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Análise de Discurso Crítica da publicidade

with the existence of a reactive humour and a provocative one. This dichotomy is closely connected with the Mikail Bakhtine’s diphony concept exposed by Tzevetan Todorov25 . Intertextual humour should be understood on the basis that every humoristic commercials set – implicitly or explicitly – connections (of convergent or divergent nature) with other messages already uttered (a humoristic reaction) or to be uttered (a funny provocation). This polarity is important because underpins the dichotomy between advertising reactive and provocative humour. Advertising reactive humour is a kind of a satiric comedy and must be conceived as a discursive behaviour towards other advertising messages or competitive contexts worth of censure. It is, for example, the disloyal competitiveness or the untrue competitive advertising strategies. The commercial has a sarcastic humour which aims to produce laughter with a moral function: jokes must expose competition entities or consumers faults and malefic (market) standards, as it happens on Apple’s commercials against Microsoft (figure 6). On their basic characteristics, this humour is similar to the way Henry Bergson saw the role played by laughter on society26 . Advertising provocative humour is other intertextual humour possibility. Although the satiric value remains, the dynamics change remarkably: jokes are not anymore a reaction but a kind of discursive provocation towards virtual pragmatic contexts worth of censure. However, the advertiser strongly believes on its effective utterance. This type of intertextual humour is connected with discourse strategies when the best resistance is the attack. The main idea underpining the intertextual humour class is about the fear of being ridiculous, which allows us to make two final remarks. The first is about the fact that this kind of humour is better suitable with periphery persuasion routes usually connected with moralistic statements about the integrity of the market competitors and consumers. The second remark concerns the strategic potentiality of this kind of humour. As everybody fears to be ridiculous, this humour is settled on a negative emotiveness, a negative pathos; it also pre25 TODOROV, T. – Mikhaïl Bakhtine, le principe dialogique suivi de écrits du cercle de Bakhtine. Paris: Seuil, 1981. CAMILO, E. – “Symbolic fights among commercial brands: the advertising conflicts”, in: Ramallo, Fernando; Lorenzo, Anxo M. and Rodriguez-Yanez, Xoán (Eds), Discourse and entreprise. Muechen, Lincon GubH, 2006. 26 Bergson, H. – O riso. Ensaio sobre o significado do cómico, p. 28.

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