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Сонцето и лавот како симболи се појавуваат во материјалната и духовната култура во Македонија од памтивек. Предмет на истражување во оваа теза се лавот и сонцето како симболи, со посебен осврт на нивната употреба на знамиња и грбови поврзани со Македонија. Истражувањето опфаќа два периода, периодот пред формирањето на Македонската држава, до 1944 година и периодот до денес. Темата е мултидисциплинарна, па затоа се земаат предвид етнолошки, историски, социјални, социолошки, правни и политички аспекти. Целта на истражувањето е да се опише и класифицира типологијата на атрибутите на сонцето и лавот и на тој начин да се провери нивниот континуитет до денес, како симболи за идентификација на територијата и колективот, изразени на грбови и знамиња. Лавот како симбол се среќава на грбовите и знамињата, главно од средниот век до почетокот на 20 век, поврзан со припишаниот грб на Александар Македонски. Сонцето како симбол се наоѓа на грбовите и знамињата во Македонија од почетокот на 20 век, главно како симбол на слободата и новиот свет (систем). The sun and the lion as symbols appear in the material and spiritual culture in Macedonia from time immemorial. The subject of research in this thesis is the lion and the sun as symbols, with particular reference to their use on flags and coat of arms connected to Macedonia. The research covers two periods, the period before the formation of the Macedonian state, until 1944 and the period until the present. The topic is multidisciplinary, so ethnological, historical, social, sociological, legal and political aspects are taken into account. The purpose of the research is to describe and classify the typology of the attributes of the sun and the lion and thus to check their continuity to date, as symbols for identification of territory and collective, expressed on coats of arms and flags. The lion as a symbol is found on the coats of arms and flags, mainly from the Middle Ages until the beginning of the 20th century, connected with the attributed coat of arms of Alexander the Great. The sun as a symbol is located on the coats of arms and flags in Macedonia from the beginning of the 20th century, mainly as a symbol of freedom and the new world (system).

This thesis focuses on the preservation and interpretation of Alabama Confederate battle flags, mainly those at the Alabama Department of Archives and History. I study the complex history of Confederate flags, along with the now almost singularly known ‘Rebel flag’, in order to better understand modern day preservation and interpretation attempts both at the ADAH and other historic venues across the United States. This thesis explores the society that existed before the Civil War in the southern United States and how that unique culture was eventually tangibly embodied within those flags. I also research the wartime use of Confederate flags to understand what they meant in the context of those times and how they were used as utilitarian military objects in combat, but took on greater meaning and developed in to a source of pride for the men who fought under them. I then explore the post war history of the flags, from their repatriation to archival repositories across the South, to their use by the KKK, and their place in Southern culture. Finally, I briefly explore contemporary issues concerning the flags and how those factors influence their preservation and interpretation. Lastly, I discuss the latest trends at the ADAH concerning the preservation and interpretation of Alabama Confederate flags.

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.

During the last two centuries the authenticity of Francisco Pizarro’s Banner of Arms preserved by the National Museum of Colombia has been under discussion. The Banner collected in 1825 by General Sucre, has been catalogued as an unique object part of the history in the reunion of two societies, the Old and the New World. By first time a multi-analytical research is done to the Banner. Chromatographic, spectroscopic and microscopic techniques are combined with radiocarbon dating to characterize the different material components of the object and clarified it age and provenance. The analytic results with the historical documentation, allow to postulate that the Banner comes from an European manufacture, around the 16th century, arriving to America’s lands possibly by Pizarro’s expedition. Nevertheless, the Banner does not represent to Pizarro. In contrast, by the Banner manufacture, elements (weaved degummed silk, natural dyes (brazil wood, cochineal, indigotin and luteolin base) and silver gilded threads) and the coat of arms present on it, it is possible to postulate that the Banner represents the Royal Banner of the America’s Conquest under the Crown of the King of Spain Charles V to symbolize his Realm in the New World.

This thesis provides an analysis of the history of the new South African flag of 1994. It presents an overview account of the South African flag legacy from the early colonial period through to the first national flag of the Union of South Africa in 1928. Its main concern however is the process which culminated in the raising of a new national flag on 27 April 1994. It shows how the flag issue was integral to the negotiations aimed at addressing South Africa’s political future and it is within this context that it sets out the steps taken to address the matter. It also recounts how the process initially floundered before the current design - which has become one of the primary graphic symbols of identification for the new South Africa and its people - finally came into being. Despite the initial reaction to the design, it unpacks the extent to which the flag has been embraced by the South African population at large which has far exceeded expectation. Apart from its visual success, the flag is symbolic of the convergence and unification which is inextricably linked to the freedom and democracy which the new political dispensation encapsulated.

This dissertation engages America's illustrated sheet music through topical analyses of political and social ruptures from the Civil War to World War I. In so doing, it demonstrates that music illustrations fit into larger networks of American picture making, participating in the recording and redirecting of contemporary American anxieties. Chapter 1: Bloody Banner, Silent Drum: The Material Wounded on Civil War Sheet Music argues that violated flags and drums in music illustrations transcended their martial functionality to signify loss of innocence and life; in so doing, they took on their own subjectivity. Chapter 2: Banjos, Rifles, and Razors: Picturing American Blackness investigates the transition from black-face minstrel songs to the "coon song craze" of the 1880s and 1890s, arguing that the stock character's razor, a weapon frequently figured in the songs, was not only a symbol of violence but of white fears of black social mobility. Chapter 3: Hoopskirts and Handlebars: Gender Construction and Transgression in Victorian America offers two case studies, one of cross-dressing pictures after the Civil War, the other of gendered bicycle images, arguing that the American public between the war and the turn of the century enjoyed contemplating the flexibility of gender roles and boundaries. Chapter 4: "There Were Giants in the Earth": Monsters of the First World War argues that popular pictures of American giants and monstrous war machines engaged in symbolic battle with monstrous Huns, who symbolized German atrocity for a Euro-American public uncomfortable with the idea of war with European peoples. At the same time, giants represented the common belief of America's special role in international peace, as neutrality gave way to declared war. Sheet music illustration was a vibrant part of American visual culture. By assessing the layered meanings of these often ignored pictures, my dissertation seeks to recover and restore lost memories of America's usual but fraught visual romance with popular song.

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.