitalize on chance. . . . This powerful glue can connect elements without logical relationship."
  (Richard Lanham, Analyzing Prose. Continuum, 2003)
• "My style is public negotiations for parity, rather than private negotiations for position."
  (Jesse Jackson)

Alliteration in Russian poetry.

Russian native poetry takes one of the most important places in country’s culture. You can see assortment of literary devices. Sonorous alliterations are scattered in the text of «Слова о полку Игореве»:

...Трубы трубят в Новеграде, стоять стязи в Путивле...
...Нощь стонущи ему грозою, птичь убуди; свист зверин въста близ...
...С зарания в пятк потопташа поганыя плъкы половецкыя...
        In 18 century, when reformers of Russian Poetry V. Trediakovski и М. Lomonosov developed foundations of a new metric verse, there was a tendency to use alliteration as a means of sonic expression. Scientist and experimenter, Lomonosov created poems with using alliteration, where prevailed letter «г»:

Бугристы берега, благоприятны влаги,
О, горы с гроздьями, где греет юг ягнят,
О, грады, где торги, где мозго-круглы браги...

         Derzhavin’s, Batushkov’s Sumarokov’s Experiences of alliteration poetry was successfully too, but Pushkin’s alliteration poetry is more spread.

Нева вздувалась и ревела,
Котлом клокоча и клубясь.
Шипенье пенистых бокалов
И пунша пламень голубой

Кто к торгу страстному приступит?
Свою любовь я продаю...

In the following verses, Pushkin used fine alliteration - a combination of sounds of consonants and vowels:

Унылая пора! очей очарованье!
Приятна мне твоя прощальная краса...

In the spirit of Pushkin's artistry meets a beautiful alliteration of other poets, such as:

Как Волги вал белоголовый
Доходит целый к берегам.
(Н. Языков)

Волга, Волга, весной многоводной

Ты не так заливаешь поля...
(Н. Некрасов)

Вечер. Взморье. Вздохи ветра.
Величавый возглас волн.
Близко буря, в берег бьется
Чуждый чарам черный челн...
Чуждый чистым чарам счастья,
Челн томленья, челн тревог
Бросил берег, бьется с бурей,
Ищет светлых снов чертог...
Другое стихотворение Бальмонта «Влага» сплошь аллитери-ровано на «л»:
С лодки скользнуло весло,
Ласково млеет прохлада.
«Милый! Мой милый!» — Светло,
Сладко от беглого взгляда.
Лебедь уплыл в полумглу,
Вдаль, под луною белея.
Ластятся волны к веслу,
Ластится к влаге лилея.
Слухом невольно ловлю
Лепет зеркального лона.
«Милый! Мой милый! Люблю» —
Полночь глядит с небосклона.

One of elementary type of alliteration is onomatopoeia, For example in poem of Umber «Пулковский меридиан» (growl Nazi’s planes over the besieged city):

Вверху рычат германские моторы:
— Мы фюрера покоррные рабы,
Мы превращаем горрода в грробы,
Мы — смерть... Тебя уже не будет скоро

Onomatopoeia

An onomatopoeia is a word that phonetically imitates or suggests the source of the sound that it describes. Onomatopoeia (as an uncountable noun) refers to the property of such words. Common occurrences of onomatopoeias include animal noises such as "oink", "meow", "roar" or "chirp". Onomatopoeias are not the same across all languages; they conform to some extent to the broader linguistic system they are part of; hence the sound of a clock may be tick tock in English, dī dā in Mandarin, or katchin katchin in Japanese.

"Brrrrrrriiiiiiiiiiiiiiiiiiinng! An alarm clock clanged in the dark and silent room."

 (Richard Wright, Native Son, 1940)

"Plop, plop, fizz, fizz, oh what a relief it is."

 (slogan of Alka Seltzer, U.S.)

"Hark, hark!

 Bow-wow.

 The watch-dogs bark!

 Bow-wow.

 Hark, hark! I hear

 The strain of strutting chanticleer

 Cry, 'cock-a-diddle-dow!'"

 (Ariel in William Shakespeare's The Tempest, Act One, scene 2)

"Klunk! Klick! Every trip"

 (U.K. promotion for seat belts)

 It's sort of whack, whir, wheeze, whine

 Sputter, splat, squirt, scrape

 Clink, clank, clunk, clatter

 Crash, bang, beep, buzz

 Ring, rip, roar, retch

 Twang, toot, tinkle, thud

 Pop, plop, plunk, pow

 Snort, snuck, sniff, smack

 Screech, splash, squish, squeak

 Jingle, rattle, squeal, boing

 Honk, hoot, hack, belch."

 (Todd Rundgren, "Onomatopoeia")

"A sound theory underlies the onomaht--that we read not only with our eyes but also with our ears. The smallest child, learning to read by reading about bees, needs no translation for buzz. Subconsciously we hear the words on a printed page.

 "Like every other device of the writing art, onomatopoeia can be overdone, but it is effective in creating mood or pace. If we skip through the alphabet we find plenty of words to slow the pace: balk, crawl, dawdle, meander, trudge and so on.

 "The writer who wants to write 'fast' has many choices. Her hero can bolt, dash, hurry or hustle."

 (James Kilpatrick, "Listening to What We Write." The Columbus Dispatch, Aug. 1, 2007)

Russian Negotiator: Why must every American president bound out of an automobile like as at a yacht club while in comparison our leader looks like . . . I don't even know what word is.

Sam Seaborn: Frumpy?

Russian Negotiator: I don't know what "frumpy" is but onomatopoetically sounds right.

Sam Seaborn: It's hard not to like a guy who doesn't know frumpy but knows onomatopoeia.

 (Ian McShane and Rob Lowe in "Enemies Foreign and Domestic." The West Wing, 2002)

3. Practical part

Usage of Alliteration and Onomatopoeia nowadays.

For most of the time, alliteration is seen used in literature whose functions are not only to accentuate the beauty of language but also to provide emphasis on a particular point or to make some aspects of the work more memorable.

For Kids

Alliteration and Onomatopoeia Poems for Kids continues to be one of our most popular categories of creative children's poems. That's probably because they are so much fun to read, and even more fun to write.

 One of the reasons kids find this type of poetry so compelling is that the genre provides them with a tremendous challenge.

 Poems that fall into this category must use the same consonant at the beginning of each stressed syllable in a line of verse.  For example "Chuck is a champ at changing baby chimps."

 Remember, it is not the letter itself, but the sound of the letter that makes a poem alliterative. So, “gum” and “gigantic” do not alliterate, but “knee” and “nap” do.

Crazy Words

People play poker in a place called Pop's

 While tigers go tramping on tree tops

 Kids practice canning, with Kathy and Claire

 As Harold and Helen have fun with their hair

The Mess

Bubbly baby Bradley

 And Annie’s sister Abby

 Made a mess in Mab’s house

 And now it’s rather shabby!

 Clean it, cleanse it, don’t stand sill

 Or you’ll bump heads with her boyfriend Bill

Drumming

For days and days, the drummers drum

 From five AM till fun is done

 Then once more they beat their drums

 At nine PM their knuckles numb

The Football Game

Blitz and blocking, bump –and-run

 Drive and drop kick, the other team’s done

 End zone, end line, ebb and flow

 Snap, sack, scrambling, I love it so

 Football is fun and fabulous too

 Let’s go to the stadium, just me and you

Mom & Dad Are Home

 Slam! Slam!

 Go the car doors.  

 Jangle! Jangle!

 Go the house keys.

 Jiggle! Jiggle!

 Go the keys in the door.

 Squeak!

 Goes the front door!

 Thump! Thump!

 That is me running down the stairs.

 Guess what?

 Mom and Dad are home!!

The Game

 Clap! Clap!

 Stomp! Stomp!

 Swish! Swish!

 This is the way we get through

 Our games.

 The crowd shouts,

 ”Yahoo!”

 The ball soars through the air.

 Then, bounce, bounce, bounce.

 The audience holds its breath.

 SWISH!

 The ball goes in;

 We win!

Slogans, commercials, advertisements, headlines, alias.

The function of alliteration is to draw readers' attention to a particular sentence which may have some important meanings in that context.

• Ваши личные наличные
• We don’t have regular readers- Newspaper Employment
• It is time to take office(sale cash registers)
• And we - WITH OIL(restaurant advertising)
• Ваша киска купила бы Wiskas  

• Above all things, this story is about love  "Мулен Руж
• Ваши карты будут биты

• Hope for Haiti. 
  Название-лозунг телемарафона и сбора средств в поддержку Гаити, пострадавшей от землетрясения, 2010
• Know your unit, know your limit. 
  ALCOHOL, KNOW YOUR LIMITS, британская программа против алкоголизма.
• Kill a kid. Kill a family. 
  СОВЕТ ПЕШЕХОДОВ АВСТРАЛИИ. Социальный слоган за соблюдение автомобилистами скоростного режима вблизи школ, 2008
  Вслед за сбитым ребёнком автомобиль сбивает всю семью.
• Россия победит бедность
• Россия победит бесправие (Яблоко)
• «Возрождение России» - «Российская партия жизни». Слоганы:
• «Не выживать, а жить!»
• Equal pay for equal work! Лозунг женской эмансипации.
• Bread and roses! Лозунг 15 тысяч женщин, прошедших 8 марта 1908 года по улицам Нью-Йорка. С этого начался Международный женский день
• You won it, now earn it. Слоган-обращение к Бараку Обаме. Норвежские активисты вывесили его перед входом в городской холл города Осло в день вручения нобелевских премий, 2009
• Trust. Traditions. Transparency. Tolerance. «Четыре Т» – девиз саммита ОБСЕ, который проходит в Казахстане в 2010

The second function of alliteration can be seen when authors want to make the names of those characters more memorable or fun to say aloud. Popular comic book character names such as Peter Parker, Bruce Banner, and Clark Kent, as well as cartoon characters such as Donald Duck, Mickey Mouse, and Bugs Bunny all use alliteration. In fact, this function is more often seen in those advertisements and logos of companies when they want to spread and promote their brand, like PayPal, Best Buy, Borders Books, Coca-Cola, etc. All these names are fun to say and hear, and also easy to remember.

We can see alliteration in the alias and Famous characters

• Монро Мэрилин (амер.киноактриса) Норма Бейкер
• Морган Мишель (франц.киноактриса) Симона Руссель
• Тина Тернер амер. певица Энни Мэй Балок
• Ronald Reagan

• Jesse Jackson
• Michael Moore
• William Wordsworth
• Mickey Mouse
• Marilyn Monroe
• Donald Duck
• Spongebob Squarepants

Phrases and Quotes:

Many famous phrases, quotes and saying also make use of alliteration which in turn will make them catchy.

Busy as a bee

Dead as a doornail

Give up the ghost

Good as gold

Home Sweet Home

Leave in the Lurch

Mad as a march hare

Moaning Minnie

Neck and neck

Not on your nelly

Out of order

Pleased as punch

Primrose Path

Right as rain

Round Robin

Brand Names:

Companies use alliteration in their advertisements or logo because the alliterative effects can make their brand name is memorable.

Dunkin’ Donuts

PayPal

Best Buy

Borders Books

Coca-Cola

LifeLock

Park Place

Chuckee Cheese’s

Bed Bath & Beyond

Krispy Kreme

The Scotch and Sirloin

4. The Phenomenon of Phono-Semantics

There is a correspondence between the meaning of a word and the phonemes, or speech sounds, which make it up. (A phoneme is a significant speech sound. If English were pronounced the way it is spelled, every letter would be a phoneme.) In English, for example, words beginning with ‘sp-’ often refer to spewing or spitting (splash, spurt, splutter, spout...), and words in ‘pl-’ tend to be planar (plate, platter, plot, plateau, ...). Sounds or sound sequences and their associated meanings are called ‘phonesthemes’. There is even a work by Margaret Margus which provides a listing of many English phonesthemes together with the common monosyllabicic words which exemplify these phonesthemes. This dictionary provides a useful reference for students of English, poets, writers, linguists, developers of natural language software, and others interested in the phenomenon of language.

This correlation between sound and meaning holds also on the level of each individual phoneme. A given phoneme contributes an element of meaning to every word which contains it, and this semantic contribution is based in its pronunciation. For example, the phoneme /k/ forms a container of the mouth. Consequently the words starting with /k/ often have implicit in them containers (cup, car, cabin, can,...), covers (cap, cloak, clothing,...), collection (cluster,

come, clasp, cling,...) and closure (key, cut, kill, cap,...). However, the phonemes which make up a word do not in general reflect its referent . That is to say, if a word contains /k/, it is more likely to refer to a container. But the sound /k/ does not wholly determine what the word refers to. What the sound does directly affect is the feeling-tone of the word. For example, the phoneme /k/ does not in general have anything to say about whether the word refers to a shape, a sound, or motion. Rather, it makes the shape cornered, curved or crinkly; the sound crackly or clapping; and it causes the motion to involve contact. In other words, the sounds in a word reflect some more basic aspect of its meaning than does its referent.

This dictionary provides several kinds of classifications for all the common monosyllabic words in English. We find that words containing a given phoneme fall easily into a surprisingly narrow set of phonesthemes with one important exception. Concrete nouns do not in general fit a pronunciation-based classification nearly as well as other parts of the vocabulary. Concrete nouns can, however, be easily identified by another means. 98% of them fall cleanly into one of the following semantic classes: people, titles, body parts, clothing, cloth, periods of time, games, animals, plants, plant parts, foods, minerals, containers, vehicles, buildings, rooms, furniture, tools, weapons, musical instruments, colors, symbols, and units of measurement. For this reason, these classes are treated differently throughout the dictionary. The field which studies the relationship between sound and meaning is fairly marginal within linguistics, and goes by many names, the most common of which is sound symbolism. However, since we suspect that symbolism – or a mapping from symbol to referent – does not lie at the root of the phenomenon, we will prefer to call the field phonosemantics, a name which is also not unprecedented in the linguistics literature.

Conflicting Data

It is in general supposed in the linguistics literature that the relationship between sound and meaning is arbitrary. The data provided in this dictionary suggests that this supposition is not true. Of course, the first objection that arises in the mind of a trained (or even a not-so trained) linguist to the phonosemantic claim is that it is in obvious conflict with such well established and fundamental phemonema as the existence of different languages. English ‘book’, French ‘livre’ and Russian ‘kniga’ mean the same thing but are pronounced completely differently. An Australian and a Californian speak essentially the same language but pronounce it differently. What's worse, dialectal differences are the result of completely regular sound changes which can happen in a relatively short period of time – seemingly

much too short a time for the semantics of the entire language to reorganize itself. Moreover, sound changes are alive and well in running speech in every language of the world. A voiced /b/, /d/ or /g/ in final position in German or Russian is unvoiced to /p/, /t/ and /k/ respectively by a completely general rule. The German adjective ‘gelb’ means ‘yellow’ and is pronounced ‘gelp’. Its plural or feminine nominative is ‘gelbe’ and is pronounced ‘gelbe’. The voiced phoneme and its unvoiced counterpart are then neutralized in final position. In English, the color of a vowel can be changed by merely adding a suffix: Newton/Newtonian, ocean/oceanic, etc.. None of this makes sense if sound affects meaning.

5. Conclusion

Based on the data, we can come to the conclusion that alliteration can make "miracles". This can be considered for any of the examples. In the role of my example will an American actress Marilyn Monroe. Its name - the most vivid embodiment of alliteration. Her name does not go out of fashion to this day. I think that of a part of fame she should be thankful to sounding its nickname, the perception of his associates.

Now I can accurately say that alliteration has an enormous impact on the perception of the world. But can there alliteration awaken any feelings? Is it possible to use alliteration in manipulation of people?

It turns out that the political slogans used alliteration. What for?  It is used by politicians to attract the attention of voters to their party and political views.

In my work I have traced the evolution of using alliteration. In the end, I found out for myself that alliteration has changed its function and value over time. Initially, it was necessary to create a sonorous poem. The authors, whose names sound nowadays, were addicted to alliteration poems and stories to create memorable works. Alliteration helped perpetuate in the memory of what that line, or quatrains. Alliteration helped perpetuate the memory of rows or quatrains.

But over time, alliteration lost ancestral function. Perhaps because of the ignorance of people of that period, perhaps because of the emergence of the media, but the fact remains. Now alliteration used in practical areas, in most cases. With alliteration can inspire, manipulate, influence mood. Alliteration in contact with psychology and this is a good tool for advertising. Of course, the alliteration used in poetry and prose, but it is the most intrusive advertising.

Nowadays linguists give a greater degree of prominence to the investigation of the discursive presentation of advertising text as well as to various linguistic and paralinguistic means and methods applied in advertising discourse: the usage of colourful pictures, special slogan illustrations, numerous ways of delivering the slogans’ meaning with the help of proverbs, schemas, concepts, categories, analogies, metaphors, associations, etc.

Another tendency of the advertising discourse study includes its phonosemantic analysis aimed at systematization of sound phonosemantic potential. That is why it is believed that the research of sound phonosemantic potential in English advertising discourse helps to achieve its communicative aim in the advertising discourse and identify the influence of the phonosemantic potential of the brand names on various customer(s).

The phonosemantic potential of the brand names is defined due to (1) the consonantal and vocalic sound symbolism analysis (e.g.: phonestheme /n/ possesses the meaning of something “new” and “neat” of the products in the brand names like Sony, Nokia, Cannon, Lenovo, Panasonic, Naf-Naf, Fendi, DKNY, Giorgio Armani, Mango, Arizona, Fornetti). We suppose that the role of sound symbolism in the advertising analysis cannot be underestimated. And it is the aim of our further research – to analyze the usage of sounds for special purposes.

7. Resources and literature

1.        Арнольд И.В. Стилистика. Современный английский язык: Учебник для вузов. – 5-е изд., испр. и доп. – М.: Флинта: Наука, 2002. – 384 с.

2.        Гальперин И.Р. Аллитерация. Стилистические средства звуковой организации высказывания. http://www.prekrasnakraina.com/my_english/galperin/alliteration.htm

3.        Гальперин И.Р. Стилистика английского языка http://www.twirpx.com/file/14360/

4.        Жирмунский В.М. Теория стиха. – Л.: Советский писатель, 1975.

5.        Клочкова Т.И., Довженко О.А. Фонетические средства стилистики. http://www.rusnauka.com/ESPR_2006/Philologia/2_klochkova.doc.htm

6. Margaret Magnus. A Dictionary of English Sound [Электронный ресурс] /

M.Magnus. – http://www.trismegistos.com/.