Учебное пособие 1648

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«Il porte les mêmes habits que les autres, un turban blanc immaculé et une kachabia en grosse laine paillée grise et beige.» [10, p. 55] («He wears the same clothes as the others, very clean white turban and clothes made of thick straw-colored wool, gray and beige») (authors’ translation);

«...et surtout cet intérêt pour ce roumi ce gaouri...» [10, p. 98] («... and especially this interest in this Christian, this European…») (authors’ translation);

«C’est ton Coran qui est à l’origine de notre asservissement et de notre malheur, tu ne peux pas le nier... Cette sourate est édifiante... Elle se passe de commentaires!» [10, p.

149] («It is your Koran that is the cause of our slavery and misery, you cannot deny it. This Chapter of the Koran is instructive... It does not need any comments!») (authors’ translation).

It should be noted that Rashid Boudjedra using French terms of Arab origin always indicates their etymology. This is clearly seen in the example of the word "haschischins" (fumeur de kif − hashish smoker):

«Selma intervient (...) mais voilà encore un mot qui nous a été volé pour être déformé, défiguré, un mot à nous, pacifique, tranquille et inoffensif, il a été couvert de sang et chargé de crimes.» [10, s. 74] («Selma speaks (...), but here is another word that was stolen from us to distort, to disfigure, our word, peaceful and harmless, was filled with bloody and criminal meaning») (authors’ translation).

This example clearly demonstrates the author's constant desire to comment on a particular Arabic lexeme, revealing its content at the connotative level.

Conclusion

The results of the produced analysis of the "Le Démantèlement" novel of the Algerian translingual writer Rashid Boudjedra give reason to believe that his Frenchand Arabiclanguage fiction books constitute an integral text in the context of dual linguistic and cultural field, i.e. a kind of linguistic-cultural hybrid. This point of view fits to the statement that the linguistic interference which is peculiar to bilingualism creates between the languages and the cultures some sort of connection, a track of which is not always possible to detect immediately. This is confirmed by the presence of numerous Arabic culturemes in the French texts (author's translations), which can be regarded as xenismes and exoticisms in French linguistic culture, transliterated in Latin letters and revealed at the connotative level. In the context of translingual literature and taking into account the Rashid Boudjedra’s bilingualism we can assume that the author creates his works on the basis of the interpenetration of the two cultures – a Maghreb one as an Arabic and a French one as a European.

The results of the analysis lead to the conclusion that the translingual writer of Arab origin Rashid Boudjedra can be regarded as the most brilliant representative of translingual multicultural Francophone literature of the late XX – beginning of XXI century, who not only preserved, but strengthened ethno-linguistic identity due to his bilingual creativity.

References

[1]Canagarajah S. Multilingual writers and the academic community: towards a critical relationship // Journal of English for AcademicPurposes. – 2002. – No. 1. – S. 29-44.

[2]Lee Jerry Won. Transnational linguistic landscapes and the transgression of metadiscursive regimes of language // Critical Inquiry in Language Studies. – 2014. – Vol. 11. – № 1. – S. 50-74.

[3]García O. Countering the dual: Transglossia, dynamic bilingualism and translanguaging in education // Rubdi, R., Alsagoff, L. (eds.) The global-local interface and hy-

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bridity: Exploring language and identity. – Bristol, Buffalo and Toronto: Multilingual Matters, 2014. – S. 100-118.

[4]Garcia O., Wei L. Translanguaging: Language, Bilingualism and Education. – New York: Palgrave Macmillan, 2014. – 175 s.

[5]Kachru B.B. The bilingual’s creativity: Discoursal and stylistic strategies in contact literatures in English. Studies in the Linguistic Sciences. – 1983. – Vol. 13. – No. 2. – S. 37-55.

[6]de Godemar A. Entretien avec Rachid Boudjedra. // A. de Godemar. – Libération, 1991. – S. 10-15.

[7]Budzhedra R. Pour un nouveau roman maghrébin de la modernité. // R. Budzhedra. Cahiers d’Etudes Maghrébines, №1. – 1989. – S. 12-18.

[8]Martine A. Eléments de linguistique générale. – Parizh: Armand Colin, – 2003. – 223

s.

[9]Bakkon ZH. L. Fonctions des intertextualités dans l’oeuvre de Rachid Boudjedra. // ZHani Le Bakkon. Itinéraires et contacts de cultures, №14. – 1975. – S. 76-85.

[10]Budzhedra R. Le Démantèlement. – Parizh: Denoël, 1982. – 307 s.

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UDC 81.13; 82.2

PECULIARITIES OF ALLUSION IN AMERICAN POLITICAL ADVERTISING

L.P. Kovalchuk

Chelyabinsk State University

Candidate of philological science, associate professor of the English Language Department Lidiya Petrovna Kovalchuk

e-mail: kovalchuklidia@yandex.ru

Statement of the problem. The article reveals linguistic and cognitive peculiarities of allusion in American political advertising, as well as its structure and means of formation on the subconscious level. The typical feature of American political campaign is the possibility to use negative advertising on TV. Due to this, sponsors include different linguistic means which make commercials more memorable. Allusion is an implicit tool of conveying information to the target audience and it has strong persuasive abilities. The main aim of this research is to determine the structure of allusion and explain the reasons for the efficiency of this rhetoric figure in advertising messages.

Results. The analysis of video ads shot from 2014 to 2018 has shown that allusion is one of the most widelyspread linguistic and cognitive means used in political campaign. Structural and cognitive peculiarities of allusion were described on the basis of conceptual integration theory created by G. Fauconnier and M. Turner. The theory of blending, as it is called otherwise, helped to detach mental spaces that take part in yielding this means. Allusion in American political advertising was studied on both linguistic and metalinguistic level.

Conclusion. Allusion has a complex cognitive structure. It is comprised of different mental spaces which, due to the evolution of the human mind, are usually interpreted quickly and unconsciously. The more efforts are put forth for constructing and understanding this or that linguistic unit, even subconsciously, the longer it stays in our memory. That is why video ads with allusion make a more persuasive impact.

Key words: allusion, blend, input space, conceptual integration, mental space, cross-space mapping, generic space, political advertising.

For citation: Kovalchuk L.P. Peculiarities of allusion in American political advertising / L.P. Kovalchuk // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2019. - № 2 (25). – P. 86-93.

Introduction

Modern advertising as an economic instrument of conveying information about goods or services is a manipulative mechanism used to hard-sell certain cultural, social and political models of behavior. Most scholars consider advertising as the process of communication between a customer and a sponsor carried out with the aim not only to inform but also to have a meaningful effect.

Joseph Turow, the Professor of Communication at the University of Pennsylvania, defines advertising on a broader level as attempts to persuade people to adopt certain ideas or purchase particular services or goods. In a narrow sense, he regards advertising as messages that appear as a result of the explicit purchase of time or space on certain channels, or media [1].

The most popular platforms for advertising are the Internet and television. This article is devoted to the analysis of television advertising, or commercial, which, unlike printed advertisement, has its own peculiarities because it presupposes the use of text, sound and video picture. The employment of different senses leads to the fact that more cognitive processes are launched at the same time. The more operations our brain has to handle, the deeper this information is recorded in our underconsciousness. This idea is supported by the research of M.V. Dzhordzhikia, according to which the stronger viewers’ emotional reaction is, the more effective commercials are and the more memorable they become [2].

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© Kovalchuk L.P., 2019

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In the USA, television advertising has been turned into the dominative form of communication between the politician and the public. Half of the electoral campaign budget is spent on it [3]. Political advertising as a term is a type of advertising communication the main aim of which is the marketing of attitudes, ideas and concerns about public issues, including political concepts and political candidates, to influence the decision of the electorate and make them accept a certain point of view [4].

The aims and the tasks of political advertising are closely connected with its functions. T.E. Grinberg points out several of them: communicative (to establish rapport between power holders or contenders for power and people); informative (to inform about a forthcoming political event, introduce the party’s or candidate’s program); ideological (to highlight the object of advertising and their set of ideas on solving social issues problems); socially-oriented [5, р. 38].

In the USA, political advertising clips last on average thirty seconds and are thought to be the most effective way of political marketing. This is mostly the result of high psychological impact exerted both with the help of text and picture. E.V. Romat emphasizes several ways of psychological impact: cognitive (message delivery), affective (inducement to feelings and emotions), suggestive (hypnosis), conative (behavioral influence) [6, р. 100-103].

There are different classifications of political advertising. For example, according to the type of medium, there is television, exterior, oral, radio, printed, Internet, polygraphic, artistic advertisings, portrait photographs, sculptures of politicians, political caricatures, specialty advertising, political hymns and songs, advertising on clothes, advertising on packages, different accessories for clothes with flowers and symbols of parties and movements, as well as other media (balloons, tattoos and etc.) [6, p. 145-146]. According to the type of subject, political advertising can be divided into that of parties, organizations and certain politicians [6, p. 146]. According to the period of implementation and intensity, it can be of two types: 1. pre-election political campaigning; 2. political advertising during and between elections [6, p. 146]. This research is based on the differentiation of advertising by types of rhetoric because only this classification determines the connotative features of ads – positive or negative. According to this division, there are three types: 1) praise for the candidate; 2) attack on the opponent; 3) answer to the opponent’s attack [7, р. 73]. Further on the examples of allusion in all three types of advertising will be given as an illustration of ubiquity of its using and functioning.

Research methodology

The object of this research is allusion in American political advertising. The subject of the research is linguistic, cognitive and structural peculiarities of allusion in this type of advertising. The aim of the article is to analyze linguistic, cognitive and structural peculiarities of functioning of allusion in three types of political advertising, the division of which is based on the type of rhetoric. To achieve this aim, the following targets should be delivered: 1) to find examples of allusion in three types of political advertising mentioned above; 2) to study linguistic and cognitive peculiarities of allusion; 3) to describe the structure of blends, yielded with the help of allusion.

The material of the research is based on 200 pre-election advertising clips shot by American politicians in the period of the last electorate campaigns (2014, 2016 and 2018) and chosen with a continuous sampling method. The main methods used in the research are observation method, method of interpretative and conceptual analyses.

The whole study is based on the theory of conceptual integration by G. Fauconnier and M. Turner, which is also known as the theory of blending. The scholars believe that the advent of the ability for conceptual integration has become an important step in human’s evolution and a decisive factor for the development of speech. Blending is the process that runs subconsciously in our head and forms the basic part of the thinking process: “Blending is a common, everyday process indispensable to the most routine workings of the modern human mind” [8, р.18].

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Results of the research

Blending represents the mixture of several ideas, images or thoughts that initially exist as separate mental spaces, but they serve as input spaces for a particular blend. Blend, or a mixed space, is a mental structure which appears due to the mapping of some elements from input spaces and some elements from background knowledge, cognitive and cultural values. When input spaces interact with each other, some common elements appear. These elements form the generic space. Due to the cross-space mapping these mental spaces yield a new one – a blend. The blend contains elements from other three spaces but at the same time it has its own meaning that is different from the input spaces. Thus, a new notion appears.

Language and thinking are connected with each other by means of cross-space mapping of three types: schematic mapping, pragmatic function mapping and projection mapping. The first type works when common models, schemes and frames are used for structuring the situation in the context with the help of grammatical rules. Pragmatic function mapping corresponds to two categories of an object which are connected with pragmatic function. For example, authors are associated with their books, patients are associated with their illnesses (“The gastric ulcer in Room 12 would like some coffee”). This type of mapping is based on synecdoche and metonymy. Projection mapping is based on metaphor and many other rhetorical figures. It is carried out due to the transition from the source domain to the target domain. For example, “time as space” (“summer is around the corner”, “the weeks go by”). All these mappings take place unconsciously and automatically. For instance, the term “computer viruses” has come to the sphere of information technologies from the medical vocabulary with the help of projection mapping. In other words, organisms that are harmful for health have been compared to computer programs capable of destroying work of other programs. As a result of juxtaposition of one phenomenon with another a new mental space appeared. This space is comprised of some elements from the input spaces – biological viruses and malfunction programs. However, the elements of this blend are not limited to input spaces elements only (computer and medicine). While functioning further, they acquire new features and peculiarities. The yielded blend later integrates with other mental spaces and forms such notions as mental viruses, social viruses and so on [9, p. 9-11].

All rhetorical figures like metaphor, metonymy, synecdoche and others are the result of the compression of blending. According to Mark Turner, “The classical rhetorical labels for all these things are useful as shorthand for picking out different reactions, but yet, that long list of labels can obscure the common underlying mental process” [8, р. 142].

In other words, blending forms the basis for constructing all figures of speech, including allusion. The notion of allusion comes from Latin “alludere”, which means ‘to hint and laugh’. It dates back to the middle of 16 century and refers to “an expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference” [10, р. 68].

This definition is similar to the one given by V.P. Moskvin. According to it, “allusion is a figure of speech containing an explicit indication, analogy or a distinct hint to some literary, historic, mythological or political facts which have been fixed in written texts or in speech” [11, р. 43].

In political advertising, this figure of speech is a means of creating additional implicit meanings. It is very important for allusion to be easily recognized both by the sponsor and the recipient. Otherwise the process of conveying messages can encounter some obstacles and allusion will lose its sense. For example, Russian viewers will hardly understand the meaning of a series of advertising called “Spelling Bee”. It appeared in 2014 and was intended to belittle the candidates for the Senate who supported then current President Barack Obama. The Allusion is to a famous television game with the same name. According to the rules, children should spell a word. This national competition is very popular in the English speaking countries, but it has no counterpart in Russia. In the clips, teenagers instead of traditional words should spell correctly

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the names of senators, such as Jeanne Shaheen, Mark Pryor and Kay Hagan. In all three cases, in place of their names, the answer is Obama. The jury approve the correctness of the answer with the phrase “Close enough” [1*].

Viewers’ consciousness automatically matches the input spaces of the politicians (“Jeanne Shaheen”, “Mark Pryor” and “Kay Hagan”) with the input space “Obama”. The input spaces are joined by some common elements which symbolize similar political beliefs. Schematically, they can be reflected in the general space. With the help of cross-space mapping between these three spaces, a new mental space is formed. It borrows some elements from other spaces but at the same time carries a new meaning. In each of these advertising the meaning is different: “Mark Pryor = Barack Obama”, “Kay Hagan = Barack Obama”, “Jeanne Shaheen =

Obama”. The closing sentence (“Jeanne Shaheen / Mark Pryor / Kay Hagan: the wrong answer for the state. Vote No”) adds a negative connotation to the perception of candidates. The negative attitude is also obvious for the viewer from the jury’s reaction to the answer. Schematically, the projection mapping in the blend is represented in pic. 1.

Pic. 1. The example of the projection mapping in the allusion blend from the “Spelling bee” advertising

In the picture above, circles represent four main mental spaces while dashed lines show cross-mapping connections. This clip demonstrates how allusion to the children game has been turned into negative political advertising. Such type of commercials is widely spread mostly in American election campaign because in western countries and in Russia negative advertising is forbidden by law. It still remains uncertain if negative advertising is more powerful but there is always a danger that it can lead to the so-called backlash or boomerang effect when recipients dissatisfied with attacks on the sponsor’s opponents come to reject the sponsor themselves [12, p. 303].

More difficult mental connections can be observed in the political ad “House of Crawford” which is an allusion to a famous TV series “House of Cards”. According to the plot, the main hero with the help of back-alley political schemes and his wife achieves a high position in the government and continues doing his unfair deals. The commercial starts in keeping with the spirit of the television drama. The actor playing Dan Crawford, the husband of Senate candidate Sarah Crawford, is smoking a cigar and is contemplating unfair policy of his wife:

I'm a lobbyist. People pay me to influence legislators. Would it help me if my wife were in the State Senate? What do you think? ... Truckloads of money from special interests. Who's Sarah Crawford going to work for? You tell me… [2*].

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The identification of the film with the advertising leads to the projection of heroes’ images and behavior on those of the famous politicians. The formation of two new blends takes place. Clair Underwood, the heroin of the TV series, is associated with Sarah Crawford while Frank Underwood, her husband, with Dan Crawford. The projected blends are connected with similar elements in the generic space. These elements symbolize dirty political machinations of both TV heroes and the politicians. At the same time the commercial itself does not contain any explicit reference to the series; neither the title nor the names of TV characters are mentioned. The viewer subconsciously constructs the mental projections the sponsor has in mind. It happens due to the recipient’s background knowledge and past experience. The implicit parallels between a new stream of information and information already kept in mind make advertising more persuasive and memorable.

The title of the 2016 advertising clip “Trump vs. the Constitution” at once gives the perception of the main blend hidden inside: Trump ≠ Constitution. Unlike in the previous cases, the allusion here is expressed in a more vivid and explicit way. Children pronounce phrases with the reference to the main document of the country and give examples of how the main amendments to the Constitution are violated by Donald Trump:

Child 1: Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof.

Trump: Donald J. Trump is calling for a total and complete shutdown of Muslims entering the United States.

Child 2: Or abridging the freedom of the speech or of the press.

Newscaster: The Des Moine Register said yesterday that all of its journalists have been barred from attending this event today [3*].

Two input spaces (Trump and Constitution) are connected with the ideals of political values and liberties but they are interpreted differently and this is shown in the blend. The positive connotation of citations from the state document (“no law respecting an establishment of religion…”, “abridging the freedom of the speech or of the press”) is at odds with the news about Trump (“Trump is calling for a total and complete shutdown of Muslims entering the United State”, “all of its journalists have been barred from attending this event today”). As the Constitution is the main centuries-long document, its principal statements are considered to be inviolable and indisputable. Any deviation from its norms causes resentment. Thus, the advertising blend, on the subconscious level, stimulates a very strong negative reaction even among people who support this candidate. The allusion forming the blend here is a powerful impetus towards the creation of a negative image of Donald Trump.

Another clip is an example of one more type of advertising – an answer to the opponent’s attack. It was sponsored by John Kasich. In the video clip “Nose” the allusion is more visual than linguistic. Ted Cruz, a presidential candidate of the Republican Party who later withdrew his candidature, is depicted as Pinocchio. While an off-screen voice is accusing Ted Cruz of lying, the candidate’s nose is growing bigger and bigger. The allusion is not represented at the linguistic level but the video picture makes the effect of persuasion much stronger:

Announcer: Many just call him "Lying Ted." Lied about Ben Carson to steal a win in Iowa. Lies about being the best for the GOP, when polls show he can't even beat Hillary Clinton. His TV ad about John Kasich? Lie. Stations had to pull it off the air. If Ted Cruz's mouth is moving, he's lying [4*].

Visual allusion is based on the juxtaposition of the presidential candidate with the fairytale character. Lie, which serves as a common element of both input spaces and forms a generic

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space, is the evidence of the fact that Ted Cruz like Pinocchio does not deserve any trust. It is the visual component of the ad that provides a powerful negative effect.

In the advertising of 2018 with the title “Casey” the allusion is directed towards the current political events. In comparison with other commercials described above and used as an attack on the opponent, this clip praises Ron DeSantis, the candidate for Florida Governor. The description of his positive personal qualities is carried out by his wife. She says that her husband is a good father and speculates on how well he plays with children:

“Everyone knows my husband Ron DeSantis is endorsed by President Trump, but he’s also an amazing dad.” [5*]

In the meantime, the mentioning of Donald Trump who obviously supports Ron DeSantis sounds gently. Casey DeSantis mostly addresses her husband’s personal qualities while his political views are implicitly implemented in the text with the help of allusion. Playing building blocks with his daughter Madison, he pronounces the phrase “build the wall” which is a hidden reference to the wall on the border with Mexico. Then he reads his newborn son Trump’s book “The Art of the Deal” and teaches his daughter to speak saying the phrase “Make America great again” which is also a reference to the pre-election slogan of the ruling president. The comparison of two politicians’ views is based on allusion. Due to it, a hidden sense of the advertising becomes clear. The viewer easily understands that Ron DeSantis adopts Trump’s agenda, which means that, when he takes the post of the governor, he will follow the same political direction as his supporter. The linguistic allusions “build the wall”, “The Art of the Deal”, “Make America great again” serve as a hint that the whole clip is one integral cognitive allusion. This allusion is a blend with two input spaces formed by two famous politicians. Their common political interests and beliefs construct the generic space. The projection of some cognitive elements from three mental spaces into one leads to the yielding of the blend according to which the policy of Ron DeSantis is equal to the policy of Trump. In the advertising, Ron DeSantis, who has been holding the position of the governor of Florida since January 2019, says nothing about his political strategy and tactics, but the recipient easily reconstructs the hidden message on the basis of their knowledge and experience. The allusion to President Donald Trump’s policy is presented here in a positive context and differs a lot from the allusion to President Barack Obama’s policy in the ad “Spelling Bee”. Thus, it creates a more pleasant impression.

The cognitive analysis of 200 pre-election advertising clips shot in 2014, 2016 and 2018 has shown that 20 of them are based on allusion. All these clips were divided into three types of political advertising: praise for the candidate; attack on the opponent; answer to the opponent’s attack. It was found out that American election campaign is mostly dominated by negative advertising, or attack on the opponent. It was estimated that 102 clips out of 200 can be referred to this type. Positive information about political achievements or personal qualities of a candidate can be traced in 83 commercial messages. The last type, answer to the opponent’s attack, is observed only in 15 clips. The smallest number of commercials referred to the third type can be explained by the fact that bought airtime is rarely used for the denial of discrediting information given earlier by the adversary and is more preferably used for revealing election agenda or even for bashing the opponent. The frequency of allusion in negative advertising surpasses all other types: praise for the candidate (5%), answer to the opponent’s attack (5%), attack on the opponent (90%).

Allusion in political advertising can be linguistic with the direct reference to an assumed thing or event in the text (as in the ads “Casey” and “Trump vs. the Constitution”); cognitive, when both text and video picture take part in creating an allusion (“Spelling Bee” and “House of Crawford”); and visual, when the reference becomes obvious only due to the video picture (“Nose”). Allusion is more often used for delivering an implicit meaning but at the

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same time it should be easily recognizable. Otherwise, the intended messages of a sponsor can be distorted. Texts of latest years election advertising contain allusion to popular films, TV series, TV shows, fairytale and cartoon characters.

According to the theory of conceptual integration, allusion is a blend and, therefore, consists of several mental spaces. Allusion as a blend is used in advertising for conveying the main sense of an advertising message. It is allusion that helps to carry main ideas of a candidate’s program.

Conclusion

Political advertising is created with the purpose of influencing the recipient in a certain way. It is a means of communication between a politician and people which is carried out for achieving various goals: obtaining power, creating an image for a party or an individual politician, imposing different ideas and beliefs, gathering support of the public and even discrediting opponents.

American election campaign allows the use of negative advertising which is considered illegal in Russia and many European countries. The conducted analysis has shown that the percentage of negative advertising in American political discourse is much higher than that of other types of advertising and this type is characterized by an extensive use of different rhetorical figures, especially allusion.

The study of linguistic and cognitive peculiarities of allusion in American political advertising clips gives evidences that this stylistic device is a complex mental formation which in the theory of conceptual integration is called a blend. The structure of allusion is comprised of several mental spaces due to some features of which a new image is constructed. The more unusual the structure of the allusion blend, the more memorable an advertising clip and the stronger its persuasive effect. Allusion in political advertising can exist both in text and in video picture. Therefore, allusion can be linguistic, clear without visible means; cognitive, based on the interaction between text and video; and visual, dependent on video only.

Advertising clips with allusion have a strong persuasive effect. It is connected with the fact that for decoding a hidden message a great number of cognitive processes are required. The more difficult and complex cognitive operations performed by the brain are, the deeper they are preserved in mind. While deciphering allusion in political advertising, the recipient engages different sense organs, each of which takes part in processing information in its own way. As a rule, allusion is directed to the most famous and challenging images known to a broad audience. This is why the overlay of new information onto old one enhances intellectual activity.

The further research in this field can be focused on studying other stylistic devices in political advertising and analyzing their structural peculiarities with the help of blending theory.

References

[1]Turow, J. The development of the modern advertising industry // The advertising handbook. – 4th edition. – New York: Routledge, 2018. – P.19-34.

[2]Dzhordzhikia, M.V. Televizionnaya politicheskaya reklama kak naibolee ehffektivnyj metod vozdejstviya na obshchestvennost // Vestnik Rossijskogo universiteta druzhby narodov. Seriya: Literaturovedenie, zhurnalistika. – Moskva: RUDN, 2013 – S. 136143.

[3]Holtz-Bacha, C., & Kaid, L. L. Political Advertising in International Comparison // The Sage handbook of political advertising. - California: Sage Publications, 2006. - P. 3-13.

[4]Glavaš, D. Political advertising and media campaign during the pre-election period: A Comparative Study. - URL: https://www.osce.org/mission-to- montenegro/346631?download=true (vremya obrashcheniya – 16.03.19).

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[5] Grinberg, T.E. Politicheskie tekhnologii. PR i reklama. – M.: Aspekt-Press, 2012. – 279

s.

[6]Romat, E.V. Reklama. Kratkij kurs. – SPb.: Piter, 2009. – 208 s.

[7]Horoshkevich, N. G. Socialnaya i politicheskaya reklama (uchebno-metodicheskoe posobie). – Ekaterinburg, 2015. – 145 s.

[8]Turner, M. The Origin of Ideas. – New York : Oxford University Press, 2014. –

300 p.

[9]Fauconnier, G. Mental Spaces. Aspects of Meaning Construction in Natural Language. – USA : Cambridge University Press, 1994. – 190 p.

[10]Nikashina, N.V., Suprun, N. D. Allyuziya kak stilisticheskij priem v angloyazychnoj literature. – Vestnik Rossijskogo universiteta druzhby narodov. Seriya: Teoriya yazyka, semiotika, semantika. – Moskva: RUDN, 2016. – S. 68-74.

[11]Moskvin, V. P. Intertekstualnost. Ponyatijnyj apparat. Figury, zhanry, stili. – Moskva: Nauka-Flinta, 2015. – 168 s.

[12]Moorman, M. & Neijens, P. Political Advertising // Advertising Theory. - New York, NY: Routledge, 2012. – P. 297-309.

Analysed sources

[1*] American Crossroads: "Spelling Bee", URL: https:// www. Youtube .com /watch ?v=xqHXks5Qjwc (время обращения – 07.04.19).

[2*] Chad Barefoot – House of Crawford, URL: https:/ /www. Youtube .com /watch ?v= i1KEDtoSR9A (время обращения – 07.04.19).

[3*] Trump vs. the Constitution, URL: https: //www .youtube .com/ watch ?v=eCvH2eB6zsY (время обращения – 07.04.19).

[4*] New TV Ad: “Nose”, URL: https://www.youtube.com/watch?v=BDumsN1NCGg (время обращения – 07.04.19).

[5*] Casey, URL: https://www.youtube.com/watch?v=2BYgM7yWgkY (время обращения – 07.04.19).

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