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The Flag Institute, in association with the Flags & Heraldry Committee, an all party group of the United Kingdom Parliament, has produced this booklet to help and guide you when flying the flag in a variety of situations - it provides a few simple rules to ensure that the flag is flown correctly and is treated with dignity and respect.
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The definitive record of the flags of the United Kingdom: national, supranational, county, town and community flags, each with its design, specification and history.
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The central themes of this thesis are to highlight the importance of national symbols and ceremonies in the formation of nations and national identities, and examine how they contribute to the expressions of nationhood. The research has been conducted by means of a systematic investigation of national symbols and ceremonies, analysed as an integral part of identity-making, maintenance and change. The focus is on the contemporary European nations, and conclusions have been drawn with regard to their symbolism and ceremonies. The overall study has been complemented by three case studies; of Britain, France, Norway, with Germany as an analytical counter-case. Throughout this thesis evidence will be provided to the effect that national symbols and ceremonies express deeper aspects and meanings of the nation, and function as integrative and/or divisive forces. Moreover, national symbols and ceremonies form a central part of a `secular' religion which provides anchorage in a dynamic world. National symbols and ceremonies also have an effect upon the community they represent; that is, they raise collective consciousness of `who we are' and `where we are from'. Finally, it has been argued that nations cannot be dated in a precise manner since they come into being by stages, marked by the adoption of national symbols, such as the national flag and the national day. These stages have been linked to three main symbolic regimes (termed `old', `modem' and `new') and understood as a function of national independence and continuity, the implication being that the whole process of nation building forms a complex that is constituted along a continuum of re-discovery and invention.
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Provides the official specifications for the Union Flags in two proportions -- 5:3 and 1:2.
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This reproduces an undated pamphlet published in London in the 1830s. The illustrations are in roughly their original size; in the original they were connected side-to-side in accordion format. The original from which the reprint was made was found in the Whitney Smith Flag Research Center Collection at the Dolph Briscoe Center for American History at the University of Texas at Austin.
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Groom traces the flag's long and fascinating past, from the development of the Royal Standard and 17th century clashes over the composition of the first Union Jack to the modern controversies over the flag as a symbol of empire and its exploitation by extreme political groups.
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"T is for Tanganyika" Tanganyika - Uruguay. Part of an ongoing series of columns providing a chronology of major flag design changes for each foreign national flag. The series is arranged alphabetically, generally with one flag illustrated for each letter.
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Article explaining Canadian flag usage on the UK royal yacht during the 1976 Olympics
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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 presentation begins with the (accepted) date of 1199, the death of King Richard I, the first king known to have used the three gold lions on red. It continues to show how King Edward III added the French Royal Arms, consequent to his claim to the French throne. There is then the change from “France Ancient” to “France Modern” by King Henry IV in 1405, which set the pattern of the arms and the standard for the next 198 years. The story then proceeds to show how, over the ensuing 234 years, there were no fewer than six versions of the standard until the adoption of the present pattern in 1837. The presentation includes pictures of all the designs, noting that, in the early stages, the arms appeared more often as a surcoat than a flag. There is also some anecdotal information regarding the various patterns.
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