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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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Published in Chicago in 1861, “Down with the Traitors’ Serpent Flag” is one of thousands of political parlor songs from the American Civil War. Many of these songs are unremarkable musically and were preserved in homes, archives, and museum collections largely for their vibrant illustrations. In my presentation I examine this song’s lithographic cover illustration—a Union soldier grinding a Confederate flag into the dust—within a broader discourse of Civil War flag imagery taken from songs, political cartoons, and cartes-de-visite. Compelling secrets exist within this colorful image that may not first meet the eye; to uncover these meanings along with the ways in which they operated for 19th-century audiences, I address how citizens used flags as material objects and signs in a wider social context. I argue that this defiled flag can be seen as a symbol of nation and state, as a reminder of the female presence in war, and as a surrogate for the wounded or even deceased human body. By utilizing flag culture to interrogate objects in an art historical or visual culture context, this presentation argues that vexillology should be accepted by the larger scholarly community not only as an independent discipline but as a theoretical approach to the allied fields of art history, material culture, and cultural studies.
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