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Emotive language, 'dangerous' and 'extreme concern', alerts the reader and draws their attention to the tanning problem. In the last sentence, the writer uses a metaphor to describe the 'tanorexics': 'walking raisins'. This phrase has connotations of dried up and very dark skin, similar to the skin on the 'tanorexics'. It creates a vile, yet comical image in the reader's mind, which both shocks tem and make them want to ridicule the 'tanorexics'. The final phrase, 'a regular sunbed fix' recapitulates the main point: tanning is like a drug addiction.
The writer has used this to avert people from starting tanning sessions.
The suntanners are identified by the writer as desperate and wealthy people.
They actually go out and purchase sunbeds and waste large amounts of money on them. This elucidates that the main users of the sunbed are those who have both the cash and time to waste. Then the writer introduces an anecdote of a person who had bought a sunbed.
Personal experiences are sometimes more effective than scientific facts, because the reader finds anecdotes easier to identify with.
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Jane Horwood, the interior designer who became addicted to sunbeds, recalls going on the sunbed 'religiously after work'.
The word 'religiously' has connotations of dependency on sunbeds and infiltration of tanning into people's beliefs. Religion is often referred to as the act of worshipping god; in this case, tanning is being worshipped. Jane also mentions that she uses the sunbed after work. This suggest that she go on it as a form of relaxation, because normally after work people feel stressed, therefore they seek to slack by making a cup of tea or watching the TV; however 'tanorexics' like Jane choose an alternative form of relaxation: artificial tanning.
Jane touches upon the fact that using the sunbed is similar to smoking.
Both addictions led to horrific diseases such as cancer but neither is essential.
The idea of obsession is reinforced with '"... I couldn't stop myself. "' The writer adds 'she confesses' after Jane describes her addiction and hints that tanning is a crime. In the last part of Jane's anecdote, she depicts the reason why she uses sunbeds: '"It's an obsession with self-image and self-esteem, like anorexia. "' This help the writer explain why she has chosen the word 'tanorexics' which she has used throughout the whole piece.
In the subsequent paragraphs, Cayte Williams contrasts the opinionated anecdote with scientific facts supplied by reliable sources, for instance Doctor Julia Newton Bishop, consultant dermatologist at St James' University Hospital. The reader would trust what the doctor says, because stereotypical scientists know everything and are always right. Moreover, she's a specialist, which means that she knows better than any other doctors. In the interview with Doctor Bishop, she mentions the long-term effects of sunbeds: 'premature skin aging', 'skin fragility', 'bruises and blisters easily'.
Normally people don't have to worry about signs of ageing until they're in their forties; however by using sunbeds, people are bringing forward old age. This helps the reader see further into the future - though they may look nice now, but in a few years time they'll look old whereas the normal people will still look young. The dermatologist uses many technical jargons, such as 'fragility', 'transparent texture' etc. There are two benefits of using scientific terminologies: they add weight to the argument thus making the issue sound serious, and also they impress the reader who are then more likely to believe the facts.
The danger of tanning is that the skin 'bruises and blisters easily'. Many of the sunbed users are beauty conscious; bruises or blisters on the skin would look worse than untanned skin, therefore sunbeds actually make people less attractive, which is the opposite effect sunbed users expect. Christine Suggars also uses lots of technical language, such as 'epidermis' and 'melanocyte cells'; however too many jargons might seem too over-powering to the readers, thus quick and simple definitions are added in brackets for the reader to understand the text better and grasp the scientific information.
She shocks the reader with a comparison between sunbed and a day on the beach. According to her, the amount of UVA rays a person receives in thirty minutes on the sunbed is equal to a day on the beach. This shock factor - thirty minutes equating a day - alerts the reader and creates insecurity. Then she intensifies on the abysmal influence the UVA and UVB rays have on the body. She brings forward the concern over skin cancer as a result of over-exposure to UVB rays. This adds worries to the already anxious reader, because cancer is linked to death, hence if people use sunbeds, then they are handing themselves over to the devil.
Unlike UVB rays, UVA rays have not always been considered risky. Christine comments on the growing concern over the effects of UVA rays only in the recent years. For this reason, the readers do not know exactly what problems the UVA rays cause; however they might speculate that these rays are as bad as the UVB rays. The fear of ageing is reiterated near the end: 'causing sagging skin and wrinkles. ' This point is reflected earlier on in Doctor Bishop's interview. The readers are more likely to believe something if it has been repeated by two different persons.
Industries are often deemed to be moneymaking businesses out to exploit the hard-earned money of the populace. Here, Williams regard suntanning as an 'industry', which implies that to the wealthy businessmen who provide suntanning facilities, money is always at the top of the list, everything else is shadowed by these mountains of pound signs. From all the scientific facts given previously, the readers would think that there must be rules and regulations that The Tanning Shop follows; they are nevertheless appalled that the company only 'advocates "controlled tanning"'.
The readers through the inverted commas around 'controlled tanning' sense the sarcastic tone of the writer, and they are lead to believe that 'controlled tanning' doesn't actually take place. Rachel O'Donnell, marketing co-ordinator of The Tanning Shop, attempts to justify her actions by following the golden rule: 'the customer's always right. ' In her defence she claims that '"People aren't happy just to pop into a booth anymore"' therefore she has to provide their requested services and that's '"to tell them what to do.
From the reader's point of view, O'Donnell portrays a typical businesswoman - malleable under the customer's influence and hypnotised by enticement of money. Williams cunningly manipulates the readers' opinions against the suntanning industry and then reverse-psychology kicks in: whatever O'Donnell says, the reader will think the opposite. The sarcastic tone stays persistent as the writer talks about the warnings customers receive before their first session on the sunbed.
The inverted commas around 'consultation' suggest either a lack of information supplied by The Tanning Shop or the non-existence of the 'consultation'. Near the end of O'Donnell's interview, the reader starts to question the veracity of her words - just as Williams has hoped - because two of the ideas contradict each other. If The Tanning Shop had done their job properly and provided its customers with sufficient knowledge of the risks involved, why would the customers continue to be 'fussy about what they get' when they are perfectly aware of the health issues?
The writer expresses her caustic views on tanorexics with deliberation. Normal people should be startled by the 'unnervingly' looking tanning booths that exhibit so many similarities with coffins; tanorexics on the other hand don't mind the alarming shape of the tanning booths. Williams seems to implicate that tanorexics and businessmen come in a pair: one is willing to give all they got to get brown skin, whilst the other is willing to take whatever's on offer to give others tans. This has connotations of stupidity, single-mindedness and lunacy.
A second anecdote is included, this time about an accountant Victoria Williams, who is addicted to suntanning. Another personal experience prevents the reader from feeling attached from the article, and make sure that their eyes stick to the text like a magnet. The idea of drug addiction is reinforced; Victoria professes that going on sunbeds 'makes her feel healthier', which is exactly what Jane Horwood said earlier on in the article. The writer wants the message to reach the target audience's brains and reside there: using sunbeds is like drug addiction.
It's clear that Cayte Williams doesn't even want the readers to try a sunbed session to learn what it feels like, because they will get hooked. Victoria is an ideal example. She only started to use sunbeds 'to clear up a skin complaint', but now she's indulging herself in these coffin-like booths regularly, and she has lost her self-control; her attempt to quit has failed, because she gets 'miserable' and becomes 'pasty' soon after. Unlike the case with Jane Horwood, the writer doesn't want the reader sympathise Victoria, simply because she appears childish, ignorant and selfish.
She somewhat answers the rhetorical question, 'Is she worried about the latest sunbed scare? ' in the interview; she does not accept the truth about the dangers of using the sunbeds, rather she thinks that they are 'over-hyped'. In the readers' minds, she is arrogant and utterly immature. Both anecdotes impart the addiction to sunbeds. In the interview with Jane Horwood, the writer wants to illustrate the full effect of using sunbeds; however Victoria Williams' account to demonstrate some people's unacquaintance with health hazards posed by regular sessions on the sunbeds.
'Haunt' is a paranormal, ghostly behaviour. Here it is used to describe activist among the tanorexics. This may indicate that they are as good as dead or that they seem weird and scary from a normal person's perspective. People who own mobile phones have to top-up regularly, otherwise they would become pieces of useless metal. Likewise, tanorexics have to 'top-up' periodically to deter powerlessness. The writer gives the impression that she views these celebrities such as Luke and Matt Goss with contempt, as she uses a blunt rhetorical question, 'Who says tanning isn't trendy? ' to taunt them.
She has already convinced her target audience that tanning is bad for you, yet these music personalities are exhausting their bank cheques for some short-term beauty. The managing director of Electric Beach, Philip Hodgeson outlines suntanning as '"People go in and they come out tanned. "' This simplified version of the process appears to be almost innocuous, so doesn't this clash with the writer's argument? If the readers have apprehended all the points presented to them before, then they must be able to see right through Hodgeson's statement. 'Secretive' bring to mind seclusion from the world and some kind of conspiracy.
Women naturally wish to be more attractive, thus it's somewhat reasonable to think that they may get addicted to sunbeds. Men, on the other hand, are not generally categorised as beauty-conscious. If they were seen doing feminine things, i. e. using sunbeds, then it would be extremely embarrassing for them. The writer sets forth her views on machine-tanned men through 'secretive' - from this word we gather that she wants the readers to think that these type of men are fraudulent, crafty and deceitful - they lie to people about where they get their rough outdoor looks so that they don't seem effeminate.
Politicians are detestable who are boring, serious and rich. Instead of discussing government plans, Paddy Ashdown wastes his wages on unnecessary luxuries such as suntanning. The writer explicitly wants to build up hatred against politicians and expose their leisurely lifestyle. She also expects the reader to ridicule this Liberal Democrat office. Some people are so humiliated that they don't even want to be named, for instance John Stevens, who is to afraid to admit to his wrongdoings.
Like Paddy Ashdown, he also felt flustered when others found out about his secret, and understands why Ashdown 'blushes' over all the gossip. He thinks that there is this 'unspoken idea' that a 'real man' should get tanned outside, not in a heated booth. Obviously the widespread of sunbeds have covered up the 'right way' of tanning. The Essex Man who has a 'perennial tandoori tan'. The whole point of a tan is to look like you've been on holiday. However if the skin stays brown forever, how can people tell when you have a tan or not?
Moreover the word 'tandoori' vividly brings to life the colour of suntanned skin i. e. bright red and best when overdone. This implies that they are cooking themselves in the tanning booths, as with tandoori dishes. In the last paragraph, Shauney Taylor of Tanning Trends in Barking reports the account with a man in his thirties who gets tanned everyday. The fact that she only 'muses' about men wanting to be Peter Andre, even though she fully acknowledges that she's letting their health be jeopardised. She is seen to be a moneymaking monster.
Overall the tone of the article is light-hearted and the writer uses humour to sustain the reader's attention: 'big plastic cocoon', 'abducted by aliens' and 'tandoori tan'. However the interviews with the professionals add weight to the text and remind the reader that this is a very serious issue and shouldn't be ignored. Cayte Williams uses direct address - 'you' and 'you're' numerous times. This technique helps to involve the readers to make them feel part of the story. She cleverly utilises the neology 'tanorexics' that is given to all the people that are addicted to tanning.
As a result, these people are isolated from 'normal people'. Colloquialism lets the writer communicate with the readership more efficaciously, therefore sound more reliable and trustworthy. A strategy she applies throughout the whole piece is a balanced combination of facts and opinions, i. e. professional sources and personal anecdotes. The mixture convinces the reader to believe the writer's argument. The lengths of the sentences alter from exceedingly long ones to utterly short ones. For example '"UVA rays penetrate the skin...
causing sagging skin and wrinkles"' compared to the simple phrase 'Sun Vampires'. The variance in length keep the reader interested, because short, sharp sentences add tension whereas the lengthy ones give more details. The writer insults sunbeds delicately at the beginning of the article, taking care not to defy anybody's believes straightaway; however her words rise to a crescendo and eventually slashes any sign of pro-tanning ideas. For example, she even seeks to embarrass the former Liberal Democrats office. Furthermore the sarcastic tone endures in the last few paragraphs: 'Who says tanning isn't trendy?
' 'His rugged out door tan was of the indoor variety... ' These constant deprecations successfully assist the writer in arguing her points. The argument presented in this article does not tolerate the co-existence of other points of view. Sarcasm, hyperbole, and imageries - these are some of the techniques that emerge in the powerful counterarguments. Obviously a balance of opinion did not seem necessary to the writer, because she wanted to make her argument so strong that all opposition would collapse under it.
From the headline of the second text, 'Face the fact - the sun is a real danger', we can tell that this article comprises heavy subjects and the tone is not light-hearted, rather quite serious. In addition, it's clear that the article not fictional, 'fact' and 'real' conveys this message. The first three words, 'Face the fact' is an attention grabber: it's short, concise and confronts the reader straightaway. The headline seems to resemble a slogan: the first part is an imperative, telling the reader what to do; the second part presents a disguised opinion.
This cunning technique guarantees the retainment of the words in the reader's mind. The word 'face' has two meanings. The first one means to be up against something, which is what it literally means in the text. However, it also links in with the large photograph on the right-hand side of the page - the photo shows a 'face'. This ingenious choice of word compels the reader to connect the two things together, therefore draws their attention to the woman in the photograph. In the strapline, the temperatures are described as 'sweltering'.
It is a very derogatory word that gives the reader a bad impression of the conditions: sultry weather and high humidity in the air, people sweating and their bodies burning up. The writer intends to put the reader off any means of staying in the heat, under the sun. Lynne Dickens is labelled 'skin cancer sufferer', instead of 'Lynne Dickens, who has skin cancer'. The word 'sufferer' bring to mind torment and victimisation, which builds a wretched imagery in the reader's head. A 'painful battle' often involves thousands of soldiers dying yet triumph is still quite distant.
In this case, the cells in Lynne's body are the soldiers, and they are desperately fighting the cancer, nevertheless they have no chance of winning. The struggle endured by Lynne is hopeless; the reader must sympathise her for this. The article starts with 'Every time'. This phrase emphasises the distress Lynne has to go through daily - this may scare readers, because she has to look at the mirror everyday, it means that she is reminded of her grievous past. Not able to start afresh make the readers feel aghast. What Lynne sees in the mirror is 'the dangers of sunbathing staring back' in the place of her former self.
This must be self-punishment for all the things she has done wrong, and it will never go away. The word 'sores' appears repulsive, painful and it's 'cancerous'. These 'sores' will hurt Lynne, let her suffer, and eventually kill her. The writer wants to arouse the reader's emotions and make them feel despair and worry. It is not possible for Lynne to get away from the 'cancerous sores', because they are a 'lifelong reminder' and will stay there forever. This is the ultimate punishment, entrapped in her own faults yet not able to turn back the clock and wish she could have acted differently.
Emotive language. (2020, Jun 02). Retrieved from https://studymoose.com/emotive-language-2362-new-essay
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