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虽然近代中国的国旗历史可以追溯到清朝末 年，但其国旗法首次通过是在1990年。此后， 中国国旗法经过两次修订，最近一次是在2020 年，其规定比其他制定国旗法的国家更为有 力。该法共24条，涵盖了五星红旗的意义、五 星红旗的大小、悬挂方式、防止五星红旗被不 尊重和被商业使用以及升旗的规则，明确了法 律的监督机构，并阐明了其在宣传和教育中的 作用。与其他一些国家不同，该法具有普遍 性、约束力，并带有强制执行条款。 While China’s national flag history goes back to the late Qing Dynasty, its national flag law was first adopted in 1990. Amended twice since, most recently in 2020, its provisions are more forceful than those in many other countries with flag laws. Its 24 articles cover the significance of the five-star red flag, its sizes, its display, its protection from disrespect and commercial use, and protocols for raising it, specifying the supervisory authority for the law and clarifying its role in publicity and education. Unlike in some other countries, the law is universal, binding, and carries enforcement provisions.

The study of Haitian Vodou—imagining its historical development, interpreting the poetics of its mythology, analyzing its social functions—leads, almost invariably, to the consideration of the effects of hegemony. The symbolic representations and actual manifestations of local and global power have continually impacted Vodou. The aesthetics and ritual implications of Vodou flags (drapo Vodou) in many ways encapsulate the social and political history of Haiti; a past marked by displacement, fragmentation, simulation, and hybridization. This dissertation is presented as a focused study of drapo Vodou in which I examine how the flags embody or signify the adaptive merging of African and European cultural behaviors. In my analysis, I concentrate on evolution and iconography of drapo Vodou and the stylized ways that banners are paraded during ceremonies. These foci offer perhaps the most direct means of getting at the full historical, social, and theological implications of the flags. My central thesis is that, in both form and function, drapo Vodou are patterned after the banners used by the institutional centers of power (e.g. the military and the church) that have dominated Haitian society since the colonial period. I argue that the national and regimental standards carried by colonial and post-colonial military forces, the processional banners employed by Catholic religious orders, and the ensigns used by Masonic lodges have all served, to varying degrees, as models for drapo Vodou. Each of these root traditions, it can be argued, is patently European in origin. Nonetheless, as used in Vodou rites, ceremonial flags play a crucial role in the continued recognition and worship of African or African-inspired deities (lwa ) within Haiti. For this reason, I believe that the study of drapo provides a unique opportunity to delve into the processes by which Vodou practitioners (Vodouists) have transformed European material representations of power (both mundane and otherworldly) into symbolic manifestations of the lwa. The hypotheses regarding the evolution, iconography, and ritual significance of drapo Vodou presented in this dissertation are based on data generated from library and museum research in the United States and fieldwork in Haiti.

Flag use by far-right demonstrators at the 2017 Unite the Right rally is similar to historical flag use in public demonstration by antidemocratic groups seeking to deprive others of equal democratic rights, such as the Nazi Party between 1920 and 1945 and American segregationists during the Civil Rights Movement in the mid-twentieth century. This sort of flag use brings democratic values such as free speech and equal protections into conflict. Since World War II, international democratic norms have shifted to emphasize human dignity and equality, even if it requires limitations on free speech. Germany’s constitutional order is designed to protect democracy from antidemocratic groups in part by criminalizing display of flags representing them. Meanwhile, free speech absolutism in the United States makes it exceedingly difficult to impose legal sanctions for flag use, allowing flags that are in fact hate speech to masquerade as protected political speech.

After an outline of the history, design and uses of the Australian flag, this paper considers the media frenzy and public outcry surrounding the publication of research findings identifying a relationship between the flying of Australian flags on cars for Australia Day and racist attitudes. While the findings did not surprise many social scientists, given the semiotics of the flag and its increasing use as a symbol of exclusion, they were apparently highly contentious for portions of the Australian public. This paper describes and analyses the public reaction using three case studies from among the hundreds of examples. An email, a blog discussion, and a newspaper article, are analysed to demonstrate overlapping themes focussed on racism, patriotism, and nationalism. The chapter concludes that the publicity flagging the relationship between flag use and exclusionary nationalism actually may have worked against the goal of producing a considered debate about appropriate forms of nationalism and flag use, delivering the flag into the hands of exclusionary nationalist.

This chapter looks at the role of flags as national symbols in Hungary. It does so through three case studies. The first flag discussed is the current national colours (red, white and green). It is followed by the so-called ‘Árpád stripes’ (red and white), the colours attributed to the first royal dynasty of Hungary. Finally, the flag of Budapest, the capital city of Hungary, is examined from a historical perspective, with special focus on its relationship with the national colours.

The symbolic functioning of flags is related to many large topics in philosophy and in social sciences. My interest here is in the dialectics of how flags mean. Flags are polysemic and ambiguous, a kind of symbolic nodes grouping several layers of signification. Flags are not images, though, but objects made to be used not contemplated. Once raised, flags may talk. But what they say when talking depends upon the modes of use in communal practices. When used, flags contribute to the staging of an event. They are performative utterances in a specific situation. The paper begins with a short review of modern discourses on the nexus between light, colour, and emotion as unreflective forms of perceiving the world. Drawing upon studies on the contemporary production and reproduction of ways of seeing the chapter then explores in greater detail specific aspects of the dialectics of sense-making through flags. Aside from symbolising as well as iconic and spectacular modes of use banal forms of performance are taken into account. Once there, flags are signs of their own context. What they promote, the paper suggests, is not unity but configurations of common differences. Finally, the article addresses the role of flags for the assemblage of cultural identities of populations connected by digital media and the formation of society in the age of globalisation.

The “circle of twelve golden stars on a blue background” initially adopted by the Council of Europe in 1955, was gradually embraced by the European Union (EU) institutions and now is a widely known symbol of the EU, both within and outside of its external borders. Its widespread use was supposed to support the construction of “European identity” in addition to the existing national identities of the peoples of Europe. The present chapter explores the history and semantics of the European banner in order to appreciate its reception by the European citizens. Drawing from the historical circumstances of its adoption, the chapter then proceeds with the discussion on the use of the “EU flag” in two non-EU countries: Moldova and Serbia. A brief overview of the historical and current political contexts in these jurisdictions explores whether the use of the European symbol in these countries contributed to the “unity in diversity” as the motto of the EU suggests.

Chart that shows flags that can be flipped in different ways, but still look the same. Categories include flags that can be flipped horizontally or vertically; those that are identical when flipped horizontally; flags that are identical when flipped vertically; and flags that can't be flipped.

Discusses the history, development, meaning, and use of the Gwenn ha Du in Brittany as a symbol of Breton identity.

In the United States, Texas alone possesses a flag and seal directly descended from revolution and nationhood. The distinctive feature of both the state flag and seal, the Lone Star, is famous worldwide because of the brief existence of the Republic of Texas (March 2, 1836, to December 29, 1845). For all the Lone Star’s fame, however, there is much misinformation about it. Historians and political scientists have written about the Lone Star, but rarely has their work reflected a legal perspective focused on the available congressional and legislative documents. This article, originally published in the South Texas Law Review in 1992, centers on the legal basis for the creation and evolution of the de jure, or official, flags and seals of Texas and the laws that govern their use. Revision os an earlier article from 1991 (see preface on page 4).

The U.S. Flag Code is a “codification of existing rules and customs pertaining to the display and use of the flag of the United States . . . .” It was “established for the use of such civilians . . . as may not be required to conform with regulations . . . [of the U.S. Military or other] executive departments of the United States.”1 It is not a statute in the sense that it does not command or prohibit actions enforced by punitive measures. In short, there are no penalties, other than the disapproval of others, imposed for failure to comply with the Code’s provisions. There are numerous books, articles, booklets, pamphlets, and flyers that seek to clarify the Code’s fifty- odd rules and it is generally believed that the Code addresses all questions of flag display. There are also “rules” believed to be included, though not actually present in the Code, and practices now popular that were not envisioned when the code was written. While this article will examine in particular the concept of displaying the flag vertically with the stars on “the flag’s own right,” a brief historical sketch of other display conventions and the origins of the Flag Code itself will situate flag display rightly as a malleable set of conventions and traditions, not an immutable body of legally binding rules.