Red and White: a Roman Color Symbol
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Representations of the Color Green in Shakespeare
Representations of the Color Green in Shakespeare MATSUDA Misako The color symbolism in English Renaissance literature is no longer innovating topic for students of literary history,1 however, figurative meaning of colors in literary works from the Middle Ages to the sixteenth century deserves further research for the understanding of complicated changing symbolism of colors. As Don Camerron Allen points out, the English poets learned continental color symbolism, and applied it to their works. He lists four treatises which serves as the main stock of the color imagery for the English writers: Alciatus’Emblemata, Giovanni de Rinaldi’s Il mostruossimo mostro (1592), Fulvio Pellegrino’s Significato de’ Colori e di’ Mazzolli (1593), a commentary on a popular sonnet; and a Trattato dei Colori di Sicille Araldo del Alfonso d’ Aragona.2 Among these, Sicille Araldo is one of the most influential writings on colors, which Cesare Ripa consulted when he compiled Iconologia.3 Jean Courtois’s Le Blason des Couleurs, the French version of Sicille Araldo, was written in French in 1435―58. It was first published in 1495 in Paris, and the enlarged edition was published in the beginning of sixteenth century. In France the book was reprinted at least fourteen times by the end of the sixteenth century.4 The book also became popular in Italy during the sixteenth century where it was reprinted six times. These Italian and French treatises discuss colors in terms of their physical substance and psychological effect. Colors are not just colors, but different colors were associated with different human sentiments. Each color has had several figurative meanings from classical times, and was related to each other to represent inward passions, virtues and vices. -
White by Law---Haney Lopez (Abridged Version)
White by Law The Legal Construction of Race Revised and Updated 10th Anniversary Edition Ian Haney Lόpez NEW YORK UNIVERSITY PRESS New York and London (2006) 1│White Lines In its first words on the subject of citizenship, Congress in 1790 restricted naturalization to “white persons.” Though the requirements for naturalization changed frequently thereafter, this racial prerequisite to citizenship endured for over a century and a half, remaining in force until 1952. From the earliest years of this country until just a generation ago, being a “white person” was a condition for acquiring citizenship. Whether one was “white” however, was often no easy question. As immigration reached record highs at the turn of this century, countless people found themselves arguing their racial identity in order to naturalize. From 1907, when the federal government began collecting data on naturalization, until 1920, over one million people gained citizenship under the racially restrictive naturalization laws. Many more sought to naturalize and were rejected. Naturalization rarely involved formal court proceedings and therefore usually generated few if any written records beyond the simple decision. However, a number of cases construing the “white person” prerequisite reached the highest state and federal judicial circles, and two were argued before the U.S. Supreme Court in the early 1920s. These cases produced illuminating published decisions that document the efforts of would-be citizens from around the world to establish their Whiteness at law. Applicants from Hawaii, China, Japan, Burma, and the Philippines, as well as all mixed- race applicants, failed in their arguments. Conversely, courts ruled that applicants from Mexico and Armenia were “white,” but vacillated over the Whiteness of petitioners from Syria, India, and Arabia. -
On the Symbolism of Color in Dubliners
US-China Foreign Language, June 2018, Vol. 16, No. 6, 343-346 doi:10.17265/1539-8080/2018.06.007 D DAVID PUBLISHING On the Symbolism of Color in Dubliners ZHANG Tian-yi, JIA Xiao-yun University of Shanghai for Science and Technology, Shanghai, China This article researches the function of color symbols on expressing the theme by analyzing the original text. By doing such researches, the relationship of symbol with deepening the theme can be clearly revealed. Keywords: Dubliners, Jam Joyce, color symbolism Introduction In creating Dubliners, Jam Joyce chooses the capital of Ireland as its background and vividly describes various kinds of lifestyle and mentation in order to uncover the numbness of people and paralysis of the whole society. This short story made up of 15 stories displays the fierce conflict between people and the whole society and the bitter feeling after failure (Qiang, 2004). Color Symbols As one of the important rhetoric method, color symbol has strong metaphorical meaning. It is often used to describe abstract things and people’s character, living features and mood, which makes the expression vividly (Li, 2007). Different colors brings various kinds of feelings for human beings, this is to say, different colors represent different moods, so we can judge moods, beliefs, nature of people through colors. In this novel, the author uses a lot of colors to vividly express the numbness of people in current society as a result of the brutal war. It’s very hard for people to gain confidence after war. So most people remain stagnate to escape the pain brought by the sufferings. -
A Brief History of Colour, the Environmental Impact of Synthetic Dyes and Removal by Using Laccases
molecules Review A Brief History of Colour, the Environmental Impact of Synthetic Dyes and Removal by Using Laccases Leidy D. Ardila-Leal 1, Raúl A. Poutou-Piñales 1,*,† , Aura M. Pedroza-Rodríguez 2 and Balkys E. Quevedo-Hidalgo 3 1 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Biotecnología Molecular, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] 2 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Microbiología Ambiental y de Suelos, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] 3 Grupo de Biotecnología Ambiental e Industrial (GBAI), Laboratorio de Biotecnología Aplicada, Departamento de Microbiología, Facultad de Ciencias, Pontificia Universidad Javeriana (PUJ), Bogotá 110-23, DC, Colombia; [email protected] * Correspondence: [email protected]; Fax: +57-1320-8320 (ext. 4021) † Present address: Carrera 7ma No. 43–82, Edificio 50 Lab. 124, Bogotá 110-23, DC, Colombia. Abstract: The history of colour is fascinating from a social and artistic viewpoint because it shows Citation: Ardila-Leal, L.D.; the way; use; and importance acquired. The use of colours date back to the Stone Age (the first news Poutou-Piñales, R.A.; of cave paintings); colour has contributed to the social and symbolic development of civilizations. Pedroza-Rodríguez, A.M.; Colour has been associated with hierarchy; power and leadership in some of them. The advent Quevedo-Hidalgo, B.E. A Brief of synthetic dyes has revolutionized the colour industry; and due to their low cost; their use has History of Colour, the Environmental spread to different industrial sectors. -
Color Chart Colorchart
Color Chart AMERICANA ACRYLICS Snow (Titanium) White White Wash Cool White Warm White Light Buttermilk Buttermilk Oyster Beige Antique White Desert Sand Bleached Sand Eggshell Pink Chiffon Baby Blush Cotton Candy Electric Pink Poodleskirt Pink Baby Pink Petal Pink Bubblegum Pink Carousel Pink Royal Fuchsia Wild Berry Peony Pink Boysenberry Pink Dragon Fruit Joyful Pink Razzle Berry Berry Cobbler French Mauve Vintage Pink Terra Coral Blush Pink Coral Scarlet Watermelon Slice Cadmium Red Red Alert Cinnamon Drop True Red Calico Red Cherry Red Tuscan Red Berry Red Santa Red Brilliant Red Primary Red Country Red Tomato Red Naphthol Red Oxblood Burgundy Wine Heritage Brick Alizarin Crimson Deep Burgundy Napa Red Rookwood Red Antique Maroon Mulberry Cranberry Wine Natural Buff Sugared Peach White Peach Warm Beige Coral Cloud Cactus Flower Melon Coral Blush Bright Salmon Peaches 'n Cream Coral Shell Tangerine Bright Orange Jack-O'-Lantern Orange Spiced Pumpkin Tangelo Orange Orange Flame Canyon Orange Warm Sunset Cadmium Orange Dried Clay Persimmon Burnt Orange Georgia Clay Banana Cream Sand Pineapple Sunny Day Lemon Yellow Summer Squash Bright Yellow Cadmium Yellow Yellow Light Golden Yellow Primary Yellow Saffron Yellow Moon Yellow Marigold Golden Straw Yellow Ochre Camel True Ochre Antique Gold Antique Gold Deep Citron Green Margarita Chartreuse Yellow Olive Green Yellow Green Matcha Green Wasabi Green Celery Shoot Antique Green Light Sage Light Lime Pistachio Mint Irish Moss Sweet Mint Sage Mint Mint Julep Green Jadeite Glass Green Tree Jade -
A Cross-Cultural Analysis of Symbolic Meanings of Color
Chang Gung Journal of Humanities and Social Sciences 7:1 (April 2014), 49-74 A Cross-Cultural Analysis of Symbolic Meanings of Color Hui-Chih Yu* Abstract The main purpose of this paper is to extend the scope of English knowledge about color so as to arouse the interest of students in learning English through the use of color terms. Color not only fills our world with beauty but provides a source of inspirations, which would stimulate the fancy of students to increase the interest of their life. Color serves as a means of communication. The communicative qualities of a color can be defined in terms of natural and psychological associations. Occurrences of colors in nature are universal and timeless. However, color may generate another level of meaning in the mind. This color symbolism arises from cultural, mythical, historical, religious, political, and linguistic associations. The symbolic meanings of color words reveal wide-ranging connotations in cultures including positive and negative meanings. The paper will examine human cognition of colors, explore the origin of primary colors, and analyze the meaning of color in different cultures. The awareness of how and why colors communicate meaning will be explained. Finally, an approach to teaching students how to use color terms in different situations will be presented. Keywords: Color, Element, Connotation, Symbolism, Mythology * Associate Professor, Department of English, Shih Hsin University, E-mail: [email protected]. The author is thankful to two anonymous referees for their valuable comments and suggestions. Chang Gung Journal of Humanities and Social Sciences 7:1 (2014) 1. -
Tyrian Purple: Its Evolution and Reinterpretation As Social Status Symbol During the Roman Empire in the West
Tyrian Purple: Its Evolution and Reinterpretation as Social Status Symbol during the Roman Empire in the West Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Ann Olga Koloski-Ostrow and Andrew J. Koh, Advisors In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Mary Pons May 2016 Acknowledgments This paper truly would not have come to be without the inspiration provided by Professor Andrew Koh’s Art and Chemistry class. The curriculum for that class opened my mind to a new paradigmatic shift in my thinking, encouraging me to embrace the possibility of reinterpreting the archaeological record and the stories it contains through the lens of quantifiable scientific data. I know that I would never have had the courage to finish this project if it were not for the support of my advisor Professor Ann Olga Koloski-Ostrow, who never rejected my ideas as outlandish and stayed with me as I wrote and rewrote draft after draft to meet her high standards of editorial excellence. I also owe a debt of gratitude to my parents, Gary and Debbie Pons, who provided the emotional support I needed to get through my bouts of insecurity. When everything I seemed to put on the page never seemed good enough or clear enough to explain my thought process, they often reminded me to relax, sleep, walk away from it for a while, and try again another day. -
“The White/Black Educational Gap, Stalled Progress, and the Long-Term Consequences of the Emergence of Crack Cocaine Markets”
“The White/Black Educational Gap, Stalled Progress, and the Long-Term Consequences of the Emergence of Crack Cocaine Markets” William N. Evans Craig Garthwaite Department of Economics Kellogg School of Management University of Notre Dame Northwestern University 437 Flanner Hall 2001 Sheridan Road Notre Dame, IN 46556 Evanston, IL 60208 vmail: (574) 631 7039 vmail: (202) 746 0990 email: [email protected] Email: [email protected] Timothy J. Moore Department of Economics George Washington University 2115 G Street, NW Washington, DC 20052 vmail: (301) 442 1785 email: [email protected] Abstract February 2015 We propose the rise of crack cocaine markets as an explanation for the end to the convergence in black-white educational outcomes in the US that began in the mid-1980s. After constructing a measure to date the arrival of crack markets in cities and states, we show large increases in murder rates after these dates. Black high school completion rates also declined and we estimate that factors associated with crack markets and contemporaneous increases in incarceration rates can account for between 37 and 73 percent of the fall in black male high school completion rates. We argue that the primary mechanism is reduced educational investments in response to decreased returns to schooling. The authors thank Jen Brown, Shawn Bushway, Meghan Busse, Jon Caulkins, Amitabh Chandra, Kerwin Charles, Paul Heaton, Dan Hungerman, Melissa Kearney, Jon Meer, Richard Murnane, Derek Neal, Emily Oster, Rosalie Pacula, Peter Reuter, Bruce Sacerdote, -
Literary Analysis: Color Symbolism in the Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov
Yaffe, Kyle. “Literary analysis: Color symbolism in The Great Gatsby, by F. Scott Fitzgerald.” Helium 8 Nov. 2008. Web. 29 July 2013. Vibrant, deadly, deceiving, innocent - colors are the dominating symbols utilized by F. Scott Fitzgerald in his masterpiece The Great Gatsby . Daniel J. Schneider, the Chairman of the Department of English for Windham College, states, "The vitality and beauty of F. Scott Fitzgerald's writing are perhaps nowhere more strikingly exhibited than in his handling of the color symbols in The Great Gatsby." Throughout the book characters, places, and objects are given "life" by colors, especially the more prominent ones. The colors of white, yellow, and green are the most eminent, easily distinguishable from the rest, and representing purity, death, and hope. Such strong symbolic colors are seen continually, and exist to provide a higher and more in depth meaning to the book. "White is one of the main symbolic colors in The Great Gatsby, representing purity, innocence, and honesty" (Adam H.). Nick Carraway, Jay Gatsby, Jordan Baker, and Daisy Buchanan all directly exemplify Adam's statement. Nick considers himself the only truly honest person he knows (Fitzgerald 60) and often wears white, such as when he attends one of Gatsby's parties for the first time. This event being considerably significant, Nick wanted to make the best impression he could - that is, appearing untainted and honest - for Gatsby and the other guests. Gatsby also adorns himself in white when he finally reunites with Daisy after five years of separation. "and Gatsby, in a white flannel suit, silver shirt, and gold-colored tie, hurried in" (Fitzgerald 84). -