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Essay代寫范文-品牌整合與文化經濟

發布時間:2020-07-03 10:13:52 閱讀:1459

案例簡介

  • 作者:致遠教育
  • 導讀:本文是一篇優秀的essay代寫范文,文章講述在晚期資本主義中,品牌已成為一種獨特的現象。范文內容和格式僅供留學生參考學習,不得抄襲。
  • 字數:1531 字
  • 預計閱讀時間:5分鐘

案例詳情

本文是一篇優秀的essay代寫范文,題目為Brand integration and cultural economy,文章講述在晚期資本主義中,品牌已成為一種獨特的現象。范文內容和格式僅供留學生參考學習,不得抄襲。

沃爾特·本杰明(Walter Benjamin,2008)曾詳細闡述了光環在藝術品復制中的衰落,但即使他對當今的品牌文化也可能感到驚訝。例如,H&M和Zara之類的快速消費品(FMCG)品牌指示了光環的再現和褪色的時間,這反過來又使它們更容易獲得,因此很受歡迎。但是像LV這樣的奢侈品牌通過使品牌顯得“優雅”,“經典”和“獨特”來重建其“光環”。品牌不僅是一種推廣產品的方式,而且還是一種促進生活方式的方式(Berger,2008)。我們生活在一個不同品牌的世界中。

Essay代寫范文

Brand integration and cultural economy

品牌整合與文化經濟

1. Introduction引言

In the late capitalism, brand has become a distinct phenomenon. Walter Benjamin (2008) once elaborated the fading of aura in the reproduction of art, but even he may be surprised at the brand culture today. For example, the Fast-moving consumer goods (FMCG) brands such as H&M and Zara indicate the time of reproduction and fading of aura, which in turns makes them more accessible and thus desirable; but the luxury goods brands such as LV rebuild their “aura” by making the brand seem “elegant”, “classics” and thus “unique”. Brand not only serves as a way of promoting product, but also a way of promoting lifestyle (Berger, 2008). We live in a world of different brands.

在資本主義晚期,品牌已成為一種明顯的現象。Walter Benjamin(2008)曾闡述過藝術復制中光環的消失,但即使是他也可能對今天的品牌文化感到驚訝。例如,H&M、Zara等快速消費品品牌,標志著光環的復制和消退的時間,這反過來又使它們更容易接近,因而更受歡迎;而像LV這樣的奢侈品品牌則通過使品牌看起來“優雅”、“經典”從而“獨特”來重建自己的“光環”。品牌不僅是一種產品推廣的方式,也是一種生活方式的推廣方式(Berger,2008)。我們生活在一個不同品牌的世界里。

Brand as cultural phenomenon is now getting more and more diverse and complicated, and in modern times brand involves complex cultural sub-systems, including the consumer, the product, the symbolic system, the capitalism system. We need new theoretical tools to analyze the brand as “new media object” (Lury, 2004). In this article, the author tries to put the brand in a complex systematic network drawing on the theory of “brand as assemblage” (Lury, 2009), which is “made up through multiple heterogeneous processes in which different forms of marketing, management and design expertise converge” (Bennett& Healy, 2009, p. 6) Contemporary scholars borrows the concept of “assemblage” from STS study and ANT to reconsider the brand as a complex cultural systematic network, which gives ontological stress on different involved subjects and their interactions.

品牌作為一種文化現象正變得越來越多樣化和復雜化,在現代,品牌涉及到復雜的文化子系統,包括消費者、產品、符號系統、資本主義系統。我們需要新的理論工具來分析作為“新媒體對象”的品牌(Lury,2004)。在本文中,作者試圖將品牌置于一個復雜的系統網絡中,該理論借鑒了“品牌作為集合”的理論(Lury,2009),該理論是“通過多種多樣的過程,在這些過程中,不同形式的營銷、管理和設計專長匯聚在一起”(Bennett&Healy,2009,p、 6)當代學者借鑒STS研究和ANT的“集合”概念,將品牌作為一個復雜的文化系統網絡進行重新思考,對不同的參與主體及其相互作用給予了本體論的強調。

This article discusses the “brand as assemblage” in theoretical and empirical perspective. In theoretical part, I will discuss the Marxism and Frankfurt school critique, the traditional persuasion theory and public relation theory, and brand as symbolic object following Roland Barthes’s semiotics and Bourdieu’s critique of symbolic distinction and violence. I will then discuss “brand as assemblage” (Lury, 2009) compared with these theories to show how these theoretical perspective understand the new phenomenon in the modern world. And I will also discuss the knowledge making process in the modern world, which helps us understand how the “assemblage” is possible in the symbolic perspective. I argue in this article that the material network background and the symbolic system make the capitalism cultural economy possible.

In empirical perspective, I will discuss two cases to show how brand can be seen as assemblage and how it contributes to our understanding of symbolic commodities.

In the second section, I would look into two brands to explain the value of thinking of brand as an assemblage. The Chanel brand is based on the legendary life stories of its founder: Coco Chanel. It has successfully established its brand image on the basis of creating a lifestyle instead of simply a piece of clothing. The lifestyle of France and a unique class were carefully packaged into her signature collections.

2. Brand as Assemblage

(1) brand and academy

Brand is an essential cultural representation of capitalism system. As Lury (2004, p. 47) argues, brand is “a part of the rise of a virtual economy, an economy in which feedback systems of information, communication and control fundamentally reconfigure the temporality of production and processes of objectification”. Brand can be thus seen as a multi-determined configuration, a cultural phenomenon shaped by different powers. Scholars in different lines of theory may put different theoretical stress on it. Following the Marxism tradition, many scholars argue brand value as part of “surplus value” (Arvidsson,2005) or analyze the brand phenomenon as “commodity fetishism” (Kline & Leiss,1978). The recent Marxism scholars put more emphasis on the symbolic exchange of the brand economy. For example, Baudrillard (1993) stresses it’s the symbolic capitals that maintain the capital economic system. Brand is valuable because of the symbolic exchange in this way. He claims that “This (the game of power) goes for detergent brands as much as for a 'peaceful co-existence” (Baudrillard, 1993: 208),

 (2) brand as assemblage

(a) assemblage as a useful concept in socio-economic analysis

This part provides the theoretical discussion of “assemblage”. What assemblage is in line of ANT theory, how assemblage helps us understand the network of material, human beings, geography, and how the critical potential of assemblage is will be discussed here.

(b) Brand as assemblage

(c)  (3) assemblage in our mind

Reference

Arvidsson, A. (2005). Brands a critical perspective. Journal of Consumer Culture, 5(2), 235-258.

Baudrillard, J. (1993). Symbolic exchange and death .London: Sage.

Benjamin, W. (2008). The work of art in the age of mechanical reproduction. Penguin UK.

Berger, J. (2008). Ways of seeing . Penguin UK.

Kline, S., & Leiss, W. (1978). Advertising, Needs and'Commodity Fetishism'. Canadian Journal ofPolitical and Social Theory 2(1), 5-30.

Lury, C. (2004) ‘Just do what? The brand as new media object’ in Lury, C. (2004). Brands: The Logos of the Global Economy.

Lury, C. (2009). Brand as assemblage: Assembling culture. Journal of Cultural Economy, 2(1-2), 67-82.

Tony Bennett & Chris Healy (2009) INTRODUCTION, Journal of Cultural Economy, 2:1-2, 3-10

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