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ÖgeA Semiotical Evaluation Of Flacons(Institute of Social Sciences, 2001) Akdağ, Alkım Almila ; Özer, Filiz ; 107339 ; Art History ; Sanat TarihiThe world of perfume and perfume bottles richly reflects the change in the culture, art and technology of the 20th century. Inspecting the transformations wrought upon the perfume industry illuminate various aspects of the modern Western culture. In this study, I take a slice through the history of perfume bottles, which passes through almost all the late genres of art. Some principles of semiotics constitute my analytical framework while analysing the projection of cultural development. To provide a sound basis for my study, I start by tracing the relevant aspects of the history of smell. Along with the olfactory customs, the status and transition of perfumes is questioned as well. After the 19th century, perfumes were marketed as goods with both visual and olfactory components. Now they are able to extend meanings in more than one dimension. This aspect makes them both rich sources of associations and veritable mines of information, but also difficult to analyse. To overcome this difficulty, I develop a technique of analysis, which has its root in Saussurian semiotics. I reorganise the Jakobson's communications scheme and Barthes' ideas about mythological signs in order to clarify the complicated semiotic structure of the sense of smell and perfumes. Flacons, being a fundamental part of this structure, proved to be worthy for further elaboration. They carry the meanings associated with the perfume they contain and the properties of being an object at the same time. Thus, the visual codes they are equipped with are not only valuable for an art historical analysis, but also for a cultural research. To intensify the exploration, I expand Jakobson's definition of the functions of a sign with Barthes' statement on the semantics of objects. The developed tools are then applied to a small selection of perfume bottles exhaustively. The flacons under consideration often derived their shapes from common objects, but the everyday meanings of those objects changed, and a sense of alienation that is so typical of the art of our era evolved. The transformation of meaning clarifies the status of the symbols originating from these meanings. Although the dimension of meaning is important in that the transformation of the symbols is observable, flacons have other aspects that must be taken into consideration too. That and foremost these aspects is the aesthetic dimension that each perfume bottle of a commercial value clearly possesses. The development of the bottle is achieved in parallel with the meaning associated with the conception of the perfume, and usually by the use of the latest art form of the time. Thus, leading art movements like Art Nouveau, Art Deco, Dadaism, Expressionism, Postmodernism, Pop Art etc., all manifest themselves with their distinctive characteristics in the design of perfume bottles. This opens another door, as the perfume bottle can be seen as an object of art that is industrialised by mass- production, and advertisement. This brings us back to the symbolic dimension of the perfume bottle. As a result of the branding of an art object, the meanings wrought into the perfume start to create VI their own symbolic language. I conclude my study by scrutinising the symbols connected with perfume bottles.