Relevant bibliographies by topics / National Symbol

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  2. Dissertations / Theses
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Academic literature on the topic 'National Symbol'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 June 2025

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Journal articles on the topic "National Symbol"

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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 (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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Ostashchuk, Ivan. "Signs and Symbols: Religios and National Dimensions." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (2017): 88–96. http://dx.doi.org/10.15330/jpnu.4.2.88-96.

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The central issues of this paper are the semantic content and the conceptual interpretation of the notions of symbol and sign in philosophical and religious, linguistic and cultural contexts; the relationship between the logic of symbolic thought and communication. The paper highlights the importance of symbols and signs for transmitting information in religious and national universums
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Adriansen, Inge. "Danish and the German National Systems." Grundtvig-Studier 44, no. 1 (1993): 61–90. http://dx.doi.org/10.7146/grs.v44i1.16100.

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Danske og tyske nationale symbolerAf Inge AdriansenI denne artikel sammenlignes danske og tyske nationale symboler, idet der tages udgangspunkt i den grundlæggende antagelse, at nationale symboler går det muligt for individer at identificere sig selv som en del af et fællesskab. Efter at have været umoderne i 1960-eme, hvor venstrefløjen forkastede tanken om det nationale, er nationale symboler som en følge af Danmarks indtræden i EF kommet pfi mode igen og benyttes af den danske venstrefløj i kampen mod fællesmarkedet og EF-Unionen. Samtidig benyttes nationale symboler i reklameøjemed, men denne paradoksalitet er en del af de nationale symbolers væsen. Således var Holger Danske oprindelig en fransk helteskikkelse, men opfattes i dag af alle som et af de vigtige danske symboler, benyttet af venstrefløjen og reklameverdenen i forskellige sammenhænge. De fleste nationale symboler er ikke gamle, men blev udformet i det 19. århundrede. Ofte benyttes de nationale symboler af regeringer til at holde sammen på unge nationer, men også i gamle nationer skaber nye symboler nationalt sammenhold. B.de i Danmark og Tyskland er de almindeligste nationale symboler unge. Dette påvises gennem en sammenstilling af på den ene side de danske symboler moder Danmark, pigerne fra Sønderjylland og Dannebrog, på den anden side de tyske symboler Germania og de slesvig-holstenske dobbeltege, symboler, der alle har en lang international forhistorie, før de knyttes til Danmark eller Tyskland. Moder Danmark – symbolet på det danske folk - er skabt i 1850-1851 af den indvandrede kunstner Elisabeth Jerichau-Baumann i tilknytning til Grundtvigs i 1815 grundlagte beskrivelse af den danske nationalitet som kvindelig. Denne opfattelse er prægnant udformet i 1851 i Grundtvigs sejrsdigt efter Slaget ved Isted, hvor det danske folk karakteriseres som en skjoldmø.. I den sønderjyske kamp for danskhed har symbolet spillet en vældig rolle. I Tyskland har Germania været forbundet med kampen for national enhed, kendt gennem Philipp Veits maleri fra revolutionsåret 1848. Efter at have været forbudt dukkede symbolet op igen i forbindelse med afslutningen på den fransk-tyske krig i form af en bastant skulptur, men benyttes i det tyske kejserrige oftest uden denne skulpturs understregning af det tyske folks selvstændighed. De sønderjyske piger blev som symbol på den tabte landsdels længsel efter Danmark oprindelig skabt i handelsmæssigt øjemed, men blev umådelig populært og erstattede i Sønderjylland moder Danmark symbolet, da dette blev forbudt. I nyere tid benyttes en glad version af de sønderjyske piger som symbol på de nuværende gode relationer mellem Danmark og Tyskland.De slesvig-holstenske dobbeltege modsvarer de sønderjyske piger. Dobbeltegene har rødder i bl.a. det 18. århundredes frihedsbevægelser, men blev i 1840- erne symbol på de slesvig-holstenske hertugdømmers uadskillelighed. Der findes intet tysk modstykke til Dannebrog, der hævdes at v.re blevet givet af Gud til det danske folk i 1219. Imidlertid er flaget oprindelig kun knyttet til den danske flåde og kun i begrænset omfang til hæren. Først i 1842 blev Dannebrog også hærens flag, men blev - i overensstemmelse med bl.a. Grundtvigs ønske - først tilladt som nationalt flag for privatpersoner i 1854. De danske og tyske nationale symboler er blevet brugt i manipulerende hensigt - således i billeder fra den sønderjyske folkeafstemning i 1920 og i nationalitetskampen derefter, hvor ikke moder Danmark og Germania, men moder Danmark og den tyske ørn modstilledes, og hvor tysk propaganda lod Germania række ud efter sine røvede døtre på den side af grænsen, hvor der vitterligt var dansk flertal i 1920. De nationale symboler bruges i dag ofte i kommerciel sammenh.ng, hvor det danske repræsenterer solide produkter, og i sportskampe, hvor de forløser følelsen af nationalt fællesskab. I maleri og skulptur ses, hvorledes forskellige nationale symboler kan kombineres, således som det er tilfældet i Nikolai Hansens maleri fra 1920, hvor den danske, Grundtvig-inspirerede nationalfølelse baseret på dialog og respekt for mindretallet gives visuelt udtryk. Modstykket hertil er den voldsomme, tyske Germania-skulptur. Afsluttende konkluderes, at en sammenligning af danske og tyske nationale symboler viser de tyske symboler som præget af aktivitet og voldsomhed, de danske symboler som præget af svaghed i overensstemmelse med Grundtvigs bestemmelse af danskheden som kvindelig. De nationale symboler udformedes i det 19. århundrede som opfundne traditioner, der skulle skabe national enhed, og også i dag fungerer de på denne måde, eftersom de er almindeligt forståelige, æstetisk tiltrækkende og benytter et velkendt billedsprog.
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Orynbayeva, D. "SYMBOLIC SIGNIFICANCE OF MATERIAL CULTURE." BULLETIN Series of Philological Sciences 72, no. 2 (2020): 98–104. http://dx.doi.org/10.51889/2020-2.1728-7804.14.

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Consideration of language as a simple symbolic system outside of culture and history, which includes human social life, contradicts the notion of it and limits the possibilities of its study. Therefore, language, as it has been said since ancient times, is not just a system of symbols, it is a culture that supports this system, so it is a great heritage of every nation, a historical achievement of the nation. ‘‘Culture’’ is a very complex concept, which begins with the characteristics of the individual and includes the entire national mentality, national consciousness, worldview, traditions, spiritual and material wealth, formed over the centuries. The article deals with the relationship between culture and language, culture and symbol. It is known that there are two aspects of culture, material and spiritual. In this regard, the symbolic meaning of national costumes (hats), which are part of the material culture of the Kazakh people, was determined. The character of the symbol as a national code that preserves the culture of the nation was revealed.
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Simovych, Oksana. "From Ladder and Thread to Heaven: The Symbolic Meaning of the Path in a Fragment of the Linguistic World Image." Linguistics, no. 2 (44) (2021): 38–52. http://dx.doi.org/10.12958/2227-2631-2021-2-44-38-52.

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This article «From Ladder and Thread to Heaven: The Symbolic Meaning of the Path in a Fragment of the Linguistic World Image» explores the problem of the analysis of folk customs. These customs could be verbalized both in folk texts and in dialects. The specifics of this study lie in the linguistic analysis of the symbols which are usually interpreted as folk customs and folk objects. However, the symbolism of the objects in national customs causes the development of a symbolic meaning of the respective word that defines these objects. In this way, many symbols in folk customs become verbal, and the context of the custom creates a foundation for the development of the symbolic meaning. The verbal symbols analyzed are a «thread», a «ball of twine», a «ladder», a «bridge» and a «cross». In the national Ukrainian linguistic space, these words have the general semantics of the ‘connection between worlds’. It is stressed that the symbolic meaning of the (celestial) ladder has been discovered in the biblical context. This is also relevant for the clarification of the subject of continuity in the development of the symbolic meanings, which are also documented in the Ukrainian context. A concrete situation in linguistics and custom creates conditions under which arise symbolic co-meanings that develop in the framework of the same main symbolic archetypical meaning. All analyzed symbols belong to the archetypical ones. That is why they have been also discovered with the same semantics in other languages. This is the reason why the analysis of such symbols requires not only facts documented in the dictionaries and texts in Ukrainian, but also information about the respective symbol in other linguistic cultures. It is also pointed out that the thread is analyzed as an apotropaic symbol. This word has also been documented linguistically as a symbol of the demarcation line between one’s own world and the world of «others».
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Zhang, Gaofeng. "Application of Tai Chi Cultural Semiotic Symbols in Chinese Construction of National Image." Journal of Educational Theory and Management 1, no. 1 (2017): 91. http://dx.doi.org/10.26549/jetm.v1i1.583.

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In recent years, a rapid growth of the global economy has strengthened the competition among nations. To be at a favorable international advantage under such an environment, a positive national image is necessary. As a result, this paper analyzes the application of Tai Chi cultural semiotic symbols in Chinese construction of national image under the discussion on the selection of culture symbol in Chinese construction of national image, as a base, through its positioning with an introduction of Tai Chi - Chinese unique culture symbol. Finally, this paper explains the application tactics in Chinese construction of national image by Tai Chi culture symbol, laying a good foundation for the improvement of Chinese international status.
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Munjeri, Dawson. "The reunification of a national symbol." Museum International 61, no. 1-2 (2009): 12–21. http://dx.doi.org/10.1111/j.1468-0033.2009.01661.x.

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Nam, Yun Tae. "A Study on the National Symbol Objects Symbol System of Australia - Focused on National Flag, Coat of Arms, National Anthem, National Animal, National Flower -." Journal of The Korean Society of Illustration Research 64 (September 30, 2020): 87–95. http://dx.doi.org/10.37379/jksir.2020.64.08.

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Boldyreva, Elena M., and Elena V. Asafieva. "“OH LACKLUSTER TIGER, MAGNIFICENT TIGER!”: THE IMAGE OF A TIGER AS A SYMBOL OF NATIONAL CULTURE IN CHINESE AND RUSSIAN POETRY." World of Russian-speaking Countries 5, no. 3 (2020): 105–21. http://dx.doi.org/10.20323/2658-7866-2020-3-5-105-121.

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The article is devoted to the analysis of the symbolic potential of the eternal image of the tiger in Chinese and Russian poetry. On the example of the works of Chinese and Russian poets of different eras, the peculiarity of the artistic representation of the image of the tiger in lyrical texts is considered and a wide range of its symbolic meanings is revealed: tiger as a symbol of cruelty, power love and at the same time courage and honor, desire for the truth, freedom and justice (Guo Moruo), a symbol of destruction and danger (Yu Zhi), a symbol of impending chaos and a harbinger of the upcoming apocalypse, spiritual and physical death (Xu Zhi-Mo), a symbol of bourgeois culture, the personification of the greed and depravity of monarchist society and its rulers, the “dark” past of Russia (Jiang Guamtsi), a symbol of the will to freedom and independence, protest and perseverance (Nu Han), a symbol of experienced fierce tragedies of the past (Du Fu), a symbol of an ancient deity (P Kogan), a symbol of the desire for cold and dangerous freedom and the rejection of a well-fed and safe life in a zoo cage (E. Sadov), an analogue of the ancient Chinese deity, a great fire-breathing commander, a symbol of freedom and the triumph of life and beauty, as well as wisdom and calm (I. Selvinsky). In the process of analysis, attention is drawn to the change in the symbolic connotations of the image depending on the lyrical situation, from the zoomorphic realities accompanying the key symbol (wolf, snake, fox, rat) and historical and mythological characters (cruel and merciless Han ruler Wu-di, honest and noble knight Li Yu, etc.). The image of the tiger is considered as an ambivalent entity, combining opposite qualities and symbolic meanings: cruelty, natural destructive power and wisdom, caution, courage, passion, freedom love.
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Dankowska, Joanna. "Textiles and National Identity among Ukrainians in Poland." Carl Beck Papers in Russian and East European Studies, no. 1204 (January 1, 1996): 34. http://dx.doi.org/10.5195/cbp.1996.68.

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The changesin functions of traditional folk textiles among the Ukrainians who in 1947 were resettled to northeastern Poland can be regarded as an indicator of the preservation of their Ukrainian national identity. While conducting field research amongst the Ukrainians living in Poland, the author frequently heard it said that their folk textiles (especially costumes and cross-stitched embroidery) were important symbols of their national and cultural identity. There are many functions of any national or regional textiles (Bogatyrev 1979; Bazielich 1987}, but I will focus on Ukrainian folk textiles as a symbol of the national identity of the users. Folk textiles as a national symbol does not, of course, exclude the coexistence of other functions such as ritual aesthetics, practicality, and qualifiers of gender, age, and wealth. However, all of these are less important than the national function of the Ukrainian textiles.
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Dissertations / Theses on the topic "National Symbol"

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Hybnerová, Tereza. "Národní divadlo jako symbol české emancipace a identity." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-149940.

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The thesis is focused on the influence of National Theatre on Czech national emancipation and creation of national identity. In the first chapter I analyze general meaning of national theaters in other countries and process of their development. Later I focus on circumstances of the development of Czech National Theatre. The next chapter concentrates on problems of the construction of the theatre and the meaning of decoration. The third chapter shows significant occasions of 20th century, when National Theatre played important role.
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Kalhotková, Petra. "Národní divadlo jako symbol národní identity: kvalitativní výzkum motivací spotřebitelů." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-85336.

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The aim of this work is to confirm and verify the national identity of a target group in relation to the consumption of cultural goods referring to the particular example of the National theatre. With the help of a qualitative research conducted through semi-structured personal interviews supplemented by elements of graphic projective techniques, this selected target group (young people from 16 to 35 years old) hereby represents a new meaning of patriotism and attitude towards the National theatre. The results are put into context together with the goal of my investigation and the theoretical bases.
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Li, Jialin. "Entre symbolique et imaginaire : étude comparée de deux symboles nationaux, le dragon chinois et le coq français, origine, élaboration, utilisation et réception de 1500 à l'époque contemporaine." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3021.

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Le dragon est le symbole national de la Chine et le coq de la France. Le dragon est un animal imaginé, le coq un animal réel. Ils diffèrent d’autres symboles nationaux comme l’aigle germanique dont l’image évoque d’emblée la force et l’autorité. Pourquoi les deux ont pu servir de façon stable de symbole national : quelles caractéristiques ont-ils ? quelles conditions ont-ils remplies dans l’Histoire pour acquérir ce statut ? On essaye de répondre à ces questions en trois parties. La Partie I étudie la présence des deux symboles dans des domaines de la vie courante. On trouve que cette présence produit une familiarité qui permet à tous les groupes sociaux d’identifier leur apparition. La Partie II concerne l’iconographie et l’esthétique. Leurs évolutions morphologiques révèlent une combinaison d’humain-animal. On découvre ainsi que les deux symboles présentent des schèmes communs : la force, le privilège, le pouvoir, etc. Cette image est néanmoins obtenue de façon différente : le dragon de face est lié à l’empereur et le coq à une image de chevalier et de héros. La Partie III aborde la littérature à travers l’étude de la nomination et du rôle. L’étude sur la nomination révèle que leurs nom et appellation confirment les schèmes déjà identifiés de leader, d’empereur et d’élite, permettant au dragon ou au coq, de manifester l’autorité d’empereur (roi), de héros civilisateur ou d’ancêtre mythique. Ces similitudes rapprochent leur image du symbole national. A côté de ces aspects homogènes, se dessine une hétérogénéité dans la construction de l’image des deux symboles sur la personnalité idéale : l’empereur pour les Chinois et le héros pour les Français<br>The dragon is the national symbol of China and the rooster is of France. The dragon is an imagined animal; the rooster is a real. They are different from other symbols such as Germanic eagle who evokes strength and authority at the first sight. Why the dragon and the rooster could have been served as a country’s symbol: what characteristics do they have? what conditions have they fulfilled in the history to win this place? We try to answer the questions with three parts. The part I studies the two symbols’ presence in daily life. We find that a frequent presence produces a familiarity that allows all social communities to identify the appearance. The part II is on the iconography and aesthetics. The morphological evolutions of the two symbols reveal that their image combines the human and the animal. We discover that the two symbols present common schemas: strength, privilege, power, etc. Nevertheless, their image is obtained in a different way. The frontal dragon is in connection with the emperor, the rooster with an image of knight and hero. The part III focuses on the literature, discusses the nomination and the role. The study on the nomination reveals that the two animals’ name and appellation confirm the identified schemas of leader, emperor and elite, which allow the literary character, dragon or rooster, to manifest their authority of emperor (king), civilizing hero or mythical ancestor. These similarities bring their image closer to the national symbol. Besides the homogeneous aspects, we find a heterogeneity in the construction of the two symbols’ image on the ideal personality of the two countries: the emperor for the Chinese and the hero for the Frenchmen
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Cohen, Rimona. "The flag, the national symbol and the map : the establishment of an Israeli identity through visual national objects in the classroom." Thesis, University of Bath, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442882.

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Ever since its establishment, Israel’s educational system has instituted ceremonies comprising multimodal representation: the school is perceived as an ‘agent’ of national memory (Lomsky-Feder 2003). In view of the impassioned public debate swirling around the issue of national identity in contemporary Israeli society, and as a result of structural changes in the education system, this study proposes a reexamination of the attributes of a distinct group of visual texts in the classroom. As Lomsky-Feder wonders (in relation to her research, 2003): ‘Will a diverse, stimulating and relevant interpretative discipline comprised of strong canonical foundations and innovatory, conflicting elements be revealed? Will it be possible to discern the ‘negotiating for a national identity, characterised by dialectics between "different voices" stemming from civilian society and the cooptation of the hegemony? (ibid.). The research focused on visual representations in context and examined the origins of displays containing visual representations of national symbols in elementary schools in the Israeli education system, the way in which these displays have been created, their tacit and explicit meanings and the dialogue that the pupils and the teachers have with these meanings. The research is focused on two aims: (1) To discover which factors were responsible for the decision to establish areas containing visual displays of national emblems in state primary schools in Israel’s education system. (2) To identify and explain the significance of the messages relayed through visual displays of these emblems to their viewers and for their designers. The research design consisted of collecting visual and verbal data via photographs, interviews, observations and questionnaires.
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Barakat, Fadwa. "Designing inclusivity : reconstructing the meaning of the seven pointed star symbol in the Jordanian flag through design thinking." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/9293.

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This thesis is an attempt to explore the Jordanian community of today with its multi-ethnic fusion and its social practices that often appear rooted in the past. It is an examination of what possible series of symbols could be formed from a collective view of the diverse ethnicity in Jordan and that could be culturally relevant to the seven-pointed star of the Jordanian flag. This has been an investigation structured around Design Thinking processes using a mixture of qualitative methods integrated with a social science methodology. The qualitative data collection methods involved close contact between the research participants and the author in such a way that emergent topics could be explored. Accordingly, the first major practical contribution of the research provided a series of prototypes that established ‘terminologies’ that were discovered, evaluated and reflected upon through design processes and supporting documentation. This was followed by a testing stage designed to show the cultural diversity and acceptability of both the symbols/ and the final artefacts. Three main tests were conducted in 2016: 1. Semi-structured interviews with participants selected at random from seven different ethnic groups according to country of origin. 2. Public exhibitions in Jordan and Plymouth with audiences from diverse research backgrounds (e.g. users or consumers of designs). 3. A workshop with Jordanian designers (students and practitioners). The methodology adopted during each test included the sharing of the author’s work and personal experiences and invited feedback that could be used to validate and build on the Research Question. The stories and discourse produced a wide array of social patterns that are referred to as ‘findings’. The results emphasised a relationship between social communal values and the historic stories related by the participants. It was hoped that by having the opportunity to involve users throughout the process and by discussing open-ended questions, that the most objective valuations possible would be achieved. However, a deficiency occurred during the process of testing prototypes, which had the effect of decreasing the reliability of the test. It also emerged that correlating all the data proved more difficult to produce answers as accurately and consistently as possible. Subsequently the author is proposing a number of follow-on design research methodologies, investigating and exploring further the significant values embodied in the Jordanian flag. Namely: Faith in one God Humanity Humility National spirit Virtue Social justice Aspiration Despite these difficulties, however, this research-based activity proved to be an invaluable achievement in terms of personal practice and recorded data as a result of testing the open ended-questions and demonstrated the ability to produce design documentation with its own unique features.
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Lima, Josemara Salles. "Pau-brasil: os diferentes significados dos discursos de conserva??o s?culos XIX e XX." Universidade Federal Rural do Rio de Janeiro, 2009. https://tede.ufrrj.br/jspui/handle/tede/656.

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Made available in DSpace on 2016-04-28T20:12:59Z (GMT). No. of bitstreams: 1 2009 - Josemara Salles Lima.pdf: 1015956 bytes, checksum: 5b047d8b28edf705eab8abfec0acd42b (MD5) Previous issue date: 2009-09-17<br>Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior<br>This dissertation has analyzed texts, paper documents, from the beginning of the 19th century until the 1970s, and the records of the concerned thinking related to the preservation of the brazilwood/pau-brasil tree (Caesalpinia echinata) which social and political developments were also the object itself. The study aimed to understand the meaning (or meanings) of these concerns and the importance of preserving and maintaining that species of the Atlantic Coastal Forest. Source text that dealt exclusively with species like that tree in the forest has been analyzed. For three centuries of exploitation, the brazilwood was significant and commercially feasible, but at the beginning of the twentieth century, the wood was so rare that it got considered an extinct species. Its main usability and commercial application was dyeing, even so, the wood of the brazilwood got devalued by the application of artificial dyes on that. This tree had already guaranteed place in the history books, public spaces and, in the 1970s, occupied the post of national tree. The preliminary hypotheses were that in the 19th century, the brazilwood would be seen as just an item of exploration and trade, so that its conservation met with purely economic interests. In the speeches of the early twentieth century, the tree would be considered virtually extinct but it is now seen as a material that needs protection and preservation in public spaces for prosecuting the national memory. The governmental measures from the 1950s to 1970 would not have as the main argument the environment preservation. The brazilwood met a representative role of national wealth and it was historically important for Brazil. The speech analysis took into account the historical and symbolic evolution of the pau-brasil (Caesalpinia echinata) in different social contexts in which attempts to place its maintenance<br>Neste trabalho foram analisadas fontes de documenta??o textuais com discursos produzidos desde o in?cio do s?culo XIX at? a d?cada de 1970. O objeto de estudo foram os discursos que denotam preocupa??o de uma ?rvore na natureza. O estudo teve como objetivo saber qual o sentido (ou os sentidos) dessa preocupa??o. Por que era importante manter aquela esp?cie vegetal? Dessa maneira, fontes que trataram exclusivamente da quest?o da sua presen?a na mata foram analisadas. Durante tr?s s?culos de explora??o, o pau-brasil foi importante e vi?vel comercialmente, mas no in?cio do XX era t?o raro que foi considerado extinto e sua principal utilidade tinha sido superada pela inven??o dos corantes artificiais. Mas a ?rvore j? tinha lugar garantido nos livros did?ticos de hist?ria, em lugares p?blicos e, na d?cada de 1970, foi declarada ?rvore nacional. As hip?teses preliminares eram que no s?culo XIX, o pau-brasil seria visto como apenas mais um item de explora??o e com?rcio, cuja conserva??o atendia interesses puramente econ?micos. Nos discursos do in?cio do s?culo XX, a ?rvore seria considerada praticamente extinta na natureza e vista como um elemento que deveria ser mantido materialmente em espa?os p?blicos como exerc?cio de mem?ria. As medidas governamentais tomadas em rela??o ? ?rvore nas d?cadas de 1950 a 1970, n?o possuiriam como argumento principal a preserva??o ambiental, a ?rvore era vista como um elemento representativo das riquezas nacionais e importante para a hist?ria do pa?s.
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Andělová, Pavla. "Porovnání kartografických znaků užívaných v účelových mapách." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2012. http://www.nusl.cz/ntk/nusl-225589.

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The master's thesis is concerned with a comparison of cartographic symbols used in thematical maps of a large scale. The purpose of the comparison is evaluation of uniformity currently used cartographic symbols and creating tutorial database of symbols for students. The thesis is divided to the theoretical and practical part. The theoretical part includes thematical maps, cartographic symbols, laws for thematical maps and issues of their timeliness. The practical part is focused on comparison of cartographic symbols used in thematical maps of different authors. There is also described in this part creating of cartographic symbols database.
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Andersson, Tova. "Live and Let Love : En kritisk studie av svensk homonationalism i en politisk manifestation i samband med de olympiska spelen i Sotji 2014." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30511.

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The aim of this thesis is to examine how the construction of the swedish national self-image can be interpreted in relation to the protests against the russian anti-gay laws, leading up to the olympic games in Sotji 2014. I form a basis for my analysis in Jasbir K. Puars conceptual frame of homonationalism and examine the swedish political action Live and Let Love that took place at Stockholms Stadion in the fall of 2013. The analysis shows how the inclusion of a homonormative homosexuality becomes an important factor for the construction of Sweden as an open and tolerant nation in contrast to Russia as a non tolerant nation. This construction of "us" and the "Other" manifests through a discourse of tolerance. The national sense of community is formed through interaction between national symbols and symbols of the LGBT community.
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Schulze, Thies. "Dante Alighieri als nationales Symbol Italiens (1793-1915) /." Tübingen : M. Niemeyer, 2005. http://catalogue.bnf.fr/ark:/12148/cb41017604j.

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Madriaga, Manuel. "Symbols and ideals of American national identity and whiteness." Thesis, University of Sheffield, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419588.

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Books on the topic "National Symbol"

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Bāhinī, Bangladesh Senā. Bangladesh Army: Symbol of national pride. Army Headquarters, Dhaka Cantonment, 2012.

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Rama setu: Symbol of national unity. Har-Anand Publications, 2008.

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Valley Forge: Making and remaking a national symbol. Pennsylvania State University Press, 1995.

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The swastika: Constructing the symbol. Routledge, 1994.

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Cabello-Argandoña, Roberto. Cinco de mayo: A symbol of Mexican national resistance. Floricanto Press, 1997.

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Onabolu, Aina. Aina Onabolu: Symbol of the National studios of art. National Gallery of Art, 1999.

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Alberto, Stofberg, ed. De gouden koets: Van Amsterdams geschenk tot nationaal symbool = The golden coach : from Amsterdam's gift to national symbol. Waanders, 2010.

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Frank, Oberle, and Nature Conservancy (U.S.), eds. Return of the eagle: How America saved its national symbol. Falcon, 1994.

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McLean, Fiona. The National Museum of Scotland: A symbol for a new Scotland? [Scottish Affairs], 2003.

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Sauna as symbol: Society and culture in Finland. P. Lang, 1991.

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Book chapters on the topic "National Symbol"

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Meng, Xiangfei. "China’s Black-and-White Art: An Important Cultural Symbol of China’s Peaceful Development." In National Image. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3147-7_6.

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Nynas, Helena. "Water as a Symbol of National Identity in Norway." In Integrated Watershed Management. Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-3769-5_12.

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Massari, Alice. "Introduction." In IMISCOE Research Series. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71143-6_1.

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Abstract“How do we see refugees? The refugee has become a multifaceted symbol, the most prominent political figure of our time” states the brochure of an art retrospective by Khaled Hourani, a Palestinian artist reflecting on the reduction of refugees to abstract symbols of victimhood by humanitarian representations. In the eyes of the artist, the blue figure (Fig. 1.1), so common in relief organizations´ visual depictions, is the migrating human being, without a specific national, religious, ethnic, or gender identity. Yet, the visual landscape of contemporary displacement is anything but abstract. Images of overcrowded boats in the Mediterranean, refugee camps, improvised shelters along migration routes, children and families in need, and people stranded behind fences and walls have come to constitute a powerful reminder of contemporary conditions of displacement for people on the move. Yet, the question remains: how do we see refugees?
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He, Xiao. "Moral Labour, the Nation and the State in Contemporary China." In The Nation Form in the Global Age. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-85580-2_9.

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AbstractWhile the socialist state in China has attempted to elevate the labour of working people as a symbol of national identity, it restricts rural migrant workers’ access to public goods and equal citizenship rights. While rural migrants perform the public identity of the hard worker in order to claim both respect and benefits that go beyond legal recognition, the value of their hard work is also constrained by dubious state institutions and particularistic relationships. In rural-urban migration and market expansion, money mediates the imagination of the nation, but it also devalues rural migrants’ labour, highlighting the social inequality and disjunction between rural and urban, the rich and ordinary people, within the nation. Rural migrants imagine their inclusion in the nation through investment opportunities which always involve an opaque state.
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Elgenius, Gabriella. "National Flags, the Politicization and Sanctification of Nations." In Symbols of Nations and Nationalism. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-0-230-31704-8_4.

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Elgenius, Gabriella. "National Days in Nation Building: Similarities and Differences." In Symbols of Nations and Nationalism. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-0-230-31704-8_5.

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Gorney, Edna. "Roots of Identity, Canopy of Collision: Re-Visioning Trees as an Evolving National Symbol Within the Israeli-Palestinian Conflict." In Environmental History in the Making. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-41139-2_18.

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Meng, Xiangfei. "The Application of Cultural Symbols and the Misunderstanding of Cultural Symbols." In National Image. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-3147-7_4.

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Saleem, Raja M. Ali. "Islam and National Symbols." In State, Nationalism, and Islamization. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54006-1_3.

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Elgenius, Gabriella. "National Day Design: Towards a Typology of Successful National Days." In Symbols of Nations and Nationalism. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-0-230-31704-8_6.

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Conference papers on the topic "National Symbol"

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ÖZTUNÇ, Müge, and Umur BEDİR. "NEW MEDIA AND NATIONAL IDENTITY: THE REPRESENTATION OF ATATURK ON NGO’s NOVEMBER 10th INSTAGRAM POSTS." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctc.2021/ctc21.049.

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National symbols, traditions, and rituals emerge as the most influential signifiers of national identity and nationalism. These symbols and images that embody the basic concepts of nationalism, make them visible to other members of society, help to make abstract ideologies more socially concrete, strengthen the sense of national loyalty and strengthen the awareness of the members of the community that they belong to the same nation. On the other hand, Atatürk appears as a symbol of both Turkey’s modernization process and Turkish unity and solidarity. Focusing on the representations of Atatürk as one of the national symbols on the internet and social media, this research examines symbolic construction of national identity of NGOs that represent different social groups in Turkey through the “November 10, Atatürk Commemoration Day”. In this context, the 10 November 2019 posts of 38 Non-Governmental Organizations, which operate in different fields, are the most followed and have social, cultural, and economic activity on the society, were analyzed on Instagram. Shared visuals were used to categorize with the help of various codes assigned to them. Thematization method was used to characterize the types of photos posted on Instagram with embedded coding. Then, by combining very close codes, they were also subjected to clustering analysis in order to see which symbols are frequently used together and which meaning patterns they form. The findings of the study show that social media, which is often depicted as the space of global identities and flows, is a space where national identities are eclectically reconstructed by subjects and social groups that make up the nation and circulated through symbols.
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Öztunç, Müge, and Umur Bedir. "New Media and National Identity: The Representatıon of Atatürk on Ngo’s November 10th Instagram Posts." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.018.

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National symbols, traditions, and rituals emerge as the most influential signifiers of national identity and nationalism. These symbols and images that embody the basic concepts of nationalism, make them visible to the members of society, help to make abstract ideologies more socially concrete, strengthen the sense of national loyalty and strengthen the awareness of the community members that belong to the same nation. On the other hand, Atatürk appears as a symbol of both Turkey's modernization process and Turkish unity and solidarity. Focusing on the representations of Atatürk as one of the national symbols on the internet and social media, this research examines the symbolic construction of the national identity of NGOs that represent different social groups in Turkey through the "November 10th, Atatürk Commemoration Day”. In this context, the November 10, 2019, posts of 38 Non-Governmental Organizations, which operate in different fields, are the most followed and have social, cultural, and economic activity on the society, were analyzed on Instagram. Shared visuals were used to categorize with the help of various codes assigned to them. The thematization method was used to characterize the types of photos posted on Instagram with embedded coding. Then, by combining very close codes, they were also subjected to clustering analysis to see which symbols are frequently used together and which meaning patterns they form. The findings of the study show that social media, which is often depicted as the space of global identities and flows, is a space where national identities are eclectically reconstructed by subjects and social groups that make up the nation and circulated through symbols.
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Shi, Yu. "Analysis on National Cultural Symbol in Film." In 2017 International Conference on Humanities Science, Management and Education Technology (HSMET 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/hsmet-17.2017.58.

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Maheswaran, P., and M. D. Selvaraj. "Performance analysis of symbol swapped spatial modulation." In 2017 Twenty-third National Conference on Communications (NCC). IEEE, 2017. http://dx.doi.org/10.1109/ncc.2017.8077097.

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Pramanik, Ankita, and B. Sundar Rajan. "No-zero-entry, square, single-symbol ML Decodable STBCs." In 2010 National Conference On Communications (NCC). IEEE, 2010. http://dx.doi.org/10.1109/ncc.2010.5430236.

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Xiaoyan Wang and Yantao Zhong. "The new type of national graphics symbol in modern product design." In 2009 IEEE 10th International Conference on Computer-Aided Industrial Design & Conceptual Design. IEEE, 2009. http://dx.doi.org/10.1109/caidcd.2009.5375208.

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Shi, Xueqing. "Research on Graphic Symbol Expression in Visual Communication Design." In 2015 4th National Conference on Electrical, Electronics and Computer Engineering. Atlantis Press, 2016. http://dx.doi.org/10.2991/nceece-15.2016.87.

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Bakhtiari, Zahra, Robert W. Hellwarth, and Alan E. Willner. "Optical sub-QPSK symbol information extraction from 16-QAM signal using optical phase erasure." In National Fiber Optic Engineers Conference. OSA, 2012. http://dx.doi.org/10.1364/nfoec.2012.jw2a.87.

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Zhao, J., S. K. Ibrahim, D. Rafique, P. Gunning, and A. D. Ellis. "A Novel Method for Precise Symbol Synchronization in Double-Side Band Optical Fast OFDM." In National Fiber Optic Engineers Conference. OSA, 2011. http://dx.doi.org/10.1364/nfoec.2011.jwa023.

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Amirza, Mohammad Aaris, and Mohamed Razeef Abdul Razak. "Rethinking a National Monetary Identity: Does Malaysia Need a Fitter Ringgit Symbol?" In Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia. EAI, 2022. http://dx.doi.org/10.4108/eai.24-8-2021.2315048.

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Reports on the topic "National Symbol"

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KellerLynn, Katie. Redwood National and State Parks: Geologic resources inventory report. National Park Service, 2021. http://dx.doi.org/10.36967/nrr-2287676.

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Comprehensive park management to fulfill the NPS mission requires an accurate inventory of the geologic features of a park unit, but Comprehensive park management to fulfill the NPS mission requires an accurate inventory of the geologic features of a park unit, but park managers may not have the needed information, geologic expertise, or means to complete such an undertaking; therefore, the Geologic Resources Inventory (GRI) provides information and resources to help park managers make decisions for visitor safety, planning and protection of infrastructure, and preservation of natural and cultural resources. Information in the GRI report may also be useful for interpretation. park managers may not have the needed information, geologic expertise, or means to complete such an undertaking; therefore, the Geologic Resources Inventory (GRI) provides information and resources to help park managers make decisions for visitor safety, planning and protection of infrastructure, and preservation of natural and cultural resources. Information in the GRI report may also be useful for interpretation. This report synthesizes discussions from a scoping meeting for Redwood National and State Parks (referred to as the “parks” throughout this report) held in 2004 and a follow-up conference call in 2019. Two GRI–compiled GIS data sets of the geology and geohazards of the parks are the principal deliverables of the GRI. The GRI GIS data are available on the GRI publications website http://go.nps.gov/gripubs and through the NPS Integrated Resource Management Applications (IRMA) portal https://irma.nps.gov/App/Portal/Home. Enter “GRI” as the search text and select a park from the unit list. Writing of this report was based on those data and the interpretations of the source map authors (see “GRI Products” and “Acknowledgements”). A geologic map poster illustrates the geology GRI GIS data set and serves as a primary figure for this GRI report. No poster was prepared for the geohazards GRI GIS data set. Additionally, figure 7 of this report illustrates the locations of the major geologic features in the parks. Unlike the poster, which is divided into a northern and southern portion to show detail while accommodating the parks’ length, figure 7 is a single-page, simplified map. The features labeled on figure 7 are discussed in the “Geologic History, Features, and Processes” chapter. To provide a context of geologic time, this report includes a geologic time scale (see "Geologic History, Features, and Processes"). The parks’ geologic story encompasses 200 million years, starting in the Jurassic Period. Following geologic practice, the time scale is set up like a stratigraphic column, with the oldest units at the bottom and the youngest units at the top. Organized in this manner, the geologic time scale table shows the relative ages of the rock units that underlie the parks and the unconsolidated deposits that lie at the surface. Reading the “Geologic Event” column in the table, from bottom to top, will provide a chronologic order of the parks’ geologic history. The time scale includes only the map units within the parks that also appear on the geologic map poster; that is, map units of the geohazards data are not included. Geology is a complex science with many specialized terms. This report provides definitions of geologic terms at first mention, typically in parentheses following the term. Geologic units in the GRI GIS data are referenced in this report using map unit symbols; for example, map unit KJfrc stands for the Cretaceous (K) and Jurassic (J) Franciscan Complex (f), Redwood Creek schist (rc), which underlies a portion of the Redwood Creek watershed (see “GRI Products”).
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