نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانش آموخته ی پژوهش هنر، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران.
2 عضئ هیأت علمی، گروه پژوهش هنر، دانشگاه تربیت مدرس، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
In the last half-century, the postmodern approach has received much attention in the world. During this era, the role and power of the people have been increased in determining their own destiny. Postmodernism has been the dominant and influential cultural situation, especially in the society of Western countries, but its aesthetic subjects are ambiguous. Postmodern thought denies reality and the truth, therefore it negates the existence and intrinsic beauty. Postmodern thought declares meaningless of human insight and knowledge, thus it doubts human judgment and intellectual ability. As a result, postmodernism is in fundamental conflict with the two major theories of ontology and epistemology. It does not offer any confirmed or convincing solution for aesthetic criteria and pays more attention to the content and influence of the context.
Pluralism, as known principle of postmodernism, for multiple viewpoints and selections means paying attention to the popular culture and public demand. Popular culture is considered the spiritual heritage of ethnics and nations, which is still stable and alive. The objectivity of popular culture can be the creation of popular arts that have public acceptance and effective communication with most people.
Advertising graphic design flourished in the postmodern era and with the objectives of: attracting attention, effective messaging and advertisement durability in the audience's memory has created many applications for itself. The common aspect of postmodern thought, advertising graphic art and popular culture concentrates the domination of the "popularity". Previous research has identified some features of the postmodernism and its specialization in art, visual arts, painting, and even graphic art with their own terms and interpretations by recognizing and analyzing related theorems and referents. There are many commonalities and sometimes differences in the identification of features, but none of them have attempted to analyze the "popularity" paradigm, elucidate aesthetic criteria, and then enumerate characteristics for specific application in postmodern arena. Therefore, by gathering the valid information, the achievements of "popularity" have been identified by qualitative and descriptive-analytical research methods and deductive inference. All research findings are enriched and verified by interviewing with the related experts.
"Popularity" is itself based on public interests, benefits and consensus and is rooted in popular culture. As a result, the creation of advertising graphic designs with "popular" preferences can have more chances to be "seen" and "prominent" among the target audiences. Thus, the most important characteristics of "postmodern advertising graphic design" based on "popularity" can be recognized by the homogeneous interpretations as: deconstruction (structure breaking, strange and unconventional, conceptual assembling), allegory (metaphor), pluralism (any multiple aspects) and eclecticism (mélange, composition, intermixture), benchmarking (copying, making its own), traditional motifs and nativism, celebrity (famous people), nostalgia (past remembering), excited (sales promotion), promotion of anti-consumption (denial of consumerism in the industrial world), simulation, hyper-reality (exaggerated) beauty, emotional, ambiguity (amphibology, skepticism, teasing advertising), humor (refreshment, ridicule), and symbolism (branding ad). Finally, analyzing the benefits of "public consensus" and the challenges of "opinion engineering", the "popularity" paradigm has been determined for postmodern the new aesthetics.
کلیدواژهها [English]
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