❏ Sumarsih Comparison between the Advertisement Language
in Gender
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advertising messages have a clear purpose, they are intended to build and attract a specific
response. b The language of advertising is beautiful and
interesting. It intends to attract and hold our attention to know about the product and
further buy it. c The language of advertising is carefully
engineered. It uses various devices to get our attention. It means that we could participate in
it. d The language of advertising is simple. The
difficult words are edited out and replaced by simple words in order to avoid
misinterpretation but sometimes they are complicated.
There are two kinds magazines those the writer wants to analyse such as: man’s magazine
and lady’s magazine. Every gender consists of three texts: The titles of man’s magazine: TV
SANYO, HAND PHONE NOKIA, and BNI Card. The titles of lady’s magazine: PONDS, NATURE
E, and TOTAL.
2. GENRE, AND MODELS OF
ANALYSIS
2.1 Genre According to Leckie-Tarry 1995, the emphasis of
contemporary functional genre theorists is on the social and cultural aspects of genres as the
generating factor of all communicative actions, including linguistics actions. Leckie-Tarry further
suggests that the concepts of genre offers an interaction between socio-cultural features and
textual features; the socio-cultural features of a particular community in which a text is contructed
and used affect the textual forms because of the constraints placed on them by the community
members.
Leckie-Tarry 1995 points out that, the difference between the concept of register and the
concept of genre rests on the position or the role of the communicative purpose of a particular text. In
register, according to Leckie-Tarry, the communicative purpose of a particular text is
recognized on the basis of its linguistic features, while in genre, the communicative purpose is an
explicit or overt social communicative event, which becomes the main determining factor in
generic classifications of texts.
The notion of genre, however, is also not free from theoretical problems. Paltridge 1997,
for example, suggests that the notion of genre has been used in a range of different areas including
folklore studies, linguistic anthropology, the ethnography of communication, conversational
analysis, rhetoric, literacy theory, the sociology of language, and applied linguistics. Paltridge further
explains that, there are many ways in which the approaches to the descriptions and definition
ofgenres described in these particular areas overlap, and at times, ways in which they are quite
different from each other. This is mainly because of the different goal of each of the approaches to
genre analysis, the differing theoretical positions and concerns underlying the various approaches.
Aspects of genre where theoretical views can be similar or different from one approach to another,
include the place of the structure of a text in the description and definition of genres, the
relationship between genre and context, the relationship between genre and culture, and the
relationship between genre and cognition.
An attempt to resolve the apparent conflict in terminology andt conceptualization
between register and genre among functional linguists has been made by Martin 1992. Martin
perceives the two contextual concepts of register and genre in mutual relationship but distinguishes
register from genre. Martin places register as a semiotic system intervening between genre
above and language below, where language is treated as part of register and register is a part of
genre. The position and relationsip between genre and register are illustrated below:
Genre Register
mode, tenor, and field Discourse Semantics
Lexico-grammar
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❏ Sumarsih Comparison between the Advertisement Language
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As can be seen in Figure, unlike Halliday, Martin places genre higher on the scale than
register. However, Martin admits that the advantage of using both concepts register and
genre is that instead of setting field, tenor, and mode variables for the whole of a particular text as
in register theory, values can be adjusted from one stage to the next. In his own words, Martin 1992:
495 says,
Register can then itself be organized with respect to field, tenor and mode, reflecting meta-
functional diversity in its expression form, leaving genre to concentrate on the integration of
meanings engendered by field, tenor and mode as systematically related social processes.
In other words, Martin suggests a three level procedure of text analysis: genre, register and
language in which genre are realized through register while register is realized through language.
It is this type of genre-register relationship which is adopted by functional linguists who work on
genre analysis in the field of English for Specific Purposes ESP, such as Swales, Bathia, Johns, and
others. Johns 1997, for instance, claims that register refers to the predominance of particular lexical and
grammatical features within a genre; it is one of the most important elements in what we might call ‘style’
or ‘text conventions’ Johns goes on to suggest that it is important to go beyond the linguistic performance
of a text in discussing the concept of text and to consider how the vocabularies serve the values and
the communicative purposes of readers, writers and communities. For this reason Johns believes that the
concept of genre is more appropriate than that of register in discussing the nature of the text-context
relationship. 2.2 Models of Analysis
The final approach on genre is drawn from the work of applied linguistics working in the area
generally described as English for Specific Purposes ESP, such as Swales, Bathia, Johns,
and others. Genre analysis studies in this tradition have typically focused on patterns of rhetorical
organization and genre-specific language features. Swales 1990, for example, claims that studies in
genre analysis are different from the traditional register or sub-register analysis in the importance
of communicative purposes within a communicative settings. According to Bathia
1997, genres are meant to serve the goals of specific discourse communities, and in so doing,
they tend to establish relatively stable structural forms, and to some extent, even constrain the use
of lexico-grammatical resources in expressing these forms.
Although considered to be the privileged of a genre, however, the purpose or set of purposes
of a particular communicative event are not always easy to identify. Some speech activities may have
multiple purposes such as ‘funeral oration’, ‘sales letters’, and ‘recipes’ Johns 1997, 24, while
others may have ‘conflicting purposes’ such as written examinations for students Swales 1990.
To further complicate the matter, for literary speech events such as poems, songs, and other
poetic genre, communicative purpose may not be the most suitable and reliable parameter.
According to Swales, although these typical communicative events may have a set of
communicative purposes, however, their important features are for ‘verbal pleasure’ because this is
what people normally enjoy when listening to or reading them. Similarly, Johns 1997 suggests
that genre analysts need to be very careful when attributing a single set of communicative purposes
to texts, writers or readers because of the complex nature of purposes of communicative events.
Now there are some models those were presented by Hashim 2005: in Doctor Linguistics
Programme such as: A. Swale’s Moves Analysis
Introduction Section Move One: establishing the field
A. Showing centrality of the topic or B. Stating current knowledge of the topic or
C. Ascribing key characteristics Move Two: summarizing previous research
Move Three: preparing for present research by A. Indicating a gap or
B. Questing raising C. Extending a finding
Move Four: introducing present research by A. Giving the purpose or
B. Describing present research Swales, 1981: 22a
B. Create a Research Space CARS Model Move One: Establishing a territory
Step 1 Claiming centrality andor Step 2 Making topic generalization s andor
Step 3 Reviewing items of previous research Move Two: Establising a niche
Step 1A Counter-claiming or Step 1B Indicating a gap or
Step 1C Question Raising or Step 1D Continuing a tradition
Move Three: Occupying the niche Step 1A Outlining purposes or
Step 1B Announcing present Research Step 2 Announcing principal findings
Step 3 Indicating RA Structure
Swales, 1990:141
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Brett’s Model for the Results Sections in Research Articles Categories Move
1. Metatextual Categories 0.1. Pointer
0.2. Structure of section 2. Presentation Categories
0.3. Procedural 0.4. Hypothesis restated
1.1. Statement of findingdata a Comparison
b Time related change c Relationship between variables
2.1. Substantiation of finding 2.2. Non-validation of finding
3. Comment Categories 3.0. Explanation of finding
3.1. Comparison of finding with literature a 3.1. + The finding is the same
b 3.1.?The finding is neither the same nor different c 3.1.-The finding is different
3.2. Evaluation of finding with reference to hypothesis a 3.2.+the finding is the same as hypothesis
b 3.2.-The finding is different from hypothesis 3.3. Further question s raised by finding
3.4. Implications of finding 3.5. Summarising
Brett, 1994
C. Bhatia Business letters 1991 and legal documents 1993 the analyst should go through the following seven
steps: 1. Placing the given genre-text in a situational context
2. Surveying existing literature 3. Refining the situationalcontextual analysis
4. Selecting corpus 5. Studyng the institusional context
6. Level of linguistic analysis Level 1: Analysis of lexico-grammatical features
Level 2: Analysis of text-patterning or textualization Level 3: Structural interpretation of the text-genre
7. Specialist information in genre analysis Bhatia, 1993: 22-36
D. Business Genre 1. Establising credentials
2. Introducing the offer: i Offering the product or service, ii Essential detailing of the offer,
iii Indicating value of the offer 3. Offering incentives
4. Enclosing documents 5. Soliciting response
6. Using Pressure tactics 7. Ending politely.
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3. ANALYSIS
