It is said that the study is building more storeys under the base of Forceville’s theoretical backgrounds, of which three modes visual, verbal, and sonic modes are three pillars of the l
INTRODUCTION
Rationale
During the preceding three decades, research into cognitive metaphors has garnered significant attention from scholars of metaphor, both domestically and internationally; but the majority of previous metaphorical investigations have primarily concentrated on the verbal aspect Nevertheless, recent studies have indicated that verbal expressions represent merely one facet of cognitive metaphor construction, as the conceptual realms of both target and source metaphors can be conveyed through alternative modalities such as visual, verbal and sonic modes Metaphors identified across various channels of information (language, visuals, sound, gestures, among others) are referred to as "multimodal metaphors." Research in this domain remains nascent, predominantly drawing upon the seminal studies by Forceville Meanwhile, these inquiries often focus solely on descriptive analyses without integrating quantitative research methods to validate fundamental theories of multimodal metaphors Furthermore, multimodal linguists have yet to prioritize investigations into the interrelationships among different channels of information
One of the largest repositories of modes is advertising discourse so each TV commercial is a masterpiece of still and moving images, speeches, written texts, songs, music, and sound effects; thus, the examination of multimodal metaphors through these modes is a natural step to catch up with the blooming of information technology Therefore, the use of television as a driving force motivates scientists in general, and linguists in particular to adopt a new method that is in step with the current trend because of its vibrant sound, appealing graphics, and logical and short message It transcends obsolescence in the cue of conceptual metaphor through verbal expressions and elicits an imperative need for the multimodal analysis of conceptual metaphors in television commercials
In another vein, while advertising for food commonly centers around special occasions or novel culinary offerings, commercials for beverages are typically construed as endorsing commonplace consumer goods Furthermore, regulations concerning televised alcohol beverages advertisements can also influence their frequency Certain nations enforce stringent policies on television advertising for alcoholic beverages, potentially imposing restrictions or outright prohibitions during specific time slots or within programming aimed at audiences below the age of 18 These factors significantly impact the data collection and interpretation of conceptual metaphors Therefore, the examination of a multimodal analysis of non-alcoholic beverages television commercials presents a promising and fertile land for the discovery Also, Forceville (2010) stated that advertising discourse consisted of a symbiotic relationship with metaphor The metaphor is well-suited to the characteristics of advertising because both involve putting two discrete domains into correspondence: in the case of metaphor, the source and target domains; in advertising, the product or service being advertised and the target customers Thus, the analytic framework of multimodal metaphors and the identification of multimodal metaphors in the discourse of TV commercials still need to be clarified and persuasive enough for multimodality researchers; however, the research on multimodal metaphors in advertising discourse is humble regarding quantity, especially in beverages TV commercials Additionally, there has been no doctoral-level research on the comparative analysis of multimodal metaphors in American and Vietnamese advertising discourse, typically, two master's theses by Dang Thanh Diem (2021) and Pham Thi Thu Hien (2020), which is inadequate in their contribution to the theoretical and practical implications of multimodal metaphors in the world and in Vietnam Consequently, there is a pressing necessity for the systematic examination of multimodal metaphors to evaluate the assertions posited under the conceptual metaphor theory of Lakoff and Johnson (1980)
To bridge the research gap, this study employs an analytic framework centered on the interaction of images, texts, and audiovisual elements Guided by Forceville (2007), Unsworth (2006), and Cook (1998), the study examines the ideational meanings derived from the intersections of these modes Additionally, Kress's (1998) analysis of images complements the exploration, providing a comprehensive understanding of the use of multimodal metaphors in non-alcoholic beverage TV commercials.
& Van Leeuwen (2006) and sound effects and music of Graakjaer (2015) are in tightly interwoven integration which serves as the theoretical platform to achieve the objectives of domain choices, types of combination, relationships, and generation among the three modes of multimodal metaphors It is illustrated that the aim of the study is building more storeys under the base of Forceville’s theoretical backgrounds, of which three modes (visual, verbal, and sonic modes) are three pillars of the linguistic virtual house; and reinforcing cement and steel to increase cohesion among these pillars or modes through the analysis of generation and conceptualization of multimodal metaphors in
1) Identifying the multimodal metaphors in American and Vietnamese non- alcoholic beverages TV commercials
2) Discovering the similarities and differences in the generation of multimodal metaphors in American and Vietnamese non-alcoholic beverages TV commercials
The study raises the following research questions based on the two main objectives:
1) What multimodal metaphors are generated in American and Vietnamese non- alcoholic beverages commercials?
1.1 What domains are used in the generation of American and Vietnamese non- alcoholic beverages commercials?
1.2 How are the domains multimodally generated in the American and Vietnamese non-alcoholic beverages commercials?
2) What are the similarities and differences in the generation and conceptualization of multimodal metaphors in American and Vietnamese non-alcoholic beverages commercials?
2.1 How is the generation of multimodal metaphors conceptualized through the representation of the products in beverages commercials in American and Vietnamese non-alcoholic beverages commercials?
2.2 How is the generation of multimodal metaphors conceptualized through the representation of the target customers in non-alcoholic beverages commercials in American and Vietnamese beverages commercials?
The first research is to identify the multimodal metaphors through the interpretation of the conceptual metaphors by (i) the identification of the construction of target and source domains and (ii) the examination of the combination of visual, verbal, and sonic modes in the generation and conceptualization of both domains
In research question 2, the generation of multimodal metaphors in American and Vietnamese beverages TV commercials is conducted by comparing and contrasting the generation of similar conceptual metaphors, domain choices, and the roles and relationships of modes
In a word, these research questions are interdependent, with the first laying the groundwork for the subsequent queries to achieve the study's overall objective
This part focuses on the scope of kinds of beverages, levels of metaphors, categories of modes, and effects of culture on the generation of multimodal metaphors
First, due to the fact that the popularity of ages and classes of non-alcoholic commercials on TV in the United States and Vietnam is not as limited as in alcoholic beverages, the research objects of the study aim at non-alcoholic beverages advertising discourses The study consists of 50 commercials of non-alcoholic beverages (coffee, tea, soda); 25 are from America, and 25 are from Vietnam Besides, beverages also consist of milk, which is considered not only functional food but also a nutritious beverage Thus, to avoid blurred boundaries between food and drink, milk advertisements are not collected in this study In addition, these TV commercials were published in America or Vietnam with others being not chosen
Current research on metaphors primarily explores their hierarchical structure (e.g., image schemas, frames, domains, mental spaces) However, the thesis takes a different approach, focusing solely on the construction of multimodal metaphors through an examination of how visual, verbal, and sonic modes influence domain selection.
Next, in terms of the classification of modes, according to Forceville (2007:15), verbal modes are both written and spoken texts while visual modes contain pictorials, images, colors, logos, and gestures Meanwhile, sonic modes are sound effects, music, and even songs and the category of preexisting and original music is also clarified Normally, the sound of opening a bottle/can in beverages commercials is a type of preexisting, however, this sound of fizz, pssd is recreated by the typical white noise of Coca-Cola, which is different from the common concept of preexisting sound It is classified as a kind of original sound
In addition, in the process of the generation of multimodal metaphors, the role of metonymy toward metaphor is significant However, the relationship between metonymy and metaphor is vague (Forceville,1996) Meanwhile, when the products and targeted customers are conceptualized, human feelings are abstract instead of being concrete Thus, HAPPINESS IS DRINKING is considered the metaphor in this study, which is different from the index of Kửvecses (1990) who showed that happiness is drinking is metonymy in the strict sense
Last, the effect of culture on the generation of multimodal metaphors falls out of the scope of the study Kovescess (2005) described the role of culture in generating backgrounds of the examination of the representation of culture on domain choices and roles of modes, which needs to be fulfilled in future research
This study employs an exploratory sequential mixed methods design, utilizing qualitative methods to explore the generation and interpretation of multimodal metaphors in television commercials for beverages in the United States and Vietnam The qualitative analysis examines the specific mechanisms of multimodal metaphor generation, considering the interactions between modes and the influence of contextual features and marketing strategies It also investigates the similarities and differences in metaphor generation and conceptualization between the two countries, contrasting the ratios of domain choices, roles of modes, and generation of domains.
Meanwhile, all TV commercials were compared and contrasted, clarifying their similarities and differences in the conceptualization of multimodal metaphors in beverages commercials in the United States and Vietnam
In addition, the descriptive method is used to describe each mode and the generation of multimodal metaphors; and the statistics on domain choices, and the ratio of the combination of modes in both datasets
Last, the application of deductive and inductive approaches to find the research results in Chapters 4,5 and 6, using the theoretical framework and previous studies as a premise to analyze and evaluate the roles of modes in the metaphor, and at the same time, based on corpus sources to illustrate and add new research results to the theoretical framework
Research Questions
The study raises the following research questions based on the two main objectives:
1) What multimodal metaphors are generated in American and Vietnamese non- alcoholic beverages commercials?
1.1 What domains are used in the generation of American and Vietnamese non- alcoholic beverages commercials?
1.2 How are the domains multimodally generated in the American and Vietnamese non-alcoholic beverages commercials?
2) What are the similarities and differences in the generation and conceptualization of multimodal metaphors in American and Vietnamese non-alcoholic beverages commercials?
2.1 How is the generation of multimodal metaphors conceptualized through the representation of the products in beverages commercials in American and Vietnamese non-alcoholic beverages commercials?
2.2 How is the generation of multimodal metaphors conceptualized through the representation of the target customers in non-alcoholic beverages commercials in American and Vietnamese beverages commercials?
The first research is to identify the multimodal metaphors through the interpretation of the conceptual metaphors by (i) the identification of the construction of target and source domains and (ii) the examination of the combination of visual, verbal, and sonic modes in the generation and conceptualization of both domains
In research question 2, the generation of multimodal metaphors in American and Vietnamese beverages TV commercials is conducted by comparing and contrasting the generation of similar conceptual metaphors, domain choices, and the roles and relationships of modes
In a word, these research questions are interdependent, with the first laying the groundwork for the subsequent queries to achieve the study's overall objective.
Scope of the study
This part focuses on the scope of kinds of beverages, levels of metaphors, categories of modes, and effects of culture on the generation of multimodal metaphors
First, due to the fact that the popularity of ages and classes of non-alcoholic commercials on TV in the United States and Vietnam is not as limited as in alcoholic beverages, the research objects of the study aim at non-alcoholic beverages advertising discourses The study consists of 50 commercials of non-alcoholic beverages (coffee, tea, soda); 25 are from America, and 25 are from Vietnam Besides, beverages also consist of milk, which is considered not only functional food but also a nutritious beverage Thus, to avoid blurred boundaries between food and drink, milk advertisements are not collected in this study In addition, these TV commercials were published in America or Vietnam with others being not chosen
Second, most of the current studies of metaphors focus on the analysis of the levels of metaphors, such as image schemas, frames, domains, and mental spaces However, the thesis only investigates how multimodal metaphors are constructed through the examination of the roles of visual, verbal, and sonic modes on domain choices
Next, in terms of the classification of modes, according to Forceville (2007:15), verbal modes are both written and spoken texts while visual modes contain pictorials, images, colors, logos, and gestures Meanwhile, sonic modes are sound effects, music, and even songs and the category of preexisting and original music is also clarified Normally, the sound of opening a bottle/can in beverages commercials is a type of preexisting, however, this sound of fizz, pssd is recreated by the typical white noise of Coca-Cola, which is different from the common concept of preexisting sound It is classified as a kind of original sound
In addition, in the process of the generation of multimodal metaphors, the role of metonymy toward metaphor is significant However, the relationship between metonymy and metaphor is vague (Forceville,1996) Meanwhile, when the products and targeted customers are conceptualized, human feelings are abstract instead of being concrete Thus, HAPPINESS IS DRINKING is considered the metaphor in this study, which is different from the index of Kửvecses (1990) who showed that happiness is drinking is metonymy in the strict sense
Last, the effect of culture on the generation of multimodal metaphors falls out of the scope of the study Kovescess (2005) described the role of culture in generating backgrounds of the examination of the representation of culture on domain choices and roles of modes, which needs to be fulfilled in future research.
Methods of the study
The thesis adopts the exploratory sequential mixed methods design to achieve the stated research objectives The qualitative method is adopted in both research questions The qualitative analysis takes into consideration how multimodal metaphor is specifically generated; for example, the analysis of each mode and the interactions among them is conducted Then, the generation of domains is shown whether the target or domain source is cued first In addition, such factors as contextual features and marketing strategies of the commercials are also analyzed so that the meaning of the multimodal metaphor can be more thoroughly interpreted Furthermore, the similarities and differences in the generation and conceptualization of multimodal metaphors in the beverages TV commercials in the two countries are demonstrated in study question 2, which is based on the theory of multimodal metaphors of Forceville (2007) Commercials of beverages in the United States and Vietnam are the data of research, of which images, texts, and music are analyzed and interpreted to explore their combination in the generation of multimodal metaphors Before the data analysis, the research hypothesizes that there must be similarities and differences in the use of multimodal metaphors and the representation of the products and targeted customers in American and Vietnamese beverages TV commercials, a subjective approach- one of the common characteristics of qualitative research In this study, the quantitative method is built based on qualitative research: in the research question 1, the ratio of domain choices, the roles of modes of multimodal metaphors, and the generation of domains are designed to illustrate the analysis of the generation of multimodal metaphors The use of multimodal metaphors in beverages commercials is demonstrated through the analysis of the representation of the target customers and the product In research question 2, the ratio of domain choices, roles of modes of multimodal metaphors, and the generation of domains are contrasted in American and Vietnamese beverages commercials in the contrastive analysis of the generation and conceptualization of multimodal metaphors
Meanwhile, all TV commercials were compared and contrasted, clarifying their similarities and differences in the conceptualization of multimodal metaphors in beverages commercials in the United States and Vietnam
In addition, the descriptive method is used to describe each mode and the generation of multimodal metaphors; and the statistics on domain choices, and the ratio of the combination of modes in both datasets
Through a combination of deductive and inductive approaches, the research findings in Chapters 4, 5, and 6 utilize the established theoretical framework and existing studies to analyze the functions of modes in metaphor Simultaneously, corpus sources provide empirical evidence and novel insights, expanding the theoretical framework and contributing new research results.
Significance of the study
The thesis has complemented characteristics of multimodal metaphors in the advertising discourses in two languages and similarities and differences in the use of multimodal metaphors in Vietnamese and American beverages commercials With such conclusions, the thesis has the following contributions in theory and practice:
Theoretically, the study gains four main contributions First, the study's findings have clarified the concept and characteristics of multimodal metaphors in advertising discourses, so the relationship among modes (visual, verbal, and sonic modes) and the analysis of the images and music are considered the benchmark value in the context of theoretical development of multimodal metaphors in modern linguistic theory The adaption of the new framework in the analysis of the image, text, and music, along with the identification of the interaction between three modes in the generation of both domains, is a multi-dimensional perspective for multimodality researchers, which encourages them to explore different aspects, contexts, and variables related to multimodal metaphors, leading to more insightful and nuanced findings Second, the features of multimodal metaphors in advertising discourses are unveiled, which adds to the current theory on the characteristics of multimodal metaphors from Forceville's perspective, the relationship between conceptual metaphors and multimodal metaphors, and the linguistic features of advertising discourses Third, a new method of identifying multimodal metaphors is constructed based on Forceville (1996), which directs researchers on how to examine each multimodal metaphor by verbal modes first and then images instead of only texts or speech
The thesis findings are essential for advertising designers and marketing managers to creatively, impactfully, and effectively develop advertising campaigns that influence consumer purchasing decisions These insights provide valuable guidance in shaping marketing strategies and ensuring their alignment with the evolving needs and preferences of target audiences.
Chapter 1, Introduction, provides the rationale, aims, objectives, research questions, methods, scope, significance, and thesis structure This chapter overviews the thesis and is considered a premise for future research
Chapter 2, Literature Review, mentions four aspects Four main aspects are intended to point out the research gaps as well as the emphasis of this study In addition, a detailed theoretical background is employed to introduce metaphors and conceptual metaphors, multimodal metaphors, and advertisements Therefore, a theoretical framework is also determined under the above theoretical background and the theory platform for the following chapters
Chapter 3, Research Methodology, describes research methods (quantitative, qualitative, comparing, and contrasting) Two research questions are designed, while beverages commercials only focus on coffee, soda and tea advertisements The criterion and duration of collecting data on television are explicitly described Besides, the identifications of metaphors and multimodal metaphors are also employed clearly Chapter 3 explains in detail how data is collected and processed Chapters 2 and 3 will create a framework and lever for the research results in Chapters 4,5,6
Chapter 4 of the study explores multimodal metaphors in American beverage television commercials, examining the various modes (verbal, visual, sonic) employed and the selection of source domains This analysis establishes the groundwork for similar illustrations in the subsequent chapter, providing a comprehensive understanding of how multimodal metaphors are utilized in advertising to convey meaning and influence consumer perceptions.
Chapter 5 explores multimodal metaphors in Vietnamese beverage television commercials, investigating the roles of different communication modes (e.g., visual, auditory) in advertisements It also examines the selection of specific domains (e.g., nature, music) within these commercials By analyzing these aspects, the chapter aims to provide a comprehensive understanding of how multimodal metaphors contribute to the effectiveness and impact of beverage advertising in Vietnam.
Chapter 6, A Comparison of Multimodal Metaphors in American and Vietnamese Beverages Commercials, points out similarities and differences between the modes of multimodal metaphors and the choices of domains
Chapter 7, Conclusion, describes recapitulation, concluding remarks, the study's implications, limitations, and suggestions for further investigation This chapter closes this study and opens up the prospect of further research for the author and future linguistic researchers.
Structure of the study
This chapter introduces the theoretical background and literature review of multimodal metaphors in beverages advertising discourses, then the theoretical framework is built to make foundations for the research
Metaphors have piqued the general public's and academics' interest for millennia, so the researcher began this part by discussing significant ideas in metaphor research before the establishment of Cognitive Linguistics
According to Tavernier (2002), Aristotle is the father of metaphor theory, having recognized metaphor as a "lexis" phenomenon in his works "Techne rhetorike" and "Peri poietikes," in which he classified metaphor as a micro and macro lexis phenomenon Metaphor is clarified in poetics with the significant job of analyzing nouns The author employed the genres of poetics and rhetoric to prove the existence of his metaphor theory and analysis Based on the notion of micro metaphor, scholars have been exploring linguistic micro-theories of metaphor since 1980 Bickerton (1969), Reddy (1969), Matthew (1971), Sanders (1973), Price Horrocks (1974, 1976), Loewenberg (1975), and Levin (1975) (cited in Taverniers, 2002) are only a few examples (1977) The research examines semantic aspects first, then semantic theories of reference, and ultimately, the speech act thesis Linguists have investigated metaphors in terms of utterance meaning pragmatics, as well as illocutionary and perlocutionary meaning In addition, there are three sorts of metaphors based on macro aspects: cultural, cognitive, and aesthetic strands
Moreover, the romantic viewpoint relates to romantic notions of imagination in the 18th and 19th centuries (cognitive semantics) In this view, metaphor is an essential part of language and mind as a method of perceiving the world and proof of the function of imagination in reasoning and conceptualizing According to this viewpoint, all language is metaphorical, and no distinction should be made between literal and
THEORETICAL BACKGROUND AND LITERATURE REVIEW
Theoretical background
Metaphors have piqued the general public's and academics' interest for millennia, so the researcher began this part by discussing significant ideas in metaphor research before the establishment of Cognitive Linguistics
Aristotle, the originator of metaphor theory, categorized metaphors as both micro and macro linguistic phenomena His analysis in "Peri poietikes" focused on nouns, underscoring the role of metaphor in identifying objects Micro metaphor theory has been extensively studied since 1980, with researchers exploring semantic, reference, and speech act aspects Moreover, macro metaphor theory distinguishes three strands: cultural, cognitive, and aesthetic, each contributing to a comprehensive understanding of metaphor's multifaceted nature.
From a romantic perspective, rooted in cognitive semantics, metaphor is not merely a literary device but an integral part of language and cognition It is a mechanism through which the mind perceives and conceptualizes the world, reflecting the role of imagination in both reasoning and understanding This viewpoint challenges the traditional distinction between literal and metaphorical language, asserting that all language is fundamentally metaphorical.
Contrary to popular belief, the basis of metaphor is the similarity between the two entities being compared According to cognitive linguistics, conceptual metaphors are formed based on various human experiences, including experiential correlation, non- objective similarity, and a shared biological and cultural background between two conceptual domains "Conceptual metaphor," according to Lakoff and Johnson (1980), is the conceptualization of a mental domain through another mental domain, referred to as systematic mapping from one domain to another to produce a cognitive model that aids in better understanding the target domain
In the 1980s, the book "Metaphor We Live by" (Lakoff & Johnson, 2008), considered the bible of cognitive linguistics, smashed traditional views on metaphor The authors acknowledge that metaphor is not only within the scope of language study but also a close relationship and interaction between thought and language, which has broadened the scope of metaphorical research to fields beyond language, such as philosophy, logic, psychology, and neuroscience He also stated that although the aforementioned structures illustrate a relationship between two mental realms, like/like has a lesser effect The core of metaphor is to experience one notion via another The cognitive essence of metaphorical expression, rather than the linguistic structure of metaphorical expression, is the conceptualization of domain A through domain B through a system of consistent, unilinear mappings, which becomes a cognitive model in the human spirit In later years, the theory of metaphor was increasingly expanded Initially, studies suggested that conceptual metaphor was primarily based on bodily experience Kửvecses (1986) asserts that metaphors about human emotions such as anger, pride, and love are closely related to personal experience and are deeply influenced by the language and culture of each nation "Women, Fire, and Dangerous Things: What Categories Reveal About the Mind" (Lakoff, 2008) analyzes abstract concepts in terms of concrete things and people and formally uses the terms cognitive linguistics, cognitive semantics, and cognitive grammar This is considered a handbook on general cognitive linguistics and conceptual metaphor In 2003, metaphorical mapping was done based on physics like a neural map; metaphorical inferences originate from natural neural mechanisms in the human mind (Fauconnier & Turner, 2003) Mapping diagrams consisting of source and target domain were created scientifically with the typical conceptual metaphor A IS B or TARGET DOMAIN IS SOURCE DOMAIN
Conceptual metaphors regard metaphors as both a component of language and an element of thought The link between speech and mind is strong and reciprocal; thus, conceptual metaphor serves as a universal key, a bridge to assist academics in understanding how individuals think about things and how they are impacted This is in stark contrast to the conventional understanding of metaphors In addition, four main features of conceptual metaphors were shown in detail Firstly, asymmetry refers to the way metaphors are directional There is no symmetrical comparison of the two concepts to determine points of similarity Metaphors cause a transference of features from the source domain to the target domain For example, A DRINK IS A PERSON in which bottles are described conventionally as bodies; the emotions that products bring to customers are depicted as a person's feelings Therefore, the terms "target" and "source" actually encode the one-way nature of the mapping Secondly, the term systematicity refers to the fact that metaphor does not merely establish a single point of comparison
It also can be seen in the mapping between the two concepts, for example, in A DRINK
Table 2.1 Mapping of A DRINK IS A FRIEND from the analysis of A1
SOURCE DOMAIN: A FRIEND TARGET DOMAIN: A DRINK the name of the friend ➔ the name of the drink the relationship of the friends ➔ the distance between the drinks the value of the friend ➔ the value of the drink
Popular concepts of target and source domains of conceptual metaphors
In other words, the identification and calling of any domain in the study is based on Kửvecses (1986) The frequency of target domains is listed in the following table:
Table 2.2: The frequency of the target domains of Kửvecses (1986) cited in Shutova&
The 2010 study by Teufel identified target domains such as TIME and FEELING in both datasets utilized Additionally, commonly used source domains are specified in the accompanying table.
Table 2.3: The frequency of source domains of Kửvecses (1986) cited in Shutova& Teufel
Source: extracted from https://www.semanticscholar.org/paper/Metaphor-Corpus-Annotated-for-Source-Target-Domain-Shutova-Teufel/ae8bd70067b26633afae5a2afef9b74105fa0a37 The table shows the typical source domains, so the study also cues the similar source domains like LIQUID, and A CONTAINER in American and Vietnamese beverages commercials Besides, pre-conceptualized metaphors (pre-conceptualized source domains and target domains) are inherited from previous studies For example, choices of source domains are based on available source domains such as CONTAINER (a container of fun, happiness, and enjoyment), FOOD (ingredient- taste), and PERSON (body- personality- emotion) Target domains are normally BRANDS/PRODUCTS that are advertised The target (often the advertised product) can be conveyed by one of its parts, logo, or jingle, and the source can be explicitly represented or implicitly inferred (Forceville & Urios-Aparisi, 2009) In other words, no pre-conceptualized metaphors are also discovered through the thesis, such as A SALESMAN IS A SPEAKER
In short, all of the characteristics above are extremely helpful in the identification of source and target domains and the explanation of the similarities and differences between conceptual metaphors in non-alcoholic beverages commercials
Forceville's (2006) examination of monomodal and multimodal images should be considered after analyzing the prior concept of monomodal and multimodal metaphors and making the contrast between them obvious If a product is promoted visually, it must be split into the source and target domains, according to Forceville (2006) It is essential to consider which section of the image is the source and which is the goal when conducting the analysis To study a multimodal image, however, it must first be separated into the many modes it includes For example, a multimodal picture with a visual and linguistic component would be divided into these two modes, with the source and destination domains taken into account subsequently
For a better understanding, the concepts of monomodality and multimodality are examined Monomodality is a common feature of vocal texts in which facts, information, and knowledge are communicated Monomodality may also be observed when we communicate a concept visually, such as through a photograph, a photo, or an image; for example, in a pictorial metaphor, the source and target domains are found in the picture Forceville et al (2008) showed anger symbols through pictorial runes, body types, gestures, and characters' facial expressions Meanwhile, multimodality refers to techniques that consider communication and representation to be more than just about language and that take into account the complete spectrum of communication modalities humans employ - image, gesture, gaze, posture, and so on – as well as their interactions The ability of one mode to produce "meaning" can never be fully "translated" into another mode - in some cases, translation is often impossible Furthermore, multimodal discourses encompass a wide range of material carriers (paper, celluloid, videotape, bits and bytes, stone, cloth), modes (written language, spoken language, visuals, sound, music, gesture, smell, touch), and genres (art, advertising, instruction manual; or at a more detailed level, comedy, film noir, Western, science fiction), many of which can be further classified of multimodality, where metaphors are highlighted not only by verbal but also by other modes
To achieve an effective advertisement, it is crucial to harmoniously integrate visual, verbal, and sonic elements These modalities collectively contribute to conveying the desired meaning and fulfilling the advertiser's goal of presenting the promoted product favorably By expertly blending these components, advertisements aim to elicit a compelling response from the audience, ultimately driving them to purchase or utilize the product (Forceville & Urios-Aparisi, 2009).
Forceville (2006), p.4 defines "mode" as a sign system that can be deciphered through a particular perceptual process The ability of one mode to produce "meaning" can never be fully "translated" into another mode According to Forceville (2009), metaphor has eight modes: spoken language, written language, visuals, music, nonverbal sound, smell, taste, and touch In reality, commercial metaphors frequently use more than one medium of communication, including (1) visual; (2) written language; (3) spoken language; (4) nonverbal sound; and (5) music (Forceville, 2008) The classification of modes used in this study is primarily based on Forceville's (2007), p.20 as illustrated:
• Because advertising plays out in real-time, the target and source do not have to be shown (or implied) simultaneously; they can be shown in any order
• A metaphorical phrase (target or source) can be expressed acoustically, through a musical theme or nonverbal sound, and visually or audibly
• Framing and camera movement provide formal tools to generate metaphoric resemblance that single static images do not
Multimodal discourse involves diverse genres like art, advertising, and instruction manuals Television advertising significantly engages audiences with its combination of sound and visuals However, its brevity and focus on imagery limit information Despite this, television advertisements exhibit dynamic metaphors due to the interaction of visual, verbal, and auditory modalities In analyzing multimodal advertising, identifying the target and source domains is crucial for understanding the context and intent.
1 It is visually represented, counting as such if it is either itself depicted or one or more elements metonymically related to it are depicted
2 It is sonically represented, counting as such if a non-musical, non-verbal sound unambiguously associated with it is used to cue its identification
3 It is musically represented, counting as such if a musical theme unambiguously associated with it is used to cue its identification
Theoretical frameworks
In order to achieve the aims of the study, the theoretical frameworks potentially relevant to conduct the study are reviewed
2.2.1 Multimodal metaphors in non- alcoholic TV commercials
The classification of three modes in the thesis is based on the subdivision of modes is clarified in the following figure:
Figure 2.3: Subdivision of modes cited in Forceville (2007), p.20
The figure showed that domains in multimodal metaphors could be portrayed visually, acoustically, musically, in spoken words, and in written words, according to Forceville (2007), p.20) The visual representation refers to the exhibition of the event in its entirety, in part, or as a depiction of relevant details to the occurrence Sonic representation refers to noises that are neither music nor speech Musical representation relates solely to music and excludes all other sounds As a result, music might be a melody or a song Finally, domain representation in spoken or written words can take the form of a complete presentation or symbolization by words that are metonymically modes Hence, surface representation must be considered to foster an understanding of metaphorical mappings in studying multimodal metaphors
Furthermore, there are a variety of medium-determined techniques for cueing the target and source's similarity As a result, they are more easily recognized across borders, allowing for more cross-cultural access Finally, the source domains appeal to the receivers' stronger emotions through diverse modes, enhancing the metaphor's efficacy
To utilize this theory to study images of TV commercials, the analysis is based on Kress
& Van Leeuwen (2006) Three meaning layers of images, such as representational, interactive, and compositional meaning, are applied in examining visual modes Representational meaning is the ability of an image to depict or represent objects, people, locations, or events in the real world, referred to as its representational meaning It entails recognizing and interpreting what is visually depicted in the image Representational meanings are frequently linked to the image's visual aspects and composition, such as the items, colors, shapes, and order Viewers can interpret the identifiable parts and understand the image's content by evaluating these visual cues The interactive meaning of a picture relies on the viewer's relationship with the portrayed objects or aspects It includes how the image engages or interacts with the viewer and evokes specific responses or interpretations Interactive meanings are frequently given by numerous visual strategies like framing, perspective, and focal points, which guide the viewer's attention and impact the image's perception This component evaluates the image's emotional, psychological, and cognitive effects on the viewer The interpretive meaning of a picture extends beyond the surface-level depiction and interactive elements to deeper layers of symbolism, metaphor, and cultural connotations It entails interpreting the image's broader social, cultural, and historical contexts and the meanings and values embedded within it To make sense of an image and unearth its underlying messages, ideas, or critiques, interpretive meanings rely on the viewer's knowledge, experiences, and cultural background In conclusion, these three accounts— representational, interactive, and interpretive—provide a comprehensive framework for comprehending the various facets of meaning in the images in beverages commercials The thesis's sonic modes analysis is based on Graakjaer (2015) through transsexuality and contextuality concerning the textual analysis The primary focus is on transsexuality, encompassing preexisting and original music within commercials Preexisting music refers to music sourced from outside the commercial that predates or paraphrases the music used in the commercial On the other hand, original music is newly created for the commercial and has no prior existence Assessing viewers' potential reception and familiarity with sonic modes relies heavily on two types of transtexuality The examination of transsexuality serves to identify the contextual circumstances and marketing strategies employed in commercials This comprehensive understanding of the context aids in interpreting the intentions and meanings conveyed through the music
Besides, the relationship between the image and music/sound is based on the framework of Cook (1998), cited in Graakjaer (2015), which presented a framework for defining audiovisual relations based on a continuum between conformity, complementation, and contestation These classifications describe how music and visuals can interact within an audiovisual production First, conformity is that the graphics conform to or closely resemble the musical elements The visual elements correspond to the music's structure, rhythm, or other qualities The goal is to reinforce or mirror the lyrical content, giving the two a sense of unity and synchrony The second relationship is complementation, which refers to visuals that enhance or complement the musical aspects without requiring exact uniformity The images may supplement the audiovisual experience by providing additional information, context, or aesthetics They function in tandem with the music, adding depth or levels to the story or emotional expression The last one is contestation, which happens when there is a purposeful mismatch or clash between the music and pictures The images may challenge or contrast with the musical aspects, creating tension, irony, or other perspectives This category allows for exploring competing meanings or interpretations, inviting the audience to engage in a more nuanced or critical viewing/listening experience In a nutshell, Cook's theory portrays these categories as a continuum, implying that there can be various degrees of conformity, complementation, and contestation within a single audiovisual work The approach chosen will be determined by the producer's aim, the marketing campaigns, and the desired effect on the viewer/listener Three types of music-image relationships are relevant to three kinds of picture-text ones
In addition, Unsworth's ideational meaning of the intersection of images and texts (2006) is applied to the roles of modes in generating conceptual metaphors Three concepts
- concurrence, complementarity, and connection- aid in understanding how language and image interact and contribute to meaning-making in multimodal texts They emphasize the importance of verbal and visual aspects aligning, complimenting, and connecting in order to generate a consistent and impactful communication experience
Furthermore, the intersections among three modes in the generation of multimodal
Figure 2.4: Intersections among modes in the generation of multimodal metaphors
After the examination of each mode in the conceptualization of multimodal metaphors, the relevant relationships among the three modes need to be illustrated to complement the analysis of the interpretation and explanation of multimodal metaphors The overall picture shows the interdependent relationship between the three modes First, the relationship between visual and verbal is always multidimensional, represented by a two-way arrow, in which images are examined by three prominent roles with the text: complementarity, concurrence, and connection (as Figure 2.3) Second, the roles of sonic modes toward the others are often represented by two main functions: (1) by using a source domain and (2) by triggering mappable connotations of a source domain signaled in a nonverbal mode, shown by a one-way arrow Furthermore, there are three characteristics of sonic modes in the generation of multimodal metaphors in commercials, according to Forceville (2007) First, whereas language connects verbal information with visual, acoustic, or musical information, correlations between nonverbal modes rely on well-timed simultaneity Second, the metaphor's nonverbal and musical tones tend to cue its source rather than its target domain Last, rarely is sound alone responsible for determining the source domain
In conclusion, the modes employed in this study are based on Forceville's (2007: 20) This mode classification serves as the foundation for the study's analytical methodology, which is used to investigate potential multimodal metaphors in advertising On the other hand, the analysis of visual and sonic modes was carried out using Kress & Van Leeuwen (2006) 's theory of image analysis, non-musical sound, and music by Graakjaer (2015), and the ideational meaning of the intersection of images and texts by Unsworth (2006) and audiovisual relations by Cook (1998) cited in Graakjaer (2015)
According to Forceville (2007), based on the above method of cueing domains, there are three main features of multimodal metaphors in advertising discourses First, commercials promote a product, brand, or idea which are the metaphor's target domains This also implies that the metaphor's purpose is directly represented in the text Second, the source domain is cued before the target domain in more than half of the ten metaphors This finding initially appears perplexing since it differs from typical versions of verbal metaphors, in which the target often occurs before the source Third, the attributes mapped from source to target are always favorable unless the target is not the marketed product but a competitor brand to be disparaged The source domain must have a higher status in the relevant dimension than the target - the promoted item In other words, for a more in-depth explanation of relevance theory as it applies to images, Forceville and Clark (2014) state that the target domain is usually the product itself (a car, a drink, a coffee machine), but it can also be the brand as a whole After all, most of the time, a favorable claim is made about a single brand's products or services rather than about products or services in general They also show that the three main steps of the identification of domains are (1) identification of the target domains, (2) identification of the source domains, and (3) visualization of table mappings from the connotations or positive features of the source onto the target domains These ideologies have contradictory aspects in recognizing source and target domains This serves as a foundation for arguments supporting the findings of the thesis
In addition, based on the characteristics of advertising discourses in 2.1.3.2, it is stated that the main objective of any commercial is to introduce the product and persuade potential customers, which builds an interwoven relationship between the product and the target customers Therefore, the categories of target and source domains need grouping according to these typical characteristics of advertisements in linguistics with two common types, such as the domains related to the product (A DRINK, A BAND) and those regarding the targeted buyers (A PERSON, and HUMAN FEELINGS)
Figure 2.5: Categories of domains in American beverages TV commercials
Figure 2.6: Categories of domains in Vietnamese beverages TV commercials
Domains related to the product
- MAGIC ( related to the soda liquid)
Domains related to targeted customers
Domains in Vietnamese beverages commercials
Domains related to the product
- VISCOUNESS AND BLEND OF THE DRINK
Domains related to targeted customers
2.2.2 Multimodal metaphors with the representations of the products and target customers
The theoretical framework of the analysis of multimodal metaphors in beverages TV commercials is shown in the figure:
Figure 2.7: The framework of the analysis of multimodal metaphors in American beverages TV commercials
As can be seen, the use of multimodal metaphors is examined by combining three modes, domains, and representations of the product and customers Besides, the interaction of two or more modes is identified along the roles of visual, verbal, and sonic modes in the conceptualization of a multimodal metaphor Furthermore, the target and source domains are statistically descriptive, with the mapping tables from the source domains onto the target In addition to the interpretation of mode roles, the marketing campaigns of each advertisement are also described in the analytic table, which plays an essential part in the examination of the metaphors Two-way arrows show the relationship between the roles of modes, domain choices, and the representation of products, as well as the targeted customers In conclusion, the figure is an overall picture of the study on multimodal metaphors in American beverages commercials, and the
Adam (2019) highlights the importance of analyzing the linguistic features of advertising language as it can reveal the intended message, target audience, and persuasive techniques employed by advertisers He discusses linguistic features' role in creating brand identity and promoting products and services One of the key linguistic features analyzed in the review is using lexical choices, particularly positive adjectives and adverbs Adam (2019) notes that advertisers often use positive language to create positive associations with the product or service, which can influence consumer attitudes and behavior He also discusses figurative language, such as metaphors and similes, and their effectiveness in creating memorable advertising messages Besides, syntactic structures are also examined in the review, particularly the use of imperatives and rhetorical questions Adam notes that imperatives can effectively create a sense of urgency and encourage immediate action At the same time, rhetorical questions can engage the reader and encourage them to consider the product or service in question Adam also analyzes rhetorical devices, including repetition, alliteration, and rhyme He notes that these devices can effectively create memorable advertising messages and reinforce brand identity Overall, Adam's review provides insight into linguistic features' role in advertising language and their effectiveness in shaping consumer behavior The study highlights the importance of analyzing advertising language and the need for advertisers to carefully consider their language choices in order to create compelling and persuasive advertising messages Furthermore, Hussein and Al-Furaiji's (2015) examined the rhetorical characteristics of advertising slogans from 1990 to 2010 The authors aimed to identify the main rhetorical strategies used in advertising slogans during this period and determine how much these strategies have changed over time The study's methodology is that the authors analyzed a sample of 300 advertising slogans that appeared in popular magazines and newspapers in the United States The sample was selected based on a random selection of advertising slogans from each year of the period under study The authors used qualitative and quantitative analysis methods to identify the main rhetorical strategies used in the slogans, such as metaphor, hyperbole, repetition, and alliteration Therefore, the study found that the most common rhetorical strategies used in advertising slogans during the period under study were metaphor, hyperbole, and repetition The metaphor was the most frequently used strategy, followed by hyperbole and repetition The authors also found that rhetorical strategies varied over time, with some becoming more prevalent in specific periods than others For example, the use of metaphor peaked in the mid-1990s, while hyperbole and repetition increased in frequency during the late 1990s and early 2000s However, the study had some limitations that may affect the generalizability of its findings The sample only included advertising slogans from magazines and newspapers, which may only represent some advertising slogans used during the period under study Additionally, the authors did not consider the context in which the slogans were used, which may have influenced rhetorical strategies Despite its limitations, Hussein and Al-Furaiji's study contributes to advertising and rhetoric by providing insights into the rhetorical strategies used in advertising slogans during a specific period
The second one is that many researchers have analyzed advertising discourse Messaris' (1997) study on "Visual persuasion" focuses on the unique visual elements of advertising that convey meaning and influence consumer behavior The author examines how various visual elements, such as images, colors, typography, and layout, contribute to the persuasive power of advertising Messaris discusses how placing images and text, color and typography, and other design elements can all work together to create a cohesive and persuasive message Moreover, the author highlights the importance of context and cultural references in visual persuasion Messaris notes that images and other visual elements may have different meanings and connotations in different cultural contexts, and advertisers must be aware of these differences to communicate with their target audience effectively In addition, Cook (2001), pp 42-63 provides an in-depth analysis of modes (music, picture, and language in advertising), with a particular focus on how advertisers construct meaning through language The language was analyzed in the relationship of other modes The classification of modes is similar to Forceville (2007) The role of music with the connotation was also intensified, but the analysis was not as sufficient as Graakjaer (2015) The content analysis method was carried out to examine three modes of advertisements The findings of the study are the complementation of Forceville (1999) Two levels of advertising analysis are listed in the following table:
Table 2.6: Previous studies on advertising analysis Authors Research problems Aims Methodology Key findings Areas need improving
To demonstrate the roles of linguistic features in advertising language and their effectiveness in shaping consumer behavior
Content analysis the importance of analyzing the linguistic features of advertising language as it can reveal the intended message, target audience, and persuasive techniques employed by advertisers it only consisted of 26 advertisements of various types compiled from the press, TVs and the internet, published from
2000 to 2016 so the types of advertising are so vast, which affects the research findings
Cook, 2001 The discourse of advertising analysis of modes( music, picture and language in advertising
The findings of the study are the complementation of Forceville (1999)
The role of music with the connotation was also intensified but the analysis was not as sufficient as Graakjaer (2015)
2015 rhetorical characteristics of advertising slogans (1990 -2010) to identify the main rhetorical strategies used in advertising slogans during this period and to determine the extent to which these strategies have changed over time content analysis metaphor, hyperbole, and repetition are the most commonly used rhetorical strategies in advertising slogans from 1990 -2010
Hussein and Al-Furaiji's research offers valuable insights into the interplay between advertising and rhetoric Their study analyzed advertising slogans from magazines and newspapers, offering a focused perspective on this aspect of marketing communication However, it is essential to note that the sample's limited reach to these specific channels may not fully capture the broader range of advertising slogans used during the period under examination.
Research methods
This part specifies data collection, data analysis (content analysis) and methods of coding data and then validation of the research
This part of the study includes justification of the data selection, data collection procedures and description of sample beverages TV commercials
The study includes 50 non-alcoholic beverages advertisements, 25 from America and 25 from Vietnam, with three main kinds of beverages (tea, coffee, and soda) from two websites (ispot.Tv and youtube.com) The reason why these datasets are chosen is shown below
Justification for the choice of non-alcoholic beverages TV commercials
The selection of non-alcoholic beverages TV commercials includes two reasons First, the age of the consumers is not as limited as in the alcoholic beverages From adolescents to the elderly, individuals of all ages are portrayed in non-alcoholic beverages advertisements, representing potential target consumers Conversely, alcohol beverages advertising typically targets individuals above the age of 18 and may be subject to broadcasting restrictions, with the predominant target demographic being males in Eastern countries Therefore, selecting non-alcoholic beverages as the research data serves to mitigate challenges in data collection and eliminate government regulations-related analysis aspects in advertising, as well as address gender inequality inherent in alcoholic beverages advertising This approach facilitates a concentrated evaluation of applying a framework for analyzing the relationship between various modes within advertising discourses Moreover, the popularity of non-alcoholic commercials with international brands such as Lipton, Starbucks, Coca-cola, and Pepsi on TV in the United States and Vietnam serves as a benefit for data collection due to the larger number of publications In other words, milk is one of the kinds of beverages but it is also a functional food milk, which may overlap features of beverages and food advertisements and cause confusion in the analysis of the generation of multimodal metaphors in beverages advertising discourses Therefore, non-alcoholic beverages are the study's primary data, with three types (tea, coffee, and soda)
Justification for the chosen non-alcoholic beverages TV commercials and time frame for TV commercials issues
To ensure comparability and accuracy, non-alcoholic beverage TV commercials for the analysis are carefully chosen based on similar target audiences and viewership numbers In the US, ispot.tv is utilized as a reliable platform to provide comprehensive data on TV commercials, including viewers, producers, marketing campaigns, and commercial details This data is essential for the selection and analysis of commercials In Vietnam, official YouTube channels with verified badges serve as credible sources for information on viewer numbers, publication dates, and durations of commercials.
These TV commercials with a high rate of viewers, which consisted of three modes (visual, music, and verbal modes), were published in America and Vietnam, none of which was collected Because of research data on TV commercials, the study does not examine materials such as printed advertisements, newspapers, or magazines Furthermore, the length between 15 and 30 seconds is popular promotion on television so these kinds are chosen for this research commercials are found on ispot.Tv Moreover, if there is a 15-second version, there will be no versions longer than that (specifically, there is no version that is 20, 25, or 30 seconds long), which makes it convenient for the author to collect the data with 15-30-second commercials without overlap of the advertising content In addition, the versions between 15 and 30 seconds are easy to find in both countries in terms of the equivalence of the number of the chosen commercials (encoded from A1 to A25) Speeches of television commercials are transcribed into texts for ease of study which were double-checked by two American speakers (appendix 10) They took over watching and correcting the transcripts which had been produced by the website subtitlevideo.com with 300,000+ customers This website provides the subtitlevideo team which sends the documents of transcripts of videos through emails with fixed annual fees The information on this website is also provided in Appendix 10 to ensure the reliability of the research To clarify the notion employed in verbal modes of advertising, we use a rough translation (translated by the author of this study) and place it in parentheses after the expression for linguistic statements in American beverages TV commercials All of this is plainly illustrated in the table below:
Table 3.1: The criteria for data selection
1 Modes Visual, music and verbal V1- CÀ PHÊ PHỐ- UỐNG LÀ VUI
Written speech : ở nhà vẫn trúng trăm triệu, còn hơn 10000 giải, còn giải
1 tỷ 2, giải 100 triệu còn rất nhiều tiền Nhanh tay xé nhãn, ở nhà trúng tiền tỷ Bạn đã xé nhãn chưa ?
Xé ngay trúng liền Trà thanh nhiệt dr Thanh, trà xanh không độ, nước tăng lực number 1 chanh và dâu active chanh muối, sữa đậu nành sô cô la chai thuỷ tinh
Dễ chơi dễ trúng thiệt đó Nhập code và gửi tin nhắn tới 6020 hoặc website xengaytrunglien.com, facebook của chương trình
Nhanh tay xé nhãn còn rất nhiều tiền Nhanh thay lên, khuyến mãi vẫn còn
Visual modes: The characters all gasped when they saw the money
3 Publication They are examined on television or through the internet, the thesis does not examine materials such as printed advertisements, newspapers, or magazines uống trà thanh nhiệt dr thanh, nước tăng lực number 1, trà xanh không độ trúng nhiều tiền
Source: https://www.youtube.com/watch?v=VBwLFHA8SS4
4 Classification V1 to V25 (Vietnamese commercials) A1 to A25 (American commercials)
There are five main steps in the data collection procedure of the study Raw materials are beverages commercials in America and Vietnam The origin, publishers, year of production, length, and marketing campaigns were examined Then the steps of the data collection procedure were as follows:
Figure 3.2: Data collection procedure of the study
3.4.1.3 Description of sample beverages commercials
The distribution of the product categories in both countries is presented in the following table:
Table 3.2: Distribution of sample non-alcoholic beverages TV commercials on product categories
Product categories American non-alcoholic beverages TV commercials
Vietnamese non- alcoholic beverages TV commercials
The table shows the types of products in two datasets The percentages of tea and coffee in the two datasets are opposite At the same time, the soda ratio is similar (64%), which is caused by the criteria of the data- the TV commercials are chosen from April
Step 1 • Finding out lists of the categories of American and Vietnamese TV commercials Step 2 • Deciding the timelines for the chosen commercials
Step 3 • Collecting all TV commercials in those issues selected
Step 4 • Watching, categorizing, describing the sample TV commercials
• Omitting (i) commercials appearing repeatedly, (ii) commercials of the same brand to avoid the overlap, (iii) commercials which are not from the USA and Vietnam
Content analysis has piqued the interest of researchers comparing the generation of multimodal metaphors in advertising discourses because it is a way to systematically and objectively examine enormous amounts of advertising information, and enables academics to quantify and categorize advertising aspects such as visual images, language, and themes
Semantic content analysis is adapted to analyze three modes (verbal, visual, and sonic modes) in the conceptualization of multimodal metaphors In terms of categories of the analysis of each mode, the qualitative content analysis method is driven This method builds up the framework and categories of the examination of the roles of each mode and the interaction among the three modes in the generation of multimodal metaphors in American and Vietnamese beverages TV commercials Based on these concepts, the quantitative method is used to depict the ratio of domain choices, distribution of modes, relationship among three modes and the generation of metaphors, illustrating the comparison and contrast of American and Vietnamese non-alcoholic beverages commercials
3.4.2.2 Data coding a Qualitative content analysis
This study aims to identify multimodal metaphors in American and Vietnamese non-alcoholic beverage TV commercials Drawing on Forceville's (2007) multimodal metaphor theory, Kress and Van Leeuwen (2006) and Graakjaer's (2015) analysis of visual and sonic modes, and Unsworth's (2006) and Cook's (1998) analysis of ideational meaning and audiovisual relations, the study employs directed content analysis, a method appropriate for identifying and interpreting phenomena that lack sufficient previous theoretical or empirical investigation (Hsieh & Shannon, 2005) The coding process involves two main types: the examination of modes in metaphor generation and the analysis of visual and sonic modes.
Coding with concept-driven categories
Coding with concept-driven categories is taken into the identification of multimodal metaphors based on the three-step procedure by Forceville (2008) and the five steps of MIP (2007) The MIP consists of five primary processes, beginning with context realization and ending with the selection of metaphorical units To be specific, the processes are (1) read the full text/discourse to build a general knowledge of the meaning; (2) identify the lexical units in the text or discourse; (3) establish each lexical unit's meaning in context; (4) determine whether the contextual meaning contrasts with the basic meaning; and (5) mark each lexical unit as metaphorical The MIP approach is preferable for verbal discourse However, because the study issue focuses on multimodal metaphors, this methodology mentioned above must be supplemented in another way Thus, Forceville's (1996) approach is considered to build a framework for assessing multimodal discourses Forceville (2006, 2008, 2009) proposed three criteria for recognizing multimodal metaphors: Consistency, Redundancy, and Complementarity His proposed identification procedures for multimodal metaphors can supplement these criteria by offering specific methods for analyzing the interaction of different modes of communication in metaphorical meaning-making For example, one of Forceville's procedures involves analyzing the temporal alignment of different modes, such as speech and gesture, to identify moments of multimodal metaphorical expression This procedure can help establish consistency between different modes of communication in conveying the metaphorical meaning Another procedure involves analyzing the pragmatic context in which the multimodal expression occurs, such as the participants' shared knowledge and social expectations This procedure can help establish the complementarity of different modes of communication in conveying the metaphorical meaning According to Forceville (2010), the sonic mode does exist in the conformance of the construction of multimodal metaphors, so the identification of multimodal metaphors is examined through verbal and visual modes Therefore, Forceville (1996) is necessary to examine multimodal metaphors In order to find a solution to these issues, three significant steps are carried out in the study
• Step 1- realization: The first step involves identifying potential conceptual metaphors through (1) compelling context, (2) juxtaposition, and (3) transformation of objects, events, or scenes in visual, sound effects, music, and written and spoken speech The analysis of images is based on Kress & Van Leeuwen (2006) with the examination of representational, interactive, and interpretive meanings of each image, while the description of sonic modes is applied by Graakjaer (2015) with context and context of music and sound effects; and the ideational meaning of the intersection of images and win), 100 million $ The medium shot makes the social relationship between the characters Saturation color with the drinks (yellow drink, the yellow image of dollars makes the audiences remember the products more deeply Different angles make real- ideal, given new information to each viewer The image is concurrent with the verbal mode, the female voice at the beginning: You can Win a hundred million at home The sound of the coin extracting out is original, which is conformity to the visual mode when expressing happiness of winning money The sound of a coin is the sound of happiness
In A2, the female voice: new ice cream Tea by saying no, saying no to, Pure leaf-no is beautiful which is interpreted that the action of the product is the action of the person, the ingredient of the product is the beauty of the person; while the image combines with this verbal mode and exciting music which generates the source domain A PERSON Hence, the image cues the target domain A DRINK first As can be seen, in V1, the roles of the image and text are equivalent, while in A2, the role of the speech takes the majority in the cue of the target domain
• Step 2- interpretation: Once multimodal expressions have been identified, the second step involves analyzing the semantic content of the different modes of TV commercials This involves identifying the literal meanings of each modality and determining how they are combined to create a metaphorical meaning and which target or source domain is cued before visual modes are cued exclusively or predominantly with verbal modes in the same mode For example, in V1, three modes cue both the target and source domains Money is cued by the image of money falling, the female voice, and the sound of coins extracting Happiness is generated after the source domain after the viewers see much money is the image of people laughing happily Visual mode is more predominant than verbal one
Summary
The research methodology comprehensively outlines the key aspects of the study, including three research questions to drive the inquiry The exploratory sequential mixed methods design was selected as the methodological approach, guided by a pragmatic worldview Data selection criteria covered modes, time, publication, and classification The data collection procedure consisted of five distinct steps Qualitative analysis was the primary focus of the coding approaches employed The analytical framework for American beverages TV commercials delved into domain choices, the interplay of modes, domain generation, and the analysis of visual and sonic modes in representing the product and target customers.
Besides, transcribing multimodal data for analyzing multimodal metaphors in advertisements presents unique challenges and requires careful consideration due to the complexity and diversity of information channels involved.
MULTIMODAL METAPHORS IN AMERICAN NON-
The generation of multimodal metaphors
This part provides a detailed study of each metaphor generated in American non- alcoholic beverages TV commercials to offer a complete grasp of how multimodal metaphors are generated Furthermore, similar metaphors are grouped into four themes of target domains (target domains related to the products, and to the target customers) First, the conceptualization of multimodal metaphors in beverages commercials is examined by the analysis of the target domains representing the products themselves (A DRINK) are interpreted:
4.1.1 Domains in terms of THE PRODUCT
The product is represented by main domains: A DRINK, A BAND, MAGIC and
A SALESMAN in American beverages commercials according to figure 2.7 A DRINK takes the majority so the use of a drink as the target domain is first analyzed in the detail part:
Of all, source domains with the same target A DRINK is categorized into different kinds which are related to the person (jobs, body parts); a container, a food, a heat, a flame, a medicine, an object, a prize, an organization and gold a A DRINK IS A PERSON
Source domains A PERSON are analyzed in the following figure:
Figure 4.1: The categories of conceptual metaphor A DRINK IS A PERSON
First, source domains A PERSON with the expression of the same target A DRINK is cued:
There are two kinds of the combination of modes in generating the domains Figure 4.2: Screenshot of A25
First, visual and verbal modes cue both domains in A16 and 25 For example, in A25, two images coordinate with the voice
+ visual modes: the image of gold text and gold logo using the text: made with real tea leaves, stay gold The saturation color between the gold and the brown of the drink makes the viewers attracted and charged in their minds with the meaningful message of the advertisement The products are on the left, giving the given information value, which expresses the brand's popularity The text is on the right, and the high position makes the viewers feel ideal and new In this context, "Made with real tea leaves" likely implies that a product, such as tea or tea-infused beverages, is made using actual tea leaves rather than artificial flavors or additives "Stay gold" is a phrase that conveys the idea of staying true to oneself, maintaining purity, or preserving something precious
+ verbal mode: the voice: Stay gold, which cues the target first and shows that the gold quality of the drink is the gold lifestyle of the person, and the name of the drink is the name of the person, the ingredient of the drink is the cell of the body of the person
In 16, the images meticulously combine with the male voice
+ visual mode: image1: the image of the drinks being together is captured by the oblique angle, creating detachment which helps the viewers understand the message The image is in the center, creating the vital information, the differentiation color making prominent in the white background Image 2: the drink's image alone is in the center, creating importance The differentiation of color helps viewers identify the message quickly; the carton is divided into parts like the positions in society Moving from a medium shot to a close- up angle expresses the social-to-personal relationships between the participants as well as the relationships between the image and the audience
+ verbal mode: the male voice: For those living together and those living apart, which identifies the target first and shows that the relationship of the drink is the relationship of the person, the name of the drink is the name of the community, the slot in the carton of the drinks is the slot in the community of the person
Second, the speech cues the target before three modes generate the source domain In A2, this image concurrently combines with the female voice while sounds are complementary for the image:
+ visual mode: the image of red flowers and green leaves in which red flowers are up, down, right, and left It means it is the natural and ideal, the new and given beauty, the text: pure leaf is in the center, making the vital information for the viewers No is pureness is in white and frontal, which makes the viewers' involvement, representing the pureness of the beauty
+ verbal mode: female voice: Pure leaf- no is beautiful
+ sonic mode: original, and exciting music
Sonic mode is the complementation of the image in the generation of the beauty, the action of the person while the verbal modes cue the target domain A DRINK through the name of the drink Thus, red flowers and green leaves represent the beauty of the young girl It means the beauty of the drink is the beauty of the person, and the action of the drink (say yes, no) is the action of the person It can be seen in the table:
Table 4.1 provides a mapping between two domains: A PERSON and A DRINK This mapping establishes correspondences between various attributes of a person and their counterparts in the context of a drink Specifically, it maps the beauty of a person to the beauty of the drink, the person's actions to the drink's actions, the person's relationships to the relationships between drinks, the person's place in the community to the drink's place within the carton box, and the person's name to the drink's name.
➔the name of the drink
+ Visual mode: the image of a woman drinking the product is shot by the close-up image of the bottle with the ingredients on the tea bottle Saturation of color to make the product prominent, which makes the restatement of the brand
+ verbal mode: female voice: Bring a friend Lipton green tea with antioxidant vitamin C keeps you feeling better while making time together better The phrase “bring a friend Lipton” states that Lipton is a friend of the woman so the name of the drink is the name of the friend Besides, Lipton contains a lot of healthy nutrients and it provides many benefits to the drinkers, which reminds us of the value of friendship With the existence of the product, the time together is much better which illustrates that the moment between friends is happier
Two modes are concurrent to cue the target domain first At the same time, the preexisting Lotta Things song by Raphael Gualazzi is the contestation of the images in the generation of the source domain, which expresses the name of the friend, which is also the name of the drink, the moment being with the friend is the moment of drinking, the value of the friend is the function of the drink It is shown in the following table:
Table 4.2 Mapping of A DRINK IS A FRIEND
SOURCE DOMAIN: A FRIEND TARGET DOMAIN: A DRINK
The name of the friend ➔ the name of the drink
The moments being together with a friend
➔ the moments of drinking the value of the friend ➔ the function of the drink
There are two kinds of the combination of modes in generating the domains First, visual and verbal modes cue both domains in A3:
In a captivating visual, Santa Claus lounges poolside, his jolly attire complementing the vibrant products showcased on-screen The saturation of the colors creates a harmonious connection between the jolly figure and the featured offerings The visual seamlessly blends with a female voiceover, guiding viewers through the captivating imagery.
+ Verbal mode: female voice: Leaving Home with Dunkin is where you want to
Be, leaving home is interpreted as a journey, and during that time, Dukin is a partner
Therefore, the drink's name is the name of the partner and the relationship with Santa Clause and the drink is the relationship between the partners
It can be illustrated in the table:
Table 4.3 provides a mapping between the "A PARTNER" and "A DRINK" domains Each mapping rule defines a conversion from a specific attribute in the "A PARTNER" domain (e.g., "the name of the partner") to a corresponding attribute in the "A DRINK" domain (e.g., "the name of the drink") Additionally, the mapping rules account for the relationships between attributes in the two domains, such as converting the "relationship of the partner" to the "distance of the drinks" or the "role of the partner" to the "role of the drink".
In A19, the male voice complements the image:
+ verbal and visual modes: the drink image of the end uses the written text: official soft drink of the national football league The phrase "official soft drink of the National Football League" means the officially designated non-alcoholic beverages of the NFL This describes a situation where a beverages brand has been selected as the official partner of the NFL in the non-alcoholic beverages category This often comes with a sponsorship or advertising agreement to demonstrate the association between the brand and the NFL
The use of multimodal metaphors
4.2.1 The ratio of domain choices
Following the identification of the conceptual metaphor, the target and source domains in American TV advertising are examined First, the frequency and percentage of target domains are shown in the table below:
Table 4.32: The ratio of target domains in American beverages TV Commercials
No Group Target domains Frequency Percentage
1 related to the product a drink 35 53.8
4 Magic related to the soda liquid 1 1.5
1 related to the targeted customers beauty 1 1.5
3 Magic related to the actions 2 3.1
As can be seen, the first group is the target domains referring to A DRINK (a drink, magic, a salesman and a brand), which have 38 times the frequency with a rate of 58.5% The second one is the target domains connecting with A PERSON (human feelings, human action, sport, time and beauty), which have 27 times frequency with a rate of 41.5% Therefore, domains regarding the products take a 17% higher ratio than those of targeted customers, which is equivalent to the characteristics of target domains based on Forceville & Urios-Aparisi (2009) These TV commercials still prioritize brand recognition of the beverages first, followed by sketching the portrait of potential customers for the brand Domains depict the product, the liquid of the drink and the brand, while the advertisements attract viewers through images, speech modes, sound effects, and music Customers will then be reminded of the functioning of the products as well as the popularity of the brands, and they will be encouraged to trust and purchase them, which demonstrates the features of the persuasive speech of Đinh Kiều Châu
(2013) In the representation of the products, target domains are concrete and different from the three abstract types of Kửvecses (2010), whereas other target domains that are concerned with the expression of target customers are in typical concepts Specifically, human feelings belong to the first group of feelings, magic and time fall under the gatherings of personal experiences, and sport is a part of the second collection of human interaction
The following table displays the source domain options in American beverages
Table 4.33: The ratio of source domains in American beverages TV commercials
No Source domains Frequency Percentage
A study of American beverage television commercials reveals that the most common source domain portrayed is a person (21.5%), followed by human actions (20%) and food (12.3%) Other notable source domains include food companions (9.2%), medicine, direction, and containers (6.2%), and a source of energy (4.6%) Liquids and objects also appear frequently, and the study found that the person's experiences with concrete objects can help them understand abstract concepts Some source domains are directly related to the product's liquid nature, but this relationship accounts for only 3.1% of commercials.
In conclusion, the source domain choice is nearly 3 times higher than the target domain at 15 and 6 respectively Both domains are cued in the generation of the products and their customers: while the target domains focus more on product recognition rather than the identification of potential customers, the source domains are utilized to depict the portrait of potential customers more vividly than the recognition of the product
4.2.2 The use of multimodal metaphors
To provide a thorough understanding of how multimodal metaphors are used in American beverages TV commercials, this part presents a detailed analysis of the frequency of the distribution of the modes of domains in these TV Commercials First, the roles of modes in target domains in American TV Commercials are shown in the following table:
Table 4.33: The combination of modes in the generation of target domains in
No Group Target domains IV IVS V I IS VS
1 related to the product a drink 20 12 2 1
5 related to the targeted customers beauty 1
The table shows the ratio of the combination of modes in the generation and conceptualization of target domain choices of multimodal metaphors in American beverages TV commercials The combination of three modes (IVS) reaches the highest rate, at 44.4% Three modes cueing target domain A DRINK takes up 12 times while this combination generates human feelings with 10 times of frequency Following that, visual-verbal-sonic modes are applied for the expression of the potential customers more than those of the examination of the products with 15 and 13 times of frequency respectively
Besides, the combination of images and words (IV) ranks second place at the rate of 39.7%, which is one time of frequency fewer than the first rank The mixture of visual and verbal modes of the generation of target domain related to the products takes up over 5 times as much as those regarding the targeted customers, 21 and 4 times of occurrence respectively
Next, the combination of the verbal and sonic modes (IS) takes up 11.1%, which is applied to generate human feelings, the sonic mode of eating or smiling is used for the identification of happiness and exciting music is designed to cue the feelings of enjoyment
Furthermore, verbal modes(V) rank fourth with 2 times frequency and 6.5% whereas only images have a rate of 4.8% and no rate of the combination of verbal and sonic modes(VS) For example, in A4, the image of a speaker was printed with the word order on it after two customers called the coffee, which depicts the function of the speaker is as a salesman
In a word, the roles of the three modes (IVS) and the combination of images and words (IV) in generating the target domains in the multimodal metaphor of American beverages TV commercials take the majority in the above table Three modes are significant in the cue of target domains, especially images and texts The rate of images is nearly the same as texts and speeches, for example, the images occur 1time frequency while the verbal modes happen 2 times; which is opposite to the statement of the prominence of verbal expression in the illustration of the products based on Forceville
Besides, the roles of modes in generation and conceptualization of source domains in multimodal metaphors in American beverages TV commercials are shown in the following table:
Table 4.34: The combination of modes in the generation of source domains in American beverages TV Commercials
No Source domains IV IVS V I IS VS
The table shows the frequency and percentage of modes in source domain choices of multimodal metaphors in American beverages TV commercials The combination of visual and verbal modes (IV) peaks at 49.2%, while the second place is the combination of three modes (IVS) with a rate of 30.8% The mixture of images and speeches is exploited to the fullest extent to generate source domains regarding to a person, for example, a national lover, a servant, a learner and a teacher in university, and a supporter in A16 with 12 times of frequency Besides, three modes are used for the identification of the source domains a food which sonic modes are in the conformity of both visual and verbal modes with the highest occurrence of 5 times and the second rank is food companion with 3 times of frequency
Finally, the combination between images and sonic modes (IS) has a rate of 16.9%, while only images(I) and the combination between the verbal and sonic modes(VS) take up 1.5% with one time of frequency Thus, the role of music and sounds in the generation of source domains is essential and clearer than those in target domains The fizz or pssd of soda liquid plays an important part in the examination of the target domain A DRINK while it is the conformity with other modes in the discovery of source domains such as human actions (6 times of frequency), a container, flame, an object, and a person (only 1 time of occurrence)
The number of combination types in generating target and source domains is equal While three-mode combinations dominate in target domain generation, they rank second in source domain generation Image and verbal mode combinations are the preferred choice for capturing viewers' attention in TV commercials' initial stages.
The total ratio of sonic modes of IVS, IS and VS illustrate their roles in the combination of modes in the generation of multimodal metaphors, specifically, 55.5 and 49.2% respectively in the cue of target and source domains It means that the roles of sonic modes in the construction of the target are more significant than in the identification of source domains
Summary
This chapter provides a detailed analysis of multimodal metaphors in American beverages TV commercials
First, 22 conceptual metaphors are cued of which there are 9 types of target and
15 source domains Target domains related to the product include A DRINK, A BRAND
OF THE DRINK, A SALESMAN OF THE DRINK and MAGIC (regarding the liquid of the drink) Other domains carve the potential customers’ sketch through the source domain choices such as A BEAUTY, HUMAN FEELINGS, FOOD, A PERSON, FOOD COMPANION, etc While target domains are focused on the products themselves, source domains are derived from anything specific and nearby in real life
Second, the combination of modes in the generation of multimodal metaphors is reflected through four parts Concerning the ratio of the combination of modes in the generation and conceptualization of target domain choices of multimodal metaphors in American beverages TV commercials, the combination of three modes (IVS) reaches the highest rate, at 44.4% while other types of blending rank lower places In the context of the frequency and percentage of modes in source domain choices of multimodal metaphors in American beverages TV commercials, the combination of visual and verbal modes (IV) peaks at 49.2%, while the second place is the combination of three modes (IVS) with a rate of 30.8% In connection with the relationship of modes on the generation of multimodal metaphors, the ratio of concurrent connection between the texts and images ranks first with 34.6% and 18 times frequency while the complementation between two modes takes up the second position with 4 times frequency and 7.7%; and no connection of the text with the images hits the lowest point with only 1.9 % In terms of the cue of metaphors, the first generation of the target domain has the highest proportion with 35 times of frequency, equivalent to 53.8%, which gains the most majority in the table The second one is the first generation on source domains with a ratio of 26.2 %, which is over 6.2% more than the third position in which the concurrent generation takes place In addition, when the target domain is identified first, they are all conceptual metaphors, with the target domain being the product itself- A DRINK
In conclusion, domain choices and the interaction among three modes in the generation and conceptualization are in the detailed analysis of American non-alcoholic beverages TV commercials.
MULTIMODAL METAPHORS IN VIETNAMESE BEVERAGES
The generation of multimodal metaphors
This part provides a detailed study of each metaphor generated in Vietnamese non-alcoholic beverages TV commercials to offer a complete grasp of how multimodal metaphors are generated Furthermore, similar metaphors are grouped into two themes according to Figure 2.8; and the domains regarding the product are in the first interpretation
5.1.1 Domains in terms of THE PRODUCT
First, the conceptualization of multimodal metaphors in beverages commercials is examined by the analysis of the domains representing the products themselves are visualized:
Figure 5.1 The categories of the target domain regarding the product/the drink
Domains related to the product
A DRINK THE LIQUID OF THE DRINK QUALITY OF THE DRINK THE LID OF THE DRINK FLAVOUR OF THE DRINK VISCOUNESS AND BLEND OF THE DRINK THE SLOGAN OF THE DRINK
THE PROMOTION OF THE DRINK
5.1.1.1 Target domains: A DRINK a A DRINK IS A PERSON
Source domain A PERSON of the Target A DRINK is classified into two groups as the following figure:
Figure 5.2: The categories of source domains of A DRINK IS A PERSON
In Vietnamese beverage commercials, the source domain "A PERSON" encompasses a wide range of personas, including those holding ordinary occupations (e.g., singer, connector, introducer, food partner) and those serving emotional roles (e.g., love matchmaker) Additionally, "A GOD" represents the spirit or essence of the beverage These source domains reflect the notion that a drink can embody various traits and qualities, both mundane and profound.
In V17, three modes generate the target and source domains
+ visual: The image of Pepsi products with ice and cool water standing on the cans The image uses the text (đã quá Pepsi ơi- extremely satisfied, Pepsi), the way of calling the product Pepsi ơi is the method of calling a closet friend; so Pepsi is the name of the friend The products are on the left, representing the given information; it shows the appearance of the products and which are the appearance of the closest friend A friend is who shares the same hobby and opinion so the product's emotion to the customer is the emotion that a friend brings
+ verbal: male voice: sảng khoái cùng Pepsi, đã quá Pepsi ơi-extremely satisfied, source domain A
AN ORDINARY PERSON friend, partner, connector, introducer, singer, love matchmaker
A GOD which generates the feelings of the drinkers of the enjoyment and refreshment of the friend's feelings
The last one is visual and verbal modes representing both domains In V22, the speech and the image are concurrent:
+ visual-verbal: the image uses the text (đã quá Pepsi ơi- extremely satisfied, Pepsi) The text is on the right, which is new It is white and differentiated from black of the products The products are on the left, which is given information, and states that the name of the drink is the name of the friend and the feelings of the drinkers are the feelings of friends Thus, visual and verbal modes are concurrent in the generation of conceptual metaphor, and is shown in the following table:
Table 5.1 Mapping of A DRINK IS A FRIEND
Source domain: A FRIEND Target domain: A DRINK the name of the friend ➔ the name of the drink the appearance of the friend the friend’s roles
➔The appearance of the drink
➔The emotion that the drink brings to the customer
In V18, the image concurrently combines with the male voice and the sound effects are supplementary to the image
Pepsi's Tet marketing campaign evokes the festive spirit with its gold and blue packaging, reminiscent of luxury and the significance of the occasion The central image showcases the "golden unicorn" packet, surrounded by two additional product packets The headline "cùng Pepsi, mang kì lân vàng về nhà" (With Pepsi, bring the golden unicorn home) emphasizes the partnership between Pepsi and consumers in creating a memorable Tet experience By supporting travel tickets for those returning to their hometowns, the campaign underscores the role of partnerships in fostering a joyful Tet celebration.
+ verbal: the male voice: Pepsi mang tết về nhà – Pepsi, Bring Tet to home; which shows Pepsi is one of the partners responsible for making Tet
+ sonic: the preexisting sounds of gold lines moving and boom preexisting sound of gold as fireworks at Tet; which reminds of the traditional sounds of a prosperous new year
The sounds are supplementary to the image, which cues the target domain At the same time, verbal and visual modes express the source domain It means the name of the drink is the name of the partner, and the action of the drink is the action of the partner
It is shown in the table:
Table 5.2: Mapping of A DRINK IS A PARTNER
Source domain: A PARTNER Target domain: A DRINK the name of the partner ➔ the name of the drink the action of the partner the emotion of being beside the partner
➔The emotion that the drink brings to the customer
In V14, three modes cue the target first
+ visual-verbal: the image of the lid is a fun summer holiday, and this image uses the text (Nghỉ hè hứng khởi cùng coca cola- exciting summer holiday with Coca-Cola) The text is in the center, which is essential in the image The differentiation color: red, black, white, and brown, attracts customers Hot-tone colors give them a feeling of excitement
Thus, the preposition cùng- with denotes a person or thing that is closely related (in activity, nature, or function) to the person or thing just mentioned The drink co-exists in the different images such as the wining, and traveling; which expresses the action of a companion of the drink with the characters Clearly, the visual mode is concurrent with the speech showing the exciting experience during the summer The summer in Vietnam is the time when anyone can travel to the beach with family, friends, colleagues, or product brings to the customer is the emotion of being beside the companion, the name of the product is the name of the companion
Table 5.3: Mapping of A DRINK IS A COMPANION
COMPANION Target domain: A DRINK the name of the companion ➔ the name of the drink the action of the companion the emotion of being beside the companion
➔ the emotion that the product brings to the customer
Conceptual metaphors A DRINK IS A FOOD COMPANION are interpreted in the same approach: the target domain cues first from three modes, while source domains cue from verbal and visual modes
In V21, the visual mode concurrently combines with the male voice and the sound is supplementary for the image
+ visual: the image of everyone eating types of food deliciously with Pepsi with the Pepsi glass in the center, which is essential and prominent toward the background The food is set up around the drink, and the girl smiles and eats It means a drink is a food companion
+ verbal: the male voice: Ăn món khoái khẩu cùng Pepsi, Nấu nướng bài bản: cơm, ngẫu hứng vẫn đã, Mỳ cay xé lưỡi cũng chẳng sao, Gà rán hay bánh kem có hề gì; - Eat favourite meals with Pepsi, Cook Standardly: rice, cooking randomly still delicious spicy noodles tearing off tounge have no problem, fried chicken or cream cake has no problem
+ sonic: the original sound of pouring soda into an iced cup
The sound is complimentary for the image in the identification of the product while two other modes are concurrent in the generation of the target A DRINK first; it is interpreted that the name of the drink is the name of the food companion, the action of the drink is the action of the companion, the combination between the drink and food is the relationship between the companions, and the feelings of enjoying the drink are the feelings of the companions
The second one is the concurrent combination of visual and verbal modes that generate the target and the source domain In V15, the image coordinates with the female voice and the written text:
The image portrays Coca-Cola as a companion at the dinner table, with the text "có Coca-Cola cơm nhà thêm ngon" (with Coca-Cola, home-made meals taste more delicious) highlighting its role in enhancing the dining experience The placement of the white text on the left provides information on the partnership between the drink and meals, while the two soda bottles on the right introduce new products to customers The frontal camera angle draws the viewer's attention, inviting them to engage with the brand's message of companionship and culinary harmony.
+ verbal: the female voice and the written text: Cơm nhà thêm ngon với coca vị nguyên bản và coca vị không đường- homemade meals taste more delicious with classic and zero sugar tastes, which shows that the deliciousness of home-made meals depends on the quality of this soft drink and without this product, the quality of the meal is decreased Thus, the quality of the drink is the quality of the food
The use of multimodal metaphors
5.2.1 The ratio of domain choices
After the identification of the conceptual metaphor, the analysis of target and source domains in Vietnamese non-alcoholic beverages TV commercials is undertaken First, the frequency and percentage of target domains are indicated in the table below: Table 5.44: The ratio of target domains in Vietnamese beverages TV Commercials
No Target domains Group American beverages commercials
Vietnamese beverages commercials Frequency Percentage Frequency Percentage
6 Viscousness and blend of the drink 1 0.9
7 the slogan of the drink 1 0.9
12 a person Related to the target customers
As can be seen in the table, the first group is the target domains referring to the products which consist of target domains such as a drink, slogan, lid, liquid, quality, viciousness and blend, promotion; and flavor have 66 times frequency with the rate of
61.7% The second one is the target domains connecting with the human which contains source domains like a person, human feelings, material wish, time, and development have 41 times the frequency with a rate of 38.3% In short, target domains depict the product, its utilization, and its advantages to potential customers and viewers, appealing to them with images, verbal modes, sound effects, and music Customers will then comprehend the functionality of the items and aspire to purchase them, which shows the main functions of persuasion and attraction of advertising according to Dinh Kieu Chau (2013) On one hand, the target domain related to the products (a drink, slogan, lid, liquid, quality, viciousness and blend, promotion; and flavor) reflects that the target
(often the advertised product) can be conveyed by one of its parts, logo, or jingle (Urios- Aparisi, 2009) On the other hand, other target domains are cases that fall beyond the scope of Forceville's theory on multimodal metaphors but they are popular concepts of target domains of Kửvecses (1986), for instance, human feelings, ideas (material wish, creation), time, and development All of the target domains in Vietnamese commercials are divided into three kinds of Kửvecses (2010): (i) human feelings, material wishes depicting the mental state; (ii) development illustrating the process; and (iii) time, creation, beauty, a person and other target related to the products expressing the personal experiences Moreover, topics of time, especially Tet- the traditional new year in Vietnamese are applied to identify the target domains about the expression of the marketing time of these advertisements during a new year The following table displays the source domain options:
Table 5.45: The ratio of source domains in Vietnamese beverages TV Commercials
No Source domains Frequency Percentage
It is shown that 18 groups of source domain choices are listed in the generation of conceptual metaphors in Vietnamese beverages TV commercials The first group is source domains referring to the human action that takes up 16 times of frequency with a ratio of 15% The second group is source domains connecting with a container that has 15 times of frequency Source domains regarding a person (partner, companion, supporter, companion, love matchmaker and god) take third place with 13% while source domain FOOD has 10 times with a ratio of 9.3% Next, medicine takes fifth place with a percentage of 7.5% while an object and a source of energy has 7 times of frequency with a rate of 6.5% Besides, the domains related to the directions (out, up, down) have 6 times frequency with a rate of 5.6% Source domains relating to color and a gift have the same percentage at 3.7% In addition, the liquid of the drink and material wish (money, travel, gold, nice clothes and houses) and an animal have the same ratio of 2.8% Next, quantity and a food companion take up the same times of frequency with 1.9% Finally, other domains such as Tet, a machine and magic take the lowest percentage of 0.9%
As can be seen, source domains concerning humans are maximized opportunities to sketch out the images of potential customers in aspects of careers, missions of fulfilling responsibilities towards the community, and human actions through the use of a person and human action; which take up 30 times of frequency It is the highest rank in the generation of source domains in the focus of conceptualization of the potential clients in beverages TV commercials in Vietnam Especially, the source domain A GOD expressing fortune, happiness and peace (An, Loc, Phuc) reminds the beliefs of Vietnamese people Besides, the person can see everyday things like colors, objects, containers, energy, medicine, animals, or kinds of weather, and the person can apply these specific topics in the visualization and explanation for the target domains All
5.2.2 Combination of modes in multimodal metaphors
This part includes a detailed study of the frequency and percentages of a combination of modes in these TV commercials, followed by a mapping for each conceptual metaphor, to provide a full knowledge of how multimodal metaphors are generated in Vietnamese non-alcoholic beverages TV advertising Then, the following table depicts the roles of modes in target domains in Vietnamese TV Commercials:
Table 5.46: Roles of modes in target domains in Vietnamese beverages TV Commercials
6 Viciousness and blend of the drink
7 the slogan of the drink
Related to the target customers
The table shows the ratio of a combination of modes in generating and conceptualizing target domain choices of multimodal metaphors in Vietnamese beverages TV commercials
First, the combination of three modes (IVS) reaches the highest rate, 39.8% Three modes focus on the generation of target domain A DRINK with 26 times of frequency while the human feelings of enjoying the drink take up 11 times of occurrence Also, the generation of the products through three modes is identified as 13 times frequency more than that of the targeted customers
The combination between images and words (IV) ranks second place at the rate of 34.3% Similarly, with the combination of IVS, target domain A DRINK has the highest rank with 19 times frequency while human feelings take account 8 times IV visualizes the products 5 times of occurrence more than the potential customers
The fusion of verbal and sonic modes comprises 13.9% of the data, a significant reduction compared to the leading category This association strongly highlights target domain A DRINK as the most frequented subject, appearing 7 times, while human emotions are prominently featured with 6 occurrences Notably, the effervescence of soda liquid aligns with the visual imagery employed in the creation of conceptual metaphors.
Verbal modes (V) and images (I)generating target domains rank fourth with the same percentage (4.6%) The speech still has potential power in the examination of each metaphor such as target domain A DRINK and related to material wish (money, travel, prize, nice clothes and house) Besides, the images are applied for the demonstration of the products 4 times while they are only used for the expression of human feelings with
Finally, the combination of visual and sonic modes (VS) takes the lowest percentage (2.8%), which pays attention to the examination of the promotion of products such as a gift, money, and tours with 1 time-frequency while human feelings are depicted with 2 times of currency
In a word, the roles of three modes in generating the target domains in the multimodal metaphor of Vietnamese beverages TV commercials take the majority in the above table Every kind of combination of images, speeches, sound and music is concentrated on the generation of target domains A DRINK and HUMAN FEELINGS The total ratio of sonic modes in the types of IVS, VS and IS is 56.5% of 39.8, 2.8 and 13.9 respectively; 4 kinds of IV, IVS, V, and VS expressing verbal modes consist of a total of 81.5 % of 34.3, 39.8, 4.6 and 2.8; then 4 categories of IV, IVS, I, IS showing the visual modes account for 92.6% of 34.3, 39.8, 4.6 and 13.9 It is stated that verbal expressions reach the peak and the sonic modes rank last in the cue of the target domains
It is a demonstration of the target of the metaphor explicitly represented within the text
Besides, the roles of modes in generation and conceptualization of source domains in multimodal metaphors in Vietnamese beverages TV commercials are shown in the following table:
Table 5.47: Roles of modes in generation and conceptualization of source domains in
No Source domains IV IVS V I IS VS
It is illustrated that the frequency and percentage of modes in source domain choices of multimodal metaphors in Vietnamese beverages TV commercials
When using both images and text (IV), the combination of visual and verbal modes is the most common, accounting for 35.5% The combination of three modes (IVS) comes in second with 31.8% The most prevalent source domains in both the IV and IVS combinations are a person, human action, and food Notably, the combination of all three modes (IVS) results in a top frequency for "container," with 11 occurrences, significantly higher than its 2 occurrences in the IV combination.
The verbal modes(V) take third place with a ratio of 13.1% with 14 times of frequency An object ranks the first with 3 times of frequency; next, human action and quantity have the same times of frequency of 2 times Other source domains have only
Summary
This chapter concentrated on the examination of target and source domain choices along the interplay among visual, verbal and sonic modes in the construction of multimodal metaphors in Vietnamese non-alcoholic beverages TV commercials
First, the formation of multimodal metaphors is unveiled in the division of the domains related to the products and potential consumers The representation of the products is divided into 8 themes such as a drink, slogan, lid, liquid, quality, viciousness and blend, flavor and the promotion of the drink The second group regarding the targeted customers is divided based on domains such as human action, person, material wish, creation and time
Based on the above part, the quantitative analysis is carried out with the domain choices and combination of modes First, the first group is the target domains referring to the products that have 66 times frequency with a rate of 61.7% The second one is the target domains connecting with the human which contains source domains like a person, human feelings, material wish, time, and development have 41 times the frequency with a rate of 38.3% Meanwhile, 18 groups of source domain choices are listed in the generation of conceptual metaphors in Vietnamese beverages TV commercials with three top ranks, specifically as source domains referring to the human action, a container and domains regarding a person (partner, companion, supporter, companion, love matchmaker and god In terms of a mixture of modes in the generation of metaphors, the combination of three modes (IVS) reaches the highest rate, 39.8% and the combination of images and words (IV) ranks second place at the rate of 34.3% In connection with the representation of the products in the relationship among three comprises the highest ratio Last, the first generation of the target domain has the highest proportion and the third position is a concurrent generation (10.3%).
In short, domains are universal and the generation of the target domains is cued first, which is supplementary to the theory of Forceville (2007,2008,2010) The discovery of the interplay among three modes is not only of complementation but also conformity of multimodal metaphors’ current platforms.
A COMPARISON OF MULTIMODAL METAPHORS IN
A comparison of the generation of multimodal metaphors
Unveiling differences within resemblances is the purpose of this part Based on tables 4.36 and 5.49, the similar conceptual metaphors are listed in the following table:
Table 6.1: Similar metaphors in American and Vietnamese beverages TV commercials
1 A Drink Is A Person related to the products
8 Human Feeling IS LIQUID related to the customers
9 Human Feeling Is Human Action
11 Magic Is A Liquid Of The Drink
12 Past Is Behind, Future Is In Front
Since the last two conceptual metaphors produce similar sub-conceptual metaphors, this section's objectives may not be met Therefore, the primary metaphors will be compared and contrasted in the subsequent section.
First, the source domain A FRIEND appears in both datasets, however, the generation and conceptualization of this conceptual metaphor are somewhat different connections However, it is observed that the appearance of the drink is the appearance of the friend, and the feelings that the drink brings to customers are the friend's role, which only appears in Vietnamese beverages TV commercials but not in American advertisements Moreover, the value of the drink is the value of the friend only exists in American beverages TV commercials, which illustrates the emphasis on the value of friends in friendship
According to Table 1 of Appendix 9, in terms of the combinations among modes in the generation of the domains, two modes are simultaneous to cue both domains in American beverages TV commercials In comparison, there are two main types of distributions of three modes in Vietnamese: the first group is three modes cueing the target domain and the second is visual and verbal modes representing both domains The combination of modes in Vietnamese beverages TV commercials is more abundant and diverse than in American ones
Regarding the similarities of roles of modes, the concurrent relationship between texts and images, and the first generation on target domains happen in both datasets However, in the connection of texts and music, three kinds of music exist in American beverages commercials while only the preexisting type appears in the other Apart from the conformance of the mixture of music and images in both datasets, no interaction between the two modes only occurs in Vietnamese TV commercials b A DRINK IS A PARTNER
Compared to table mappings 4.3 and 5.2, there is only a similarity of the meaning in both data, such as the name of the drink is the name of the partner Besides, the partner's relationship and role are interpreted in American beverages commercials, while the partner's action is shown in Vietnamese As it can be seen, meanings of this conceptual metaphor in American data are one time more than those in the other, and the relationship and value of the partner and those of the friend or the food partner are deeply ingrained in American's mind
As can be seen in Table 10 of Appendix 9, regarding the combination of the modes, two modes (visual and verbal modes) are applied for the generation of both domains in American beverages commercials Besides, the target is cued by only the image, and three modes identify the source domain in Vietnamese commercials
There are two similarities in the relationships among the three modes, concurrence of the connection of the text and the image; and in the context of the generation of domains, the target domain is cued first in both data However, in relation to the association between the text and music, no music exists in the conceptualization of both domains in American beverages commercials while preexisting sound appears in Vietnamese ones Hence, the role of the sounds that have existed in the mind before is significant for the text in using this multimodal metaphor
In reference to the partnership of the music and image, complementation takes the majority in the conceptualization of domains in Vietnamese advertisements while no interaction is applied for the cue of this metaphor c A DRINK IS A FOOD COMPANION
In American beverage TV commercials, the conceptual metaphor is established by interpreting the food companion's name and feelings Conversely, in Vietnamese beverage TV commercials, the focus shifts to the food companion's role, while the action and relationship of the companion are distinct elements.
In both American and Vietnamese commercials, visual and verbal modes are predominantly used to produce both target and source domains (e.g., A6, V15) While three modes are employed to cue both domains in certain cases (A20, A21, A22), they only result in target domain generation Conversely, visual and verbal modes exclusively identify the source in V21 Notably, the domain generation process remains consistent across both datasets, with all target domains appearing before source domains Additionally, concurrence serves as a key indicator for identifying this conceptual metaphor in the interrelationship between text and image.
However, there is a big difference in the interaction of the text and the music with the image First, half of the preexisting music comes up in American beverages commercials, while half of the original music happens, and preexisting sound does appear in the other Also, conformance takes up half of American data, while complementation accounts for half of Vietnamese one
Compared to the tables of mappings 4.17 and 5.18, two similar characteristics are visualized in the two tables, such as the name of the drink is the name of the gift, and the drinkers are the receivers At the same time, the conceptual metaphor in Vietnamese beverages TV commercials has more meanings than that in others, such as the buyers are the givers, the thrower of the drink is the sender of the gift, the color of the drink is the value of the gift, the action of giving the drink is the action of giving a gift; however, the meaning two kinds of the combination such as two modes( visual and verbal modes) in V5,9,18 and three modes in V19 before the source domain A GIFT is identified by three kinds of the combination such as(i) two modes( visual and verbal modes) in V5,18;(ii) three modes in V19; (iii) only image in V9 and( iv) only verbal mode in V5
In terms of the relationship between the image and the text, complementation only occurs in American beverages TV commercials At the same time, concurrence takes the majority with 3 times of frequency, three times more than the complementation in Vietnamese beverages TV commercials Besides, in the relationship between the text and the music, only preexisting sound appears in Vietnamese data, while none of the existence of musical roles in the generation of both domains in both datasets Thus, the music complements the images, which only happens in V19 Furthermore, in American data, the source domain is cued in advance, contrary to the first identification of the target domains in Vietnamese
Compared to Table 4.15 and 5.15, the American beverages commercials' conceptual metaphor contains eight meanings, surpassing the other mappings by three These include elements like the drink's preparation, the sound made by drinkers, and the producer of the drink being likened to a cook Interestingly, all meanings of conceptual metaphors in Vietnamese beverages commercials are subsets of those in American commercials Additionally, in terms of mode combination, 50% of the three modes using target domains in American commercials use 10% less than the other; 75% of three modes and 25% of visual and verbal modes generate a "DRINK" target domain in American data, while 40% of three modes, 50% of visual modes, and 5% of verbal modes generate a "FOOD" target domain.
% of the combination of visual and verbal modes, and 10 % of the image cue the source domain A FOOD in the other data Thus, the number of kinds of combinations in the conceptualization of the source domain in Vietnamese beverages TV commercials is one time more than the other one while the first rank of three modes in the generation of the multimodal metaphors in American beverages commercials, which is pushed down the second rank in Vietnamese ones Besides, the relationship of modes in the generation of these conceptual metaphors in both data is illustrated in the table:
Table 6.2: The ratio of the relationship of modes in A DRINK IS A FOOD conceptual metaphors in American and Vietnamese beverages TV commercials
4 generation of domains target first 5 83.3 10 100 source first 1 16.7 0 0 concurrent 0 0 0 0