ARTICLE
TITLE

Consuming mythological imagesMitolojik imgeleri tüketmek

SUMMARY

This study aims to demonstrate the assertion that the purpose of the use of mythological symbols in daily consumption goods is to create an ‘archetypical’ effect–in Jung’s terminology–in popular terms that it holds a ‘subliminal’ structure. We will discuss with the help of concrete examples how the production of consumption goods remodels the society, determines the needs, and why and how the myths are utilized in sales strategies.Behind the effort of being distinctive using various values in corporate or product emblems lies varying consumption habits. Factors marking consumption are now not necessities but desires. Consequently, in ad messages, product packages, art works and mythological symbols addressing consumer desires, attributing to dignity, pleasure, power, distinctiveness and status have been set to be exploited. Strategies used in product advertisement tools, together with product sold, are situated on grounds that senses symbolised by the product are also purchased, hence pledging a communal identity. Theoretical ground of the study consists of new consumption habits and of decisiveness by symbolic senses of consumption objects. Myths and mythological figures attached in the study were elected as the most preferred among in emblems and introduction strategies, and were narrated by limiting them.  ÖzetÇalismanin ilgisi, gündelik hayatta tüketime sunulan ürünlerde mitolojik simgelerin kullanilma amacinin Jung'in terminolojisi ile "arketipsel" bir etki hedefledigi, popüler deyisle "subliminal" bir yapi barindirdigi iddiasi üzerinedir.  Tüketimi hedef alan üretimlerin, toplumu nasil yeniden sekillendirdigi, ihtiyaçlari belirledigi ve satis taktiklerinde mitlerden ne amaçla ve ne yöntemle yararlanildigi tartisilacak, örneklerle degerlendirilecektir. Firma ya da ürün amblemlerinde çesitli degerlerin kullanilarak baskalasma çabasinin gerisinde, degisen tüketim aliskanliklari yatmaktadir. Artik tüketimi belirleyen etkenler gereksinimler degildir, arzulardir. Dolayisiyla reklam iletilerinde, amblemlerde, ürün paketlerinde, tüketicinin arzularina hitap eden, sayginlik, zevk, güç, ayricaliklik ve statü göndermesi yapan sanat yapitlari ve mitolojik simgelerden yararlanilmaya baslanmistir. Ürün tanitim araçlarinda kullanilan stratejiler, satilan ürünle birlikte, onun simgeledigi anlamlarin da satin alindigi ve böylece toplumsal bir kimlik vaat ettigi   zemini üzerinde konumlanir. Çalismanin teorik zemini yeni tüketim aliskanliklari ve tüketim nesnelerinin simgesel anlamlarinin belirleyiciligi olusturmaktadir. Çalismanin ilgisi olan mitler ve mitolojik figürler, amblemlerde ve tanitim stratejilerinde en çok tercih edilenler seçilerek, sinirlandirilarak anlatilmistir.

 Articles related

Jelena Mrgic    

The paper addresses the beginning of brandy distillation in the Ottoman Balkan, the transfer of technology, commerce and taxation, as well as patterns of consumption. Those patterns include rules of alcohol production, distribution and use according to r... see more


Danijela Velimirovic    

Starting from the concept of the “social life of things” proposed by Arjun Appadurai, the paper considers the “journey” of clothing items from production, through distribution to consumption in post-war Yugoslavia. Even though the rationing of clothing a... see more


Mahdieh Madadkhah,Ebrahim Chirani    

This study was conducted to explain the consumption of food industry products in elementary school children of Bandar Anzali city as well as to identify factors affecting parents' willingness to purchase. Various studies indicate that two variables of pa... see more


Luis Felipe Nascimento,Marcelo Trevisan,Paola Schmitt Figueiró,Marilia Bonzanini Bossle    

The term “alienation” is used in sociological analysis of production systems and, recently, in studies of compulsive consumption. There are no definitions or investigations discussing "alienation of disposal" of products and packaging. Following this lin... see more


Astrid Treffry-Goatley    

 Patterns of cinematic production and consumption are often symptomatic of wider politico-economic and socio-cultural forces. This is the case in South Africa, where this site of cultural production, like the society as a whole, is marked by severe ... see more