The emotional potential of sound is an excellent resource for companies and institutions seeking to test new ways of communicating with their stakeholders through the senses. However, there are still ...few organizations that include sound as a conveyer of their corporate identity. Audio branding aims to expand the contact points with audiences by incorporating sound elements that facilitate the recognition of the brand's values. This research attempts to understand the use that corporations make of sound as a communication tool and to evaluate its presence, but above all it wants to find out if this use is due to a strategic approach or if it is a specific decision marked by the temporality of advertising campaigns. For this reason, in this paper we have taken the radio as an advertising media. On the one hand, because it is the sound media par excellence. On the other hand, because it is where we can find the most well-known modes of audio branding such as the brand song, the jingle or the sonotype. The sample, composed of 239 inserts from the 3 generalist radio channels with the highest audiences in Spain, reveals that only 21% of items contain an element of audio branding, indicating that this is a field yet to be explored by organizations.
The love songs of Occitan troubadours inspired a rich body of courtly lyric by poets working in neighboring languages. For Sarah Kay, these poets were nightingales, composing verse that is ...recognizable yet original. But troubadour poetry also circulated across Europe in a form that is less well known but was more transformative. Writers outside Occitania quoted troubadour songs word for word in their original language, then commented upon these excerpts as linguistic or poetic examples, as guides to conduct, and even as sources of theological insight. If troubadours and their poetic imitators were nightingales, these quotation artists were parrots, and their practices of excerption and repetition brought about changes in poetic subjectivity that would deeply affect the European canon. The first sustained study of the medieval tradition of troubadour quotation,Parrots and Nightingalesexamines texts produced along the arc of the northern Mediterranean-from Catalonia through southern France to northern Italy-through the thirteenth century and the first half of the fourteenth. Featuring extensive appendices of over a thousand troubadour passages that have been quoted or anthologized,Parrots and Nightingalestraces how quotations influenced the works of grammarians, short story writers, biographers, encyclopedists, and not least, other poets including Dante and Petrarch. Kay explores the instability and fluidity of medieval textuality, revealing how the art of quotation affected the transmission of knowledge and transformed perceptions of desire from the "courtly love" of the Middle Ages to the more learned formulations that emerged in the Renaissance.Parrots and Nightingalesdeftly restores the medieval tradition of lyric quotation to visibility, persuasively arguing for its originality and influence as a literary strategy.
Quotatives Buchstaller, Isabelle; van Alphen, Ingrid
2012, 2012-05-01, Volume:
15
eBook
Research on quotation has yielded a rich and diverse knowledge-base. Scientific interest has been sparked particularly by the recent emergence of new quotative forms in typologically related and ...unrelated languages (i.e. English be like, Hebrew kazé, Japanese mitai-na).The present collection gives a platform to research conducted within different linguistic sub-disciplines and on the basis of a variety of Western and non-Western languages. The introduction presents an overview of forms and functions of old and new quotative constructions. The nine chapters investigate quotation from different perspectives, from conversation analysis over grammaticalization and language variation and change to typological and formal approaches. The collection advocates a comprehensive approach to the phenomenon 'quotation', seeking a more nuanced knowledge-base as regards the linguistic properties, social uses and pragmatic functions than monolingual or single disciplinary approaches deliver. The cross-disciplinary nature and the wealth of data make the findings broadly available and relevant.
The subject of this doctoral dissertation is appropriation as a creative procedure in the 20th century art from its origins within the fold of the historical avant-garde (readymade, collage, ...photomontage) to the contemporary practices of postappropriation. Appropriation is defined as an instrument of transfer of the elements from one system of meanings or art discourse to another, or as an act of creation which is strategically reaching for the extant artistic or non-artistic artifacts and using them as material to produce new artistic creations. Examination of appropriation as a creative procedure requires analysis of a variety of heterogeneous conceptual, linguistic, thematic, generic, technological, media, cultural and other aspects of use of the appropriated elements in creation of new works of art. The concept of appropriation was first introduced into the vocabulary of art criticism in the early eighties of the last century to describe a range of procedures applied in the postmodern art, based on appropriations of the artistic and cultural texts in paintings, objects, photography and video. At the same time the concept was examined from a historical point of view, which provided an index of its diverse historical manifestations in the modern art and drafted the lineage of appropriation art in the 20th century which continues to this date. So far the lineage of appropriation art has not been exhaustively profiled or thoroughly studied in art history and the purpose of this dissertation is to expand and revise current knowledge about the phenomenon which pertains to a number of significant individual and collective art practices of the last century. Rereading of the art of appropriation should open new insights needed for proper understanding of the various forms of repetition, transformation and relocation in the artistic practice, the revolutionary significance of appropriation practices and their impact in the world of art. Investigation of the poetics and politics of appropriation also requires indexing of the highly complex networks of relations between the identity of the artistic subject, artistic creation and material practices in art, culture and society, as well as analytical and critical examination of the extant interpretations of appropriation in art history and theory.
Predmet doktorske disertacije je aproprijacija kao stvaralačka procedura u umetnosti 20. veka, u rasponu od njene pojave u krilu istorijskih avangardi (redimejd, kolaž, fotomontaža) pa sve do savremenih praksi postaproprijacije. Aproprijaciju definišemo kao instrument prenosa elemenata iz jednog u drugi sistem značenja ili umetnički diskurs, odnosno kao akt stvaranja koji strategijski poseže za postojećim, umetničkim ili neumetničkim, tvorevinama kao građom za konstituiciju nove umetničke tvorevine. Kada razmatramo aproprijaciju kao stvaralačku proceduru onda podrazumevamo heterogene idejne, jezičke, tematske, žanrovske, tehničke, medijske, kulturološke i ostale aspekte upotrebe prisvojenih elemenata u kreaciji umetničkog dela. Pojam aproprijacija je u vokabular umetničke kritike uveden početkom osamdesetih godina prošlog veka kako bi opisao lepezu stvaralačkih procedura postmodernističke umetnosti zasnovanih na slikarskom, objektnom, fotografskom i videografskom prisvajanju umetničkih i kulturnih tekstova. U isto vreme, ovaj je pojam počeo da se razmatra i u istorijskoj perspektivi koja je indeksirala raznorodne instance njenog ispoljavanja u modernoj umetnosti, čime je skicirana aproprijacionistička linija umetnosti 20. veka čije kontinuirano prisustvo pratimo sve do danas. Aproprijacionistička linija umetnosti nije do kraja profilisana ni sveobuhvatnije razmatrana u istorijsko-umetničkoj nauci ni u svetu ni kod nas i stoga je cilj ove disertacije da produbi i revidira postojeći fond znanja o ovom fenomenu koji obuhvata brojne značajne, individualne i kolektivne, umetničke pojave koje su obeležile umetnost prošlog veka. Ponovno čitanje umetnosti prisvajanja donosi nove uvide neophodne za razumevanje različitih oblika ponavljanja, preobražaja i premeštanja u umetničkoj praksi i omogućava da se shvati revolucionarni značaj pojave aproprijacije, kao i reperkusija po svet umetnosti koje je ona za sobom ostavila. Istraživanje poetika i politika aproprijacije takođe podrazumeva i indeksiranje složenih mreža odnosa između identiteta umetničkog subjekta, umetničke kreacije i materijalne prakse umetnosti, kulture i društva, kao i analitičko-kritičko preispitivanje postojećih istorijsko-umetničkih i teorijskih interpretacija aproprijacije.
Suvremeno novinarstvo mijenja se velikom brzinom i istodobno se suočava s krizom koja se odražava u sve većem nepovjerenju u medije, ali i sve većim pritiscima tržišta. Pažnju publike mediji privlače ...neprestanim potenciranjem dramatičnosti i proizvođenjem sukoba. Vijest se više ne temelji na nečem što se stvarno dogodilo i što je relevantno, nego na nečemu što je umjetno proizvedeno. U ovom se radu prati geneza jednoga tonskog isječka (engl. sound bite), dijela izjave hrvatskog premijera Zorana Milanovića, koji je dospio u udarne vijesti televizijskih informativnih emisija, rasplamsao rasprave i postao
glavna tema novinarskih izvještaja. Na primjeru jednog fragmenta, isječka izjave političara, opisuje se kako se, kada se izostavi kontekst, stvara nova medijska priča. Sljedećih nekoliko dana političari, stručnjaci, branitelji, ali i obični građani bili su akteri te priče, a da se ni jednom nije spomenulo u kojem je kontekstu izgovorena ta izjava. Demokratska debata je izostala. Rad se usredotočuje na raspravu o
fragmentaciji vijesti i njihovoj izolaciji od konteksta. Na navedenom primjeru pokazuje se kako su informativne vrijednosti (ono što vijest jest) zamagljene, pa stoga vijesti prestaju biti izvor informacija i
poticaj za raspravu o bitnim nacionalnim pitanjima.
The Kusken Gustaf Persson drives the trotting horse Citat on the trotting track in Östersund.
Kusken Gustaf Persson kör travhästen Citat på travbanan i Östersund.
The Kusken Gustaf Persson drives the trotting horse Citat on the trotting track in Östersund.
Kusken Gustaf Persson kör travhästen Citat på travbanan i Östersund.
The road horse Citat runs on the trotting track in Östersund.
Kusk is Christer Persson, the son of Gustaf Persson.
Travhästen Citat körs på travbanan i Östersund.
Kusk är Christer Persson, son till ...Gustaf Persson.
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