Advertisements are a means of widely used media, which uses language, images and/or sounds to attract the attention of potential clientele and transmit the message. The message of the advertisements is transmitted at the receiver with the help of deixis. Deixis points at the customer and builds the bridge of communication between the sender of the message and its receiver. This study analyses how the deictic forms are used in the advertisements and commercials of perfume in order to promote and sell the goods. / Skelbimai yra viena iš plačiausiai naudojamų žiniasklaidos priemonių, naudojančių kalbą, vaizdus ir/arba garsus, tam kad pritrauktų potencialių klientų dėmesį ir perduotų žinią. Deiksės pagalba reklaminiai pranešimai yra perduodami gavėjui. Deiksė nusitaiko į klientą ir sukuria bendravimo tiltą tarp žinutės pranešėjo ir gavėjo. Šis tyrimas analizuoja, kaip deiksė yra vartojama kvepalų reklamoje tam kad reklamuotų ir parduotų prekes.

Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form. / A novel excerpt and short stories collection / 2999-01-01T00:00:00Z

Denna uppsats har analyserat fem produktbeskrivningar av unisexparfymer från företaget Lushs sortiment. Uppsatsen undersöker med vilka språkliga hjälpmedel parfymerna görs begärliga i produktbeskrivningarna, hur performativa identiteter skapas i dessa och slutligen hur dessa identiteter är genuskodade. Studien använder sig av diskursanalys, analys av värderande ord samt analys av semantiska fält för att studera hur unisex konstrueras i produktbeskrivningarna. Resultatet visar att parfymerna görs begärliga genom att betona parfymernas ingredienser och dessa ingrediensers positiva kvaliteter. I produktbeskrivningarna kunde tre performativa identiteter utläsas, varav två kan hävdas vara genuskodade, en som representerar manligt kodade drag samt en som representerar kvinnligt kodade drag. Ytterligare visar det sig att den kvinnligt kodade performativa identiteten förekommer betydligt mer än den manligt kodade. Slutligen föreslår uppsatsen att Lush väljer att fästa vikt vid parfymernas ingredienser samt skapa en performativ identitet som går att spåra tillbaka till parfymen. Det är denna identitet som uppsatsen föreslår är en unisexidentitet. / This thesis analyzes five product descriptions of unisex perfumes from the company Lush’s assortment. The thesis examines which linguistic tools are used to make the products desirable in the product descriptions, how performative identities are created within these and how these identities could be claimed to be gender coded. The study uses discourse analysis, valuing words and semantic fields to find out how unisex is constructed in the product descriptions. The result shows that the perfumes are made desirable by emphasizing the perfumes ingredients and their positive qualities. In the product descriptions three performative identities could be found, where two of these could be claimed to be gender coded: one which represent male traits and one which represents female traits. Further the study shows that that the female coded performative identity occurs significantly more than the male coded. This thesis suggests that Lush chooses to emphasize the ingredients and create a performative identity which could be traced back to the perfume advertised. This identity is the one that the thesis suggests is a unisex identity.

The ancient Egyptians were famous for their exotic and luxury perfumes in the ancient world, even having cities that specialised in perfume production in the Ptolemaic Period, when they exported these perfumes all over the Mediterranean. They produced these perfumes, and other scented preparations, from aromatic plants, fats and oils. The deities were fragrant beings, imbued with the divine essence, and perfume was considered by the Egyptians to be the sweat of the god Ra. Some deities were specially linked to perfume, one of the most important being Nefertem, god of perfume and of the primordial fragrant blue lotus flower. Incense was to the Egyptians the ‘eye of Horus’, burnt as an offering to the deities in temples. Aromatic plant material was stored in perfume/unguent ‘laboratories’, and perfumers’ workshops produced the precious perfumed oils and unguents, used in the funerary context, rituals, ceremonies, festivals and banquets. / History / M.A.

[pt] A publicidade tem papel fundamental na comunicação de valores, objetivando a criação de necessidades que funcionam como referencial de beleza e jovialidade. Este estudo pretende apontar as representações e os temas utilizados com frequência nas publicidades de perfumes, de cosméticos anti-idade, de maquiagem e anúncios institucionais das empresas. / [en] Advertising plays a primary role in the communication of values. It aims at creating needs that serve as reference for beauty and youthfulness. This study intends to point out the representations and themes that are used frequently in advertisements of perfumes, anti-aging and makeup cosmetics and institutional advertising.

The ancient Egyptians were famous for their exotic and luxury perfumes in the ancient world, even having cities that specialised in perfume production in the Ptolemaic Period, when they exported these perfumes all over the Mediterranean. They produced these perfumes, and other scented preparations, from aromatic plants, fats and oils. The deities were fragrant beings, imbued with the divine essence, and perfume was considered by the Egyptians to be the sweat of the god Ra. Some deities were specially linked to perfume, one of the most important being Nefertem, god of perfume and of the primordial fragrant blue lotus flower. Incense was to the Egyptians the ‘eye of Horus’, burnt as an offering to the deities in temples. Aromatic plant material was stored in perfume/unguent ‘laboratories’, and perfumers’ workshops produced the precious perfumed oils and unguents, used in the funerary context, rituals, ceremonies, festivals and banquets. / History / M.A. (Ancient Near Eastern Studies)

Un parfum aujourd’hui est le plus souvent produit dans un contexte industriel. Ce contexte favorise l’innovation et la recherche de nouvelles matières premières, tout en créant de fortes attentes sur le produit fini. Est ainsi formé un panorama de créations homogènes, répondant aux standards de modes olfactives. Commande des clients des sociétés de composition, le parfum est présenté comme une équivalence olfactive d’inspirations de mots et d’images. En l’absence d’un code olfactif strict, cette équivalence est renforcée par les textes descriptifs qui énumèrent les ingrédients ou leurs effets et transforment les parfums en signes complexes de leurs composés. Contestant la notion d’équivalence littérale entre les odeurs, les mots et les images, nous pensons néanmoins que le parfum fonctionne comme un système symbolique tel que ceux décrits par Nelson Goodman. Pour en comprendre la signification, on ne peut se limiter à la seule lecture immanente du parfum, il faut effectuer une ouverture pragmatique à l’étude des conditions de sa production et des relations entre les différents producteurs tout en envisageant le contexte culturel ainsi que ses usages. En effet, selon qu’il est senti sur mouillette ou porté par un individu, le parfum fonctionne différemment. Dans un cas, il dénote et exemplifie des objets ou des odeurs du monde, dans l’autre, il distingue. Il peut aussi avoir un fonctionnement esthétique et se rapprocher des formes symboliques artistiques, constituant la vision singulière d’un monde. Cette dimension cognitive et représentative du parfum contribue à renforcer la rupture entre les odeurs naturelles et les odeurs artefactuelles à prétention artistique. / More often than not, a perfume is created within an industrial context, which entails innovation and searching for new raw materials, while at the same time creating expectations for the finished product. A homogenous landscape is created in response to the olfactory standards of fashion. Ordered by clients to their fragrance house suppliers, the fragrance is presented as an olfactory equivalent to words and images. Because no strong olfactory code exists, this equivalence is reinforced by descriptive texts, which support fragrances by naming their ingredients and effects, and thereby transform fragrances into complex signs of their components. Contesting the possibility of any literal equivalence between smells, words and images, we think nonetheless that a perfume functions as a symbolic system, akin to those described by Nelson Goodman. In order to understand the meaning of a fragrance, one cannot focus on an immanent reading of it. One is better advised to gauge it pragmatically, through the study of the conditions of its production and the relationships between producers, never neglecting the cultural perspective or the uses put to it. Indeed, depending on whether the fragrance is smelt on paper strips or worn by a person, it functions in different ways. In the former case, it denotes or exemplifies objects or smells of the world, whereas in the latter, it creates a distinction. It can also function aesthetically, not unlike the symbolic forms of art, and constitute the singular vision of a world. Both cognitive and depictive, this dimension of a fragrance helps differentiate natural smells from artificial ones which have taken on an aesthetic value.

A l’instar d’autres médiums, la muséologie permet de rendre compte d’une manière dont l’homme s’approprie spécifiquement la réalité. Cette dernière consiste à y sélectionner des objets, à les prélever, puis à les agencer dans le cadre d’expérience que constitue le musée afin de créer ce que l’on appelle une réalité muséalisée : addition de savoirs contenus dans les objets, manifestés par l’exposition, puis proposés à l’acquisition par l’intermédiaire de sa visite. Cette relation spécifique de l’homme à la réalité est appelée muséalité et telle que ci-dessus relatée, renvoie aux travaux du muséologue Zbynĕk Zbyslav Stránský pour qui la collection d’objets revêt une place centrale au sein du système muséal. Mais à l’heure du numérique connecté et de la possibilité que nous avons de voir les éléments de la réalité sans se trouver physiquement en leur présence, l’importance accordée à la collection d’objets par Stránský semble rendre sa conception de la muséalité obsolète à penser la muséologie. Prenant par conséquent appui sur les travaux du sociologue et philosophe Hartmut Rosa, et notamment sur leur désignation du rôle joué par la perception olfactive dans la qualité de notre relation au monde, la présente recherche s’attache à démontrer que si inadéquation il y a entre les théories de Stránský et l’actualité de l’appropriation de la réalité par l’homme, elle n’incombe pas tant à la dimension physique des objets de musées, qu’à la mono-sensorialité des moyens dont il nous est permis de les entretenir. Alliant la théorie à la pratique, ce travail argumente le fait qu’actualisé au prisme du concept de résonance proposé par Rosa, les travaux de Stránský jouissent encore d’une légitimité à penser les muséologies d’aujourd’hui et de demain. / Like other mediums, museology shows a way in which man specifically appropriates reality. It consists in selecting objects from it, taking them out and arranging them in the museum's experimental setting in order to create what is called a musealized reality: addition of knowledge contained in objects, manifested by the exhibition, and offered for acquisition through the visit. This specific relation of man to reality is called museality and as mentioned above, refers to the work of the museologist Zbynĕk Zbyslav Stránský for whom the collection of objects is central to the museum system.But in the age of digital and the possibility that we have to see the elements of reality without being physically with them, the importance given to the collection of objects by Stránský seems to make his conception of museality obsolete to think museology.Taking as a result the work of the sociologist and philosopher Hartmut Rosa, and in particular his designation of the role played by olfactory perception in the quality of our relationship with the world, the present research endeavors to demonstrate that if there is a mismatch between Stránský's theories and the actuality of the appropriation of reality by man, it is not so much because of the physical dimension of museum objects than the mono-sensoriality of the means of which we are allowed to maintain them. Combining theory with practice, this work argues that, updated by the concept of resonance proposed by Rosa, Stránský's works still have a legitimacy to think about museologies of today and tomorrow.

<p>Uppsala Universitet Sophie Dicksen</p><p>Medie- och kommunikationsvetenskap C-uppsats</p><p>Abstract</p><p>Title: Communication of gender through design -A study of shapes and colors of perfumebottles and of the fonts on their labels.</p><p>(Genuskommunikation genom design -En studie av form, färg och typsnitt på parfymflaskor)</p><p>Number of pages: 39 (82 including enclosures)</p><p>Author: Sophie Dicksen</p><p>Tutor: Mats Lind</p><p>Course: Media- and Communication Studies C</p><p>Period: Autumn 2006</p><p>University: Division of Media and Communication, Department of information Science,Uppsala University</p><p>Purpose/Aim: To study whether gender is communicated through design, and if so is the case, the aim is also to see by which aspects gender is communicated.</p><p>Material/Method: 40 perfumebottles, 20 for women and 20 for men has been studied, and attributes such as their shapes, colors as well as the fonts on their labels has been analyzed in search of gender differences. An art director has also been interwiewed to receive information about genderdesign from a practical wiew.</p><p>Main results: There is no difference out of a gender perspective between the colors on the bottles in aspect of lightness but colors on ladieperfumes are generally more saturated and they are also more often located among yellow, orange and red shades on the color chart while perfumesbottles for men tend to consist of yellow, green and blue colors in more unsaturated versions. The results of the study of shapes showes that there are more cubes among the male perfumes than there are in the group of womensperfumes. Concidering the study of fonts does results prove that fonts on labels of male perfumes mostly belong to the most common group of fontfamilies. This compared to</p><p>perfumes for ladies where the the fonts varied between the two current fontgroups of the study, and therefore are bort rare and common. The interwiew with the art director gave that he sees differences between products for women and products for men out of a gender perspective. He claims that most perfumes for women generally have soft shapes, warm colors and scriptlike fonts with the opposite of attributes for men and he argues that those products not fitting in these</p><p>genderframes are products for women looking more masculine. According to the art director,products for men are more limited when it comes to design as they would rarely approach areas that would be considered as feminine.</p><p>Keywords: perfume, design, shape, color, font, gender, communication, interview</p>

Uppsala Universitet Sophie Dicksen Medie- och kommunikationsvetenskap C-uppsats Abstract Title: Communication of gender through design -A study of shapes and colors of perfumebottles and of the fonts on their labels. (Genuskommunikation genom design -En studie av form, färg och typsnitt på parfymflaskor) Number of pages: 39 (82 including enclosures) Author: Sophie Dicksen Tutor: Mats Lind Course: Media- and Communication Studies C Period: Autumn 2006 University: Division of Media and Communication, Department of information Science,Uppsala University Purpose/Aim: To study whether gender is communicated through design, and if so is the case, the aim is also to see by which aspects gender is communicated. Material/Method: 40 perfumebottles, 20 for women and 20 for men has been studied, and attributes such as their shapes, colors as well as the fonts on their labels has been analyzed in search of gender differences. An art director has also been interwiewed to receive information about genderdesign from a practical wiew. Main results: There is no difference out of a gender perspective between the colors on the bottles in aspect of lightness but colors on ladieperfumes are generally more saturated and they are also more often located among yellow, orange and red shades on the color chart while perfumesbottles for men tend to consist of yellow, green and blue colors in more unsaturated versions. The results of the study of shapes showes that there are more cubes among the male perfumes than there are in the group of womensperfumes. Concidering the study of fonts does results prove that fonts on labels of male perfumes mostly belong to the most common group of fontfamilies. This compared to perfumes for ladies where the the fonts varied between the two current fontgroups of the study, and therefore are bort rare and common. The interwiew with the art director gave that he sees differences between products for women and products for men out of a gender perspective. He claims that most perfumes for women generally have soft shapes, warm colors and scriptlike fonts with the opposite of attributes for men and he argues that those products not fitting in these genderframes are products for women looking more masculine. According to the art director,products for men are more limited when it comes to design as they would rarely approach areas that would be considered as feminine. Keywords: perfume, design, shape, color, font, gender, communication, interview