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Original Paper УДК 81.342.9
DOI: 10.29025/2079-6021-2019-3-162-170
Pausation in Spanish Television Advertising Texts
N.I. Filatov;/"^
Pyatigorsk State University, Pyatigorsk, Russian Federation ORCID ID: 0000-0003-2765-674X, Researcher ID: T-8240-2019; e-mail: filatova@pgu.ru
A.V. Garamyan
Pyatigorsk State University, Pyatigorsk, Russian Federation ORCID ID: 0000-0001-5753-8133 Researcher ID: T-7470-2019; e-mail: garamyan@pgu.ru
I.A. Kobyakova
Pyatigorsk State University, Pyatigorsk, Russian Federation ORCID ID: 0000-0002-6314-4461, Researcher ID: T-8401-2019; e-mail: kobyakova@pgu.ru
Received: 16.07.2019 /Accepted: 29.07.2019 /Publishedonline: 25.09.2019
Abstract: The article studies the features of pausation in Spanish television advertising. The specific objective of this study is to establish patterns of use of sub-types of pauses in Spanish television advertising and to determine functional significance of pauses. The experimental corpus includes 150 television advertising messages of Spanish television channels with a total duration of more than four hours. Based on the methods of auditory and electroacoustic analyses, it has been established that such types of pauses as real grammatical pauses, unrealistic grammatical pauses, announcer's pauses, psychological pauses are presented in Spanish television advertising texts, hesitation pauses are not detected, which is explained by the complete absence of spontaneity in such advertising texts. A psychological pause is a leading type of pauses recorded in the analysed framework.
Keywords: pause, real grammatical pause, unrealistic grammatical pause, psychological pause, announcer's pause, hesitation pause, duration contrasts.
For citation: Filatova N.I., Garamyan A.V., Kobyakova I.A. Pausation in Spanish Television Advertising Texts. Current Issues in Philology and Pedagogical Linguistics. 2019; 3: 162-170. DOI: 10.29025/2079-60212019-3-162-170 (In Eng.).
Оригинальная статья
DOI: 10.29025/2079-6021-2019-3-162-170
Паузирование в текстах испанской телевизионной рекламы
Г<1
Н.И. Филатова1 -
Пятигорский государственный университет, г. Пятигорск, Российская Федерация
ORCID ID: 0000-0003-2765-674X Researcher ID: T-8240-2019; e-mail: filatova@pgu. ru
А.В. Гарамян
Пятигорский государственный университет, г. Пятигорск, Российская Федерация ORCID ID: 0000-0001-5753-8133 Researcher ID: T-7470-2019; e-mail: garamyan@pgu.ru
И.А. Кобякова
Пятигорский государственный университет, г. Пятигорск, Российская Федерация ORCID ID: 0000-0002-6314-4461, Researcher ID: T-8401-2019; e-mail: kobyakova@pgu.ru
Получена: 16.07.2019 /Принята: 29.07.2019 /Опубликована онлайн: 25.09.2019
Резюме: В данной статье рассмотрены особенности паузирования в испанской телевизионной рекламе. Цель исследования состоит в установлении закономерностей использования подвидов паузы в испанской телевизионной рекламе и в определении функциональной значимости пауз. Экспериментальный корпус составили около 150 телевизионных рекламных сообщений испанских телевизионных каналов общей длительностью более четырех часов. На основе методов аудиторского и электроакустического анализов установлено, что в текстах испанской телевизионной рекламы представлены такие типы пауз, как реальные грамматические паузы, нереальные грамматические паузы, дикторские паузы, психологические паузы, не регистрируются паузы хезитации, что объясняется полным отсутствием спонтанности в такого рода рекламных текстах. Ведущим типом пауз, зарегистрированных в проанализированном корпусе, является психологическая пауза.
Ключевые слова: пауза, реальная грамматическая пауза, нереальная грамматическая пауза, психологическая пауза, дикторская пауза, пауза колебания, контрасты длительности.
Для цитирования: Филатова Н.И., Гарамян А.В., Кобякова И.А. Паузирование в текстах испанской телевизионной рекламы // Актуальные проблемы филологии и педагогической лингвистики. 2019; 3: 162-170. DOI: 10.29025/2079-6021-2019-3-162-170 (In Russ.).
Introduction
The information and pragmatic focus transfer is carried out by all language means and one of the leading roles belongs to pausation. In addition to the respiratory function, pauses in an advertising text perform three main functions: segmentation of the sounding text, rhythmic structuring, and selection of the main information. Pause duration and location as well as their absence significantly affect the effectiveness of the TV commercial impact.
Traditionally, the term "pause" means such a phonetic phenomenon as a break in articulation and a corresponding physical break in a speech signal. However, pauses also include phenomena characterized only from a perceptual point of view; namely, a sharp tone change or a change of other prosodic characteristics leads to a disturbance of the smooth flow of speech and is perceived by listeners as a pause. Only auditors (both naive native speakers and professional phoneticians) mark such pauses, however, they are not recorded either by instruments or by computer programmes used to study prosodic characteristics of speech experimentally. It means that in this case, there is no real (physical) break, and certain phonetic phenomena lead to the effect of a pause in listeners' perception.
A leading attribute for the classification of pauses is their functional characteristics and not acoustic parameters; in this sense, polyphony is observed in the scientific literature. Despite this, it is common to differentiate
grammatical pauses, which separate intonation phrases, from non-grammatical pauses, which are not related to the intonational and semantic division of speech. The former are subdivided into real grammatical pauses (division border with sound interruption) and unrealistic grammatical pauses (division border without sound inter-ruption).The latter are often divided into intensifying pauses and hesitation pauses; together with grammatical pauses, they form a simple three-term classification. In-phrase pauses, which are found inside the syntagma, and inter-phrase pauses, which are found at the end of complete semantic units, are also highlighted [10, 15]. Announcer's pauses in the prepared speech are the pauses, which allow the author to achieve greater clarity, more distinct flow of sound, which, in turn, create maximum comfort for the text perception. Psychological pauses do not coincide with the logical division of the text and have a wide range of meanings; their polysemy depends on the theme and nature of the text, its lexical content, the speaker's individual characteristics and a number of other linguistic and extralinguistic reasons.
The aim of the article
The aim of the study is to establish patterns of use of sub-types of pauses in Spanish television advertising and to determine functional significance of pauses.
A review of the literature
Previous research has established that in Phonetics it is customary to distinguish between micro-, middle-, and macrosegmentation (see, for example, Potapova R.K., [13, 14]), which is associated with the specifics of the extracted speech segments. Segments of the following type refer to microsegmentation: intrasound (intersound transient processes, the closure, etc.), sound, intersound (combinations of two adjacent sounds), syllabic segments. Syntagmas, breathe groups, rhythmic groups, phrases, super phrasing unities, and phonetic paragraphs are objects of macrosegmentation. The phonetic word (rhythmic structure) occupies an intermediate position between the objects of microsegmentation and macrosegmentation, that is, the level of middle segmentation. The presence of a statement determines the presence of a pause. Pause realization and localization are connected with the coding of the text by the speaker and decoding it by the listener. A pause is a temporary stop of sounding, breaking a stream of speech, caused by different reasons and performing various functions. The Spanish phonetician A. Quilis following a common phonetic tradition also calls any break or stop during speech or reading a pause, pointing to the fact that a break in sounding can have a different duration depending on the function it performs [22, p. 212].
However, the concept of a pause as a physical phenomenon does not coincide with the concept of a pause in phonetic studies. On the one hand, not every break in sounding is a pause. Complete cessation of phonation takes place on the closure of a deaf consonants phase, being their integral part. On the other hand, a perceived pause is not necessarily a complete break in sounding: it can be filled (with neutral vowels, combinations of sounds).
R.K. Potapova states that signs of speech signal segmentation involve an intensity drop to zero at a minimum time interval; the presence or absence of a pitch frequency; an intermittent increase in the frequency of the main tone at transition from a consonant to a vowel; the presence or absence of noise; bands of noise localization on a frequency scale; noise intensity; noise increase abruptness; noise duration; segment duration [13, p. 271].
O.F. Krivnova, I.S. Chardin, following L.K. Ceplitis suggest speaking about pauses implemented by a segment of zero intensity (loudness in perception) in a signal as about temporal pauses in contrast to non-temporal pauses, in the implementation of which there is no such segment [9, p. 87]. In this case, temporal pauses also include cases when a gap between two segments is filled with some kind of sound (for example, «Dijo que eeeh venía y que eeeh le esperaba»).This terminology makes it possible to emphasize such an important feature as the presence or absence of a temporary dimension in the physical sense of a word, allowing at the same time to distinguish between filled and unfilled temporal (physical) pauses.
From the preceding, it may be seen that it is very difficult to determine a pause as a functional phenomenon by an acoustic signal, and especially the task of automatically allocating pauses when dividing stream of speech into minimal intonation units. The complexity of the relation of a break in sounding and a semantically loaded pause encourages the followers to divide pauses observed in coherent speech into temporal, characterized by a segment of zero intensity, and non-temporal. Thus, Yu.A. Dubovsky identifies the following types of pauses by acoustic signs:
- Three types of temporal pauses: pause-break (unfilled), pause-stretch (filled), mixed;
- Non-temporal pauses, represented by pauses with marked or unmarked structure of prosodic attributive parameters [3, p. 75].
Pause functions rather than their acoustic characteristics often act as a basis for their classification in linguistic studies. Different authors have significant differences in the functional classification of pauses. Despite this, one of the introduced distinctions is quite general. Functionally, physiological, grammatical, logical, hesitation, compositional and announcer's pauses are distinguished (see, for example, Svetozarova [15]; Larchen-ko [10]). Our study examines all the varieties of a pause, except the first; the facts of pause elimination in the places that clearly suggest them are also analysed.
An absolute duration of intonation pauses varies within wide limits from the size comparable to an average duration of a sound or syllable, to the size comparable to an average duration of segments separated by a pause (syntagmas or phrases).Traditionally, pauses are divided into minimum (include the zero pause), medium and big by duration. This division is confirmed by the relation of these types of pauses with other components of intonation; as a result, it becomes possible to highlight a limited number of non-random combinations of intonation features (intonemes) that convey semantic intonation. Pause duration also depends on the units they are associated with. As noted by E.V Glushko, the shortest duration is observed between separate words, a slightly longer duration takes place between syntagmas, between the theme and the rheme, or between relatively complete statements [4, p. 37-38]. A longer terminal pause indicates a change in the communicative role from the speaker to the listener. Finally, pauses of the longest duration indicate the end of the conversation or are related to the speaker's emotional state.
Following Yu.A. Dubovsky [2, p. 64], in this study we refer to a pause as to a time interval exceeding 0.05s. during which either no vocalization occurs (an absolute pause) or the speaker produces a certain segment (a simple filled pause; this may be a reduced vowel "seam", a sonorant nasal or glottal creak) or there is a combination of filled and absolute pauses (a mixed filled pause). Pause duration is analysed not in absolute, but in relative values within the scale of five contrasts: brief, small, medium, big and long. Research methods
Both auditory and electroacoustic analysis methods were used in this study to establish the patterns of use of sub-types of pauses in Spanish texts of sounding advertising. The auditory analysis helps reveal perceived acoustic characteristics of the sounding speech at the perceptual level and the acoustic analysis reveals physical correlates of the perceived qualities, which makes it possible to correlate these two aspects of sounding speech. As an experimental corpus, samples of more than 150 television advertising messages of Spanish TV channels "Telecinco", "Antena 3", "Andalucía TV", "Ibiza TV" and "TeleMadrid" recorded in one of the digital formats were selected. The total duration of the material studied is four and a half hours of airtime. Mainly traditional Spanish products were selected for the study to avoid any possible influence of the intonation contours of other languages in the case of translated commercials. After the corpus was selected, the transcripts of the commercials were made and a preliminary marking of the perceived pauses and their duration was made with the help of a native speaker auditor. We did not limit the number of attempts to listen to phonorecords at an experimental phase of the experiment. The auditor was asked to use the following transcriptional notation keys: | — real grammatical pause;
I —unrealistic grammatical pause (the intensity is not zero); [¡] —announcer's pause; (¡) —hesitation pause; ¡ —psychological pause; у — the absence of a mandatory pause.
Pause duration was designated by numbers from 1 to 5 in accordance with the way a perceived pause was characterized by the auditor within the framework of a five-step scale of duration contrasts: brief, small, medium, big and long. Preliminary marking served as the basis for considering the corresponding sections of the sounding text processed automatically with a Speech Analyzer 3.0.1 programme to determine whether these pauses are real (with a break in sounding and zero intensity) or unrealistic (created by other prosodic means, but not a physical pause in sounding). At the next stage, the identified real pauses were considered to establish the type of each specific pause. Then the subject of the study was the duration of real pauses, which was also measured with the help of the computer programme. The obtained data were correlated with the results of the auditor's work. At the last stage, based on the results obtained, a description was made and linguistically significant conclusions were drawn, which are presented in this article. Results and discussion
The analysis of pausation in Spanish television advertising texts allows us to state that the following types of pauses are presented here: real grammatical pauses; unrealistic grammatical pauses; announcer's pauses;
psychological pauses. For obvious reasons, there are no hesitation pauses. Only in one commercial for the Zara chain of stores, there is a pause, which was originally qualified by the auditor as a hesitation pause, but it is a "play" pause of hesitancy. It is not unintentional, which is defined as a leading sign of this type of pauses. In the above example, the announcer does not hesitate, but features a hesitation pause. Separately, it should be noted that the absence of a mandatory pause is recorded.
Regarding the frequency of using different types of pauses in Spanish television advertising texts, the following should be stated. A psychological pause is a leading type of pauses recorded in the analysed corpus. It is about 63% of the number of all pauses found in the material under study. It should be stressed that this type of a pause can replace other types of pauses in Spanish television advertising texts, for example, grammatical pauses. This is the case demonstrated by the advertisement for the "Gas Natural" company (example 1):
1. Ahora I en Gas natural | te regalamos electricidad como para poner ciento sesenta y cinco lavadoras ¡ o como para ver la tele I mil veinte horas; ¡ o como para correr las cuatro mil ochocientas horas de Lemans. ¡ O que es lo mismo, ¡ te regalamos electricidad suficiente ¡ como para escuchar música durante cuarenta y cinco días. | Llámanos I y te informaremos. | Ahora I con Gas Natural, | electricidad de regalo. | Gas Natural. \ Siempre en buenas manos.
As we see, such pauses are stipulated by the speaker's attitude to the subject of speech; excitement, admiration, outrage or other feeling of the speaker are expressed with their help. At the same time, a character or an off-camera announcer can perform a role of the speaker in the commercial. A character can be represented as a person, an animal, and guests from alien civilizations and even inanimate objects can speak in TV commercials.
The advertising texts in which pausation is carried out by a real grammatical pause are widely represented. Such advertisements are about 60% of the total number of corpus units. It should be noted that these are commercials with an off-screen narrative text. They sound neutral, even a bit boring, but, apparently, some manufacturers prefer to have a more restrained advertising, that on the background of some "screaming" (in the literal and figurative sense) advertisements can have a positive marketing effect.
Based on an auditive stage of the study a sufficient number of cases (up to 20%) noting an unrealistic grammatical pause (i.e., a pause created not by a break in sounding, but by other suprasegmental means) were detected. As a rule, this variety is adjacent to other types of a pause; take, for example, the commercial for the Seat Alhambra car (example 2):
2. Hay ocasiones | que no puedes dejar escapar. [¡] Ahora llévate un Seat Alhambra [¡] sin entrada y | 96 cuotas [¡] de cien euros al mes. [¡] No I lo dejes I pasar.
It is particularly necessary to dwell on the special method of pausation, which we identified in almost all the commercials, where at the end of the text a brand name (product or service name) is used, and then an advertising slogan is proclaimed. These advertisements are quite frequent, thematically diverse; they can have several types of pausation in the previous text. However, in advertisements with this structure, a typified model is used:
Brand name (product name, service name)
Announcer's pause
Slogan
This can be seen in the examples of Cola-Cao instant drink advertisement (example 3), Caseros El Hostal canned vegetables advertisement (example 4) and many others:
3. Iba a gatas I y ya soñaba con pisar la Luna. | No sé si llegará a ser astronauta. | Lo que sé sí | es que tiene que alimentarse bien. | Y como no puedo estar todo el día vigilando lo que come \ me aseguro de que cada mañana y se tome su buen tazón de Cola-Cao. | El mismo desayuno sano y natural con el que todos hemos crecido. [¡] Desayuno Cola-Cao. [¡] Alimenta su Futuro.
4. Éste es un consejo para los que cada día comen mal, [¡] o cualquier cosa, | o no saben cocinar, | o no tienen tiempo. | ¡Comed bien, hombre! Que no cuesta nada. | Caseros El Hostal. Nuevas recetas de legumbres ligeras y sabrosas. | Caseros El Hostal. [¡] La nueva forma de comer legumbres.
Regarding the absence of pauses, which are mandatory from the point of view of a syntagmatic division, it should be noted that they are often (about 18%) eliminated. This technique seems to be a kind of a template escape strategy, because an advertising text always strives for maximum compression of expressive means, which means it is necessary to neglect too "traditional" position of pauses.
In the cases where there was a real pause in TV commercials, that is, a pause, accompanied by a break in sounding, marked by a zero intensity indicator in the computer programme, a duration parameter was also
analysed separately. This is especially important, as a pause, which is too long, has such a strong stylistic colouring, that even if used only once, it can make a strong impression. In addition, the length of a pause reflects the semantic and syntactic organization of the spoken text parts, which is very clearly perceived by the auditor. Measurement of real pauses was carried out in milliseconds.
As shown by the results of our experiment with the participation of a native Spanish informant, perception of pauses by ear does not quite correspond to their real duration recorded by the computer programme. After listening and marking the pauses, as well as checking through the computer programme, it turned out that all the pauses were divided into three groups: recorded by the auditor and the computer programme, marked only by the auditor, recorded only by the programme.
The analysis showed that the auditor perceived pauses with a duration less than 50 milliseconds as a crash, click or hindrance. Only starting with a duration of 150-200 milliseconds, real pauses are reliably indicated by the auditor (more than 80%). Pauses are clearly recorded even with a pause duration of 35-40 milliseconds (100%) in cases where they are associated with mandatory syntax pauses.
In those cases, where there was no physical pause, but the auditor insisted on a break in sounding, as noted in 78% of cases the duration of the syllables preceding the perceived pause increased. When only the computer recorded a pause, lengthening of the preceding syllables was not observed. Thus, a pause signal is a tempo slowdown in the final position of the previous speech segment.
The fact that a syntactic position is often a determining factor influencing the length of pauses and even the very possibility of their occurrence remains indisputable. The material examined gives the following picture in this regard. The most natural place for the appearance of pauses, as expected, was the sentence boundary, where pauses occur in 90% of cases, while 28% of them are characterized as filled pauses. It should be noted that due to the specific format of television advertising there are different types of filling pauses. These are not only the cases, as we described above, when a gap between two segments is filled with some kind of a speech sound or a physiological sound. Filling pauses is often done in other ways. There can be "sounds of life", such as, for example, a sound of a spoon tapping on the cup in the commercial dedicated to Cola-Cao, or sounds of a muffled conversation of a group of people as in the Bombones Peñalba commercial. In Spanish commercials filling pauses with non-speech elements makes up about 80%, more than half of them contain musical inserts.
Fig. 1. Pause duration at sentence boundaries in Spanish television advertising on the perceived level (left) and recorded during the measurement (right)
The auditor differently qualified pauses at sentence boundaries; at the same time, a relative qualification characteristic is correlated with the data obtained during the measurement in the programme. Thus, 30% percent of pauses between sentences were qualified as brief pauses, about 47% as small pauses, about 20% as medium pauses, and only 3% were pauses, characterized as long pauses (Fig. 1.). Pause duration at sentence boundaries, recorded by measurements has the following indicators: 50% of pauses at sentence boundaries are represented by small pauses, 38% by brief pauses, 5% by medium pauses, 4% by big pauses and 3% by long pauses. Duration contrasts of pauses of this kind of localization range from 50 to 1500 milliseconds.
After subordination conjunctions at the border of syntagmas pauses occur in 55% of cases, they are qualified as filled pauses in 15% of cases and are represented by all degrees of contrast, both objectively and according to the auditor's assessment. Pause duration is very diverse and sometimes exceeds the duration of pauses between sentences. When analysing such particularly long pauses in the areas between syntagmas, it was found that, as a rule, they are characterized by psychological pauses, which, in our opinion, is associated with emphatic techniques in the advertising text.
According to the results of our research, pause duration contrasts within one commercial increase its stylistic colouring and Spanish TV advertising producers are actively using it. Only 8% of the analysed corpus characterize the isochronism of pauses by duration.
Conclusion
Summing up the results of the undertaken research, we have come to a conclusion that real grammatical pauses, unrealistic grammatical pauses, announcer's pauses, and psychological pauses are presented in Spanish television advertising texts. Hesitation pauses are not detected due to the complete absence of spontaneity in such advertising texts. A psychological pause is a leading type of pauses recorded in the analysed corpus. The absence of mandatory pauses is recorded in Spanish television advertising, which is motivated by a deliberate redistribution of pausation means in order to increase the efficiency. In the commercials with final components in the form of a brand name and an advertising slogan, the latter is preceded by a mandatory announcer's pause. All the pauses that have become the object of the practical part of the study can be divided into three groups depending on the way of their registration: marked by the auditor and the computer programme, mentioned only by the auditor, detected only by the programme. At the perceived level, pauses that coincide with syntactic boarders are more clearly fixed. The presence of unrealistic pauses in Spanish advertising texts is explained by a speech tempo slowdown in the position preceding this type of pauses. Pause duration at sentence boundaries in Spanish commercials is represented mainly by brief and small pauses. Pause duration at syntagma boundaries is characterized by heterogeneity, it often exceeds the duration of pauses at sentence boundaries, which is explained by a desire to use an extraordinary pause to attract consumers' attention. Spanish television advertising is characterized by pause duration contrasts within a commercial, which increases its stylistic colouring.
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Филатова Наталья Ивановна, кандидат педагогических наук, доцент, доцент кафедры испанистики и межкультурной коммуникации, Пятигорский государственный университет; 357532, проспект Калинина, 9, г. Пятигорск, Российская Федерация; e-mail: filatova@pgu.ru
Natalia I. Filatova, Candidate of Pedagogy, Associate professor, Pyatigorsk State University, Chair of Spanish Studies and Intercultural Communication, Associate professor; 357532, 9 Kalinin Avenue, Pyatigorsk, Russia; e-mail: filatova@pgu.ru
Гарамян Арусяк Вячеславовна, кандидат филологических наук, доцент, доцент кафедры английского языка и профессиональной коммуникации, Пятигорский государственный университет, 357532, проспект Калинина, 9, г. Пятигорск, Российская Федерация; e-mail: garamyan@pgu.ru
Arusyak V. Garamyan, Candidate of Philology, Associate professor, Pyatigorsk State University, Chair of English Language and Professional Communication, Associate professor; 357532, 9 Kalinin Avenue, Pyatigorsk, Russia; e-mail: garamyan@pgu.ru
Кобякова Ирина Александровна, кандидат филологических наук, доцент, заведующая кафедрой испанистики и межкультурной коммуникации, Пятигорский государственный университет, 357532, проспект Калинина, 9, г. Пятигорск, Российская Федерация; e-mail: kobyakova@pgu.ru
Irina A. Kobyakova, Candidate of Philology, Associate professor, head of the chair, Pyatigorsk State University, Chair of Spanish Studies and Intercultural Communication; 357532, 9 Kalinin Avenue, Pyatigorsk, Russian Federation; e-mail: kobyakova@pgu.ru
