Vanni Codeluppi

L'opera, comprese tutte le sue parti, è tutelata dalla legge sul diritto d'autore. L'Utente nel momento in cui effettua il download dell'opera accetta tutte le condizioni della licenza d'uso dell'opera previste e comunicate sul sito www.francoangeli.it

In Italy, advertising started to be considered a serious subject of study in the 1990s. This was probably due to the rapid growth of advertising during the previous decade, which gave it a more visible role in the advanced societies. The main goal of this article is thus to develop a reflection on what it means to analyse the nature and mechanisms of advertising. We will begin by consider the main topics to be addressed when studying advertising communication, and will go on to consider the tools required in order to analyse these topics. We will then analyse the importance in studying advertising of the semiotics and socio-semiotics approach, that is an extremely useful approach given the considerable analytical difficulties posed by the central role of language in advertising communication. Finally, we will assess the social role of the brand, which is a key aspect of the advertising communication but whose nature makes it particularly challenging to tackle. In order to study the way in which company brands behave today, a useful and effective concept to apply is also the concept of brand imaginary, that the article takes into account.

This article deals with the relationship between the globalization process and the consequences of the coronavirus emergency. The paper is an attempt to demonstrate that the coronavirus crisis has a great influence over the processes of change that concern western societies. Moreover, it examines the central role played by the flow of goods and messages in the passage of the capitalism to the digital contemporary phase and the limits established to the flow by the present critical situation. Finally, the article explores a relevant theoretical question: the growing development in the developed countries of a "post-symbolic" condition. A condition strictly connected with the contemporary evolution of the aesthetic environment. La natura della globalizzazione Per definire la globalizzazione, è possibile partire da quello che è stato scritto qualche anno fa da Anthony Giddens, che ha considerato tale fenomeno come "un'intensificazione di relazioni sociali mondiali che collegano tra loro località distanti facendo sì che gli eventi locali vengano modellati dagli eventi che si verificano a migliaia di chilometri di distanza e viceversa" (1994, p. 71). È evidente, dunque, che la globalizzazione si manifesta in conseguenza del verificarsi di processi di scambio a livello planetario per merci, tecnologie e conoscenze scientifiche e culturali. Pertanto, come ha messo in luce Amartya Sen (1998), essa ha operato per migliaia di anni, in quanto si è generalmente manifestata in conseguenza degli scambi resi possibili da viaggi, migrazioni e attività commerciali. Altri autori, come Jane Pavitt (2000), hanno ritenuto però che la globalizzazione possa propriamente essere individuata soltanto a partire dal Quattrocento, ovvero da quella rivoluzione commerciale che ha avuto inizio con la fine del Medio Evo. Essa dunque si sarebbe originata dalla progressiva crescita dell'intensità degli scambi economici, che è una delle principali caratteristiche delle società moderne. Vale a dire che sarebbe figlia dell'installarsi della modernità.

Vintage and mediatic experience. The crisis of the Western culture has produced a radical alteration of the concept of past in the contemporary societies and this alteration has determined the birth of a new social phenomenon: the vintage. A phenomenon that is related to a large quantity of social area and, a cause of this, is complicated to analyse. The main scope of this article is to explore the reasons of the actual big success of the vintage. The individuals are involved by the vintage because the diffusion of the actual postmodern culture has weakened the social idea of the time. Indeed, there is a crisis of the conception of the traditional and linear time and the increasing diffusion of an eternal present. This is due to the social role of the media and, in particular, of the television, the first medium with the ability of register the main events of the human life. Events that therefore contemporary individuals can enjoy many times. In consequence of this, the vintage assume the identity of a substituted experience. In the vintage old and new are completely mixed and contemporary individuals can freely consume elements of the past. So, the vintage isn't a nostalgic elaboration of the past, because it's the result of a constructive attitude based on the fruition of mediatic texts of the past. For that reason, the vintage is a mediatic experience that individuals interpret like genuine experience.