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EN
Advertising is all around us. Whenever you turn on the television, radio or you leave the house for example to go shopping, be sure you meet with advertising. Color promotion appeals us on a guaranteed great products and services. Whether you like it or not, advertising is an everyday part of our lives. But how was its development? Where its origins? Already in ancient times, we can observe the flow of information and an invitation to contemporary actions through inscriptions, drawings and invoking the announcement, which attracted the attention of passers-by.
EN
The aim of this paper is to examine early pandemic commercials and show the main changes in their focus from the point of view of communication. In terms of the contents, COVID-19 lockdown, heroism of health care workers, social distancing, online learning, remote work, and the strong shift towards online communication are underlined with an enormous stress put on such values as family, helping each other and being together in these difficult times. Characteristic nonverbal components of commercials referring to the pandemic situation include, for example, sentimental piano music, dimmed colours, a specific style of filming, or showing ordinary people as actors. Finally, it is noticed that some ad makers decide to use the sense of humour in their spots. In conclusion, the coronavirus pandemic and its effects can be easily observed on every level of an advertising message.
EN
This paper examines representations of men in advertisements for ICT products and services appearing the American magazine “Wired” in 1999-2001. The research reveals reinforcement of stereotypical “masculinity” of ICT, which is achieved through associating advertised products and services with the notions appealing to males (power, sex and success). It demonstrates that, despite the gender-neutral character of ICT, the advertising practices serve to reproduce and uphold the hegemonic gender order by constructing the American male consumer as empowered by the use of marketed ICT products and/or services.
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Onimy marketingowe – między informacją a perswazją

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EN
The paper analyses selected types of marketing names representing modern chrematonymy, in a wide sense of the word. It focuses on names of jewelery, of housing estates, and – if they were utilized in advertising – of cities. The author emphasizes the fluidity of the borders between specific onomastic categories, and the different ranks and functions of names that appear in advertising.
EN
The aim of this work is the analysis of advertising message in expression culture jamming. Adbusting, subverting, billboard banity, hoating are techniques, which create new advertising message without primary meaning. The inspiration of culture jamming are samizdat, monkeywrenching, guerrilla graffi ti, underground journalism, subcultural bricol guerrilla art, poetica terrorism, technique cut and paste and turntablism. Culture jamming oppose to customer life style and globalization. The aim of activists culture jamming is to unmask mechanism and message of advertising. In this situation message of advertising lose primary meaning. New semiology of advertising, which come into being communicative fuss. In this situation secondary meaning replaces to primary meaning. Important for progress of culture jamming is memetics, science, which investigate disseminate and comprehend signs in culture. Understanding of denotation and connotation signs and symbols in culture facilitate using the linguistic code.
6
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Role model (in) advertising?

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EN
The article concentrates on analysing the growing interest of academics in studying advertisements. While arguing why this perspective of reading literature may bring interesting critical results, the article focuses mainly on the character of Anna Csillag and its evolution through the twentieth century. Originally Anna Csillag was created as an advertising strategy to be used in selling hairgrowth cream. Boasting beautiful hair, the character grew in popularity across Europe, turning into a public icon of the first half of the twentieth century. Anna Csillag appears as a fictional character in Bruno Schultz’s story Księga (The Book). The article also traces other references to this figure in the twentieth and twenty-first century literary and artistic works.
XX
Celem artykułu jest analiza reklam telewizyjnych pod kątem występującego w nich przedstawienia kobiety wpadającej w stan marzenia sennego pod wpływem spożyciareklamowanego produktu i zaproponowanie nowego sposobu ich czytania w oparciu o współczesne teorie reklamy oraz prace Susan Bordo dotyczące ideologii głodu w kulturze popularnej. Dzięki zastosowanej metodologii autorka pokazuje, iż pomimo powierzchownego odczucia wyzwolenia, które mogą one wywoływać, te przedstawienia wskazują na istnienie głęboko zakorzenionych restrykcji dotyczących satysfakcji cielesnej u kobiet. Związek łączący kobiety i jedzenie ma dużą wartość emocjonalną, która zmusza do negocjowania delikatnej równowagi pomiędzy przerażającą żarłocznością a bezcielesną transcendencją. Wreszcie, przeprowadzona analiza ukazuje, że reklamy te mocno podkreślająz jednej strony kwestie samokontroli i samoograniczania się, a z drugiej kładą nacisk na występujące zakłócenia percepcji siebie i otoczenia, co stanowi cechy charakterystyczne dyskursu zaburzeń odżywiania.
Umění (Art)
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2021
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vol. 69
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issue 3
283-297
EN
In the last years of the communist dictatorship, advertising calendars with erotic themes entered the visuality of Czechoslovakia. The article analyses how the genre of the nude appeared on a mass scale in this seemingly marginal element of image production and why this happened only in the later half of the 1980s. It draws attention to the functions of advertising in a planned economy, where its use and contents were influenced not only by political interventions from above but also by the development of the discourse of the field and its application in different types of media. As a result, a specific gender order of socialist advertising emerged in Czechoslovakia. Thanks to the renaissance of the photographic nude the first experiments with the use of the nude in promotion nonetheless appeared in the 1960s, but only to be cut short with the suppression of the Prague Spring. The return of the erotic to product communications came with the advent of Perestroika — in the form of wall calendars. The article shows that while this was done in contravention of official advertising policy, there were no attempts to suppress it.
CS
V posledních letech komunistické diktatury vstoupily do vizuality Československa reklamní kalendáře s erotickými motivy. Článek rozebírá, jak se žánr aktu objevil v masovém měřítku v tomto zdánlivě okrajovém nosiči a proč se tak stalo až v druhé polovině osmdesátých let. Ukazuje na funkci reklamy v plánovaném hospodářství, kde její užití a obsahy neovlivňovaly jen mocenské zásahy, ale i rozvoj oborového diskursu a nasazování do jednotlivých médií. Díky tomu se v Československu rozvinul specifický genderový řád socialistické reklamy. Přesto se v šedesátých letech i díky renesanci fotografického aktu objevují první pokusy o použití aktu v propagaci, aby byly s potlačením pražského jara zavrhnuty. Návrat erotiky do produktové komunikace přichází s nástupem přestavby v podobě nástěnných kalendářů. Text naznačuje, že se tak sice dělo navzdory oficiální reklamní politice, ale beze snahy o potlačení.
EN
the aim of the article is to develop a new conceptual framework for examining the role of advertising in forming consumer attitudes. The author assumes that consumer attitudes mediate the process of making the decision to purchase a product. Existing advertising models are not sufficient for understanding the impact of advertising on a consumer. The identification of factors mediating in this interaction, such as the level of commitment to purchase (High-Mid-Low), the motive of purchase (cognitive-emotional) allow for the identification of at least nine different advertising strategies. The author presents her own concept of how advertising builds interest in the product mediating conceptual approach to the creation of the product, possibly contributing to the experience of the test (e.g. test drive car) and, consequently inducing the purchasing decision. It also shows that, depending on the product category, an ad after purchase (and experience with the product) reinforces the sense of fairness and the selection of the product and/or reminds of the existence of the brand on the market. The informative advertising (1) is for products that generate a high level of risk purchasing: such as white goods (refrigerators, washing machines and dishwashers), expensive electronic appliances (microwave ovens) and financial services (loans, mortgages, investment policies). Advertising should first of all make a demonstration of the basic features of the product. In case of advertising reducing the risk of purchasing (2), referring to such products as cars and some financial services, advertising will be primarily urged to trial experience or argued that the purchasing process is easy, simple and enjoyable. Advertising reducing emotional distortion (3) will highlight the fact that the purchase of a luxury version of the product (eg. clothing or cosmetics) offers greater guarantees to meet the needs (in line with the higher price − higher quality). At the same time advertising should emphasize the emotional reasons to purchase. It is different in case of the ad reducing information overload (4), where brand appeal should be built either by brand awareness (due to increased exposure) or by highlighting the specific attributes of this brand. Advertising building repeated behavior (5), relies primarily on the rational benefits, but providing specific knowledge about these products is not necessary in this case. In advertising building the routine behavior (6), and referring to such products as water, food, everyday use cosmetics, emotional charge quality, health, as well as a striking impression emotional arguments, such as shiny hair are more important. In case of advertising building the impulse behavior (7), it is vital to pay attention to the information about the possible immediate satisfaction from the use of the product. In an ad building the membership of the group (8), we find such products as coffee, soft drinks and beer. You need to highlight the fact
EN
Legal regulations for advertising medicinal products originate from the acts of European Union Law and the acts of the domestic law. The crucial ones include the Code of Medicines (the Law of European Union) and the Act: the Pharmaceutical Law with executive acts, and the Act on the Reimbursement of Medicines, Foodstuffs for Special Nutritional Purposes and Medical Devices. Advertising medicinal products, being a type of marketing activity, is subject to limitations resulting from the specificity of the advertised product. The product determines the scope of the permitted advertising and the circle of its recipients.
EN
The authors present a discussion of contemporary advertising in Belarus asserting that it is not neutral because it is linked to the official authorities.
EN
The author of the paper, as a form of response to a 2005 critical study of an author from Nuremberg concerning advertising for an action of donation to poor children, gives positive examples of such advertisement actions. The author of the paper presents language means with the aid of which children are portrayed as subjects. The chosen area of advertisement not connected to economy has not been taken into consideration in linguistic research on advertising as yet. In the article communication strategies within the field of public language that serve “a good cause” are pointed out.
Pieniądze i Więź
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2012
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vol. 15
|
issue 2(55)
137-149
EN
The article presents the key facts of history (from the late nineteenth century to the twenty-first century), which were not without significance for the development of advertising activity in the world. Contents of the paper refer to the important social and political events in the world, and clearly indicate the possibilities and circumstances of the development of advertising activity and its content in such specific conditions. It should be noted that a key element in determining the chronology in the presented article is technical and technological advances in the area of using media in the advertising business, in the indicated period.
EN
The issue that sociologists, psychologists and anthropologists are still facing is developing new and effective methods of qualitative research into advertising – one of the most important elements of the modern world of broadly defined consumption. This text presents not only a detailed description of visual analysis method in the qualitative research but also a proposal of an authorial and universal tool for advertising messages analysis while providing empirical examples of its application.
EN
Running a lawyer’s office in the current realities of the legal services market is a challenge. An advocate must possess not only legal knowledge but also demonstrate knowledge of market mechanisms. Nowadays, the client decides which lawyer to choose, and this forces lawyers to take action in order to acquire and maintain clients. Hence, marketing instruments (typical for other service markets) are increasingly used to build and achieve market advantage. However, there are numerous barriers on the legal services market that hinder or even prevent extensive marketing activities. Advertising is the main concern here, as its use by attorneys is strictly prohibited. The question arises as to whether in the present reality the provision contained in the Collection of Rules on Barrister’s Ethics and Dignity of Profession and other regulations limiting the use of marketing should not be subject to liberalization.
PL
The aim of the present article is to shed the light on educational aspects which can be obtained by the exploration of an authentic, advertising material. The analysis attempts to demonstrate how communicative and linguistic characteristics, argumentative patterns, rhetorical figures and cultural aspects, which constitute the complex structure which is advertising message, convey values, stereotypes, social and linguistic tendencies. All of the above are conceived in order to complete the goals of persuasion. For the teacher, it is a rich, authentic and precious resource which gives the student the opportunity to extend his abilities and skills, to face and approach a new, linguistic and cultural context.
EN
The last decades brought us dynamic changes in patterns of fatherhood. It is related both to expectations toward men, and their daily functioning itself. However, the role of a father is less often commercialized than the role of a mother. In line with that, commercials and marketing activities are less often addressed to fathers than to mothers. This paper is addressed to the potential grounds of this state of affairs, and the description of the new phenomenon – dadvertising. The possible manners of profiling marketing activities including fathers as primary recipients will be presented and discussed concerning findings of studies from the field of family psychology, sociology of the family, and a few existing studies aimed at commercials addressed to fathers. The abovementioned issues will be illustrated by examples of single commercials and marketing campaigns, in which protagonists or recipients were fathers.
EN
Humour is often exploited in advertising to enhance the positive image of a brand or corporate company, as well as to promote products or services. Advertisers seek the involvement of the audience via covert or overt references that, in their opinion, may trigger humour and, hypothetically, result in a positive customer response. However, using intertextual humour in advertising can sometimes be risky because, even though the ideal interlocutor is supposed to be familiar with the humorous reference the author alludes to, the latter can never be certain of whether it will be favourably received. The matter is further complicated if the advert relies on references that play on taboo or transgressive topics, which some may find humorous while others will consider distasteful. After all, humour is a phenomenon that varies according to individual cultures and historical time, as well as in terms of how it is perceived and whether it is appreciated. In this context, this study focuses on the use of intertextual taboo humour in adverts and campaigns that exploit both verbal and non-verbal texts. It particularly explores the reasons for the target clientele’s reaction, which has had a boomerang effect on the brand and company itself. The suggested hypothesis is that the simultaneous exploitation of verbal and non-verbal intertextual references (consciously or unconsciously) activates multiple targets and scripts that cause the intended humour to fail in its scope.
XX
In the article the author adresses the issue of visuality of press advertisement by adhering to such elements as logotype, colour palette, photography and typeface. The author argues that all those elements should cooperate and guarantee the achievement of a desired effect, including the aesthetic one. In the author’s judgement, the message sent by the advertisement is more powerful when its creators use their knowledge of the psychology of perception. It turns out that in today’s press advertisements two techniques (recommendation and demonstration) are most commonly used alongside simple advertising patterns. The colour palette is quite limited and the designers highlight the contrasting combinations, which may be come as a result of the authors’ reliance on the proven solutions. When it comes to the language of the advertisements, neologisms occur rarely as the audience answers better to clichés.
EN
Values are the most important aspect of any advertising message. Compounds (both nouns and adjectives) are a very effective means to express values (related to the advantages of a product). This, however, pertains only with respect to the German language. Therefore, the investigation starts with German structural patterns that are to be found in compounds in German commercials. In Polish advertising compounds are much rarer, so only a few Polish examples will be given for each pattern.
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