Academic literature on the topic 'Emblems (symbols)'
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Journal articles on the topic "Emblems (symbols)"
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Olayinka, Alawode, Sunday, Adesanya, Oluseyi Olufunke, and Agboola, Olufunsho Cole. "National Symbols as Commemorative Emblems in Nigerian Films." European Scientific Journal, ESJ 14, no. 2 (January 31, 2018): 100. http://dx.doi.org/10.19044/esj.2018.v14n2p100.
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Nigerian films worldwide are the entertainment offerings of the nation, a burgeoning industry with steady increase growth rate and contributing substantially to the GDP of the nation. National symbols are objects, entities and relics representing an idea, concept, character that may be physical, abstract, religious, cultural, and linguistic among others in a sovereign context and beyond. Symbols or objects that connected together may not have anything in common in reality but by association and common agreement, they have come to represent each other in social contexts; a symbol may arbitrarily denote a referent, icon and index. In the case of Nigeria, the National flag, Anthem, Pledge, Currency, language, Coat of arms, National institutions like the National Assembly complex, Federal Capital Territory (FCT), images of past leaders, historical monuments like the Unknown Soldier (representing military men who died in the cause of protecting the nation), dresses are some of these national symbols. Apart from commemorative historical functions, national symbols are also used to represent hard work, credibility or truthfulness, as well as ethnic differentiation, religious affiliation, cultural background, social status, professional orientation, class distinction among others. Theorizing with Gate-keeping and Framing Analysis, this study adopts a content analysis design which is the study of recorded human communications, an objective and systematic analysis of the contents of any document that are manifest. It is often used to investigate the level of presence of a given content in mass communication. The study selected thirty video films between 2010 and 2015 through a systematic sampling with a random start. Content categories include genre of film, type of symbol, setting of symbol, purpose of symbol, cultural implication of symbol, positioning of symbol, symbiotic relations, prominence, and direction of presentation among others. The study presumed that the nation is replete with communicative, symbolic emblems commemorating historical, cultural, religious, social and family landmarks in nationhood but that these items of symbols are minimally represented in the films that stand as cultural products and identity of the nation in the international community. Findings of the study have dire implications for the critical assessment, representation and image or identity of the nation for the past, present and the future.
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Rachkov, Yevhen. "Symbols and Emblems as Part of the Sign-Space of Ukrainian Universities, Late 20th to Early 21st Centuries." Rocznik Polskiego Towarzystwa Heraldycznego. Seria nowa, no. 18 (December 31, 2019): 265–77. http://dx.doi.org/10.36693/rpther.2019.18.
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The article traces the genesis of the symbols and emblems of Ukraine’s classical universities in the late 20th and early 21st centuries. The historical background of the body of symbols and emblems of the classical universities is reviewed. The current directions of the evolution of this symbolic complex are outlined. In particular, we conclude that at the end of the 20th and beginning of the 21st centuries, new symbols and emblems as a rule were created spontaneously and sporadically. In most cases, they are not systematic and represent a synthesis of Ukrainian and Western European symbolic forms. We consider the role of symbolic language in the self-representation practices of Ukraine’s classical universities and show how the direction in which this language is evolving and the factors of its transformation can throw light on the present state of university culture. The prevailing symbolic eclecticism and low level of reflection in university communities regarding the use of symbols are interpreted as manifestations of the current crisis of university identity in Ukraine.
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Murungi, Havi, Ian McLaren, and Robert Chen. "The graphical forms, visual-verbal resonances, meanings and semiosis of the Red Cross symbols." Information Design Journal 11, no. 2-3 (December 31, 2003): 138–50. http://dx.doi.org/10.1075/idj.11.2.06mur.
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We investigated the semiosis of pictorial, schematic, and abstract symbols using current and proposed emblems for the International Red Cross and Red Crescent Movement. Cross-cultural symbol-referent ratings of correspondence suggested the symbols could all be considered icons and indexes of the referents. Mean comprehensibility estimation scores differed significantly between familiar and unfamiliar symbols. Pictorial graphical form and symbol familiarity did not appear to constrain interpretations in the open-ended comprehension test. Thus at the referent denotation level, the symbols appeared to be simultaneously iconic and indexical, and at the symbol interpretation level, they appeared to be simultaneously iconic and symbolic. The findings suggest that symbol semiosis, rather than graphical form, is a more practical method for deciding the type of symbol one would use to communicate specific types of messages.
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Mieliekiestsev, Kyrylo. "Emblems of the Post-Soviet Donetsk Region: Official Ones «From the Bossmen», Upgrades «From the People», Alternatives From the «Russian World» Supporters." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 36 (June 2021): 58–66. http://dx.doi.org/10.31652/2411-2143-2021-36-58-66.
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The purpose of the article is the analysis of the development of Donetsk region emblems (official heraldry and vexillology of Donetsk Oblast, reflection of historical themes in commercial nomenclature, reinterpretations of official symbols by individuals) in 1991–2015, identifying the main trends in the development of emblems, their connections with the views of customers and authors on history and politics, transformations of symbolics. The methodology of the research is based on the principles of historicism, objectivity, and systematics. General scientific and special-historical methods were used, such as content analysis, generalization, chronological, retrospective methods. The scientific novelty is based on it being the first attempt to generalize various elements of emblem studies of the Donetsk region, for the first time going beyond the official heraldry and vexillology of the Oblast, while considering their transformation in the hands of non-state actors. Conclusions. The post-Soviet era emblems of Donetsk and the Donetsk Oblast were developed in a unique situation: on the one hand local elites wanted to move away from Soviet symbols and modernize Donetsk as a “brand”, and on the other hand, due to the peculiarities of these elites’ education, origins and political preferences, did not perceive the region’s history. outside of the Soviet stereotypes about “Donbas as the economic center.” As a result, local elites ignored Cossack history of the Donetsk region in contrast to the perpetuation of industrial achievements of the Russian Empire (such as the Oblast’s coat of arms motto with a quote from Dmitri Mendeleev, “The Mertsalov Palm Tree”, as well as various “John Hughes/Yuz” nomenclature). Over the decades, there has been a divergence of traditions of Donetsk emblem use: official, business, and national-patriotic. At the same time, pro-Moscow organizations have been developing and imposing a separate emblem tradition since 1991, based on historical myths around the Donetsk-Kryvyi Rih Soviet Republic, but detached from both the old Soviet symbols and the new official Donetsk emblems. The latter were developed to symbolize the “uniqueness” of eastern Ukraine, the “separateness” of Donetsk region, but did not actually intersperse with Russian symbols (with the exception of the Russian-language motto). In this form, it did not meet the goals of Moscow’s agents of influence, but was accepted and reworked by pro-Ukrainian patriotic forces. Thus, the use of one or the other version of Donetsk region symbols indicates a person’s political beliefs, their understanding of regional history and “memory politics” around it.
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Rechkalova, Anastasia, and Elena Voytishek. "The “On the Emblems” Treatise as a Valuable Source of the History of Date Clan Emblems." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 1 (June 2022): 3–11. http://dx.doi.org/10.31250/1238-5018-2022-28-1-3-11.
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The article analyzes the history of family emblems that belonged to the Date clan, which is described in the “Aide‑Memoirs on the Careful Examination of [Date clan] Emblems” treatise by Confucian scholar Yusa Bokusai (also known as Yuza Jirouzaemon, 1658—1734). It considers the process of creation of this document, its structure and content as well as its value for modern studies on the Japanese family emblems. The main feature of the treatise is a detailed description of the use of each family emblem. Yusa Bokusai comprehensively compared the data from historical documents with artefacts he found and the memories of the eldest vassals and servicemen of the Date clan. Based on results of the comparison, he revealed how changes in the aesthetic preferences of a particular head of the Date clan influenced the status of heraldic symbols, their appearance and use. Moreover, the treatise highlighted a series of issues, related to the study of the emblematic history of the families, that for many centuries owned a large number of emblems. The most important among them are those with a correlation with the emblems' functions and its applying on certain tangible objects, precedents of granting and receiving the emblems and the reflection of these processes in historical documents, the issue of using the suzerain's family emblems by vassals and servicemen.
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Maksimenko, Olga I., and Pavel N. Khromenkov. "Polysemiotic Elements of the State Emblems." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 4 (December 15, 2019): 947–56. http://dx.doi.org/10.22363/2313-2299-2019-10-4-947-956.
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The national emblem of the country as one of three main symbols of the state can be considered as the polycode text including a verbal component (the motto, the name of the country) and iconic heraldic components. Presence on the arms potentially conflict elements (a figure of a bestiary, the weapon and so forth) can be perceived as latent conflictogenity. The article deals with linguosemiotic analysis of the arms of all world countries for their hypothetical conflictogenity. The results of the interpretation by recipients potentially conflict arms (national emblems) are given.
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Guth, Karen V. "Sacred Emblems of Faith." Journal of the Society of Christian Ethics 39, no. 2 (2019): 375–93. http://dx.doi.org/10.5840/jsce2019102918.
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This paper explores the power of womanist ethics to illuminate the Confederate monuments debate. First, I draw on Emilie Townes’s analysis of the “cultural production of evil” to construe Confederate monuments as products of the “fantastic hegemonic imagination” that render visible for whites the invisibility of “whiteness.” Second, I argue that Angela Sims’s work on lynching provides a vivid example of how “countermemory” functions as an antidote to the fantastic hegemonic imagination. Finally, I argue that Delores Williams’s re-evaluation of the cross as a sacred symbol enables a reading of Confederate monuments as realist symbols of violence that require displacement from the center to the periphery of national sacred space. I conclude that although the debate on Confederate monuments is important, womanist analysis warns against an overly-narrow focus on this issue, lest we neglect the already obscured gendered, classist, homophobic, and xenophobic dimensions of structural injustice that the monuments represent.
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Meyer, Michael A. "Protecting the emblems in peacetime: The experiences of the British Red Cross Society." International Review of the Red Cross 29, no. 272 (October 1989): 459–64. http://dx.doi.org/10.1017/s0020860400074660.
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The special significance of the red cross and red crescent emblems as internationally agreed symbols of protection and neutrality in armed conflict will be diluted if these emblems, or signs closely resembling them, are used randomly or for diffuse purposes in time of peace. In countries like the United Kingdom which for the most part have been spared armed conflict for the past 40 years, the red cross emblem has frequently become closely identified with first aid and with general health or medical care, its primary and unique meaning during armed conflict often being forgotten or unknown. For this reason it is perhaps particularly important for National Societies in such countries to help the authorities monitor unauthorised uses or misuses of the emblems, and the role of National Societies in this respect has been recognised under the 1986 International Statutes of the International Red Cross and Red Crescent Movement (Article 3 [2] thereof). In addition, dissemination activities can help to enhance understanding of the purpose of the emblems. This short article will discuss practical aspects of the monitoring role of the British Red Cross Society.
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Pchelov, E. V. "Historical cartography of Muscovy: symbols and emblems." IOP Conference Series: Earth and Environmental Science 350 (November 15, 2019): 012014. http://dx.doi.org/10.1088/1755-1315/350/1/012014.
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Treter, Anna. "Wybrane passusy z czternastowiecznego traktatu Summa de exemplis et rerum similitudinibus Giovanniego z San Gimignano. Możliwe źrodło inspiracji dla ośmiu emblematow z cyklu Symbolica vitae Christi meditatio (Braniewo: Jerzy Schonfels, 1612) Tomasza Tretera." Terminus 23, no. 3 (2021): 309–39. http://dx.doi.org/10.4467/20843844te.21.012.13849.
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Chosen Passages from the 14th-Century Treatise Summa de exemplis et rerum similitudinibus by Giovanni da San Gimignano: A Possible Source of Inspiration for Eight Emblems from the Cycle Symbolica vitae Christi meditatio (Braniewo: Jerzy Schönfels, 1612) by Tomasz Treter In 1612, the Jerzy Schonfels’ printing house in Braniewo published Tomasz Treter’s posthumous work titled Symbolica vitae Christi meditatio. This cycle of ascetic and mystical reflections was considered by Janusz Pelc to be one of the most interesting emblem books written in the Polish Commonwealth. Also Tadeusz Chrzanowski, an art historian, referred to Treter’s work as quite a unique work of Polish emblem art. The same researcher quoted the originality of some of the concepts and ingenuity of many icons (lacking direct correlates among contemporary emblem collections). In 2018, Alicja Bielak wrote an article in which she identified the three 16th-century emblem works (i.e. Hadrianus Junius’ Emblemata, Claude Paradin’s Devises heroiques and Aneau Barthelemy’s Picta poesis) as graphic sources of Treter’s cycle. The main goal of this paper is to identify another, non-emblematic source of inspiration for the Polish author, namely the 14th-century encyclopaedia Summa de exemplis et rerum similitudinibus by the Italian Dominican Giovanni da San Gimignano. It is argued here that Treter might have come into contact with Giovanni’s treatise during his first stay in Rome (1569–1584) and transposed it into the language of emblems. The first section of the paper shortly discusses the life and work of the Italian Dominican, with the particular emphasis on his encyclopaedia. The core of the article consists of the comparison of Treter’s eight emblems with selected passages from Summa de exemplis and setting these emblems against the background of the European tradition. The following emblems are discussed in detail: Fides, Conversatio sancta, Spiritualis profectus, Humilitas, Poenitentia, Correctio fraterna, Fortitudo and Mansuetudo. The study concludes with the claim that even though Treter uses symbols rooted in contemporary emblem art, he interprets them in a different way than other creators did. On the other hand, one can observe a striking accordance between Treter’s interpretations and the ones by Giovanni da San Gimignano. Unlike other 16th and 17th century emblematists, the Polish priest provides a religious rather than a moral interpretation.
Dissertations / Theses on the topic "Emblems (symbols)"
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Sanzaro-Nishimura, Jennifer. "Emblems of Identity : Seeking Popular Symbols that Identify Contemporary Australians." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366942.
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This exegesis explores emblems of identity worn by contemporary Australians. Emblems are intrinsic to most cultures and have specific histories within Europe, Japan and Indigenous Australia. I investigate the historic use of emblems as a visual language of identification and their relationship to the manner in which society and its communities are structured. Notably, this research focuses on the constructed Australian identity as conveyed through the symbols that adorn leisure-wear and apparel worn at Australian sporting events. Through globalisation and marketing, symbols have been co-opted for “high end” fashion accessories and worldwide distribution. This thesis examines the implications of heraldry, Japanese kamon (family crests) and Indigenous designs in the popular-culture context. The exegesis also analyses the seemingly inextricable connection between alcohol consumption and popular team sports in Australia through branded sponsorship of major sporting codes (mainly male).Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Карпов, Віктор Васильович, and Viktor Karpov. "Історичні витоки української військової символіки та її розвиток в незалежній Україні." Thesis, Державний вищий навчальний заклад «Переяслав-Хмельницький державний педагогічний університет імені Григорія Сковороди», 2015. https://er.nau.edu.ua/handle/NAU/49786.
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Дисертація присвячена історії української військової символіки та її розвитку в незалежній Україні. В роботі вперше розкрито питання формування символіки українського війська у цілісній та взаємопов’язаній системі у період здобуття незалежності України наприкінці ХХ століття.
Уперше досліджено історичні витоки та передумови виникнення військової символіки України, а також характерні ознаки національної ідентичності військової символіки.
Автором розглянуто основні напрями розвитку символіки у її державному та військовому значенні. Висвітлено правові основи запровадження державних символів, їх історичний генезис та зміст. Шляхом введення у науковий обіг значної частини документальних джерел з фондів державних архівних та музейних зібрань, використання широкого масиву опублікованих наукових праць та документів прослідковано особливості становлення та розвитку символіки Збройних сил України та інших військових формувань до яких належать Національна гвардія України, Державна прикордонна служба України, Cлужба безпеки України, Внутрішні війська Міністерства внутрішніх справ України, підрозділи Міністерства надзвичайних ситуацій України, Державної спеціальної служби транспорту, Державної служби спеціального зв'язку та захисту інформації України.
Запропоноване дослідження вбачається актуальним, оскільки ґрунтується на гострій потребі національної ідентичності символіки військових формувань України в сучасному глобальному світі.The thesis is devoted to the historical origins of Ukrainian military symbols and its development in independent Ukraine. For the first time disclosed the issue of forming symbols Ukrainian troops in an integrated and interconnected system during the independence of Ukraine in the late twentieth century. The first time the historical origins and predictors of military symbols of Ukraine, as well as the characteristic features of national identity military symbols. The author considers the main directions of symbolism in its state and military sense. Deals with the legal basis with state symbols, their historical genesis and meaning. Through scientific research of the substantial part documentary sources of funds of state archives and museum collections, using a wide array of published scientific papers and documents followed peculiarities of formation and development of symbolism Armed Forces of Ukraine and other military formations to which the National Guard of Ukraine, State Border Guard Service of Ukraine, Cluzhba security of Ukraine, Internal Troops of Ukraine, a division of the Ministry of Emergencies of Ukraine, State Special Transport Service, the State Service for Special Communications and Information Protection of Ukraine. The proposed research is seen important, because based on the acute need for national identity symbols of military units Ukraine in today's global world.
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AUBOURG, ODILE. "Analyse des emblemes des partis gaulliste et socialiste symboles d'une politique, 1946 a 1986." Paris 10, 1995. http://www.theses.fr/1995PA100163.
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Au cours des ages, grace a l'evolution des cultures et des esprits, le rituel politique se traduit dans un langage nouveau, la symbolique. Cette etude vise a presenter un ensemble de "rites" politiques destines a dejouer les ruses des partis, a ouvrir la porte des coulisses du pouvoir. Cette recherche s'est effectuee sur la base d'un corpus visuel de 151 affiches. Afin de pouvoir aboutir a des conclusions precises et constructives, l'analyse s'est limitee aux periodes clefs des evenements politiques de 1946 a 1986 : les campagnes presidentielles et legislatives. Aucune methodologie exacte est actuellement en place pour lire, comprendre et interpreter le langage de l'affiche politique. L'objectivite de ce travail s'appuie sur la mise en oeuvre d'une grille de lecture semantique. Quatre grilles d'etudes criteriologiques sont utilisees (signe repere les representations de l'embleme - signe banniere les composantes discursives - signe de rencontre les constituants iconiques - signe de fixation les codes ico niques et textuels). La construction des affiches se resume selon le principe systemique de coirsement de ces quatre signes. La perception du symbole exclut l'attitude du simple spctateur, elle exige une participation d'acteur. Au fil des affiches la vie politique se theatralise. Opera, drame ou comedie bourgeoise, la representation politique porte les traces d'une mise en espace permanenteIn the course of ages, owing to changes in cultures and ideas, the political ritual is conveyed through a particular symbolic language. This essay tends to set forth a body of political rites assigned to this essay tends to set forth a body of political rites assigned to outmanoeuvre the parties tricks, to pull the strings of power. This research has been carried out on the basis of a 151 posters visual corpus. In order to bring to sound outcomes, the analysis has been restricted to the main periods of 1946 - 1986 political hostory : the presidential and parliamentary electoral dives. At the time, there is no strict methology allowing the reading, understanding and interpreting of the political poster language. The objectiveness of our undertaking is built upon the implementation of a semantic deciphering pattern. We have made use of for criterion-based patterns which are : sign "reference" the images of the emblem - sign "banner" the discursive components - sign " meeting " the iconic components - sign ""fixing" the iconic and textuel code. The composition of posters is summed up according to the method of the four signs crossing. . . The feeling of symbol is incompatible with the coomon spectator attitude, it requires participating as an actor. Political life is turned into a play by posters influence. The political representation, opera, drama or middle-class farce, is marked by the current process of imbodiness
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Gong, Chen Cong. "The symbolic power in the emblem of the Games of the 2008 Olympiad." Thesis, University of Macau, 2005. http://umaclib3.umac.mo/record=b1636341.
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Couture, André. "Analyse des emblèmes graphiques --- (Yang) et -- (Yin) dans le Yi Jing, le livre des changements." [S.l. : s.n.], 2006.
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Roussel, Stéphane. "La main heureuse : symbole d'une époque et emblème de la rencontre entre Wassily Kandinsky et Arnold Schoenberg /." [Paris] : [Conservatoire supérieur de Paris], 2000. http://catalogue.bnf.fr/ark:/12148/cb41457249x.
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Mémoire--Histoire de la musique--CNR-Conservatoire supérieur de Paris, 2000.Conrient en annexe le livret de l'oeuvre d'Arnold Schoenberg, ainsi que des extraits de la partition. Bibliogr. f. 99-104.
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Spica, Anne-Élisabeth. "De la symbolique humaniste aux genres de l'emblématique : une poétique de la figure (1580-1700)." Paris 4, 1994. http://www.theses.fr/1994PA040281.
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On considère ici l'héritage de la théorie humaniste des images symboliques (interprétations d’Aristote et de Denis l'Areopagite, m. Ficin, arts de la mémoire) que la XXVe session du concile de Trente instaure officiellement, et qui connait son meilleur développement à travers la forme littéraire des recueils d'emblèmes et de devises, perdurant jusqu'au début du XVIIIe siècle avec la publication des derniers traites théoriques du jésuite français c1. Fr. Menestrier. La ie section examine comment la combinaison d'une image gravée et d'un motto écrit, appelée symbole, en vue de faire naitre dans l'esprit la vision intellectuelle de l'idée, forme le parfait signe linguistique et offre une solution aux apories du langage, le mot ne suffisant plus à transmettre correctement le sens. La iie section, comment les théoriciens trouvent dans les emblèmes et devises qui permettent de composer une œuvre au moyen de symboles une parfaite pratique de la mimesis aristotélicienne; insérés dans une poétique générale, ils offrent de nouvelles possibilités rhétoriques. La iiie section examine les spécificités des différents genres de l'emblématique. La ive section propose quelques éléments d'explication à la disparition de l'invention emblématique au début du XVIIIe siècle, bien que l'on imprime des recueils jusqu'au début du XXe siècleThis phd deals with the inheritage of the humanistic theory of symbolic images (interpretations of Aristoteles’s de interpretation and Dionysius the areopagite; m. Ficino ; arts of memory), actualized by the xxv th session of the council of Trente, to the last treatises of the French Jesuit cl. Fr. Menestrier and the beginning of the enlightening. It finds its best development 150 years during in its own invention: the literary form of emblematics. The first section examines how combining, into what is named symbol, an engraved picture with a verbal motto, to create in the mind the intellectual vision of the invisible idea, forms the best linguistic sign and gives an answer to the verbal apories of the fallacious words, an inadequate structure in delivering signification. The iind section develops wich adaptation to the aristotelician mimesis symbolics presents through emblematics at the eyes of the theoricians, and how, integrated into a general poetics, it allows new rhetorical possibilities. The iiird section is devoted to the specificities of the different emblematics's genres, and their theoretical definitions. The ivth proposes some explications to the end of emblematic invention, even if books are printed until the beginning of the xxth c. : rise of modern and vernacular grammars, reconsiderations of rhetoric ; the linguistic humanist symbol has no place more
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Froppier, Elsa. "Enquête sur tit et djed dans le domaine funéraire, à partir de la documentation du Nouvel Empire." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30047.
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Tit et djed sont les noms égyptiens de deux signes utilisés à la fois dans le système hiéroglyphique et dans le domaine iconographique, mais qui se matérialisent aussi sous forme d’objets (amulettes) intégrés aux rites funéraires ; ce triple emploi ayant longtemps empêché de définir distinctement leur nature. Leur apparition, remontant aux plus hautes époques de l’histoire de l’Égypte ancienne (Ire dynastie), montre déjà une affectation funéraire marquée des emblèmes, spécialisation qui ne cessera de progresser tout au long de cette vaste période, avec une nette transition au Nouvel Empire, justifiant le cadrage chronologique mais aussi la sélection du contexte funéraire pour notre étude. Celle-ci se propose d’examiner trois catégories principales de documents : les papyri du Livre des Morts, l’iconographie des tombes et les décors du mobilier funéraire, dans le but de comprendre les croyances et fonctions associées à l’emploi combiné des deux emblèmes, en tenant toujours compte des aspects politiques et religieux relatifs à l’institution pharaonique qui pourraient l’éclairerTit and djed are the egyptian names of two signs employed at the same time in the hieroglyphic system and in the iconographic domain, but which materialize too in the form of objects (amulets) into the funerary rites ; this triple use long prevented to define their nature. Their occurrence, which dates from the first dynasty, already shows a funerary affectation of the emblems, specialization which continues to progress during this period, with a transition during the New Kingdom, justifying the chronological framing but also the selection of the funeral context for our study. This one intends to examine three main categories of documents : the Book of the Dead papyri, the iconography of the tombs and the decorations of the funeral furniture, in order to understand the beliefs and functions concerning both signs, always by taking into account political and religious aspects relative to the pharaonic institution, which could enlighten it
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Lailach, Michael. ""Der Gelehrten Symbola" - Studien zu den "Emblematum Tyrocinia" von Mathias Holtzwart (Straßburg 1581)." Doctoral thesis, [S.l. : s.n.], 2000. http://dochost.rz.hu-berlin.de/dissertationen/lailach-michael-2000-07-05/.
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Québriac, Geneviève. "L'enseigne : poétique d'une identité exhibée : de l'histoire des marqueurs à leur présentation dans les pratiques artistiques contemporaines." Rennes 2, 2006. http://www.theses.fr/2006REN20044.
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La société est ponctuée et marquée de signes informatifs, fédérateurs et identitaires. La thèse identifie ces signes sur une période historique étendue puis resserre le champ de l'étude à la contemporanéité artistique. L'analyse des diverses manifestations des signes susceptibles de ralliement met en évidence les enjeux sociologiques, économiques et politiques dont ils dépendent. Après avoir analysé d'un point de vue anthropologique et historique l'importance de la présence des marqueurs dans l'organisation sociale, la thèse répertorie et questionne les pratiques des artistes contemporains. Leur approche de la société actuelle se développe selon un point de vue critique. Ils mettent en scène le réel et les formes qui l'habitent en interrogant les logotypes, les slogans, les enseignes comme autant de véhicules d'influence qui soulèvent des discours polémiques, critiques, distanciés ou ludiques. Ces explorations font ressortir la capacité instrumentale propre à ce matériel qui le rend suspect, encombrant ou inintéressant aux yeux des artistes. Le fil conducteur de la thèse relie les marqueurs au récepteur, c'est-à-dire au collectif, spectateur ou passant. Les artistes contemporains détournent, s'approprient, reproduisent ou interprètent un matériel fortement connoté. L'oeuvre permet une lecture de la société et questionne la société de consommation et de surinformation. L'analyse de la société passe par une réflexion sur l'espace urbain. La thèse s'empare des signes de la société contemporaine et analyse son rapport au collectif. L'analyse s'appuie sur les pratiques artistiques qui questionnent la fabrique du monde à travers les marqueurs et les comportements qu'ils génèrent dans un système communicationnel : émission-réceptionappropriation- renvoi. Il s'agit de proposer une lecture des signes qui dessine leurs limites et leur capacité à tourner à vide, à être remis en question par le champ artistique. Ma pratique tente de bousculer les mécanismes propres aux marqueurs et de les priver de leur forceSociety is punctuated and marked with informative, federative and identity signs. The thesis identifies these signs throughout a long historical period before reducing the scope of the study to the artistic contemporaneousness. The analysis of the various appearances of the signs likely to be united highlights the sociological, economic and political stakes which they depend on. The thesis first analyses the importance of the presence of markers in social organization from an anthropologic and historical point of view. Then, it lists questions the practices of contemporary artists. Their approach to present society develops according to a critical point of view. The present reality and the shapes which inhabit it by questioning logos, slogans, signs as media of influence which bring up controversial, critical, distanced or play speeches. These investigations bring out the instrumental ability peculiar to this materials which makes suspicious, cumbersome or uninteresting to artists' eyes. The main theme of the thesis links markers to receiver that is to say to the collective, be it spectator or passer-by. Contemporary artists divert, appropriate, reproduce or interpret strongly connoted materials. The work permits to read society and questions consumer and over information society. The analysis of society goes through thinking about urban space. The thesis takes over the signs of contemporary society and analysis its relation to the collective. The analysis leans on artistic practices which question the making of the world through the markers and behaviours they generate in a communication system : sending out-reception-appropriation-feedback. It's a matter of suggesting a reading of signs which defines their limits and their ability to turn without gripping, to be questioned by the artistic sphere. My practice is an attempt at shaking up the mechanisms peculiar to the markers and at depriving them from their strength
Books on the topic "Emblems (symbols)"
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South African Institute of Race Relations., ed. Symbols of nationhood. Braamfontein, South Africa: South African Institute of Race Relations, 2004.
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vlády, Czech Republic Úřad, ed. Symboly republiky =: Symbols of the Czech Republic. Praha: Úřad vlády České republiky, 2007.
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Steven, Olderr, ed. Reverse symbolism dictionary: Symbols listed by subject. Jefferson, N.C: McFarland, 1992.
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Myers, Rex C. Symbols of Montana. Helena, Mont: Montana Historical Society Foundation, 1989.
Find full textBook chapters on the topic "Emblems (symbols)"
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Timko, Michael. "Carlyle and Art: Symbol, Emblem and Image." In Carlyle and Tennyson, 139–51. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-09307-6_16.
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Mann, Amandeep Kaur. "Alchemical Imagery: Exoteric and Esoteric Emblems Found in Lethaby's Work." In William Lethaby, Symbolism and the Occult, 45–90. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429356599-6.
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Breyvogel, Wilfried. "Zeichen, Symbol, Emblem und Ritual als methodologische Zugänge zu jugendkulturellen Szenen. Vom Material zur Theorie." In Ethnographische Methoden in der Jugendarbeit, 55–65. Wiesbaden: VS Verlag für Sozialwissenschaften, 2000. http://dx.doi.org/10.1007/978-3-663-01256-6_3.
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"DICTIONARY OF SUBJECTS, PERSONAGES, SYMBOLS, AND EMBLEMS." In Mission San Xavier del Bac, 32–126. University of Arizona Press, 2004. http://dx.doi.org/10.2307/j.ctv1prss6s.8.
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Huntington, Yumi Park. "Emblems of Cultural Identity in Early Andean Art." In Ceramics of Ancient America, 131–55. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056067.003.0005.
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This chapter employs the traditional art historical methods of formal analysis and iconography to understand head motifs engraved on Cupisnique ceramics that were made between 1200 and 200 BCE. Rather than characterizing a small social group operating in isolation, these motifs and objects serve as indicators of cultural identity, affiliation, and transmission, expressing complex interactions between neighboring cultures. In other words, the head motifs on Cupisnique ceramics display the cultural networks inside of which the Cupisnique people saw themselves. Through conscious combination of various techniques and symbols appropriated from other cultures, Cupisnique artists created innovative objects unique to their own society. In particular, the Cupisnique people combined the post-firing engraving techniques of the Chorrera and Machalilla cultures of Ecuador with head motifs appropriated from the architectural friezes of Huaca de los Reyes, a public ritual space, to create small, personal items. These objects with imagery and techniques appropriated into a new, private context become a key distinction of the Cupisnique culture against its neighbors, antecedents, and trade partners.
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West-Harling, Veronica. "The Stage." In Rome, Ravenna, and Venice, 750-1000, 275–397. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754206.003.0005.
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This chapter sets out the stage on which the actors evolve and their ‘props’: places of power and instruments of control. Places studied are the residences of the rulers and the elites (palaces), and those of the saints (churches and monasteries), with their founders, patrons, relics, and liturgy. Instruments of control are firstly through manifestations of power: charity and assistance, art and architecture. Statements of power are made through titulature, the dating of documents, coinage, and objects of power such as emblems, symbols, and gifts
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Fowler, Alastair. "The ‘Better Marks’ of Jonson’s To Penshurst." In Remembered Words, 27–43. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198856979.003.0004.
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This chapter analyses To Penshurst, which first appeared in print in 1612 as the second poem of Ben Jonson’s The Forest. To Penshurst established an emergent English genre: the country-house poem. In To Penshurst, as in Jonson’s poetry generally, many readers are aware of a special relation between the ideal and the real. Penshurst, a house that had developed through the accretions of centuries, could offer no ideal significances; and that is why Jonson credits it instead with ‘better marks’, or symbols. These he finds in the beauties and advantages of its estate: most of the poem goes to show that the estate of Penshurst possesses as much order and symbolism as the prodigy houses, but in land and use rather than in architectural display. The chapter then looks at Jonson’s arrangement of the items in Penshurst, which he has ordered according to several independent organizational ideas: spatial, temporal, hierarchical, numerical, and rhetorical. The moral character of this well-ordered structure is displayed both in direct examples and in emblems.
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Wilcher, Robert. "Henry Vaughan and the Book of Nature." In Keeping the Ancient Way, 259–88. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859746.003.0010.
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Using examples from poems by Spenser and Wordsworth, this chapter shows how Vaughan’s poetic practice looked back to traditional views of nature and forward to Romantic ways of perceiving and interpreting the natural world. His moments of empathy with non-human creatures and plants, which led nineteenth-century readers to regard him as a nature poet, are contrasted with his more habitual treatment of Nature as a revelation of the attributes of its divine Creator or a teacher of Christian truth. Various examples of natural description and imagery in his poetry are explored and trees are chosen to demonstrate the many ways in which natural details are processed in his poetry: as topographical features, metaphors, formal similes, and as spiritual, moral and political emblems or symbols.
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DiGirolamo, Vincent. "Disorder in the Air." In Crying the News, 151–206. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780195320251.003.0006.
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Newsboys proliferated after the Civil War as the newspaper industry flourished but then reemerged as a social problem during the depression years of 1873 to 1877. Writers and artists such as Horatio Alger and J. G. Brown portrayed them as symbols of the uplifting potential of industrial capitalism, while white southerners turned them into emblems of Republican misrule. The New York press celebrated real Bowery newsboys such as Steve Brodie. But authors of sensational urban guidebooks cast these youths as enfants terribles whose discontents threatened the social order. Swept up in the burgeoning labor movement, newsboys mounted noisy strikes in Cincinnati, Milwaukee, St. Louis, Nashville, Philadelphia, Chicago, Detroit, and Baltimore. Catholic and Protestant philanthropists responded by founding homes for newsboys or advocating that they be licensed and supervised. Contrary to their mythic counterparts, real newsboys exposed and challenged the economic inequities of Gilded Age America.
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Orvell, Miles. "Pueblo Utopias." In Empire of Ruins, 43–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0002.
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The chapter expands upon the “Romance of Ruins” by considering the meaning of Native American ruins and the impact they have had on the idea of “American” culture. Early explorers like William Henry Jackson, Frederick Chapin, and Gustaf Nordenskiöld photographed the civilizations of the Anasazi, including the cliff dwellers, for the first time, igniting great interest among the general public. Their discoveries appeared in the popular press and were presented at World Expositions, while novelists like Willa Cather incorporated the meaning of the Mesa Verde in fiction (e.g., The Professor’s House). Cather’s utopian view of pueblo culture is echoed in the work of early twentieth-century photographers like Laura Gilpin, who found in the ancient ruins of the Southwest and Central America, symbols of ideal civilization. Meanwhile, architect Mary Colter created ersatz ruins in the Grand Canyon National Park that would serve as emblems of the lost civilization and as tourist attractions.
Conference papers on the topic "Emblems (symbols)"
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Handriyotopo, Mr, and Lono Lastoro Simatupang. "Keris Symbols in The Emblem and Brand Logo." In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.14.
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Купцова, И. А. "Model of corporate culture of an educational organization: levels, subjects, interactions." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.35.31.070.
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в статье представлена многоуровневая модель корпоративной культуры образовательной организации, включающая такие структурные элементы, как субъекты образовательной деятельности (обучающиеся, обучающие, администрация, вспомогательный персонал); элементы фирменного стиля, внешняя атрибутика корпоративной культуры (логотип, гимн, эмблема, герб, символика); стиль и нормы поведения; традиции как неотъемлемый элемент корпоративной культуры образовательной организации; миссия образовательной организации; «третья миссия» и ее трактовка и понимание субъектами образовательной деятельности; социальные взаимодействия и волонтерство различных видов; корпоративное обучение и система повышения квалификации. Все эти компоненты многоуровневой системы корпоративной культуры проявляется на формальном и неформальном уровне, имея одновременную направленность как вовне, так и непосредственно включенные во внутреннюю жизнь образовательной организации. the paper presents a multilevel model of corporate culture of educational organization, which includes such structural elements as: subjects of educational activity (students, trainees, administration, support staff); elements of corporate style, external attributes of corporate culture (logo, anthem, emblem, coat of arms, symbols); style and behavior standards; traditions as an integral element of corporate culture of educational organization; mission of educational organization; "the third mission" and its interpretation and understanding sub All these components of multilevel system of corporate culture are manifested at the formal and informal level, having simultaneous orientation both outside and directly included in the internal life of the educational organization.
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Fedorova, Kapitolina. "Between Global and Local Contexts: The Seoul Linguistic Landscape." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.5-1.
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Multilingualism in urban spaces is mainly studied as an oral practice. Nevertheless, linguistic landscape studies can serve as a good explorative method for studying multilingualism in written practices. Moreover, resent research on linguistic landscapes (Blommaert 2013; Shohamy et. al. 2010; Backhaus 2006) have shed some light on the power relations between different ethnic groups in urban public space. Multilingual practices exist in a certain ideological context, and not only official language policy but speaker linguistic stereotypes and attitudes can influence and modify those practices. Historically, South Korea tended to be oriented towards monolingualism; one nation-one people-one language ideology was domineering public discourse. However, globalization and recent increase in migration resulted in gradual changes in attitudes towards multilingualism (Lo and Kim 2012). The linguistic landscapes of Seoul, on the one hand, reflect these changes, and However, they demonstrates pragmatic inequality of languages other than South Korean in public use. This inequality, though, is represented differently in certain spatial urban contexts. The proposed paper aims at analyzing data on linguistic landscapes of Seoul, South Korea ,with the focus on different contexts of language use and different sets of norms and ideological constructs underlying particular linguistic choices. In my presentation I will examine data from three urban contexts: ‘general’ (typical for most public spaces); ‘foreign-oriented’ (seen in tourist oriented locations such as airport, expensive hotels, or popular historical sites, which dominates the Itaewon district); and ‘ethnic-oriented’ (specific for spaces created by and for ethnic minority groups, such as Mongolian / Central Asian / Russian districts near the Dongdaemun History and Culture Park station). I will show that foreign languages used in public written communication are embedded into different frameworks in these three urban contexts, and that the patterns of their use vary from pragmatically oriented ones to predominately symbolic ones, with English functioning as a substitution for other foreign languages, as an emblem of ‘foreignness.’
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Rodríguez González, Sylvia Cristina. "Megadesarrollos turísticos de sol y playa enclaves del imaginario." In International Conference Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2009. http://dx.doi.org/10.5821/ctv.7522.
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Los megadesarrollos turísticos de sol y playa han sido impulsados por el Banco Interamericano de Desarrollo (BID) como proyectos de estrategia de desarrollo turístico, en México nacen los Centros
Integralmente Planeados (CIP´s) para dar orden urbano, descentralizando grandes inversiones turísticas principalmente de origen extranjeros. Son identificados ante la promoción turística por la inversión de
insumos y tecnología. Los emplazamientos turísticos de sol y playa han crecido y destinan espacios para el hospedaje turístico temporal y permanente. Este tipo de emplazamientos destacan por ser
representaciones de exclusividad, privacidad y seguridad, manifestando enclavamiento en la serie de conjuntos turísticos construidos para integrar el megadesarrollo turístico, demarcando un acceso que indica el inicio del montaje realidad-ficción, conformando el montaje de ficción, que llevan a construir una realidad a partir del imaginario.
Lo sucedido fuera del montaje será considerado como realidad, al establecerse una serie de compaginaciones que fabricarán la nueva realidad, la realidad-ficción, entre representaciones de fantasía
visuales, de sonidos y sobretodo de ideas por transmitir, como es lo motivante que resultan para los turistas las guías turísticas. Las representaciones son basadas en imágenes de paisajes, personas, ciudades, entre otros emblemas simbólicos. Cada espacio por destacar será retomado para enfocar el montaje en dibujos, pinturas, danzas, arquitectura, entre otras dinámicas de conquista turística, igual sucede con la reproducción de sonidos relacionados con la exclusividad, privacidad y seguridad para el
turista al interior del conjunto. Toda construcción de la realidad se realiza en un espacio y un tiempo definido a partir del imaginario, ya que existe el objetivo de cautivar al visitante, dentro de una serie de
montajes continuos donde será eliminada la línea de corte entre montajes, convirtiendo la ficción en realidad para el turista, el montaje correcto y el escenario indicado, señalan el orden constante de los montajes.
Del trozo de imágenes fabricadas y rescatadas del ambiente natural o real, se conformara una relación argumental a través de la compaginación con la secuencia adecuada de cada una de las escenas plasmadas por el imaginario, unir y encauzar los montajes para el cumplimiento de la representación en un filme. De los ejemplos más destacados son las creaciones a partir del imaginario en los Emiratos Árabes Unidos, representados en los hoteles como torre hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, los cuales exponen servicios como compras de lujo, centros spa con instalaciones exclusivas para el deporte y el tiempo libre, habitaciones equipadas, climatizadas y con lo último de la tecnología. Se distinguen los colores y las formas por resaltar ante la cultura árabe, pero es importante señalar que cada uno de esos megadesarrollos turísticos marcará su filme con esta serie de montajes, que permitirán compaginar la serie de trozos de imágenes fabricadas ante la fantasía imaginada.
Los megadesarrollos turísticos se distinguen por crear escenarios turísticos a partir del imaginario,
destacando el enclavamiento a través de la búsqueda del concepto de seguridad, con un marcado interés
para conformar comunidades nuevas, asimismo elementos como los acceso se encuentran custodiados
por personal de seguridad que indicara la bienvenida al turista, sin conocer que será guiado y vigilado por
cámaras de video ocultas en la masa de la edificación, también se distinguen elementos de seguridad
para la movilidad y accesibilidad al conjunto, destacando vía aérea, naval ó terrestre, el recorrido al
interior marcándose bajo un escalonamiento de cota descendente a nivel de playa, mostrara cada uno de
los escenarios turísticos montados para indicar el recorrido al turista al interior del conjunto turístico. The sun and beach tourist megadevelopments have been stimulated by the Inter-American Bank of Development (BID) as projects of strategy of tourist development, in Mexico there are born the Integrally
planned Centers (CIP's) to give urban order, decentralizing big tourist investments principally of origin foreigners. They are identified before the tourist promotion by the investment of inputs and technology.
The emplacements have grown and destine spaces for the tourist temporary and permanent. This type stand out for being representations of exclusivity, privacy and safety, demonstrating interlock in the series
of tourist sets constructed to integrate the tourist megadevelopment, limiting an access that indicates the beginning of the montage reality - fiction, shaping the montage of fiction, that they lead to constructing a
reality from the imaginary one.
The happened out of the montage will be considered to be a reality, on there having be established a series of page lay-outs that will make the new reality, the reality - fiction, between visual representations of
fantasy, of sounds and overcoat of ideas for transmitting, since motivation is that the tourist guides prove for the tourists. The representations are based on images of landscapes, persons, cities and symbolic
emblems. Chaque espace pour se faire remarquer sera repris pour mettre au point le montage dans des dessins, des peintures, des danses, une architecture, entre d'autres dynamiques de conquête touristique, égale il succède avec la reproduction de sons relatifs à l'exclusivité, confidentialité et sécurité pour le touriste à l'intérieur de l'ensemble. Toute construction de la réalité est réalisée dans un espace et le temps
défini à partir de l'imaginaire, puisqu'il existe l'objectif de captiver le visiteur, à l'intérieur d'une série de montages continuels où la ligne de coupure sera éliminée entre des montages, en changeant la fiction en réalité pour le touriste, le montage correct et la scène indiquée, ils marquent l'ordre constant des montages.
Of the chunk of images made and rescued of the natural or real environment, a plot relation was conforming across the page lay-out to the suitable sequence of each one of the scenes formed by the imaginary one, to join and to channel the montages for the fulfillment of the representation in a movie. Of the most out-standing examples they are the creations from the imaginary one in the United Arab Emirates represented in the hotels as tower hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, which expose services as purchases of luxury, centers spa with exclusive facilities for the sport and the free time, equipped rooms with the last technology.
The colors and the forms are distinguished for standing out before the Arabic culture, but it is important to indicate that each of these megadevelopments will mark with this series of montages, which will allow to
arrange the series of chunks of images made before the imagined fantasy. The megadevelopments differ for creating tourist scenes from the imaginary one, emphasizing the interlock across the search of the
safety concept, with a marked interest to shape new communities, likewise elements like them I access they are guarded by safety personnel that was indicating the welcome to the tourist, Without knowing that
it will be guided and monitored by secret video cameras in the mass of the building, also safety elements are distinguished for the mobility and accessibility to the set, emphasizing airway, navally ó terrestrial, the tour to the interior being marked under an stairs of descending level to beach level, there was showing each of the tourist scenes mounted to indicate the tour to the tourist to the interior of the set.