Made available in DSpace on 2016-04-26T18:16:49Z (GMT). No. of bitstreams: 1 Jose Rodrigo Paulino Fontanari.pdf: 1160818 bytes, checksum: 4eeaf8c3a0d6645e434d1ff24228b14f (MD5) Previous issue date: 2008-02-25 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The current research approaches the comunicative modality we name: olfactory communication . We understand the perfume as a media form. We have investigated the history of the perfume in several civilizations and its use in the rituals. We have inserted some discoveries regarding the smell in the communication of the human being since their early age. As the contemporary civilization has privileged the senses of distance (the sight and the hearing) to detriment of the proximity senses (the smell and the taste), we have attempted to verify the translation of the perfume for the visual code. In such a way, therefore executives advertising propagated in the feminine magazines Claude, Elle, Marie Claire and Nova in the period of 1993 the 2004 are analaysed. The work is supported in the concepts of ecology of the communication proposed by Vicente Romano, of the ethology of the communication by Boris Cyrulnik, as well the concepts of primary, secondary and tertiary media of Harry Pross. In the same proportion of the suffering of the proximity senses, we observe of the bonds of the affection. To carry out of this research, Semiotics of the Culture was chosen, wich understands the body, the perfume and the smell as cultural possessing texts of great informative capacity in ample direction. Through this semiotics, the paradigms will be constituted as object of study object and to tack the three spheres of the research (body, perfume and smell). This triad shows as one of the possible ways to keep the interpersonal communicative bonds of proximity / A presente pesquisa aborda a modalidade comunicativa que denominamos comunicação olfativa . Compreendemos o perfume como forma de mídia. Investigamos a história do perfume em diversas civilizações e seu uso nos rituais. Inserimos algumas descobertas a respeito do olfato na comunicação do ser humano desde seus primeiros anos de vida. Uma vez que a civilização contemporânea tem privilegiado os sentidos de distância (a visão e a audição) em detrimento dos sentidos de proximidade (o olfato e o paladar), procuramos verificar como se dá a tradução do perfume para o código visual. Para tanto, são analisadas peças publicitárias veiculadas nas revistas femininas Claudia, Elle, Marie Claire e Nova no período de 1993 a 2004. O trabalho apóia-se nos conceitos de ecologia da comunicação proposto por Vicente Romano, de etologia da comunicação de Boris Cyrulnik e também de mídia primária, secundária e terciária de Harry Pross. Na mesma proporção do padecimento dos sentidos de proximidade, observa-se o esmaecimento dos vínculos do afeto. Para a elaboração desta pesquisa, elegeu-se a Semiótica da Cultura, que entende o corpo, o perfume e o olfato como textos da cultura possuidores de grande capacidade informativa em sentido amplo. Por meio dessa semiótica, serão constituídos os paradigmas para focar o objeto de estudo e alinhavar as três esferas de pesquisa (corpo, perfume e olfato). Essa tríade revela-se como uma das possíveis maneiras de manter os vínculos comunicativos interpessoais de proximidade

網路技術的發展與進步，改變了人們日常生活中的溝通習慣，也讓網路成為人際溝通與獲取資訊的主要來源。對於尋求日常生活不論食、衣、住、行各類資訊的民眾而言，網路無疑是一種既快速又便利的取得資訊來源。透過彼此使用、購買經驗分享與傳授，網友們相互提供的口碑資訊得以在網路的虛擬空間裡不斷地累積擴散。其中，香水虛擬社群成員間的互動與口碑訊息交流，為本研究所感興趣欲進一步研究的議題。 本研究以虛擬社群台大PTT Perfume 板的成員為調查對象，以社會資本理論歸結出的成員特性: 相似性、認同感及信任感三構念，來探討影響社群使用者知識分享交流的動機與其對網路口碑訊息傳遞的影響；另以訊息訴求與訊息框架二構念來研究其對社群使用者溝通效果及後續口碑傳播意願的關聯。本研究以「問卷調查法」進行資料的蒐集，共蒐集有效樣本問卷227 份，使用SPSS 18.0 來進行資料分析，以檢驗本研究模型和相關假說。 研究結果發現: (一)、社群成員的「相似性」不論對成員間的「知識貢獻」、「知識欲求」與「口碑傳播意願」，均有顯著正向的影響。社群成員的「認同感」對成員間的「知識貢獻」與「口碑傳播意願」，有顯著正向的影響；但對成員的「知識欲求」則無顯著影響。社群成員的「信任感」對成員間的「知識欲求」有顯著正向的影響；但對成員的「知識貢獻」與「口碑傳播意願」則無顯著影響。(二)、「正面框架」的訊息表達方式，以及不論「理性」、「感性」、或「自我象徵」的訊息訴求，對於社群使用者均能帶來正向顯著的「溝通效果」；另外，訊息的「溝通效果」，會對社群成員網路口碑傳播的意願帶來顯著正向的影響。(三)、最後，Perfume 板虛擬社群成員間的「知識交流」程度，亦會對社群內的「口碑傳播意願」帶來顯著正向的影響。 / The development and progress of Internet technology has changed human communication, especially interpersonal communication and information searching. Moreover, the Internet has become a convenient communication channel in our daily life for gathering product-related information. Product users can share their purchase and usage experience with one another over the virtual network and the impact of online word-of-mouth is escalating. Accordingly, this study is to discuss the sharing and transmission of the online word-of-mouth about perfume among the virtual community members. Data were collected by an online questionnaire survey from 227 members of PTT_Perfume, which is one of the most famous virtual communities in the area of BBS. The study incorporates similarity, identification, and trust from the perspective of the social capital theory to discuss the knowledge sharing intention and their influences on the word-of-mouth transmission；Besides, it investigates how the message appeals and message framing affect the communication effect and how online word-of-mouth spreads among the virtual community. The data analysis was conducted using SPSS 18.0. The findings of this research reveals that community similarity is positively associated with the knowledge sharing and the intention of online word-of-mouth transmitting；Identification is positively associated with the knowledge contribution and the intention of online word-of-mouth transmitting；Trust is only positively associated with the knowledge acquisition. Second, positive framing, rational, emotional and self-expressive appeals all have positive influences on communication effect. Finally, the communication effect of messages and the degree of knowledge sharing both have positive impacts on the intention of online word-of-mouth transmission.

Au cours du XIXe siècle, l’industrialisation de la parfumerie mondiale, et plus particulièrementfrançaise et grassoise, a pour conséquence d’augmenter les besoins en matières premières naturellesmalgré l’invention et la place de plus en plus marquée des molécules de synthèse dans lescompositions parfumées comme aromatiques. Afin de s’approvisionner en plantes à parfum,aromatiques et médicinales (ppam), de nombreux entrepreneurs français et grassois multiplient lesrelations commerciales avec des pays étrangers, comme l’Italie et la Bulgarie. Dans le même temps,l’implantation croissante des parfumeurs en Afrique, en Asie, en Amérique et dans l’Océanie répondà des stratégies diversifiées en fonction des colonies mobilisées : au Maghreb, ils étendent la culturedes ppam méditerranéennes ; en Indochine et en Guyane, ils s’approvisionnent en matières premièresspécifiques comme la badiane ou le bois de rose ; tandis que l’Afrique et l’Océanie font office delaboratoire pour de multiples acclimatations d’espèces méditerranéennes mais surtout tropicales,comme la vanille ou l’ylang-ylang. Parmi ces « colonies laboratoires », les îles de l’Océan Indien,pour lesquelles l’ylang-ylang, le géranium, le giroflier ou la vanille étaient, jusqu’au XIXe siècle,totalement inconnues, deviennent, sous l’impulsion des parfumeurs français et grassois, un desprincipaux centres de production mondiaux. L’objectif de cette thèse est de revenir sur cettetrajectoire singulière, de l’essor des premières fabriques en France jusqu’à la création d’un réseaumondial d’approvisionnement et de questionner les liens et les relations entre les différentes zonesproductrices et la métropole. / During the XIXth century, the beggining of industrialisation of perfumery in the world. Specifically inFrance and in Grasse. Resulted in an augmentation in raw materials in spite of the invention and theincrease of the synthetic molecules in the perfume and aromatic composition. In order to supply itselfin raw materials, many French and Grasse society organise trade relations with foreign countries, likeItaly and Bulgaria. In the same time, the increasing establishment of the perfumers in Africa, Asia,America and Oceania, corresponds in diversified strategies according to the mobilized colonies : inthe Maghreb, they extend the culture of mediterranean raw materials ; in Indo-China and Guyana,they are supplied out of specific raw materials like the star anise or the rose wood ; while Africa andOceania, they serve as a laboratory for multiple acclimatizations of mediterranean raw material andalso tropical species, like vanilla or ylang-ylang. Among these « colonial laboratories », the islandsof the Indian Ocean, for which ylang-ylang, geranium, clove or vanilla, were, until the XIXth century,completely unknown. They became one of the principal world production centers of raw materialsunder the influence of the French and Grasse perfumers. The objective of this thesis is to considerthis singular trajectory, since the rise of the first factories in France until the creation of a worldnetwork of supply. It also questions the links and the relations between the various producing zonesand the Grasse perfumery.

Den här uppsatsen undersöker hur parfymproducenter väljer att visuellt kommunicera sina varumärken och designa förpackningar. Detta utförs genom visuell retorik där studien undersöker de strategier som använts i reklam samt hur brandingen återspeglas i förpackningsdesignen. Undersökningsmaterialet utgörs av utvalda produkter hos de tre parfymvarumärkena Dior, Paco Rabanne och Byredo. Analysen innefattar även frågan om hur kvinnor och män representeras i varumärkets bildspråk, till exempel om de endast porträtteras i enlighet med sina respektive könsstereotyper. Den grafiska designens utveckling har gjort det möjligt att producera olika former av grafiska uttryck på flaskor och förpackningar. Trots dessa möjligheter är parfymindustrin ofta könskodad och likt många andra branscher väldigt likriktad i sin visuella kommunikation, det vill säga att företag ofta följer en typ av norm eller tradition för hur de förväntas kommunicera och hur deras visuella identiteter ska se ut.  Uppsatsen har föregåtts av ett relaterat designprojekt, där ett skovarumärke med ett annorlunda bildspråk och förpackning skapats. Dess visuella kommunikation har skiljt sig från de konkurrerande varumärkena beträffande uttryck och maner. Ett spännande projekt där positioneringen även visar på risken för otydlighet. Undersökningen visar att parfymvarumärkenas branding återspeglas i förpackningsdesignen genom trycket av logotyp och att kombinationen av grafiska element, typsnitt, färg och form där den huvudsakliga uppgiften är att rikta sig mot kvinnor eller män, är överrepresenterad. Den visar också att könsstereotyper men även särskiljande kommunikation finns representerad inom parfymreklam. / This essay examines how perfume producers choose to visually communicate their brand and packaging design. This is done through visual rhetoric where the study examines the strategies used in advertising and how the branding is reflected in the packaging design for some selected products of the three perfume brands Dior, Paco Rabanne and Byredo. The analysis also includes the question of how women and men are represented in the brand’s imagery, for example if they are only portrayed in accordance with their respective gender stereotypes. The development of graphic design has made it possible to produce various forms of graphic expression on bottles and packaging. Despite these possibilities, the perfume industry is often gender-coded and, like many other industries, very uniform in its visual communication, that is to say companies often follow a type of norm or tradition for how they are expected to communicate and what their visual identities should look like. The essay was preceded by a related design project, where a shoe brand with a different imagery and packaging was created. Its visual communication has differed from the competing brands in terms of expression and manner. An exciting project where the positioning also shows the risk of ambiguity. The survey shows that the branding of perfume brands is reflected in the packaging design through the print of the logo and that the combination of graphic elements, fonts, color and shape where the main task is to target women or men, is overrepresented. It also shows that gender stereotypes but also distinctive communication are represented in perfume advertising.

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Ce travail de recherche en muséologie porte sur la présentation de la parfumerie commerciale française dans les musées publics en France que ce soient des musées du parfum ou des musées d’art. En débutant par l’histoire de la présentation des produits commerciaux au musée depuis le milieu du XIXe siècle jusqu’aux expositions de marques de luxe au Costume Institute du Metropolitan Museum of Art dans les années 1980, cette étude se focalise par la suite sur la naissance et le développement de différents projets muséaux publics en lien avec la parfumerie (Château de Chamerolles, Esprit du Parfum à Chartres, Cour des Senteurs de Versailles, Collection Sylvie Guerlain-Traditions Verrières à la ville d’Eu) ainsi que sur l’essor des expositions de marques de luxe, dont de parfumerie, dans les musées publics (Chanel, Dior, Roger & Gallet). Les stratégies des pouvoirs publics, celles des marques de luxe ainsi que les motivations des musées publics qui accueillent les expositions de parfumerie sont analysées à tour de rôle. Une étude à part est dédiée au Musée International de la Parfumerie (1989) à Grasse qui est un musée de référence en France : à son histoire, à sa section contemporaine, à ses partenaires ainsi qu’à ses concurrents comme les parfumeries touristiques Fragonard, Molinard ou Galimard. Le dernier chapitre porte sur la programmation temporaire des grands magasins qui, en privilégiant l’art contemporain et les industries de la mode, développent de véritables équipements culturels à même de concurrencer les musées publics jusqu’à dissoudre progressivement les frontières entre un espace muséal et un espace commercial. / This research in Museum studies focuses on exhibitions of French commercial perfumery in perfume and art museums throughout France. Starting with the history of exhibitions of commercial items in museums from the mid-19th century until luxury brands exhibitions at the Costume Institute of the Metropolitan Museum of Art in the 1980s, the study examines the birth and the development of different museum projects related to the French perfume industry (Château de Chamerolles, Esprit du Parfum in Chartres, Cour des Senteurs of Versailles, Collection Sylvie Guerlain-Traditions Verrières in the town of Eu) as well as the growth of luxury brands’ exhibitions in public museums (Chanel, Dior, Roger & Gallet). Public authorities’ policies, perfume brands’ strategies or motivations of public museums which host such exhibitions are analyzed one by one. The case of the International Museum of Perfumery (1989) in Grasse deserves a study in its own right: I consider the history of the museum, the museum’s section of the 20th century perfumery, the role of corporate sponsorship in enriching museum collections as well as the local competition from private perfume museums set up by Fragonard, Molinard or Galimard brands. The last chapter focuses on French department stores and their fashion exhibitions’ programs capable of competing with public museums’ attractions and leading to the progressive blurring of boundaries between a museum space and a commercial one.