Det klassiske og reklamen (original) (raw)
Related papers
2017
In this paper, I discuss the advertising model of the Leafless Group (ca. 510– 480 BCE), a large workshop of hastily decorated black-figured open shapes. Following a strategy of tight product definition, this workshop’s artisans communicated effectively the visual and functional qualities of their ceramics. I examine the surfaces of a fragmentary kylix at the University of Reading in order to highlight how the Leafless Group was distinct from the Haimon Group, another large-scale producer of black-figured pottery. Although the kylix bears figural decoration—a satyr and the eye motif, which may both point to the realm of the wine god Dionysos—here I have not treated these either as a component of a pictorial narrative or as a semiotic unit that served the pot’s symbolism. Instead, I have considered the two images, regardless of their interrelation, as integral aspects of the pot’s visual impact, and of potters’ and painters’ efforts to brand their product in such a way as to make reference both to the workshop (and its business model) and to other earlier and contemporary Athenian figured wares.
Targeted Advertising for Women in Athenian Vase-Painting of the Fifth Century BCE
Arts, Special Issue: Ancient Mediterranean Painting, 2019
This paper analyzes the trends in depictions of women in Athenian vase-painting during the 5th century BCE through an examination of approximately 88,000 vases in the Beazley Archive Pottery Database. It found a 15% increase in depictions of women during the 5th century BCE and a diversification in subject matter in which women appear. By considering these trends within the historical context of the hegemonic position of Athens in the Delian League and its wars, this paper proposes that the changes in representations and subject matter denote an expanded marketability of vases to female viewers. As targeted imagery, the images give perceptible recognition to an increased valuation of women's work and lives at a time when their roles in Athenian society were essential for the continued success of the city-state. This paper suggests that these changes also point to the fact that a greater share of the market was influenced by women, either directly or indirectly, and successful artists carefully crafted targeted advertisements on their wares to attract that group. This paper provides new insights into the relationships between vases and their intended audiences within the context of the cultural changes occurring in Athens itself.
PUBLICITY AND ADVERTISING TOPICS APPLIED TO MEDIEVAL OBJECTS: EXAMPLES FROM GIRONA
A collection of medieval objects with inscriptions, exhibited in several museums of the city of Girona, is under analysis. A prevailing of Bible quotes is observed, linked with repetition of types of pictures, but we can also find on objects references of persons, like sponsors and craftspeople. The theme of Communication is not far from the one of advertising when it comes to promote an idea of action. The question is to show here how we can recognize publicity strategies in these objects, seeing how as etymology of the word publicity as some famous current theories or models of advertising may apply to our medieval framework through examples of museums objects. Medieval epigraphy is not just about monumental inscriptions, but also about objects ones, on all small furniture. My corpus study also includes items which are generally let down because of the shortness of their inscriptions. It represents some fifty objects exposed in museums of the city of Girona, from the V th century to the XV th century. This set of epigraphic objects is strongly determined by historical circumstances of the Middle Ages, as much as the ones of their survival and their historical display conditions in the Museums where they are exhibited. Nevertheless, despite their heterogeneous aspect, the overall image they show is consistent and connects them with their time, some political circumstances, and some religious literary tradition, all with publicity topics of this time. Indeed, picture as text had promotional roles, as for certain public figures as for religion in general, and the cults of many saints in particular, at this age when everyone cannot read and write, and where we may identify a very important role of culture of pictures, as nowadays in a different way. That is why we purpose here to demonstrate how the concept
The theme of the present book aims at the mythical aspects revealed by the advertising show in building its advertisement and, more than that, in the latter's analysis. The symbolical dimension gives a new shade to the suggestive advertising as the main typology of the analysed examples for it offers a larger perspective upon the mythical world. The hypothesis of this paper is relatively simple: it deals with the fact that most of the advertisements are created by exploiting a mythical foundation. Without a doubt, the mythical structures are not always explicit as they are difficult to identify. When saying this, we have in view mostly those archetypical clues that make reference to the well-known patterns. This is why proving such a hypothesis will not follow the easy way, but it supposes developing an algorithm, which imposes also the articulation of the paper. On the other hand, the meaning of the myth concept knows many acceptations, some of them met more often than others, but the rigor of the work did not allow us to approach more than one definition at the same time. The structure of this paper clearly depended on the perspective upon the myth, on the one hand, but also on the argumentative nature of the work, on the other hand. From the scientific point of view, the book uses concepts and theories belonging to more than one research field: anthropology, narratology, sociology, and of course, advertising. Thus, the research reunites these scientific fields, whose denominator remains their efficient exploitation at publicity level. The first chapter focuses on the mythical transfer in advertising, respectively on the myths and the archetypes identified within the advertising show. In order for the analysis to be unitary and not to give the impression of a methodological lack of organization, we have chosen to present three classic myths which we considered the most frequent in advertising: the myth of the hero, the myth of Eros and the myth of coming back to the origins. As for the hero, we could easily notice that in advertising he can be the product, the brand, the consumer. For each one of these we tried to find a correspondence with the archetypical register, which turned out to be very rich. In this way we noticed that the hero's representations through the archetype of the justice maker, of the fighter, of the missionary, of the caretaker , and of the magician have been extremely numerous. Out of the multiple perspectives upon the myth concept, we considered that the most suitable is the one that views myth as a story, that sends towards the origin of facts.