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This thesis analyses the symbolic changes in the expression of white Rhodesian identity from the arrival of the settlers in 1890 and subsequent establishment of the Colony until the independence of Zimbabwe in 1980. It examines the concepts of ‘nation’ and ‘identity’. It is generally agreed that national symbols, such as flags, anthems, coats of arms, and the like, not only represent the ‘nation’ but also condense and express the values, history and memories associated with it. The thesis argues that initially Rhodesians considered and identified themselves to be quintessentially British and loyal members of the Empire which was demonstrated through the use of Imperial symbols such as the Crown and the Union Jack. However, following the Unilateral Declaration of Independence (UDI) in November 1965, the need for a more distinctive local identity became more acute as the country moved to sever its imperial links and became ostracised on the international stage. A new panoply of symbols was adopted to reflect this change, the most visible and long-lasting of which was the new Rhodesian flag. The flag continues to be the most emotional and contested symbol of post-UDI Rhodesian identity to this day.
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The lead article, by David F. Phillips, presents a new, blazon-based approach to Japanese mōn. Also provided are a preface, a literature review, English blazons of daimyō flags, and a new glossary of English blazon for Japanese heraldry. The book also contains well-illustrated articles by Emmanuel Valerio and Nozomi Kariyasu on Japanese heraldic flags of the samurai period and the present day.
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CD ROM with vector coats of arms and flags of Russian regions (republics, oblasts, krais, fedearl cities and districts -- subjects of Russian Federation) / Диск включает векторные изображение утвержденных гербов и флагов субъектов Российской Дедерации
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Adygea, Altay, Bashkortostan, Buryatia, Chechenia, Chuvashia, Crimea, Dagestan, Ingushetia, Kabardino-Balkaria, Kalmykia, Karachay-Cherkessia, Karelia, Khakassia, Komi, Mari-El, Mordovia, North Ossetia-Alania, Tatarstan, Tuva, Udmurtia, Yakutia-Sakha
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Regional Flags and Arms in the North-West of Russia, by Viktor Anatolyevich Lomantsov; Flags and Arms of the Volga Regions of Russia by Mikhail Vladimirovich Revnivtsev and Viktor Anatolyevich Lomantsov
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The Flags and Arms of the Siberian Regions of Russia, by Mikhail Vladimirovich Revnivtsev and Viktor Anatolyevich Lomantsov; The Flags and Arms of the Ural Regions by Viktor Anatolyevich Lomantsov; and The Flags and Arms of the Far East Regions of Russia by Viktor Anatolyevich Lomantsov
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The Flags and Arms of the Regions of Russian, by Mikhail Vladimirovich Revnivtsev; The Arms and Flags of the Regions of Central Russia, by Viktor Anatolyevich Lomantsov; and The Flags and Arms of the Black Earth Regions of Russia, by Viktor Anatolyevich Lomantsov
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Stained glass windows make an impression by pictorial and symbolic means and communicate many things to many people. These windows—first used in churches to teach the gospel story to laypeople—have evolved from a solely religious form of devotion into the secular world. Memorial windows have been commissioned in colleges, libraries, state capitols, museums, and memorials to convey the spirit of their time period. These “tapestries of colored lights”, which use images of flags, coats of arms, and other symbols, tell a story—speaking to all generations—maintaining present the history of the past.
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Flag designs will come into their own if the special qualities of flags are taken into account. The wind plays an important role in that. So, horizontal patterns will wave better than vertical ones if the flag flies from a vertical mast. Objects moved to the hoist will have better visibility. Using the practice of pars-pro-toto makes flags simpler and more readily recognizable from a distance. And complicated symbols or human figures on coats-of-arms can be translated into clear symbolism. This is how Dutch local flags were and still are designed and can be seen in many examples. This way of designing local flags can now also be seen in abundance in Flanders, the Czech Republic, some parts of Spain, and Puerto Rico.
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Discusses the flags of Courland, an area that is now the western part of the Republic of Lativa.
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Among the most common motifs in U.S. state flag design is the placement of a state seal or achievement of arms on an undivided field. Vexillographically speaking, however, sigillary flags fail the tests of distinctiveness and visibility. As an exercise in flag design that may prove both vexillologically and heraldically sound, as well as more politically palatable than a de novo design, we present the designs for armorial banners of U.S. states – both in square form and in the 2:3 ratio likely to be used if a state were to adopt an armorial banner as its state flag.
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