Relevant bibliographies by topics / Symbolism of colors

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

Academic literature on the topic 'Symbolism of colors'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Symbolism of colors"

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

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Color words originate from natural world. In general different languages have similar patterns of color hypernymy. Nevertheless, when it comes to color hyponymy, it is not the case. Specific color hyponyms have emerged because different countries have different cultures. Besides, color words are also rich in cultural symbolism. In other words, same colors in different countries have different cultural symbolisms. This paper analyzed six color words (red, white, yellow, blue, green, and black) between Chinese language and bahasa Indonesia to find similarities and differences both in hyponymy and in culture symbolism.
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Kovsh, Oleksandr, and Mykyta Dziuba. "Symbolism of Color in Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 207–15. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269532.

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The purpose of the research is to analyze the perception of color by the viewer and to establish the role of the color score in the structure of the film, to determine the symbolism of the main colors in the fabric of the film. To achieve this goal, the following tasks are outlined: to establish the role of color in building the character and image of the character; to prove the importance of the ability to build and harmoniously organize the color scheme in the use of a monochromatic color system; to consider the role of color and its symbolism on specific examples. The research methodology consists of the application of the following methods: theoretical – for the analysis of films, and informative sources; generalization of the different colors’ influence on the general association of perception, the formation of subjective perception of scenes with the dominance of a certain color from the chromatic range; structural and functional, which consists in the isolation of color as a separate element from the integral fabric of the film and determining its function in the construction of characters, creating dramatic tension, etc. The scientific novelty is that the role of certain colors is analyzed in the example of modern projects, and a detailed analysis of the selection of colors depending on certain tasks in various scenes is carried out; with the help of theoretical analysis, the factors that influence the general impression of the viewer are determined. Thus, work was carried out on the collection and systematization of theoretical material on the topic and an attempt was made to apply theoretical concepts in practice. Conclusions. In the course of the article, we have analyzed the ambiguity of colors, the use of color combinations with sound, with other colors of the chromatic range. The role of color in conveying symbolism, associations, and the significance of changes in perception has been determined by analyzing films.
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JOHANSSON, NIKLAS, ANDREY ANIKIN, and NIKOLAY ASEYEV. "Color sound symbolism in natural languages." Language and Cognition 12, no. 1 (October 18, 2019): 56–83. http://dx.doi.org/10.1017/langcog.2019.35.

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

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The current study addresses color symbolism in the poetry of Federico Garcia Lorca, a 20th century poet. He lived in the period between 1898 and 1936 in which Spain, and particularly Granada, had a significant impact on his poetry. It lived in his verses and added a unique charisma to his poetry, emerging from its ongoing transformation from tangible visualization to artistic glances. The mention of color appeared in every poem, with some colors being more dominant than others. It added an artistic value with a pure psychological perspective, almost like a painting portraying Granada. This led critic and Spanish civilization researcher Luis Parrot to call him “a poet enchanted by colors” in his study of Lorca’s poetry, as he found him totally possessed by colors (Telisy, 1992). This addresses color symbolism that is prominent in Lorca’s poetry. Has this symbolism reflected Lorca’s character that it appeared in an unorthodox manner? Or was this symbolism traditional in its form and meaning? The study concluded that Lorca did not describe color by color, color by name, or name by color. Rather, his poetry took many forms and tastes, giving it a certain uniqueness and individuality to Lorca. Analysing Lorca’s poetry reveals its richness in color expressions. It also shows how Lorca’s awareness of color exemplified his suffering explicitly and implicitly, to maintain a certain level in his poetry on one hand, and to avoid being overt on the other
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Al Ghusaini, Zaher Badr. "Symbols of Color Code in the Poetry of Federico Lorca (1898-1936)." Journal of Arts and Social Sciences [JASS] 3, no. 1 (January 1, 2012): 121–33. http://dx.doi.org/10.53542/jass.v3i1.1045.

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The current study addresses color symbolism in the poetry of Federico Garcia Lorca, a 20th century poet. He lived in the period between 1898 and 1936 in which Spain, and particularly Granada, had a significant impact on his poetry. It lived in his verses and added a unique charisma to his poetry, emerging from its ongoing transformation from tangible visualization to artistic glances. The mention of color appeared in every poem, with some colors being more dominant than others. It added an artistic value with a pure psychological perspective, almost like a painting portraying Granada. This led critic and Spanish civilization researcher Luis Parrot to call him “a poet enchanted by colors” in his study of Lorca’s poetry, as he found him totally possessed by colors (Telisy, 1992). This addresses color symbolism that is prominent in Lorca’s poetry. Has this symbolism reflected Lorca’s character that it appeared in an unorthodox manner? Or was this symbolism traditional in its form and meaning? The study concluded that Lorca did not describe color by color, color by name, or name by color. Rather, his poetry took many forms and tastes, giving it a certain uniqueness and individuality to Lorca. Analysing Lorca’s poetry reveals its richness in color expressions. It also shows how Lorca’s awareness of color exemplified his suffering explicitly and implicitly, to maintain a certain level in his poetry on one hand, and to avoid being overt on the other
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Valev, Teodor. "TRADITIONAL CHINESE COLOUR SYMBOLISM – MEANING AND UNDERSTANDING." Diplomatic, Economic and Cultural Relations between China and Central and Eastern European countries 8 (April 1, 2023): 475–94. http://dx.doi.org/10.62635/vwjc-0h90.

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The article considers the concept of “colour” from a psychological point of view and addresses the topic of the “Five Elements Theory” which is directly related to the five main colours in China – fire/red, yellow/earth, white/metal, blue/wood, and black/water. Then each colour is considered separately (including some additional colors like green, purple and gold), it’s perception and symbolism in Chinese culture from the past until now. Finally the author dwell on the meaning of some of these colors and their use in Peking Opera.
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Phuyal, Komal Prasad. "Chromatic Symbolism in T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 07–16. http://dx.doi.org/10.62106/blc2023v5i2e1.

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T. S. Eliot (1888-1965) employs colors to depict various shades of emotions of the post-World War I in Europe in his ‘The Waste Land’ (1922). On the one hand, the poetic treatment of colors indicates the plight of the world; on the other, the colors embody the myths of the ancient world and help deepen the meaning of the text. The poetic genius employs Tiresias as the persona who can travel through time and space bringing together different hues of the world into a single collage. Eliot’s choice of color reveals to the modern audience the deeper schema that he builds to represent the devastated state of Europe after World War I. Having lived the life of both a woman and a man, the protagonist has been blessed with the power to foresee things despite his blindness. The seer weaves a garland of colors in ‘The Waste Land’ to represent the damage the War had in the soul of the people, in the value system of the society, and in the changing socio-political reality of the time. In this paper, I contend that Eliot uses color symbolism in the poem to enforce the modernist ethos of the fragmented world where the lynchpins are missing. Through close reading of the text, I analyse the language to arrive at the conclusion that Eliot’s use of colors reveals a whole, new spectrum of meanings.
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Pavlova, Irina. "The Color Symbolism in the Works of Saltykov-Shchedrin." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 91–99. http://dx.doi.org/10.36340/2071-6818-2020-16-2-91-99.

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The article is devoted to the symbolism of color in the works of Saltykov-Shchedrin. Color is a fundamental phenomenon of existence; various sciences, including literary criticism, study it. It is connected with the ideological conception of the work, with art space; it bears a visual function, emotionally colors the world depicted by a writer, enriches, makes it more complex. Saltykov-Shchedrin’s use of color is connected with the satirist’s talent to see the reality in the "concentration of evil". In the works of the writer, Russia appears to be ambivalent: it is a field of the rampage of the elements, energies, and the realm of deadness, of slumber, which is presented in the writer's palette by two achromatic colors. White and gray are distinguished by special semantic saturation. In Saltykov-Shchedrin’s works, their symbolism is seen in a negative aspect: white represents coldness, despair, insipidity; gray – poverty, sadness, rough weather. In the descriptions of the environment, these colors are accompanied by images of snow, rain, fog, which in turn are connected with the motifs of death, doom, and emptiness of life. Many of the satirist’s works starting from his early stories, Contradictions, Brusin, are emotionally charged in such a way. White and gray colors define the peculiarity of the artistic space of many works of Saltykov-Shchedrin. In the epilogue of the series Provincial Sketches, the ground appears covered with a white shroud. The tragedy of this image is compounded in the cycle of Well-Intentioned Speeches. Snow as a white shroud is the writer’s constant metaphor. Almost always when describing Russian expanses, monotonous, dull colors dominate in the works of the satirist. White color expands the space to the infinity overwhelming a man; gray increases the feeling of hopelessness. Saltykov-Shchedrin’s landscape correlates with the unclear fate of Russia, with mournful events in the national history, a fading aristocratic landlord class. These colors are associated with moral issues in the novel-chronicle The Golovlyov Family. In the tale Night of Christ, white and gray serve as the concentration of world evil. However, gray does not have only negative energy – the «gray tones» of the Motherland cause the writer to feel «love to the pain in the heart». Golden color in the idiomatic expression «Golden age», an age of harmony and prosperity, used by the socialists-utopians, to whose ideals Saltykov-Shchedrin always remained true, stand as the antagonist of white and gray. Color is one of the mental units forming the concept sphere of Saltykov-Shchedrin’s creative work; it reflects the diversity of the author's thinking, the philosophy of the artist-satirist, the worldview of a particular age, and the national picture of the world.
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Kang, Soo-Won. "A Study on the Color Image of Heo Soo-kyeong’s Poetry: Focused on the Aspect of Mixture and Entanglement of Black and White color." Dongnam Journal of Korean Language and Literature 54 (November 30, 2022): 5–25. http://dx.doi.org/10.21654/djkll.2022.54.1.5.

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Black and white in Heo Soo-kyeong's poetry reveal unique color symbolism in a way of repetition and reversion. This aspect deepens and expands the emotion and the subject consciousness, which forms her own distinct poetic aesthetics. Furthermore, the black and white color images in her poems display an Assemblage effect, forming mixed and entangled aspects in one work. This is a new possibility created by a combination of disparate elements, a further level of thinking from the conventional wisdom that the two colors indicate an opposing single network of meanings in different works. In the case where the two color images are mixed and entangled in a single work, in Heo Soo-kyeong's poem, there appears two aspects of confrontation and coessentiality in the meaning of the subject consciousness. First of all, the two colors appear as opposing color images, which assumes the symbolism that schematizes the power structure of the strong and the weak. However, the meaning of these two colors can be interchangeable, not being fixed as an opposite between good and evil or strong and weak and, thereby presenting the poet's flexible way of thinking. On the other hand, in the case where the two color reveal coessential color images, they assume two aspects, negative coessentiality and positive coessentiality. In other words, both black and white reveal negative coessentiality by maximizing the emotion of sadness and depression, or positive coessentiality by aspiring after a world of purity and peace. This pattern deviates from the conventional wisdom that regards white and black as opposite colors, which is a point that reveals Heo Soo-kyeong's distinct sense of color. In this light, the color images of black and white forms deeper and richer semantic network when they appear to be mixed and entangled in one work than when used solely. This is the result of the poet's expanded creative imagination for the symbolism of color images, and it can be interpreted as the expression of multidimensional and fluid color aesthetics and securing new possibilities for color symbolism through the interaction of black and white.
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Presley, Ann Beth, and Whitney Upchurch Campassi. "Measuring Clothing Color and Design Symbolism Preferences and Purchase Intentions of Asian Indian Females at Different Levels of Acculturation." ISRN Textiles 2013 (July 18, 2013): 1–8. http://dx.doi.org/10.1155/2013/859419.

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The purpose of this study was to develop a reliable and valid instrument to measure color, design clothing preferences, and purchase intentions of Asian-Indian female consumers; secondarily, to determine if westernized clothes with Asian-Indian ethnic dress elements might be purchased more often than westernized clothing with design attributes primarily symbolic of American culture at different levels of acculturation. The instrument included a modified acculturation scale, limited demographics, and the developed Clothing Preferences and Purchase Intention Instrument. The instrument consisted of four components: Color Symbolism and Purchase Intention, Design Symbolism and Purchase Intention, Symbolic Attributes Scale, and Clothing Preference and Purchase Intention for Mainstream American versus Asian-Indian Inspired. All of the scales had high reliability. Of the 30 colors in the instrument, red, magenta, orange gold, yellow, cobalt blue, and purple were symbolic of Asian-Indian dress; hunter green, navy blue, baby blue, and blue were considered western colors. Neutral colors were eliminated. Nine of the 27 tunics in the instrument were highly indicative of Asian-Indian clothing; 11 were indicative of westernized clothing. Secondarily, Asian-Indians preferred and showed intent to purchase westernized clothing with colors and designs associated with their native country’s traditional dress regardless of acculturation.
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Dissertations / Theses on the topic "Symbolism of colors"

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Kappel, Caroline J. "Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1195707359.

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Kappel, Caroline J. "Labyrinthine depictions and tempting colors the synaesthetic dances of Loïe Fuller as symbolist choreography /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1195707359.

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Carney, Ovidia Cornelia Blough. "Effects of age and ethnicity on color preference and on association of color with symbol and with emotion." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1882.

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

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This is the result of a 10 week long study about if player behaviors and choices are affectedby the surrounding colors in their environment. A number of players are asked to movethrough a virtual environment, while being clocked, where they have to make left and rightdecisions based on different colors (red, green, blue and gray). While most choices consist oftwo different colors, some use the same color. The result shows that the players most likelyprefer one color over another, and that they most likely prefer a non-neutral color over aneutral color. With these results and the interviews that are conducted the conclusion is madethat it is very likely the players choices are affected by the colors in the environment, but it isnot clear to say how they are affected.
Det här är resultatet av en 10 veckor lång studie om spelares beteenden och om deras valpåverkas av färgerna i deras omgivning. Ett antal personer är tillfrågade att röra sig genom envirtuell miljö, på tid, där de gör höger- och vänsterval baserat på olika färger (röd, grön, blåoch grå). Medan de flesta av valen består av två olika färger så använder några samma färger.Resultatet visar att personerna troligen föredrar en färg framför en annan och att de troligtvisföredrar en icke-neutral färg framför en neutral färg. Med dessa resultat och de intervjuer somgjordes så blir slutsatsen att det är stor sannolikhet att personerna påverkas av färgerna i derasomgivning, men det är svårt att säga exakt hur de påverkas.
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Курилко, Аліна Олексіївна. "Color symbolism in interior design." Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15317.

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Slavík, Jan. "Dance of colours : basic patterns of colour symbolism in Mahāyāna Buddhism /." Göteborg : Göteborg univ, 1994. http://catalogue.bnf.fr/ark:/12148/cb37018318c.

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

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

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In this thesis, the writer examines the color imagery in three Margaret Atwood novels: Surfacing, Cat's Eye, and The Handmaid's Tale. Atwood uses color in unconventional ways by forcing colors to symbolize the opposite of their common meanings, by allowing colors to represent simultaneously two opposing ideas, and by disregarding traditional color meanings by creating her own unique associations. Atwood's color imagery supports her thematic concerns in that through her themes--as with her use of color--she challenges the reader's expectations by throwing into question many conventional ideas about progress, religion, and the sex-gender system.
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Brunberg, Mikael. "The weight of color." Thesis, Uppsala universitet, Institutionen för speldesign, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-209982.

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This paper explores the weight of color, with the focus lying on the symbolic significance ofcolor. Exploring whether color in itself conveys symbolic significance and is the symbolicsignificance of color permanent, or is it an after construction? It will be looking at differentareas such as what makes us humans able to perceive colors in the first place, beginning withan insight at some of the foundations in the area of color theory. Mentioning experiments ondecomposed white light, that contains the visible color spectrum and its contribution to theevolution of the color wheel. The color wheels contribution to the art world, the constructionof color harmonies and their significance. It will also be looking at some of the more commonsymbolical meanings of colors and its symbolic significance as color language. It will becovering previous research such as what the symbolic significance of color was under theElizabethan era, consequences when combining color and taste and finally an insight on thetheory of the emotion wheel and its conceptual design in combining emotions with color.There will also be a discussion part looking at the area of color therapy and thoughtsrevolving the subject. The second last part will revolve around my own observations andanalysis. Keeping in mind what I have explored in the earlier parts of this paper and using thatknowledge in my observations and analysis on three different methods utilising the symbolicsignificance of color, focused in the area of films. The last part of my paper will be the resultsof my exploration on the subject of symbolic significance of color and also a discussion part,with my own thoughts on the subject.
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Parker, Brendan D. "Assessing interpretability of visual symbols of varied colors across demographic profiles /." Online version of thesis, 2010. http://hdl.handle.net/1850/12245.

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Books on the topic "Symbolism of colors"

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1897-, Portmann Adolf, and Eranos Conference (1972 : Ascona, Switzerland), eds. Color symbolism: Six excerpts from the Eranos yearbook, 1972. Dallas, Tex: Spring Publications, 1988.

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

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

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

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Shved, I. A. Mifalohii͡a koleru ŭ belaruskaĭ tradytsyĭnaĭ dukhoŭnaĭ kulʹtury: Manahrafii͡a. Brest: Brėstski dzi͡arz͡haŭny universitėt imi͡a A. S. Pushkina, 2011.

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Littlefield, Holly. Colors of India. Minneapolis, MN: Carolrhoda Books, 2000.

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Massimo, Squillacciotti, ed. Sguardi sui colori: Arti, comunicazione, linguaggi : atti dal seminario interdisciplinare dell'Università degli studi di Siena. Siena: Protagon, 2007.

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

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B, Hutchings John, Wood Juliette, Folklore Society (Great Britain), and Colour Group (Great Britain), eds. Colour and appearance in folklore. London: Folklore Society, University College, London, 1991.

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Brémond, Elisabeth. L' intelligence de la couleur. Paris: Albin Michel, 2002.

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Book chapters on the topic "Symbolism of colors"

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Sall, Adjaratou Oumar. "Chapter 12. Perception and expression of color among the Wolof of Senegal." In Culture and Language Use, 306–30. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/clu.23.12sal.

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The analysis and description of color terms has re-emerged at the center of discussions in contemporary anthropological linguistic research (based on well-established previous studies over the past decades). However, work on color terms is still lacking in most West African linguistic research, particularly in Senegal. Wolof, a lingua franca spoken mainly in Senegal, has three basic colors used with adverbs that are never used in other contexts, namely ñuul ‘black’, ñuul kukk ‘extremely black’, weex ‘white’, weex tàll ‘extremely white’, xonq ‘red’ and xonq coyy ‘extremely red’, around which gravitate other shades of color whose terms are taken from the surrounding vocabulary. The aim of this chapter is first to present the color concepts and their “shades” in Wolof and to discuss the question of the morphosyntactic encoding of color terms in linguistic constructions. We will also consider their classification on the basis of their semantic properties and occurrence in idiomatic expressions. Finally, we will show how the community identifies itself through colors and what symbolic representations of colors exist in the Wolof-speaking community.
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Küchler, A. W. "Patterns, Colors and Symbols." In Vegetation mapping, 111–19. Dordrecht: Springer Netherlands, 1988. http://dx.doi.org/10.1007/978-94-009-3083-4_12.

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Casiraghi, Matteo C. M., and Eugenio Cusumano. "Colours, Symbols, Ideologies." In The International Politics of Logos, 38–78. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003396543-4.

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

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Casiraghi, Matteo C. M., and Eugenio Cusumano. "Flags, Symbols, and Colours." In The International Politics of Logos, 12–20. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003396543-2.

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Beneš, Nikola, Luboš Brim, Samuel Pastva, and David Šafránek. "Symbolic Coloured SCC Decomposition." In Tools and Algorithms for the Construction and Analysis of Systems, 64–83. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72013-1_4.

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AbstractProblems arising in many scientific disciplines are often modelled using edge-coloured directed graphs. These can be enormous in the number of both vertices and colours. Given such a graph, the original problem frequently translates to the detection of the graph’s strongly connected components, which is challenging at this scale.We propose a new, symbolic algorithm that computes all the monochromatic strongly connected components of an edge-coloured graph. In the worst case, the algorithm performs $$O(p\cdot n\cdot \log n)$$ O ( p · n · log n ) symbolic steps, where p is the number of colours and n the number of vertices. We evaluate the algorithm using an experimental implementation based on Binary Decision Diagrams (BDDs) and large (up to $$2^{48}$$ 2 48 ) coloured graphs produced by models appearing in systems biology.
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Pittock, Murray. "Sedition, Symbols, Colours, Cant and Codes." In Material Culture and Sedition, 1688–1760, 59–92. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137278098_3.

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

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

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

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Conference papers on the topic "Symbolism of colors"

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Grenarova, Renee. "COLLOCATION IDIOMS WITH A COLOUR COMPONENT IN TEACHING STUDENTS OF CZECH LANGUAGE FOR FOREIGNERS ON THE LEVEL OF THE INDEPENDENT USER." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s11.25.

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Background: Phraseology is a result of the life knowledge, folk wisdom of entire generations. It is a part of the spirit and material culture of each nation. As scientific discipline research idioms, which represents specific type of established vocabulary characterized by expressiveness, imagery and stability. Idioms have an irreplaceable place during adoption of communicative language competence, especially within its sociocultural and semantic field. Ignorance of idioms could lead to misunderstandings or incomprehension of certain communication situation among native speakers. The colors are all around us and they attract human attention for several thousand years. It is therefore logical, that color symbolism is projected in speech practice. Methods: Correct and fluent understanding is completely impossible without mastering a sufficient number of idioms, especially those, which belong to the phraseological core of the given language. First of all, we define the term collocation phrase and color, we conduct characteristics of color symbolism on example of chosen essential colors, and lastly we perform semantic analysis of selected collocation phrases with the color component in the Czech language. In the next part we focus on options of teaching the symbolism of colors in idioms as part of regular Czech language courses for foreigners according to the CEFR at the language level for an independent user. We present suggestion for possible didactic procedure � so-called phraseological five-minute plays. Results: Collocation idioms have positive influence on speech culture, emotionality and imagery of expression in both mother tongue and foreign language. Via these idioms is implemented during foreign language lessons dialogue of cultures. It is presented possibility of idioms usage with color components, such as white horse, black sheep, blue blood and others, within the process of learning the Czech language as a foreign language. Conclusions: Presentation of chosen results of the questionnaire named Colours around us, which was conducted in the April 2022. The respondents were students of the intensive Czech language course for foreigners on the Masaryk institute of advanced studies in Czech Technical University in Prague.
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Dong, Hanzhang. "Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.

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Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
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Makar, Mariia, and Viktor Savka. "Social constructions in Ukrposhta stamps during the Russian-Ukrainian war." In Sociology – Social Work and Social Welfare: Regulation of Social Problems. Видавець ФОП Марченко Т.В., 2023. http://dx.doi.org/10.23939/sosrsw2023.060.

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Background: The period of the Russo-Ukrainian war is rich in visual symbols. We can observe the emergence and creation of new symbols that contain important cultural and social codes. People create one social construct and reject another, forming their opinion about the war and their participation in it, demonstrating the state of society. Purpose: To determine citizens' perceptions and how they form a social construct during the Russian-Ukrainian war, a study of Ukraine Post stamps (visual symbols) can be conducted. Methods: Through the paradigm of social constructivism, we examine this research. We obtained empirical data through quantitative method using content analysis. Since our focus is on how Ukrainians construct a social construct, we chose to analyze the arguments presented in comments regarding the stamps that Ukrposhta submitted for the competition held from March 8 to March 10, 2022 (Ескізи поштових марок, 2022). Results: Analyzing the comments on the stamps, we obtained two consecutive branches: 1. Commentators' behavior. In addition to likes, 10.6% of the voters left comments, 8.5% followed the contest rules, and 0.5% argued their choice. 2. Formation of a social construct. Commentators form a social construct based on the following parameters and attempts at social encoding: Textual symbolism (condemnation of profanity, praise for the absence of Russian profanity, desire for profanity, condemnation of surzhyk). National and military symbols (support for modifications with the trident, condemnation of modifications with the trident, absence of identification of profanity in the trident, support for identification of the Ukrainian coat of arms, condemnation of its presence, support for identification of Russian colors, condemnation of the Russian tricolor on Ukrainian stamps, support for the expression of blue-yellow colors. Warrior symbol (military) (support for the presence of the Ukrainian military, condemnation of the warrior symbol). Conclusion: Summarizing the views of commentators, we see citizens of Ukraine who recognize and respect Ukrainian culture, identify themselves as Ukrainians, clearly distinguish themselves from the occupying country, strive to interact with friendly countries, and understand the strength of their own army. This scientific work will be relevant for the study of patriotism, nationalism, building a civil state, propaganda, and counter-propaganda, as visual symbols are not only a reflection of society but also a tool for influencing it. Keywords: social construct, perceptions, visual symbols, citizens, Russo-Ukrainian War.
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Lobo, Carla, Puja Kumar, and Luisa Barreto. "Defining the Complex Emotional Experiences of Depression through Visual Language – Colour as Expressive Tool." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001408.

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According to survey reports by World Health Organization, depression was ranked as the third leading cause of the global burden of disease in 2004, moving into the first place by 2030. Considering this scenario, a research project has been conducted focusing on the potential of graphic design in health care as an opportunity to communicate complex emotional experiences of depression. Using colour as a design strategy, conceptualizes a methodological approach that can be adopted to develop colour palettes in graphic design by considering the focal parameters relevant to the specific project, in this case, connect the emotional dimension of colour experience with depression to visualise the illness in a new light.All works of graphic design establishes a visual communication with its audiences by connecting directly or indirectly on an emotional level, establishing a visual communication with their audiences, connecting directly or indirectly on an emotional level. This paper proposes a methodological approach that can be adopted to derive the appropriate colour for any design, based on the message it is intended to communicate.The development of the tool is based on the importance of the relationship between the relative degree of each emotion and the specific cultural symbolism for the derivation of colours, aiming to capture an individual's emotional attention and produce flawless results in the final design work.The work is based on a transversal approach, correlating different graphic design strategies, including colour and its symbolism, in this case with reference to Indian culture, with the aim of identifying and subsequently portraying the different types of depression, motivating depressed people to express themselves, and the population in general to change their perception about the disease, promoting greater sensitivity and sympathy towards the subject. The proposed colour tool ambitions to create a solution for the inability of people to put together words for their emotional experiences/ feelings when they are going through depression. The colours chosen by them would give a clearer understanding of the emotions/ feelings they might be going through and would play an indicative role to determine the type of depression.Hence, the project is an effort to channel appropriate color as a design tool to talk about depression, spread information and ultimately enrich humane diagnoses and treatment when it comes to fight depression.The development of this interactive visual medium to express complex emotion is fulfilled by incorporating colour variations as a paramount feature in the design strategy. To effectively portray depression as a serious illness using the expressive potential of colour to convey right emotions when used aptly, a colour code was designed, considering the variations in colour dimensions (saturation and light scales) as ways of expressing the degree of severity of the disease.The colour palette was achieved by theoretical research of colour concepts crossed with analytical study of survey results, which allowed the most significant associations between colours and emotions to be identified, and from these to build a functional colour code, providing a visual expressive tool to those going through depression.
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Wu, Duan, Peng Gao, and Ying Zhang. "Optimization of the Emergency Evacuation Sign's Color Cognition for Users with Color Vision Deficiency." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001607.

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Color has the characteristics of fast reading and fast recognition, with this reason, information in environments needs color to help fast communication, especially in the situation of emergency evacuation. The colour and graphic symbols on emergency evacuation signs(EES) help direct people to safety and provide emergency information quickly.(Barry Gray. 2012)But according to statistics, about 8% of the world population are suffered by color vision deficiency（CVD）. While they are not resolved all colors, just easy to confuse some color. Today, different countries or organizations have different standard for EES, and many research shows, the color recognition of EES still has the phenomenon of uneven benefits of different groups of people, which means there are significant differences in the color recognition efficiency of EES between CVD and normal vision groups, especially deuteranomalous vision group (G, Landini, G. Perryer.2009).While the appropriate color selection can substantially improve CVD groups’ color recognition and at the same time not affecting the normal users’ color recognition rate. Therefore, to explore appropriate EES color design optimization for the CVD population has the social and scientific significance.With this background, this research intends to study the EES color recognition of CVD people and try to build optimize EES color model for this group of users. The research start with different selections of EES color standard among countries and organizations. Through the comparison of these standard colors, some color samples are sorted out with the help of the recognition models of CVD people. Then totally 57 CVD people participated the research as experimental volunteers to test the recognition of selected samples. The final ranking of samples were influenced by both the color hue and also the color lightness contrast between EES background and the icon or text. The objective of the research is to build a more inclusive practical color model for improving EES and other safety sign design. The result of this research could assist color design optimization and help the EES design to select appropriate color, without affecting the recognition rate of normal color vision people, while greatly improving the recognition of CVD group. The research conforms to the design thinking of universal design, inclusive design and human-centred design. The results could be used to optimize or review EES and other signage color design, could also apply to other visual information communication field.
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Newton, Rachel. "Color-form meanings: interconnections between perception, association and symbolism." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464581.

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Boynton, Robert M., and Harvey S. Smallman. "Segregation of Basic Colors in an Information Display." In Applied Vision. Washington, D.C.: Optica Publishing Group, 1989. http://dx.doi.org/10.1364/av.1989.fb1.

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Consider a display containing many elements, among which there is a single critical target, differing slightly from the others, for which a subject is instructed to search. If a very small spatial detail defines this difference, (a) fixation near the critical target will be required for its identification, (b) a serial search will be needed to find it, and (c) the larger the number of targets, the longer will be the average search time needed to discover the critical target. The search time can be reduced if: (a) targets are color coded, (b) some of the targets are of an irrelevant color, and (c) the subject knows the color of the critical target. As Green and Anderson (1956) first put it, "When Os know the color of the target, search time is approximately proportional to the number of symbols of the target's color." Their seminal research, involving only two colors, has subsequently been extended to five by the work of Smith (1962).
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Jensen, Poul Ove, Jesper Henriksen, Tine Holmboe, and Catherine Merlo. "Structure as Symbolism: Pylons as Tools for Cultural Expression in the Asia-Pacific Region." In IABSE Congress, New Delhi 2023: Engineering for Sustainable Development. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2023. http://dx.doi.org/10.2749/newdelhi.2023.1245.

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<p>In supporting both the deck and cable weight within suspension and cable-stayed bridges, the essential function of pylons provides architectural opportunity. Dissing+Weitling presents three case studies from China, the Philippines, and Australia to demonstrate how pylons can be transformed into design drivers of a bridge’s aesthetic symbolism.</p><p>Recognizing the role infrastructure can play in engaging with local and indigenous user groups, this paper examines how design choices regarding colour, negative space, lighting design, and the physicality of pylons can reinforce cultural identity. In recognizing the symbolic potential of pylons – a structural necessity – mobility architecture can provide iconic, culturally responsive, and locally meaningful infrastructure.</p>
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Inoue, K., S. Kaba, and J. Heo. "CREATING A SENSE OF THE UNUSUAL WITH CHROMATIC LIGHT." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po44.

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Due to the influence of COVID-19, there is a need to create an environment where people can relax and feel special in a separated space. Therefore, in this study, we will clarify the psychological changes that occur when people are surrounded by an unusual environment. This study prepared eight LED lighting colours: red, orange, yellow, green, blue, light blue, purple, and white. The room was illuminated, and the participants were asked to evaluate their impressions using the SD method on a 7-point scale. As a result of impression evaluation, red gave a warm impression, yellow gave a bright impression, blue gave a cold impression, and purple gave a mature impression, just like the psychological effects of colours. Green gave an artificial impression that was different from the psychological effects of the other colours. From these results, we can conclude that impressions do not correlate with colour symbolism when the entire room is illuminated with coloured light. In the future, we will clarify the relationship between wavelength and impression by studying the spectral distribution of each light source.
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Varela, Diana. "Color and symbology: symbolic systems of color ordering." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464646.

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Reports on the topic "Symbolism of colors"

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

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Indigenous presence in Bolvian Folk Art: Folk Art in Bolivia: Celebration of Everyday Life. Inter-American Development Bank, November 2004. http://dx.doi.org/10.18235/0006412.

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Bolivian folk art is created in both urban and rural areas, and like the people of Bolivia themselves, it bears a strong indigenous imprint. Many contemporary works owe their current form to lengthy cultural processes over centuries, during which time local materials were worked, forms took shape, color codes were chosen, and iconographies defined. This cultural treasure is transmitted from generation to generation, and comprises a whole that brings us close to the aesthetic and symbolic world of cultures of the past and the present. Understanding the folk art produced in Bolivia today requires situating it in its cultural context and tracing its evolution through history. In other words, the whole in this case is greater than the sum of its parts: folk art objects are very much manifestations of the broader cultural developments from which they arise.
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