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Lyndsey Hogan CMST 351 Dr.

Pearson 4/20/2013 Constitutive Rhetorics Ability to Persuade Gendered Purchases The theory of Constitutive Rhetoric is used to explain how advertisements and other mediated texts are used to rhetorically construct audiences, specifically to draw attention to political discourse. According to Charlands interpretation of constitutive rhetoric, audiences are constituted as subjects through a process of identification with a textual position. This identification occurs through a series of ideological effects arising from the narrative structure of constitutive rhetoric (Stein, 2002, p. 173). In effect, Charland is stating that rhetoric does not persuade audiences; rather it creates them through defining and categorizing human beings into identity slots. This ideological process of hailing audiences into identity slots, interpellation, serves the dominant ideology by convincing subjects to conform, act, and speak in accordance with prevailing ideologies. By categorizing audiences into different identity slots, individuals cease to exist, leaving only free subjects - who falsely believe they have the ability to make their own decisions. In reality, the identities being adopted lead subjects to conform to the dominant belief system. The theory of constitutive rhetoric can be applied to feminist rhetorical criticism, which analyzes rhetoric that creates and perpetuates inequalities and rhetoric that challenges gender inequalities and empowers women. Feminist rhetorical criticism assumes that inequalities exist between men and women, and that sex is biological, whereas gender is cultural. These assumptions can be seen as playing out in two ads I found in Cosmopolitan Magazine. In the April 2013 issue of Cosmopolitan, a Dolce & Gabbana fragrance advertisement depicts a shirtless man and risqu-dressed woman engaging in intimate, sexually suggestive actions against a cement background. In the May 2013 issue of Cosmopolitan, a Gucci Guilty Black fragrance advertisement depicts a seemingly bare woman cradling the head of a man, leading viewers to believe the two are engaging in sexual actions in a dark room, where a red light spotlights the side of the woman. By applying constitutive rhetoric and

feminist rhetorical criticism, to the two ads I found in the April and May 2013 issues of Cosmopolitan magazine, I have found that the ideological effects form the collective subject of the Dolce & Gabbana fragrance advertisement as the desirablesexual partner, whereas the Gucci Guilty Black perfume advertisement creates a collective subject identified as the irresistible-vixen. Both images construct an audience who believes that wearing the advertised scent will cause the opposite sex to view them as more desirable and coveted than one who does not wear the fragrance, and is therefore overlooked and unnoticed. In effect, both advertisements promote the ideology of woman as sexualized objects, whose mere purpose is to serve the desires of men; although, in contrast to Dolce and Gabbana, the Gucci Guilty Black perfume advertisement breaks away from furthering traditional sex roles in the media. The Dolce and Gabbana fragrance advertisement marketing both mens and womens fragrances hails an audience who identifies as desirable-sexual partner by providing a sultry, sexy depiction of two seemingly consenting adults engaging in sexually suggestive fantasies, that their respective fragrances appear to have prescribed for them. The two models pictured in the advertisement are photographed in a way that highlights their glistening, tanned skin a desirable attribute in American culture. The lighting of the advertisement emphasizes other coveted physical attributes: the mans muscular figure, and the womans bony, petite frame, as well as her full breast size. Collectively, these external features characterize Dolce and Gabbanas fragrance models as attractive in terms of popular culture/societys standards. The attractiveness of the advertisements figures leads viewers to conclude that wearing Dolce and Gabbanas scent is a step they can take towards achieving desirability. In addition, the man and woman in the advertisement are embracing each others bodies, eyes closed, as if they are about to kiss in a lustful manner. The candid nature of the photograph adds a deeper element of lust; it is almost as if the two figures are living in the moment, carrying out their most yearned for fantasies with each other, disregarding any interruption or lack of privacy. This causes viewers to conclude that the aesthetically pleasing couple in the advertisement is sexually passionate about each other, drawn together by their

Dolce and Gabbana scents. In effect, the advertisement creates a collective identity of desirable-sexual partner, for the audience to crave. The advertisements subjects are convinced that by purchasing Dolce and Gabbanas product, they will have the ability to embrace the same identity that is displayed by the models. The ideological effects of Dolce and Gabbanas constitutive rhetoric are not just limited to forming a collective identity, but also creating an illusion of freedom for the audience. The fragrance is viewed as providing the subjects the ability to be coveted by the opposite sex. For males, the message is: wear this cologne and you will be an irresistible hunk. For females, the message is: wear this perfume and you will be a sexualized vixen. The audience is led to believe that they will encompass the qualities of a desirable-sexual partner as a result of purchasing Dolce and Gabbanas fragrance; this creates an illusion of freedom due to the fact that the advertisement promises consumers irresistibility and power, but actually hinders ones freedom by making freedom contingent upon the purchase of the product. The Gucci Guilty Black perfume advertisements targets women who collectively identify as the irresistible-vixen, evident by the man submitting to the womans sexual desires in what appears to be a hidden, back room of a nightlife establishment. In contrast to the Dolce and Gabbana fragrance advertisement, the Gucci Guilty Black advertisement does not depict a sexual situation in which both parties are caught up in the moment. The Gucci Guilty Black perfume advertisement features a blonde woman making direct eye contact at the camera while holding the head of the man with whom she is sexually involved below hers, as if her irresistibility provides her the power to control his every thought and move. A red light spotlights the woman from behind, while the rest of the room is dark. Both the female models lipstick and nail polish are deep red, while her eye shadow is black. The Dolce and Gabbana fragrance advertisement uses a natural color palette, which sends a much more passive message, which is in direct opposition to the bold colors used in Guccis promotion. A much bolder proclamation results from Gucci Guilty Blacks color combination, which is reminiscent of a Black Widow, implying the woman pictured is dangerous and threatening when it comes to men. The name of the perfume, Gucci Guilty Black, and placement of the bottle on the vixens body,

draws the audience to conclude that the woman who wears this perfume causes men guilt. It sends the message that women who wear the scent are irresistible to men, and as the inclusion of guilty implies even those in monogamous relationships. This interpretation is aided by the setting of the couples sexual expenditure, which appears to be secretive and impulsive. Together, these aspects create an ideological effect that constitutes the collective subject of the advertisement as the irresistible-vixen. The audiences collective belief they will encompass the qualities of an irresistible-vixen as a result of wearing Gucci Guilty Black perfume is an illusion created to persuade consumers to purchase the product. Similar to Dolce and Gabbanas advertisement, the Gucci ad makes women believe that their sexual irresistibility and power depend upon the purchase of the product. In contrast, it also sends the message that women who do not wear the fragrance are frumpy and submissive. The advertisement creates an illusion of freedom as it promises women empowerment, but actually mandates further obedience to the product. An ideology is a set of cultural beliefs and values that serve the interests of the patriarchy, but remain unquestioned and adhered to by society. According to Stein, advertising images are ideologically powerful because they draw on sociocultural meanings from viewers lives as well as from the mass media themselves, meanings reframed as inherent to the products (2002, p. 150). The Dolce and Gabbana advertisements stylistic features are of anti-rhetorical style to womens liberation movement in that the rhetorical transactions contain features encouraging submissiveness and passivity in the audience qualities that counter the fundamental goal of feminist advocacy, which is self-determination (Campbell, 1973). These ideologies are evident in the two characters body positioning, facial expressions, arm placement, physical appearances, and attire. The man is positioned on top of the woman, whose back and arm are against a solid wall, without the ability to move. Her other hand is pressed against the mans stomach, as if she is trying to push him away. Whereas the man is forcing her to submit to his sexual desires, as he exerts force to keep her back pinned against the wall. The womans chin is slightly tilted up, as if she is the mans subordinate. In contrast, his head is

tilted down, as if he is dominant and in control of her. The womans upper body is tilted away from the man, whereas his upper body is tilting forwards, as if he is forcing himself upon her. The womans de-centered posture leaves her in a position of being defenseless. The camera captures the womans chest straight on, with her cleavage fully exposed, sexualizing her femininity. Only one of the mans hands is not pictured, while the other one is placed on the lower half of the womans body, as if he is trying to further their sexual encounter. This interpretation is further supported by the couples contrast in clothing coverage. The man is pictured shirtless, whereas the woman is wearing a sleeveless top, which she appears to be trying to keep on, despite one strap falling off. Together, all of these aspects of the image embody cultural assumptions about male desire and what the male wants, while women accept their helplessness. The story being told creates an audience that yearns to adapt to these qualities, and encompasses the product being sold. In the Dolce and Gabbanna advertisement, the fragrance represents the ability for males to control and dominate females, and for females to be a males object of desire. This is in stark contrast to the Gucci Guilty Black advertisement in that does not subordinate women, rather it empowers them; although, the woman pictured is still sexualized as the object of male gaze. In this ad, the woman is holding the head of the man below her eye level, as he closes his eyes, tilting his head backward, as if he is waiting for her to give him direction. She is controlling his head, both literally and figuratively symbolic of the power and control she possesses over him. Such a depiction is not common in advertisements, as it defies societys traditional gender roles. In this case, the man is treated as an object, while the woman is the subject. The woman is making direct eye contact at the camera, whereas the mans eyes are closed and he is photographed from the side. In the Dolce and Gabbana advertisement, the woman was positioned as the man is in this advertisement. This gender role reversal shows the man as powerless and vulnerable, and the woman as active and alert. Although it does not appear as if either figure is clothed, the top of the womans bare chest is in plain sight. Traditional gender roles persist through the depiction of the woman as sexualized. In contrast to the Dolce and Gabanna fragrance advertisement, this advertisement

promotes perfume that represents womens ability to be powerful, dominant beings, while still possessing their sexual prowess. Although the ideology of women as sexual beings still persists in the Gucci Guilty Black perfume advertisement, the reversal of traditional female roles is also evident, and is viewed as a radical affirmation of new identities for women. The ideologies being promoted in the Gucci Guilty Black advertisement include the reversal of traditional female roles, which is viewed as a radical affirmation of new identities for women. Through creating collective subjects and promoting certain ideologies, advertisements construct audiences as lacking or deficient of certain qualities, which can only be remedied through the consumption of the product being promoted. The Dolce and Gabbana advertisement tells viewers that they are missing the ability to be seductive and desirable to the opposite sex, which can be achieved by misting oneself with the brands fragrances. In effect, this means that the audience believes they are lacking the ability to be seductive and desirable to the opposite sex, which is the reason for purchasing Dolce and Gabbanas fragrance. Similarly, the Gucci Guilty Black advertisement tells viewers that they are lacking sexual magnetism and irresistibility, which can be obtained by wearing the brands perfume. The advertisement creates an audience who believes they are deficient of the qualities that the woman pictured possesses the power to attract, seduce, and sexually dominant any man she lays her eyes on. By purchasing the product, the audience is led to believe that they too will develop these qualities. Had the advertisements not shown the audiences that the woman and man pictured are better equipped and more successful at being intimately irresistible, they would have not felt as if they were lacking in these depicted qualities. Dolce and Gabbanas fragrance advertisement and Gucci Guilty Blacks perfume advertisement instigate feelings of deficiency in their viewers as a result of being exposed to such persuasive rhetoric in the form of coveted imagery. The theory of constitutive rhetoric and feminist rhetorical criticism go hand in hand in analyzing many advertisements and mass media promotions. Societys expectations for males to be more powerful and active are females to be passive and subordinated, are traditional gender roles that suppress women and further

inequalities within our culture. The majority of mass media circulating depicts images that further these ideologies by creating collective identities that audiences believe they are deficient of, and strive to achieve by purchasing the products that create these feelings of inadequacy. The Dolce and Gabbana advertisement depicts women as defenseless and subordinate, furthering the traditional definitions of femininity and masculinity. The Dolce and Gabbana advertisement promotes fragrances that represent the ability to control and dominate females, for males, and the ability to be a males object of desire, for females. The Gucci Guilty Black perfume advertisement from the May 2013 issue of Cosmopolitan magazine rears a different kind of ideology, one that empowers women, but still perpetuates sexualizing them. The Gucci Guilty Black perfume advertisement encompasses the qualities of an irresistible-vixen, by depicting women as powerful, sexualized beings. This creates an audience yearning to encompass these qualities. Viewers believe the products being promoted allow them more freedom, but in fact they are becoming obedient to the fragrances. Constitutive rhetoric interpellates audiences into conforming to the dominant ideology, but these subjects believe they are exercising their freedom to choose. Advertisements are one way in which rhetoric defines and categorizes human beings, and in doing so, the dominant ideology is often served, as is the case with the Dolce and Gabbana and Gucci Guilty Black fragrance promotions.

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