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The Australian national flag is the primary symbol of the nation. The flag produces and reproduces national identity through its presence in all spheres of the public domain. This thesis is an examination into the national flag’s representational force. It focuses on how the flag makes meaning in accordance with dominant discourses of nation and nationhood through an analysis of its uses and applications across a range of institutional sites. The thesis also takes into consideration the meaning-making potential of the national flag for Aboriginal and Torres Strait Islander people. This work deploys a wide-range of historical and contemporary sources that include art and literary responses to the flag. The thesis also draws on a range of theoretical works on nation alongside the use of vexillology as a focused study of flags. A critique of the messages and meanings that the Australian national flag transmits raises important questions pertaining to the way the nation is constructed and maintained. While the thesis does not proffer a definitive solution to the many complexities surrounding Australian national identity, it offers the opportunity for further study as debates about changing the flag continue to circulate in the public sphere.
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Over the centuries flags have, and are, being used to show unity. This can take the form of unity between peoples, countries, alliances, and organisations. The purpose of this paper is to give a general review of the design development of these “flags of unity”. From their origins in heraldic royal banners, then national flags, born of unification, and on to flags of alliances, liberation, and more recently international co-operation, flags with unity as their central design theme are as varied as the peoples, countries, and groups they represent.
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The creative process and principles informing the design of some special purpose and other flags lead to conclusions for flag design in general. The dynamics of metaphor and shapeshifting are considered. The scope for greater pageantry and innovation in flag design is explored. Current national flags of complex or awkward design present a challenge. Possible remedies are suggested. To paraphrase a famous utterance, the known delivers the unknown, and as at least one national flag of recent vintage demonstrates, the unknown can lead to an unforeseen, but serendipitous result. Among the many instances of how not to design a flag, how to is more worthwhile. Vexillologists have higher standards.
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The Confederate commerce raider CSS Shenandoah visited Melbourne in 1865 for repairs and provisions, the only port-visit on its around-the-world mission: a journey that became famous for the Shenandoah being the ship that fired the last shot of the American Civil War. The paper focuses on its Australian visit and the Shenandoah’s use of the Stainless Banner and the naval use of other Confederate flags. The paper is sourced from extensive contemporary local newspaper articles and illustrations, archives, memoirs and several books. The visit created a considerable impact in Australia that indirectly led to the development of the Victorian colonial navy, which required a navy ensign. The Victorian flag evolved to become the current Australian national flag.
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