This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture...This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture＇s aesthetics, as described by Schmitt and Simonson （1997）. Popular culture and marketing rarely share the same realm of research. However, these theories start to influence each other, which are especially visible when compared with international marketing as the framework. In order to analyze the gap between popular culture and marketing culture, the author followed a cultural object, Domo-kun, as it entered the US market. Domo-kun gradually changed, including its marketing aesthetics, its significance, and meaning within popular culture after it entered the market. These meaning changes are through the process of commoditization, emotional value, and how they are reinterpreted within cultural frames and reference groups.展开更多
The Chinese traditional aesthetic culture not only pay attention to the overall sense of He Xie （Harmony, 和谐）, and pay attention to a kind of artistic conception as Zi Wei （滋味）, Qi Yun （氣韵）, and YiJing （...The Chinese traditional aesthetic culture not only pay attention to the overall sense of He Xie （Harmony, 和谐）, and pay attention to a kind of artistic conception as Zi Wei （滋味）, Qi Yun （氣韵）, and YiJing （意境） as well. Mr. JI Xian-lin had tried to start from Zi Wei （滋味）, a new comprehension to open a new understanding on Chinese aesthetics. Hence, we embark from the Chinese aesthetic culture and its basic spirit, the humanistic connotation of Zi Wei （滋味）, which sounds with the basis, put forward it into a Music-Dance Spirit （乐舞精神） in Chinese art through this unique view, has made a new thinking to the Chinese traditional aesthetic artistic category system.展开更多
文摘This paper analyzes and attempts to bridge the gap between popular culture＇s aesthetics, popularized by Camille Paglia and her work Sex, Art and American Culture： Essays （1992], and international marketing culture＇s aesthetics, as described by Schmitt and Simonson （1997）. Popular culture and marketing rarely share the same realm of research. However, these theories start to influence each other, which are especially visible when compared with international marketing as the framework. In order to analyze the gap between popular culture and marketing culture, the author followed a cultural object, Domo-kun, as it entered the US market. Domo-kun gradually changed, including its marketing aesthetics, its significance, and meaning within popular culture after it entered the market. These meaning changes are through the process of commoditization, emotional value, and how they are reinterpreted within cultural frames and reference groups.
文摘The Chinese traditional aesthetic culture not only pay attention to the overall sense of He Xie （Harmony, 和谐）, and pay attention to a kind of artistic conception as Zi Wei （滋味）, Qi Yun （氣韵）, and YiJing （意境） as well. Mr. JI Xian-lin had tried to start from Zi Wei （滋味）, a new comprehension to open a new understanding on Chinese aesthetics. Hence, we embark from the Chinese aesthetic culture and its basic spirit, the humanistic connotation of Zi Wei （滋味）, which sounds with the basis, put forward it into a Music-Dance Spirit （乐舞精神） in Chinese art through this unique view, has made a new thinking to the Chinese traditional aesthetic artistic category system.
