Relevant bibliographies by topics / Color Symbolism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Color Symbolism'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Color Symbolism"

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Rahayu, Kristina Indah Setyo. "A Comparison on Hyponymy and Cultural Symbolism of Six Color Words between Chinese Language and Bahasa Indonesia." Lingua Cultura 8, no. 2 (November 28, 2014): 61. http://dx.doi.org/10.21512/lc.v8i2.444.

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Color words originate from natural world. In general different languages have similar patterns of color hypernymy. Nevertheless, when it comes to color hyponymy, it is not the case. Specific color hyponyms have emerged because different countries have different cultures. Besides, color words are also rich in cultural symbolism. In other words, same colors in different countries have different cultural symbolisms. This paper analyzed six color words (red, white, yellow, blue, green, and black) between Chinese language and bahasa Indonesia to find similarities and differences both in hyponymy and in culture symbolism.
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Caspari, Elizabeth. "Color symbolism." Arts in Psychotherapy 12, no. 3 (December 1985): 206–8. http://dx.doi.org/10.1016/0197-4556(85)90022-x.

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JOHANSSON, NIKLAS, ANDREY ANIKIN, and NIKOLAY ASEYEV. "Color sound symbolism in natural languages." Language and Cognition 12, no. 1 (October 18, 2019): 56–83. http://dx.doi.org/10.1017/langcog.2019.35.

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abstractThis paper investigates the underlying cognitive processes of sound–color associations by connecting perceptual evidence from research on cross-modal correspondences to sound symbolic patterns in the words for colors in natural languages. Building upon earlier perceptual experiments, we hypothesized that sonorous and bright phonemes would be over-represented in the words for bright and saturated colors. This hypothesis was tested on eleven color words and related concepts (red–green, yellow–blue, black–white, gray, night–day, dark–light) from 245 language families. Textual data was transcribed into the International Phonetic Alphabet (IPA), and each phoneme was described acoustically using high-quality IPA recordings. These acoustic measurements were then correlated with the luminance and saturation of each color obtained from cross-linguistic color-naming data in the World Color Survey. As expected, vowels with high brightness and sonority ratings were over-represented in the words for colors with high luminance, while sonorous consonants were more common in the words for saturated colors. We discuss these results in relation to lexicalization patterns and the links between iconicity and perceptual cross-modal associations.
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Al Ghusaini, Zaher Badr. "Symbols of Color Code in the Poetry of Federico Lorca (1898-1936)." Journal of Arts and Social Sciences [JASS] 3, no. 1 (January 1, 2012): 121. http://dx.doi.org/10.24200/jass.vol3iss1pp121-133.

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The current study addresses color symbolism in the poetry of Federico Garcia Lorca, a 20th century poet. He lived in the period between 1898 and 1936 in which Spain, and particularly Granada, had a significant impact on his poetry. It lived in his verses and added a unique charisma to his poetry, emerging from its ongoing transformation from tangible visualization to artistic glances. The mention of color appeared in every poem, with some colors being more dominant than others. It added an artistic value with a pure psychological perspective, almost like a painting portraying Granada. This led critic and Spanish civilization researcher Luis Parrot to call him “a poet enchanted by colors” in his study of Lorca’s poetry, as he found him totally possessed by colors (Telisy, 1992). This addresses color symbolism that is prominent in Lorca’s poetry. Has this symbolism reflected Lorca’s character that it appeared in an unorthodox manner? Or was this symbolism traditional in its form and meaning? The study concluded that Lorca did not describe color by color, color by name, or name by color. Rather, his poetry took many forms and tastes, giving it a certain uniqueness and individuality to Lorca. Analysing Lorca’s poetry reveals its richness in color expressions. It also shows how Lorca’s awareness of color exemplified his suffering explicitly and implicitly, to maintain a certain level in his poetry on one hand, and to avoid being overt on the other
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Boyarkina, Anastasiya Andreevna, Larisa Georgievna Popova, and Irina Viktorovna Shvedova. "Symbolism of the blue/light blue color in the English and German publicistic texts." Litera, no. 10 (October 2021): 61–72. http://dx.doi.org/10.25136/2409-8698.2021.10.36202.

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This article aims to determine similarities and differences in manifestation of symbolism of the blue/light blue color in the English and German publicistic texts. The subject of this research is the semantics of English and German lexemes representing the blue/light blue color in both languages. The symbolism of this color designation is selected due to its insufficient coverage in comparative linguistics. Based on the material of lexicographic sources, the author describes the dictionary meanings of the aforementioned lexemes, which resemble symbolism of the blue color in the English and German publicistic texts. The scientific novelty lies in the establishment of similarities and differences of symbolism of the blue/light blue color on the example of the English and German publicistic texts, highlighting that in the English texts, the lexemes that denote these colors are used more often than in the German texts (English word ‘blue’; German word ‘blau’). The conducted analysis reveals that in the English publicistic texts, symbolism of the blue/light blue color is applied in creation of precedent names, as well as nominations of affiliation to a particular party, nobility, symbol of nobleness, purity, or despondency, suppression of wrongdoing. In the German publicistic texts, this color designated affiliation to the political party, or authorization document for foreign employees. Comparison of the content of lexemes ‘blue’ and ‘blau’ in the English and German texts reveals more similarities. However, in the English publicistic texts, this lexeme denotes the symbolism of sadness, despondency, or noble descent.
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Ro’ziyeva, Mohichehra Yoqubovna. "COLOR SYMBOLISM IN UZBEK FOLKLORE." Theoretical & Applied Science 85, no. 05 (May 30, 2020): 277–84. http://dx.doi.org/10.15863/tas.2020.05.85.55.

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Gagulashvili, I. Sh. "Color Symbolism in Georgian Charms." Soviet Anthropology and Archeology 26, no. 1 (July 1987): 55–70. http://dx.doi.org/10.2753/aae1061-1959260155.

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Pavlova, Irina. "The Color Symbolism in the Works of Saltykov-Shchedrin." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 91–99. http://dx.doi.org/10.36340/2071-6818-2020-16-2-91-99.

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The article is devoted to the symbolism of color in the works of Saltykov-Shchedrin. Color is a fundamental phenomenon of existence; various sciences, including literary criticism, study it. It is connected with the ideological conception of the work, with art space; it bears a visual function, emotionally colors the world depicted by a writer, enriches, makes it more complex. Saltykov-Shchedrin’s use of color is connected with the satirist’s talent to see the reality in the "concentration of evil". In the works of the writer, Russia appears to be ambivalent: it is a field of the rampage of the elements, energies, and the realm of deadness, of slumber, which is presented in the writer's palette by two achromatic colors. White and gray are distinguished by special semantic saturation. In Saltykov-Shchedrin’s works, their symbolism is seen in a negative aspect: white represents coldness, despair, insipidity; gray – poverty, sadness, rough weather. In the descriptions of the environment, these colors are accompanied by images of snow, rain, fog, which in turn are connected with the motifs of death, doom, and emptiness of life. Many of the satirist’s works starting from his early stories, Contradictions, Brusin, are emotionally charged in such a way. White and gray colors define the peculiarity of the artistic space of many works of Saltykov-Shchedrin. In the epilogue of the series Provincial Sketches, the ground appears covered with a white shroud. The tragedy of this image is compounded in the cycle of Well-Intentioned Speeches. Snow as a white shroud is the writer’s constant metaphor. Almost always when describing Russian expanses, monotonous, dull colors dominate in the works of the satirist. White color expands the space to the infinity overwhelming a man; gray increases the feeling of hopelessness. Saltykov-Shchedrin’s landscape correlates with the unclear fate of Russia, with mournful events in the national history, a fading aristocratic landlord class. These colors are associated with moral issues in the novel-chronicle The Golovlyov Family. In the tale Night of Christ, white and gray serve as the concentration of world evil. However, gray does not have only negative energy – the «gray tones» of the Motherland cause the writer to feel «love to the pain in the heart». Golden color in the idiomatic expression «Golden age», an age of harmony and prosperity, used by the socialists-utopians, to whose ideals Saltykov-Shchedrin always remained true, stand as the antagonist of white and gray. Color is one of the mental units forming the concept sphere of Saltykov-Shchedrin’s creative work; it reflects the diversity of the author's thinking, the philosophy of the artist-satirist, the worldview of a particular age, and the national picture of the world.
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Hovers, Erella, Shimon Ilani, Ofer Bar‐Yosef, and Bernard Vandermeersch. "An Early Case of Color Symbolism." Current Anthropology 44, no. 4 (August 2003): 491–522. http://dx.doi.org/10.1086/375869.

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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.

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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Dissertations / Theses on the topic "Color Symbolism"

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Jackson, Veda Kimber. "It's all about color: an analysis of color symbolism in Toni Morrison's Sula and the bluest eye." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2011. http://digitalcommons.auctr.edu/dissertations/204.

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This study examines Toni Morrison’s use of symbolism in Sula and The Bluest Eye, especially archetypal and color symbolism, in an effort to recover the culture that has been lost to Diasporic Africans. Moreover, the color symbolism and symbolic archetypes that Morrison employs in both novels, but to a greater extent Sula, are a direct reflection of her awareness of the African ancestral heritage and spirituality associated with those colors and archetypes. A vast majority of the literary critiques of Sula have focused on either Sula as a scapegoat for the community, Morrison’s use of race, gender, and sexual themes, or the characterizations throughout the novel. The literary criticism of The Bluest Eye has mainly focused on issues of race, class, and gender and the effects that these issues have upon black and white societies in America. Although these themes warrant the attention that has been given them, little or no focus has been given to the prevalence of color symbolism that Morrison employs in both novels. Therefore, this paper will attempt to provide a focus on color symbolism that has not been explored in other literary reviews.
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Martin, Shannon. "A Palette of Unconvential Symbolism: Color Imagery in Three Margaret Atwood Novels." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/915.

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In this thesis, the writer examines the color imagery in three Margaret Atwood novels: Surfacing, Cat's Eye, and The Handmaid's Tale. Atwood uses color in unconventional ways by forcing colors to symbolize the opposite of their common meanings, by allowing colors to represent simultaneously two opposing ideas, and by disregarding traditional color meanings by creating her own unique associations. Atwood's color imagery supports her thematic concerns in that through her themes--as with her use of color--she challenges the reader's expectations by throwing into question many conventional ideas about progress, religion, and the sex-gender system.
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Carney, Ovidia Cornelia Blough. "Effects of age and ethnicity on color preference and on association of color with symbol and with emotion." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1882.

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Lubowinski, June Graybeal. "Heraldic Symbolism and Color Imagery in William Morris's "The Defence of Guenevere and Other Poems"." W&M ScholarWorks, 1989. https://scholarworks.wm.edu/etd/1539625529.

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Harvey, Jacquetta. "My Beautiful." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2905.

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In creating my work I use bold, bright colors and fundamental shapes and patterns. My images reflect how I view the world and genuinely express my imagination, feelings, and thinking. Working this way allows me to apply a symbolic face to personal concerns, beliefs, fears, ideologies, and philosophies. I see a world where life and art blend to create images of triumph and tragedy, joy and pain, or growth and change. My ideas have grown from the desire to understand myself as a woman, as a Christian, and as a unique individual. Dealing with personal questions, I explore the varying relationships between popular culture and self-perception. Another source for my work are philosophical themes, along with political and social commentary. I want my messages to not only touch the heart and soul of people but convey a message that they will remember.
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Ganther, Hazel. "Rehabilitation and the meaning of color." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1646.

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André, Andreas. "En färgglad studie om spelarbeteenden." Thesis, Uppsala universitet, Institutionen för speldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-226308.

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This is the result of a 10 week long study about if player behaviors and choices are affectedby the surrounding colors in their environment. A number of players are asked to movethrough a virtual environment, while being clocked, where they have to make left and rightdecisions based on different colors (red, green, blue and gray). While most choices consist oftwo different colors, some use the same color. The result shows that the players most likelyprefer one color over another, and that they most likely prefer a non-neutral color over aneutral color. With these results and the interviews that are conducted the conclusion is madethat it is very likely the players choices are affected by the colors in the environment, but it isnot clear to say how they are affected.
Det här är resultatet av en 10 veckor lång studie om spelares beteenden och om deras valpåverkas av färgerna i deras omgivning. Ett antal personer är tillfrågade att röra sig genom envirtuell miljö, på tid, där de gör höger- och vänsterval baserat på olika färger (röd, grön, blåoch grå). Medan de flesta av valen består av två olika färger så använder några samma färger.Resultatet visar att personerna troligen föredrar en färg framför en annan och att de troligtvisföredrar en icke-neutral färg framför en neutral färg. Med dessa resultat och de intervjuer somgjordes så blir slutsatsen att det är stor sannolikhet att personerna påverkas av färgerna i derasomgivning, men det är svårt att säga exakt hur de påverkas.
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Marco, Paolo de. "Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea." Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/160488.

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[ES] Hoy en día es posible observar una difusión global del color blanco en el panorama de la arquitectura contemporánea. Las cuestiones vinculadas al empleo de este particular color penetran con profundas raíces en los tiempos antiguos, en la cultura, en la historia. Para buscar las razones tras el uso del blanco, la presente investigación propone un punto de vista holístico, analizando el mito, la poética y la ciencia del blanco en arquitectura. Estas tres claves de lectura del fenómeno del blanco conducen a diferentes razones para explicar su empleo. Claves de lectura que se separan exclusivamente para obtener un estudio más ordenado del tema, pero que en la complejidad de la arquitectura actúan de forma inseparable. La tesis estudia y analiza el escenario de la arquitectura contemporánea a partir del color, pero teniendo conciencia que este representa solo un parámetro entre los muchos que realizan la forma y el espacio de la arquitectura. De las obras del pasado, de los tratados y de las teorías, hoy llega una narración llena de alternancias - de épocas de revival, pero también de renacimientos y vanguardias -, un verdadero mito en el que el color blanco, a pesar de todo, resiste con constancia hasta establecerse en la memoria actual. Al acercarse a la época hodierna, los contornos de ese mito se vuelven más nítidos y precisos, y las cuestiones históricas y culturales se unen con las innovadas necesidades de la práctica arquitectónica contemporánea. Varios arquitectos emplean el blanco para sus obras y para lograr determinadas y distintas ideas. Se define entonces una poética del blanco, es decir, una forma esencialmente subjetiva de pensar y construir arquitectura. Para investigar estas instancias individuales y específicas, al análisis de obras de arquitectura se une una serie de diálogos sobre el blanco que enriquecen el tema con las experiencias directas de los arquitectos. Aunque el color sea un fenómeno por su naturaleza muy subjetivo, el empleo del blanco en arquitectura es soportado por la ciencia y, en particular, por algunas ventajas físicas y químicas. La construcción del blanco es posible gracias a varias técnicas que amplían y extienden su larga tradición constructiva gracias a la innovada eficacia de métodos antiguos, pero también con nuevas tecnologías y materiales. El estudio se enfoca en particular en el análisis de la cultura arquitectónica española, portuguesa e italiana; la investigación no se limita a estos ámbitos geográficos, extendiéndose a considerar un horizonte global para la arquitectura blanca. El análisis de las obras de arquitectura blanca publicadas en revistas científicas de relevancia internacional proporciona un dato estadístico y objetivo de la condición global de la cuestión. La definición de la tendencia contemporánea al empleo del blanco, se remonta a la segunda mitad del siglo XX, cuando algunas obras acogen los valores del mito y los renuevan de una forma actual. No obstante, la difusión global del blanco en arquitectura se debe a su capacidad de representar ideales diferentes y múltiples. Se deduce, entonces, que el blanco no es el color de una homogeneización, sino que representa un factor común a muchas experiencias de la contemporaneidad.
[CA] Hui en dia és possible observar una difusió global del color blanc en el panorama de l'arquitectura contemporània. Les qüestions vinculades a l'ús d'aquest particular color, penetren amb profundes arrels en l'antiguitat, en la cultura, en la història. Per a cercar les raons de l'ús del blanc, la present investigació proposa un punt de vista holístic, analitzant el mite, la poètica i la ciència del blanc en arquitectura. Aquestes tres claus de lectura del fenòmen del blanc conduïxen a diferents raons per explicar el seu ús. Claus de lectura que se separen exclusivament per a obtindre un estudi més ordenat del tema, però que en la complexitat de l'arquitectura actuen de forma inseparable. La tesi estudia i analitza l'escenari de l'arquitectura contemporània a partir del color, però tenint consciència que aquest representa només un paràmetre entre els molts que realitzen la forma i l'espai de l'arquitectura. De les obres del passat, dels tractats i de les teories, hui arriba una narració plena d'alternances - d'èpoques de revival, però també de renaixements i avantguardes -, un vertader mite en què el color blanc, malgrat tot, resisteix amb constància fins a establir-se en la memòria actual. A l'acostar-se a l'època hodierna, els contorns d'eixe mite es tornen més nítids i precisos, i les qüestions històriques i culturals s'uneixen amb les innovades necessitats de la pràctica arquitectònica contemporània. Diversos arquitectes empren el blanc per a les seues obres i per a aconseguir determinades i distintes idees. Es defineix llavors una poètica del blanc, és a dir, una forma essencialment subjectiva de pensar i construir arquitectura. Per a investigar estes instàncies individuals i específiques, a l'anàlisi d'obres d'arquitectura s'unix una sèrie de diàlegs sobre el blanc que enriquixen el tema amb les experiències directes dels arquitectes. Encara que el color siga un fenòmen per la seua naturalesa molt subjectiu, l'ús del blanc en arquitectura és recolzat per la ciència i, en particular, per alguns avantatges físics i químics. La construcció del blanc és possible gràcies a diverses tècniques que amplien i estenen la seua llarga tradició constructiva gràcies a la innovada eficàcia de métodes antics, però també amb noves tecnologies i materials. L'estudi s'enfoca en particular en l'anàlisi de la cultura arquitectònica espanyola, portuguesa i italiana; la investigació no es limita a aquestos àmbits geogràfics, estenent-se a considerar un horitzó global per a l'arquitectura blanca. L'anàlisi de les obres d'arquitectura blanca publicades en revistes científiques de rellevància internacional proporciona una dada estadística i un objectiu de la condició global de la qüestió. La definició de la tendència contemporània a l'ús del blanc, es remunta a la Segona meitat del segle XX, quan algunes obres acullen els valors del mite i els renoven d'una forma actual. No obstant això, la difusió global del blanc en arquitectura es deu a la seua capacitat de representar ideals diferents i múltiples. Es dedueix, llavors, que el blanc no és el color d'una homogeneïtzació, sinó que representa un factor comú a moltes experiències de la contemporaneïtat.
[EN] Today it is possible to observe a global diffusion of white color in the panorama of contemporary architecture. The issues linked to the use of this particular color, penetrate with deep roots in ancient times, in culture, in history. To find the reasons for the use of white, this research proposes a holistic point of view, analyzing the myth, the poetics and the science of white in architecture. The three keys to reading the phenomenon of white lead to different reasons to explain its use. Reading keys that are separated exclusively to obtain a more orderly study of the theme, but that in the complexity of architecture act in an inseparable way. The thesis studies and analyzes the scenario of contemporary architecture starting from color, being aware that this represents only one parameter among the many that realize the shape and space of architecture. From the works of the past, from the treatises and from the theories, today arrives a narration of continuous alternations - of epochs of revival, but also of rebirths and vanguards -, a true myth in which the white color, In spite of everything, it endures with constancy until it is established in the present memory. As we approach today's times, the outlines of this myth become clearer and more precise, and historical and cultural issues are combined with the innovated needs of contemporary architectural practice. Various architects use white for their works and to materialize certain and different ideas. This defines a poetics of white, or in other words, an essentially subjective form of thinking and building architecture. To analyze these individual and specific instances, the analysis of architectural works is accompanied by a series of dialogues on white that enrich the theme with the direct experience of architects. Although color is a very subjective phenomenon by its nature, the use of white in architecture is supported by science and, in particular, by some physical and chemical advantages. The construction of white is possible thanks to various techniques that expand and extend its long construction tradition thanks to the renewed efficiency of ancient methods, but also with new technologies and materials. The study focuses in particular on the analysis of Spanish, Portuguese and Italian architectural culture, but the research is not limited to these geographical areas, extending in considering a global horizon for white architecture. The analysis of works of white architecture published in scientific journals of international importance, provides a statistical and objective data of the global condition of the issue. The definition of the contemporary tendency to use white dates back to the second half of the twentieth century, when some works embrace the values of myth and renew it in a contemporary way. Despite this, the global diffusion of white in architecture is due to its capacity to represent different and multiple ideals. It is therefore deduced that white is not the color of homogenization, but on the contrary it is a common factor in many contemporary experiences.
Marco, PD. (2020). Arquitectura blanca. Mito, poética, ciencia. El color blanco en la arquitectura contemporánea [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/160488
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Owyang, Angela. "The Influence of Cinematic Elements in Pierre Jodlowski's Works Based on Colour." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/314684.

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Pierre Jodlowski's Works Based on Colour consist of three pieces: Série Noire (2005), Série Blanche (2007), and Série Rose (2012) pour piano et dispositif électroacoustique. According to the composer, "each colour provides an opportunity to investigate a particular link of music with imagery." The pieces serve as a musical representation of cinematic elements through the synchronization of music and sound effects. The musical language of the cycle draws influences from various sources including the music of expressionism, musique concrète, as well as standard soundtrack scoring. The intermingling of various melodies, harmonies, and rhythms creates a synthesis between the piano and the electroacoustic soundtrack (tape).In Pierre Jodlowski's Works Based on Colour, he seeks to form an interdisciplinary collaboration between music and visual multimedia. The composer's interest in cinematography and mental processes is evident through his selective mixing of audio effects, sounds (real sounds versus synthesized sounds), and piano. According to Jodlowski the visual aspects, or mise-en-scène, of cinema should surface in the minds of the listener after hearing each of the works. Jodlowski's method of mixing involves several techniques: the insertion of fragments of dialogue from various films, tinkering with inanimate objects, pre-recorded sounds of nature, and the distortion of sonic effects and instrumentation. Aside from the use of color as a symbol, Jodlowski's cycle contains extra-musical ideas that cover a wide range of cinematic themes, including atmospheric elements of film noir, the gradual shifts and changes in our mental processes, as well as love discourse and sex from erotic cinema and pornography. Jodlowski's Works Based on Colour stirs the listener's imagination through the clear delineation of contrasting sections, the dialogue-like interaction between the tape and the piano, and the inclusion of dialogue and sound effects from various films. A performer should have knowledge of cinematic elements, understand the purpose of cinematic concepts and their significance for a cinematic viewer, and recognize their function in Jodlowski's works before performing the Works Based on Colour.
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Hellsten, Felicia. "Färgassociationer i environmental storytelling : En undersökning om uppfattningen av färg på 3D-modeller i dataspel." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-13752.

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Denna undersöknings syfte var att undersöka hur en 3D-scens val av färger skulle kunna påverka spelarens uppfattning av scenens environmental storytelling. I undersökningens bakgrund presenteras olika metoder, teorier och tillvägagångssätt för att skapa environmental storytelling, samt forskning kring färgassociationer, färgers kontext och kulturella skillnader gällande tolkning av färger. För att svara på undersökningens frågeställning skapades två olika 3D-scener med narrativ baserade på environmental storytelling genom spår och ledtrådar. Dessa delades upp i tre färgvarianter vardera. En gul, en röd och en blå scen. Sammanlagt sex scenvarianter. Semi-strukturerade kvalitativa intervjuer utfördes sedan med 18 informanter som fick spela en av scenerna vardera. Detta för att ta reda på om informanterna uppfattade dessa scener olika beroende på scenens färgval. Resultatet visade på en eventuell påverkan av uppfattningen genom färger, men ytterligare informanter och data krävs för att kunna få fram några storskaliga slutsatser.
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Books on the topic "Color Symbolism"

1

The symbolism of color. Secaucus, N.J: Citadel Press, 1988.

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Color and meaning: Art, science and symbolism. London: Thames & Hudson, 1999.

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John, Gage. Color and meaning: Art, science, and symbolism. Berkeley: University of California Press, 1999.

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Kaprielov, Aleksandr. T︠S︡vet v mirovozzrenii cheloveka. Arad, Israel: Negev, 2005.

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Kaprielov, Aleksandr. T︠S︡vet v mirovozzrenii cheloveka. Arad, Israel: Negev, 2005.

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Ohtsuki, Minoru. A cognitive linguistic study of colour symbolism. Tokyo: Institute for the Research and Education of Language, Daito-Bunka University, 2000.

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Vicente Blasco Ibáñez: Color symbolism in selected novels. New York: P. Lang, 1997.

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Vlajić, Spasoje. Svetlosna formula i Svetlosni nivoi posmrtne ravni. Zemun: Miroslav, 1992.

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Achim, Preiss, and Bauhaus, eds. Der Gleichgewichtskreis: Ein Bauhausdokument. Weimar: VDG, Verlag und Datenbank für Geisteswissenschaften, 2001.

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Jarman, Derek. Chroma: A book of color. Minneapolis: University of Minnesota Press, 2010.

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Book chapters on the topic "Color Symbolism"

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Bonds, Alexandra B. "The Symbolism and Application of Color." In Beijing Opera Costumes, 69–87. New York, NY: Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315146195-4.

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Gögelein, Christoph. "The Theory of Color as the Symbolism of Insight." In Goethe and the Sciences: A Reappraisal, 247–54. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3761-1_13.

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Küchler, A. W. "Patterns, Colors and Symbols." In Vegetation mapping, 111–19. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-3083-4_12.

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Bittar, Eduardo C. B. "Semiotics, Symbols and Politics: Between Flags, Crises and Disputes in National States." In Flags, Color, and the Legal Narrative, 65–84. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32865-8_4.

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Bankov, Kristian. "Flags, Identity, Memory: From Nationalisms to the Post-truth Uses of Collective Symbols." In Flags, Color, and the Legal Narrative, 173–89. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-32865-8_9.

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Barčot, Branka, and Anita Hrnjak. "Symbolic and cultural meaning of colors in phraseology." In Studies in Functional and Structural Linguistics, 357–76. Amsterdam: John Benjamins Publishing Company, 2019. http://dx.doi.org/10.1075/sfsl.78.15bar.

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Li, Yitian, Haiyan Wang, Yafeng Niu, Yi Xie, Bingzheng Shi, and Ruoyu Hu. "Research on Color, Luminance and Line Width of HUD Symbols." In Human Systems Engineering and Design II, 325–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27928-8_49.

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Katsap, Ada, and Fredrick L. Silverman. "Patterns, Colors, and Designs in Bedouins Rugs and Other Items." In Ethnomathematics of Negev Bedouins’ Existence in Forms, Symbols and Geometric Patterns, 167–205. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6209-950-0_7.

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Ramsamy-Iranah, S., S. Rosunee, and N. Kistamah. "Introducing Assistive Tactile Colour Symbols for Children with Visual Impairment: A Preliminary Research." In Designing Around People, 65–74. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-29498-8_7.

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Kestler, Hans A., Steffen Simon, Axel Baune, Friedhelm Schwenker, and Günther Palm. "Object Classification Using Simple, Colour Based Visual Attention and a Hierarchical Neural Network for Neuro-symbolic Integration." In KI-99: Advances in Artificial Intelligence, 267–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 1999. http://dx.doi.org/10.1007/3-540-48238-5_22.

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Conference papers on the topic "Color Symbolism"

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Newton, Rachel. "Color-form meanings: interconnections between perception, association and symbolism." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464581.

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Kuksa, P. V. "Visual and color symbolism in the novel by M.A. Sholokhov "Quiet Don"." In Scientific Trends: Philology, Culturology, Art history. TsNK MOAN, 2019. http://dx.doi.org/10.18411/spc-26-07-2019-01.

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Iiba, Saki, Ayano Shiga, and Maki Sakamoto. "A method to propose color associated with onomatopoeia based on sound symbolism." In 2012 Joint 6th Intl. Conference on Soft Computing and Intelligent Systems (SCIS) and 13th Intl. Symposium on Advanced Intelligent Systems (ISIS). IEEE, 2012. http://dx.doi.org/10.1109/scis-isis.2012.6505263.

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Varela, Diana. "Color and symbology: symbolic systems of color ordering." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464646.

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Florou, Giannoula. "Color image processing using symbolic data analysis." In SPIE's 1996 International Symposium on Optical Science, Engineering, and Instrumentation, edited by Andrew G. Tescher. SPIE, 1996. http://dx.doi.org/10.1117/12.258232.

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Vese, Luminita, and Stanley Osher. "Color Texture Modeling and Color Image Decomposition in a Variational-PDE Approach." In 2006 Eighth International Symposium on Symbolic and Numeric Algorithms for Scientific Computing. IEEE, 2006. http://dx.doi.org/10.1109/synasc.2006.24.

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Artigues, Victor. "Color Grading with Neural Network." In 2017 19th International Symposium on Symbolic and Numeric Algorithms for Scientific Computing (SYNASC). IEEE, 2017. http://dx.doi.org/10.1109/synasc.2017.00054.

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Songwen Pei, Guobo Li, and Baifeng Wu. "Codec System Design for Continuous Color Barcode Symbols." In 2008 IEEE 8th International Conference on Computer and Information Technology Workshops. CIT Workshops 2008. IEEE, 2008. http://dx.doi.org/10.1109/cit.2008.workshops.9.

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Nikonova, Zhanna V. "Symbolism Of Colour Names With The Meaning "Freedom" In German Political Discourse." In International Forum «Freedom and responsibility in pivotal times». European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.03.74.

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Tu, Hanbing. "The Cultural Connotation and Symbolic Meaning of Chinese Opera Mask Color." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.109.

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Reports on the topic "Color Symbolism"

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Van Orden, Karl F., Joseph Divita, and Matthew J. Shim. Redundant Use of Luminance and Flashing with Shape and Color as Highlighting Codes in Symbolic Displays. Fort Belvoir, VA: Defense Technical Information Center, June 1993. http://dx.doi.org/10.21236/ada268692.

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