scholarly journals Demonstrative symbolization of national identity in the design of the Olympic ceremonial costume

Author(s):  
Tetiana Mykhailova ◽  
Olha Shandrenko

The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece. Key words: design, costume, Olympic ceremonial costume, identity, identification, symbolization, demonstration.

2008 ◽  
Vol 17 (1) ◽  
pp. 155-158
Author(s):  
Vytis Čiubrinskas

The Centre of Social Anthropology (CSA) at Vytautas Magnus University (VMU) in Kaunas has coordinated projects on this, including a current project on 'Retention of Lithuanian Identity under Conditions of Europeanisation and Globalisation: Patterns of Lithuanian-ness in Response to Identity Politics in Ireland, Norway, Spain, the UK and the US'. This has been designed as a multidisciplinary project. The actual expressions of identity politics of migrant, 'diasporic' or displaced identity of Lithuanian immigrants in their respective host country are being examined alongside with the national identity politics of those countries.


2019 ◽  
Vol 60 (5) ◽  
pp. 474 ◽  
Author(s):  
Kwangmin Kim ◽  
Ji Young Jang ◽  
Gilseong Moon ◽  
Hongjin Shim ◽  
Pil Young Jung ◽  
...  

2021 ◽  
Vol 6 (1) ◽  
pp. 39-47
Author(s):  
Xuefeng Bai ◽  
Hongbum Shin ◽  
Soonhwan Lee

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.


Author(s):  
Albert Tsang ◽  
Kun Tracy Wang ◽  
Nathan Zhenghang Zhu ◽  
Li YU

Based on evidence from nine countries that hosted the Olympic Games, we show that relative to firms domiciled in non-Olympics-hosting countries, firms domiciled in Olympics-hosting countries engage in more cross-listing in the years following the Olympics. The effect of hosting the Olympics on firms’ cross-listing activities is more pronounced for firms domiciled in host countries with better performance in the Games; for firms domiciled in countries hosting the Summer Olympics; and for domestic firms. We also find that cross-listing firms domiciled in an Olympics-hosting country tend to cross-list in foreign countries with a greater institutional distance from the host country after the Olympics. Finally, we document a positive effect of Olympics-hosting on the consequences of cross-listing. Taken together, our findings suggest that hosting the Olympics improves the international reputation of the host country, which helps firms domiciled in that country to overcome the liability of foreignness when making cross-listing decisions.


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