Interrelation of Gender Marked Vocabulary in Vogue, GQ, National Geographic
Data obtained using IBM SPSS Statistics
This chart reflects the percentage distribution of the "female language" in the three glossy publications. Vogue has the largest content of gender-marked vocabulary (9.46%), followed by GQ with 5.62% and National Geographic with 1.27%.
Thus, the gender-marked language is used in women's and men's gloss, but it is almost not represented in neutral. Most likely, “female language” is a way of language guidance to a specific audience, in this case, female. She has special characteristics: age (25-45), education, employment. However, one of the main differences between Vogue and GQ audience from National Geographic is its consumer character. Vogue and GQ present a world of luxury where you can buy everything. The world of National Geographic is distinguished by the impossibility of material acquisition, the acquisition of new knowledge, the satisfaction of curiosity becomes the main value. The use of "feminine language" in such gloss is inappropriate, since there is no need to embellish and highlight emotionally.
The world through the eyes of Vogue
In the "glossy" discourse Vogue constructs a world that is different from the real one. Vogue has no material on politics, economics, or social issues. The magazine covers topics that may be of interest to female audience (Cosmetics, weddings, fashion trends, travel).
With the help of the visual and verbal series, value orientations of readers are formed. One of the backbone features in this discourse is a method of communication and a special presentation of materials.
In Vogue there is an illusion of convergence of readers and authors. The materials are often written with the participation of reputable characters in the world of fashion. In addition to getting closer to the audience, there is a sense of objectivity.
«This week our enviably well-traveled International Editor at Large, Hamish Bowles, makes a journey to Thomas Jefferson’s Monticello (with a New York stop at the 2017 Met Gala, of course)»,
[Hamish Bowles, Vogue, 09.05.2017]
Vogue journalists appeal to readers directly, which also contributes to rapprochement with the audience.
«Then again, old sport, you can cross the street to Forever 21 and for approximately $20,150 less than that crystalline frock, purchase one of the many gossamer dresses that are, in common with the current mode, short in the front, long in the back»[Sara Singh, Vogue, 09.05.2017]
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Vogue serves as an expert. The opinion presented in the magazine is positioned as authoritative.
« Sunday mornings are made for lazy brunches, languishing in bed with a book—and, of course, your standing manicure appointment. In our feature, we’ll give you our recommendations for the best hands-and-feet pairing for the week ahead, and where to head » [Vogue, 12.05.2017]
Presentation of materials in the form of history. This method is reminiscent of keeping diaries, which every girl must have ever kept.
«While all your friends are lounging around, dragging on Long Island iced teas, and planning horrors like volleyball tournaments and windsurfing competitions, you will have already left the rental house and arrived at the local flea, in search of the insanely chic vintage 1960s mod frocks…» [Sara Singh, Vogue, 02.05.2013]
A woman in Vogue is represented both as a loving mother and wife, and as an independent lady. The magazine demonstrates that a woman should be educated, love to travel, know her worth, but all this goes hand in hand with family life. Thus, in Vogue, a woman is represented in a traditional, patriarchal and “new”, modern lady.
The magazine has no materials that could cause negative emotions. Stories are permeated with a positive attitude even when it comes to a serious illness. The world of Vogue is a world of luxury and pleasure, where there is no room for frustration, fear, uncertainty. Vogue's world is built on consumption, admiration and often inaccessibility. Perhaps it is the latter that is so attractive to readers. Even if they cannot buy expensive perfumes or relax on the luxurious islands of the Caribbean, you can always touch it, find out the people who have been there, imagine that one day you will be be lucky.
"Women's language" plays an important role in the presentation of the material and the formation of the world of luxury, which was mentioned earlier. The vocabulary related to women's areas of interest is a text-forming element in the magazine. Other gender-marked elements, such as intensifiers, empty adjectives, nouns, verbs, exclamations, questions, reinforce the emotional component of the materials. This affects the female audience in the subconscious, as they are more emotional than men.
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Hedges are used to make room for another point of view, without imposing one’s own.
The study showed that materials written by men also contain features of the "feminine language". It cannot be argued that these authors have an unconventional orientation. Most likely, they use such vocabulary to influence the female audience. Thus, a gender-marked language serves to shape a particular lifestyle among readers.
(As a hypothesis of this study, it was suggested that Vogue magazine was written in “female language”, which has special features and constructs a certain image of a woman. The study was conducted on the example of the British online version of Vogue magazine.)
The hypothesis that Vogue is written in “feminine language,” which constructs a certain image of a woman, has been generally confirmed. During the analysis of the materials, it turned out that the gender-marked language takes about 10%. From this it is impossible to conclude that the magazine is written in the “feminine language”.
CONCLUSION
From the above findings it is clear that there are various factors that bring about gender role formation and these factors are rooted within the society and are passed on from one generation to another. The media has also been a factor in bringing about gender roles as it tends to focus more on the ancient stereotypes that cover the boy and girl child roles in the society hence bringing about the inflexibility in the gender roles
Conclusively, there is proof that a stereotypical view of gender role may weigh greatly on the viewers, particularly young viewers. There is also clear evidence to show the effect of television messages on young viewers. On the other hand there is indication to show that there is a strong potential correlation with stereotypical ideas. The ideas of conventional or long-established roles of the genders are very deceptive. So as to ensure a change in the gender roles there should be campaigns against stereotypes that surround gender roles.
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In this study, the expression of gender characteristics in the English "glossy" discourse (for example, the American version of the magazine Vogue) was studied. The study was conducted in the context of the gender theory of Robin Lakoff about the "female language". All the tasks indicated in the introduction have been implemented.
The journal revealed gender-marked vocabulary, which is text-forming (female areas of interest), emotionally colored (affective adjectives, nouns, verbs). In addition, the "female language" is working to create a special world of Vogue. (unreal, luxurious, for those who are devoted to the secrets of fashion).
During the study, Vogue was compared with other glossy publications: GQ (men's magazine) and National Geographic. ("neutral"). The percentage distribution of "female language" in the three glossy publications is as follows: in Vogue - 9.46%, in GQ - 5.62%, in National Geographic - 1.27%. At the same time, the most frequent parameters of gender-marked vocabulary were the same in Vogue and GQ. Most likely, for GQ, “female language” is a way to attract an additional audience, in this case, female. In addition, it is the audience of consumers, and gender-marked vocabulary reinforces the desire to buy something. In the National Geographic "female language" is practically not used. This is due to the fact that the main value of this world is to obtain new knowledge, satisfaction of curiosity. The use of "feminine language" in such gloss is inappropriate, since there is no need to embellish and highlight emotionally.
In the course of the work, it was found that in the “glossy” discourse Vogue constructs a world with special features. This world is "unreal" (without economics and politics), luxurious, positive. Vogue acts as an expert. The opinion presented in the journal is positioned as authoritative. A woman in Vogue is represented both as a loving mother and wife, and as an independent lady.
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The study demonstrated that in Vogue and GQ it does not matter who the author of the material is, therefore, gender characteristics are modeled and deliberately modeled and entered into men's and women's gloss. (publication policy, rewriters).
The work showed that the percentage of gender-marked vocabulary in women's quality gloss is small, which can be interpreted as a tendency towards political correctness and to capture a wider audience in the American "glossy" discourse. In addition, the rather rare use of "female vocabulary" shows a tendency to erase gender differences in language. Finally, we can conclude that for high-quality, “serious” glossy publications “non-neutral”, gender-colored vocabulary is not very typical.
Researcher seems to be fruitful further study of the use of gender-marked vocabulary in the "glossy" discourse. It would be interesting to analyze other American and Russian glossy magazines (Cosmopolitan, Elle). In addition, it seems promising analysis of the "male language" (men’s studies) and its comparison in different types of gloss.
As a result of analyzing the gender specificity of media text it is proved that the gender marking of the media text is determined by socio-cultural factors and psychological signs attributed by the socium to the man as a representative of the masculine subculture, the communicative leader, distinguished by autonomous thinking, consistence, rationality, objectiveness, linguocreative competence, a lesser degree of emotionality, and a woman - as a representative of the feminine subculture, which is distinguished by a greater degree of emotionality, empathy, and cooperativity.
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