教老品牌新技巧复古品牌和品牌价值的复苏外文翻译

1、标题：teaching old brands new tricks: retro branding and the revival of brand meaning原文：retro brands are relaunched historical brands with updated features. the authors conduct a netnographic analysis of two prominent retro brands, the volkswagen new beetle and star wars: episode ithe phantom menace,th

2、at reveals the importance of allegory (brand story). aura (brand essence), arcadia (idealized community), and antinomy (brand paradox). retro brand meanings are predicated on a utopian communal element and an enlivening paradoxical essence. retro brand management involves an uneasy, cocreative, and

3、occasionally clamorous alliance between producers and consumers.america has no now. our culture is composed of sequels, reruns, remakes, revivals, reissues, re-releases, recreations, re-enactments, adaptations, anniversaries, memorabilia, oldies radio, and nostalgia record collections.george carlin,

4、 brain droppings, 1998brand extension, the use of an existing brand name to introduce a new product or service (keller 1993,1998), is an important marketing tactic that has attracted considerable academic interest (e.g., desai andkeller 2(x)2; john, loken, and joiner 1998). however,another form of b

5、rand extension strategy is gaining prominence and requires urgent research attention. many long abandoned brands have recently been revived and successfully relaunched (franklin 2002; mitchell 1999; wansink 1997), so much so that marketers appear in the midst of a retro revolution in which revivals

6、of old brands and their images are a powerful management option (brown 2001).the rise of retro brands places marketing in an interesting conceptual quandary. on the one hand, marketers are continually reminded of the need for product differentiation, that todays marketing environment demands strong

7、brand identities and decries imitation (aaker 1996). on the other hand, contemporary markets are suffused with updated imitations, such as retro brands, many of which are proving enormously popular (franklin 2(x)2; naughton and vlasic1998; wansink 1997).brand revival and retromarketingthere is consi

8、derable overlap among nostalgia, brand heritage, and brand revival. revived or retro goods and services (we use retro synonymously with revived brands) trade on consumers nostalgic leanings. familiar slogans and packages, for example, invoke brand heritage and evoke consumers memories of better days

9、, both personal and communal. the success of the museum store, past times, restoration hardware, and similar retailers of exact reproductions and the continuing popularity of heritage-based campaigns for brands such as budweiser, john hancock, and ivory indicate that demand exists for allegedly auth

10、entic reproductions of past brands. the problem with exact reproductions, however, is that they do not meet todays exacting performance standards. retro products, by contrast, combine old-fashioned forms with cutting-edge functions and thereby harmonize the past with the present (brown 1999, 2001).

11、in this regard, consider the chrysler pt cruiser, which amalgamates the shape of a 1940s sedan with the latest automotive technology to produce a futuristic car with anachronistic styling. another striking example is nikes michael jordan xi retro sneakers. these shoes may look like a monument to 195

12、0s hoop dreams, yet their cushioned soles, aerated uppers, and recommended retail prices are state of the marketing art. dennys retro diner is an homage to eateries of the 1950s, but its registers are computerized, the kitchen equipment is cutting edge, smoking is prohibited in the dining area, and

13、vegetarian dishes are available for those unwilling to revert to carnivorous habits of yore. we define retro branding, therefore, as the revival or relaunch of a product or service brand from a prior historical period, which is usually but not always updated to contemporary standards of performance,

14、 functioning, or taste. retro brands are distinguishable from nostalgic brands by the element of updating. they are brand new, old-fashioned offerings.findingsthe new beetlethe original volkswagen beetle was the stuff of motor-enthusiast legend. created by the pioneering automotive designer ferdinan

15、d porsche, with a past grounded in the common classes of third reich germany, the car proved wildly popular across postwar europe and north america. the volkswagen beetle was globally cherished for its durability, economy, user-friendliness, and idiosyncratic design.at the time, it was considered an

16、 exemplary vehicle of the people. everyone from commune-bound hippies and middle-class couples with children to eccentric multimillionaires drove beetles. the beetle even begot a series of live-action disney movies starring the love bug as herbie, the sentient vehicle with a heart of gold.tony argue

17、s from the perspective of a moderate rationalist laying out a logical argument to ease the tensions between two warring factions. discounting the intrinsic value of the past, he insists that the old brand must be adjusted for a new time, place, and set of target consumers. akin to orrin, he shifts t

18、he argument about brand essence to superficial design elements and advertising-laden symbolic associations. the result, for tony, is an up-to-date vehicle that still shares the enchanting personality of the old beetle brand. enchantment indeed is the operative word, as many star wars fans testify.st

19、ar warsthe original 1977 star wars movie attempted to disorient its consumers temporally by offering a faraway future world of spacecraft and intelligent robots subsumed within a fairy tale set in the distant past. star wars: episode ithe phantom menace attempted to top this temporal dislocation. se

20、tting the fourth movie three episodes before the first was a stroke of marketing genius that created the neologism prequel. this prequel demonstrates retro branding in the realm of connected products and services that characterize todays entertainment economy (wolf 1999). as a retro brand.the phanto

21、m menace stamps an established brand name. star wars, on a new movie that couples cutting-edge special effects with a cast of contemporary actors. as with the new beetle, it imaginatively melds a familiar brand name with an all-new, up-to-date product. bills diatribe offers opposing poles of the pro

22、fane market and the sacred myth (see belk, wallendorf, and sherry 1989). zacks posting is resentful of the myth and moneymaking power manifested in george lucas as a person. both message posters demonstrate that though the brand is clearly recognized as a commercial creation, it is also a deeply mea

23、ningful part of some consumers livesit is enthusiastically represented as a powerful metaphor for living and even for religion. these comments suggest not only that commerce and the sacred are cultural opposites but also that their intermixing in brands such as star wars has considerable cultural po

24、wer (see also kozinets 2001, pp. 76-78). in support of these findings having wider marketing relevance, pefialoza (2(x)0, p. 105) finds similar tensions between commerce and soul among ranchers of the american west and concludes that the west is a site for the production of profound cultural meaning

25、s. bills and zacks postings express these important tensions in terms of a brand and the different responses to them. they respond to the brand paradox behind star warss combination of creed and commerce,piety and profanity, mana and money.discussionimplications for brand meaning managementmarketing

26、 scholars from alderson (1957) to zaltman (1997) have recognized the importance of the experiential nature of the brand, but perhaps not since the heyday of motivation research (e.g., dichter 1960) has there been such a resurgence of interest in brand phenomenology. the most succinct if overstated j

27、ustification for this interest is the contention that some conceptualize a product as no more than an artifact around which customers have experiences (prahalad and ramaswamy 2000, p. 83). from the pioneering work of levy (1999) and hirschman and holbrook (1982) through the current wave of postposit

28、ivist inquiry (e.g. brown 1995; fournier 1998; fournier and mick 1999; holt 2002; kozinets 2001; penaloza 2000; sherry 1998; thompson 1997), the tendency to regard brands as symbolic creations has led to the conclusion that the management of meaning must underlie marketing strategy. that marketers a

29、re quintessentially meaning managers, shaping the experience of consumers, is intuitively plausible. that meaning management involves attending to the creative activity of consumers, or that consumers might justly be regarded as the cocreators of brand essence, is equally plausible, if less fully ap

30、preciated.antinomy, the final element of our 4as abbreviation, is perhaps most important of all, for brand paradox brings the cultural complexity necessary to animate each of the other dimensions. the brand is both alive and not alive, a thing and a personality, a subject and an object: this is the

31、paradoxical kernel of brand meaning. the story is both truth and fiction, composed of clever persuasions and facts, devised by distant copywriters and real users. this is the central conundrum of brand story and consumer-marketer codependence. the idealized community is both a real community and a p

32、seudo community, moral and amoral, in thrall to a commercial creation and a rebellious uprising, dependent and independent, a gathering of both angry activists and covetous consumers. for a retro brand, the tension between past and presentand even, as in our two examples, the futurealso vivifies bra

33、nd meanings. retro products seem custom-made to address a core paradox at the heart of brand management. retro combines the benefits of uniqueness, newness, and exclusivity (with its hints of higher functionality, class, styling, and premium prices) with oldness, familiarity, recognition, trust, and

34、 loyalty. these intrinsic paradoxes underpin a products elan vital, the creative life force at the heart of the retro brands extraordinary appeal.conclusionaccording to the acerbic comedian george carlin (1998, p.110), contemporary consumer culture is beset by yestermania, an inordinate fondness for

35、 revivals, reenactments, remakes, reruns, and re-creations. certainly, the merest glance across todays marketing landscape reveals that retro goods and services are all around. long-abandoned brands, such as airstream (trailers), brylcreem (pomade), and charlie (cologne), have been adroitly reanimat

36、ed and successfully relaunched. ostensibly extinct trade characters, such as mr. whipple, morris the cat, and ms. chiquita banana, are standing sentinel on the supermarket shelves once more. ancient commercials are being rebroadcast (e.g., ovaltine, alka-seltzer); timeworn slogans are being resuscit

37、ated (e.g., good to the last drop, look, mom, no cavities); and long-established products are being repackaged in their original eye-catching liveries (e.g., necco wafers, sun-maid raisins). we have examined the rise of retro brands in an attempt to develop tractable theory that contributes to marke

38、ting principles and practice. we have reviewed the pertinent literature on nostalgia and, using an appropriately retro research method, have empirically investigated two exemplars of retro branding, the volkswagen new beetle and star wars: episode ithe phantom menace. we found that the meaning of re

39、tro brands inheres in four key characteristics; allegory, arcadia, aura, and antinomy. these characteristics indicate that the social and cultural forces that animate brand meaning are considerably more complex than prior conceptualizations suggest. brands mean more than relatively fixed arrangement

40、s of associative nodes and attributes. complexity, heterogeneity, dynamism, and paradox are integral aspects of the consumer-brand relationship. not only are brands fixed cognitive associations of meanings; they are also dynamic, expanding social universes composed of stories. they are social entiti

41、es experienced, shaped, and changed in communities. therefore, although brand meanings might be ascribed and communicated to consumers by marketers, consumers in turn uncover and activate their own brand meanings, which are communicated back to marketers and the associated brand community. this is n

42、ot to say that brand management is impossible in a world of consumer-mediated meanings, but only that it is more complex than before and cocreated rather than imposed by managerial dictate.our analysis of brand stories and their managerial significance complements the increasingly accepted view that

43、 brands are no longer expected to be reassuring to consumers; they must inspire consumers to take risks (kapferer 2001). fournier and mick (1999) note that consumer satisfaction with technological products should be built on surprise, the unexpected, a challenge. to create this challenge, brand mana

44、gers must take risks and boldly go where managers have been reluctant to go before. nikes championing of global labor standards in response to a boycott of its brands is a perfect example of this propensity. brand meanings, moreover, must be managed as community brands, as brands that belong to and

45、are created in concert with groups of communities (kozinets 1999, 2001, 2002b; mcalexander, schouten, and koening 2002; muniz and oguinn 2001). these communities exist in local and technologically mediated arenas. they are ambivalent, dynamic, and contested cultural spaces. in brand-building efforts

46、, marketers must locate relevant gatherings of these groups and address them collectively as well as continue to address solitary consumers. the effect of undertaking these new strategies will be an enlivening of our evolving understanding of brands and their cultural meanings.出处：stepheii brown, rob

47、ert v. kozinets, & john f. sherry jr. teaching old brands new tricks:retro branding and the revival of brand meaningj journal of marketing 2003 - jstor标题：教老品牌新技巧：复古品牌和品牌价值的复苏译文：复古品牌重新发布它带有时代特色的历史悠久的产品。作者开展了一个无图像网络分析两个突出的复古品牌,大众汽车新甲虫和星战前传i: 魅影危机,他揭示了寓言（品牌故事)、气氛(品牌本质),世外桃源(理想化的社区),和矛盾(品牌悖论)的重要性。复古品牌的意

48、思是基于一种乌托邦式的公共元素和一个似是而非的理论本质。复古品牌管理包涵了不稳定,共同创造，偶尔发生矛盾生产者与消费者之间的同盟关系。现在美国没有.我们的文化是由结果、再运行、重做、复兴、再发行、再被释放、休闲、再制定、适应、各种周年纪念日,大事记,老人设备，怀旧收藏所组成。 george carlin,brai droppings,1998品牌延伸,利用现有的品牌介绍一种新的产品或服务（keller 1993,1998）,这是一个能吸引大量学术兴趣的重要营销策略(e.g., desai andkeller 2(x)2; john, loken, and joiner 1998).。然而,品牌

49、延伸策略的另一种形式是得到突出表现和获得急迫的研究关注。许多被忘却的品牌最近又活了,成功地复生(franklin 2002; mitchell 1999; wansink 1997),以至于市场营销者出现在兴老品牌和他们的企业形象中的这样一个“复古革命”是一个重要的管理决策(brown 2001)。复古品牌的崛起其实在区域上是面临一个有趣的概念困境。一方面,销售人员不的提醒产品差异化,当今的营销环境需要强势品牌身份和创新(aaker 1996)。另一方面,现代市场司空见惯的模仿品,如复古品牌,其中很多都证明非常流行(franklin 2(x)2; naughton and vlasic1998

50、; wansink 1997)。品牌复兴和复古营销在怀旧，品牌传统，品牌复兴间有个值得考虑的重叠问题。复古商品和服务(我们用retro同义与revived品牌)贸易对于消费者的怀旧情结。熟悉的口号和包装,例如,调用品牌传统唤起无论是个人还是团体消费者对品牌往日的美好回忆。博物馆商店的成功、过去、硬件修复和类似的精密零售商的仿制品和持续流行的以传统为基调的品牌活动,例如百威啤酒,恒康,爱得利都证明了消费者对于老品牌的产品更新的真实需求。然而问题是他们没有对更新的老产品做好新时代的需求和性能标准。复古产品,相比而言,必须把复古的流行元素和先进的功能结合在一起,从而协调过去与现在(brown 199

51、9, 2001)。在这方面,克莱斯勒pt漫步者,将20世纪40年代的汽车造型与最新的汽车技术结合在一起，制作出的未来式汽车里,无疑是一个成功的典范。另外,还有一项更突出的例子是耐克的迈克尔乔丹ix复古运动鞋。这些鞋子可能看起来象20世纪50年代的篮球梦纪念碑,但是他们加衬垫的鞋底、充气鞋面和能让人接受的零售价格简直是一场销售艺术。在20世纪50年代，丹尼的复古餐厅就是一个充满荣耀的地方,但它的登记是电脑化的,厨房设备是机械化的,就餐区是禁止抽烟，而且有素餐提供给那些没有食肉习惯的顾客。所以，我们定义的复古品牌,是复兴、或者更新产品和服务的还停留在历史，通常是不保持当代的品味标准,功能或口味的品

52、牌。从品牌元素的更新我们可以把复古品牌和怀旧品牌区分开来。他们是全新的，老式的样品。调查新甲壳虫原大众甲壳虫是汽车发烧友的传说级收藏品。由首席汽车设计师费迪南德波尔舍创造的，以过去在三分之一德国地区常见的汽车为原型的甲壳虫,在二战后欧洲和北美广泛流行。大众甲壳虫被全球消费者所珍爱是因其耐久性、经济实惠、使用方便和设计理念。当时,这被人们认为是汽车的典范。上至百万富翁下至社区嬉皮士、中产阶级有儿女的夫妇都开甲壳虫。甲壳虫甚至主演了由真车主演迪斯尼系列电影“爱虫”中的“herbie”：有金子般的心的车辆。托尼认为从适度的理性主义制定逻辑论证来缓解两个派系的紧张关系。贴现过去的实际价值,他强调老品牌

53、必须是业余选手适应新时间、地点和目标消费者。类似的，奥林转移争论到品牌本质的肤浅的设计原理和铺天盖地的概念广告。结果,托尼选择甲壳虫品牌不断更新的新一代迷人个性。魅力的确是一个奇妙的事物,众多星战迷可以做证。星球大战原1977年电影星球大战试图通过提供遥远的未来世界的宇宙飞船和智能机器人相伴左右的童话般的故事来获取消费者时间。星战前传i: 魅影危机试图让这个时间错位。在前3部电影前设置第四部前传电影简直是一个营销天才级想法。这部前传证实了复古品牌在连接产品和服务的领域里会是以当代娱乐经济为特征的(wolf 1999)。作为一个复古品牌。魅影危机扎实地建立了它的品牌。星球大战,在新电影中,配以大

54、量尖端科技特效和当红演员。与甲壳虫比,它真正把一个熟悉的品牌变为一个全新、最新的产品。比尔的评论对世俗市场与宗教神话提出了反对观点, (见belk, wallendorf, and sherry 1989年9月出版)。扎克的观点是讨厌以个人力量赚钱的乔治卢卡斯神话般的故事。这2段信息都表明,尽管品牌被认为是商业创造,它也依然对于消费者生活有重要意义，它被热情地描绘成一个对生活甚至宗教的有力隐喻。这些评论认为不单商业与宗教是文化对立的,同时他们在品牌融合上,比如星球大战也是有可观的文化力量的(参见kozinets 2001, pp. 76-78)。支持这些发现有更广泛的营销关联,帕法罗扎发现美国

55、西部的畜牧者之间有类似“商业”和“文化”这样的紧张关系,他推断出，美国西部是一个“生产深厚文化意义”的安全地点。比尔和扎克观点表达在品牌对品牌的不同反应方面的严重的紧张局势。他们响应在星球大战背后关于信仰和商业,虔诚和亵渎,超自然力量和金钱的品牌悖论。讨论品牌价值管理的内涵从1957年的alderson到1997年的zaltman，营销学者们已经意识到了品牌融于自然的重要性,但或许不是因为品牌动机研究的全盛时期(例如,dichter 1960年)被作为品牌思想上广泛兴起的兴趣。最简单的如果为这个兴趣夸大了理由将导致一些构思产品叫做“仅仅客户经历过的工艺品” （prahalad and ramaswamy 2000, p. 83）的争论。从levy，hirschman，holbrook通过当前潮流实证主义研究的先驱工作(e.g. brown 1995; fournier 1998; fournier and mick 1999; holt 2002; kozinets 2001; penaloza 2000; sherry 1998; thompson 1997),把品牌作为象征物的