Interpult Studio

22 – Тест. Что такое окружающая среда маркетинга? Теперь же Pinterest приобретает все большее значение в стратегиях входящего маркетинга как канал взаимодействия и поиска, Instagram важен как часть «портфолио» Facebook, а сервис для публикации презентаций SlideShare стал одним из важнейших компонентов контент-стратегий LinkedIn. Предприятиями используются в основном элементы маркетинга – «микс», а на уровне объединений и отраслей, кроме того – политика инвестиций, регулирование структуры цен, финансирование НИОКР, а также госзаказы, налоги и др. For example the sad fact of the so-called “orange revolutions” in the world is known which become cruel, destructive events in the interests of forces interested in destabilizing the world. An example could be slogan: “Vote, otherwise you will lose! The image of such a person becomes more clear, closer to the people, gives hope that a person close to people knows about their problems and needs and will surely try to solve them. For the ancient people archetypes acted as universal forms that streamlined the world around, endowed with meaning. Here, a symbol is understood as “the image of an object or phenomenon included in a part of reality mastered by consciousness, which actually constitutes the human world. Thus, it is obvious that false-reality is no longer built according to the laws of rhetoric, rather sophistic, like pseudo-reality (which we examined above), but can be comparable to eristic, aimed at winning at any cost, but unfolding not at the level of rhetoric , but at the level of organization of reality itself.

The contrast “friend/foe” also clearly manifests itself in PR-technologies, when a politician or any other subject is presented as “friend”, “one of us”, the same as everyone else. The archetypal opposition “we-they” is also often exploited by Public Relations and advertising technology. Public Relations technologies in the construction of the communicative process use well-known symbols familiar to everyone from childhood: these are plots and heroes from fairy tales, characters and plots from the artistic and literary heritage, symbols and signs from various spheres of social life and the human environment as a whole, which have acquired a stable, stereotypical character. The totality and aggressiveness of the impact of communicative technologies on the audience is associated with the active exploitation of archetypes existing in society with the appeal to the unconscious. The definition of the meaning of the proposed concepts is left to the discretion of the individuals themselves who perceive the communicative message. But this competition can be motivated not so much by the search for artistic talent as by drawing attention to the problem of childhood or to the activities of the organization sponsoring this event, or to the political figure who “understands” the importance of holding such a competition (but actually skillfully uses this event to promote his/her own image).

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The image of the enemy in a bunch of “enemy/hero”, as a rule, is complemented by the towering image of a hero who can cope with the “enemy”, stop arbitrariness, and lead to prosperity. The “Shadow” is represented, for example, in the image of the “enemy”, which is often used in communicative practice with the goal of elevating one’s own position against the background of the humiliation of the Other (subject, social group or whole society). So, “Shadow” is a set of aspects of a person that are recognized by sociality as secondary, insignificant, non-prestigious, as well as the sum of all primitive, archaic and undifferentiated qualities. However, due to the fact that images are designed purposefully, as a rule, they activate specific patterns of perception and response to these constructs. The created images have a huge impact on the perception of the subject/object/situation due to the fact that, as a rule, they are ambiguous, i.e. We believe that artificially constructed images exploit socially significant symbols that have a profound emotional impact on members of society. Often, these schemes are deeply rooted in the bosom of the collective unconscious opened by C. Jung and that is why they have a deep, almost inevitable effect on the cognitive processes of the recipient.

The construction of a symbolic representation by communicative technologies presupposes the establishment of such a communicative interaction in which the subject (organization) communicates (demonstrates) exactly those symbols that are required for certain associations to arise in relation to the public. The technologies of public relations, constructing symbolic images, activate archetypes, causing the necessary associations in relation to the “positioned” subject/object/situation. If pseudo-reality arises on the basis of the symbolic context of transmitted messages, then false-reality is actually filled with symbolic content in social reality. In this case, the subject at the symbolic level is endowed with the qualities of a hero, fighter for justice, superman, etc. Symbolic here may be the use of appropriate attributes, such as: a demonstration of a black karate belt worn under a regular jacket, exploitation of heroic characters, a demonstration of skills in martial arts, possession of weapons, a mention of a particular connection with security forces, a demonstration of plots in which the “hero” achieved the truth in solving the problems of an “ordinary” person, etc. This is expressed in rather simple schemes, such as “heart-love”, “flower-beauty”, “apple-health”, “flag-heroism”, etc., when using the association the properties (symbolic meaning) of one object are transferred another.

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