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Consumer Aesthetic Experience in a Retail Context. Pure, Popular, Modern, and Postmodern Aesthetic Experiences

Автор:   Krittinee N.
мягкая обложка
124 страниц
2010 год
Издательство:   Книга по Требованию
Цена:
2413 руб
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Описание:Realizing that research on consumer aesthetic experience must broaden into a diverse sociocultural context, this ethnographic study was conducted in a shopping mall with the goal to develop a theory that explains how a variety of consumer aesthetic experiences is formed, and what the major factors that account for this variety are. As a result, this book illustrates the four dominant categories of consumer aesthetic experiences - pure, popular, modern, and postmodern - and their unique characteristics. This study also extends our understanding of the co-creative experience of the consumer and demonstrates how to enhance retail design strategy. This book, Consumer Aesthetic Experience in Retail Atmospherics, suggests a way to integrate the philosophy of aesthetics into the domain of retail marketing.


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The Columbia History of the British Novel

In Postmodernism, a work generally critical of the claims of postmodern aesthetics, Fredric Jameson nonetheless notes that indeterminate plot lines and a patchwork of allusions to past traditions (popular and "high") in postmodern art do not proceed from simple nostalgia but rather from «resistance» to the earlier material appropriated: "What was the delectation with a fantasy past now turns out to look more like the construction of a Utopian future." Seen in this light of "resistance," Pym's often-noted revisitings of Jane Austen (seen by most critics as possessing-as Jean Baudrillard has said dismissively of Borges-only the "discreet charm of second-order simulacra") appear in a more transgressive light, as a stealing of Austen's fire. Emma Howick, heroine of Pym's Few Green Leaves, for instance, has not only been named by her mother in the absurd hope that "some of the qualities possessed by the heroine of [Austen's Emma] might be perpetuated"-as if one's reading somehow mutated one's genes-but also, as Jane Nardin writes in her Twayne guide to Pym, is comically "doomed to relive a modernized version of the earlier story… the tale of a young woman who thinks she loves the socially suitable candidate for her affection [selfish Frank Churchill in Austen; selfish Graham Pettifer in Pym] but who finally discovers that she really loves an older man whose virtue is his strongest attraction." Yet a motive of dissimulation-common among these writers-suggests the satiric intention behind this blatant simulation of Austen's plot by Pym ...»

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