Black Apparel and Color Symbolism in A Game at Chess

In our daily life colors are never isolate, but always presented together with other colors. Colors effectively communicate visual images, enabling the association of ideas and symbolic meanings based upon individual senses and experiences. Color symbolism seems to be how individuals associate colors with things, objects, psychological or physical space with in the culture. This article analyzes the application of colors and symbolic meanings of the opposite hue sensation and is conventional meanings, eight fully saturated chromatic colors were chosen from the Munsell color system: Red, yellow, green, blue, yellow-red (orange), green-yellow (apple green), blue-green (turquoise), red-blue (purple). Apart from these eight hues, two achromatic colors black and white were also used. Subject were pick word for psycho logical associations meaning e.g., danger or safety, go or stop... etc., the objective of the present study was to examine color associations across culture and how it communicates with in culture. In experiment, 104 participant s from Taiwan and American were participating (56 males and 48 females). Overall results, a color related to emotion is highly dependent on sex, age and personal preference culture associations and ones pas t experience with particular color. Overall result form the survey test shown. Out of all color red/green: go-stop had most Knowles able significant difference within culture and sex, and all other color have some different between sex/culture. Results also suggest that individuals rely on at least two different representational models of color experience: (1) lexical, conforming to the culture's representation, and (2) individual perceptual organizing each color sensation to person experiences can differentially influence observer's behavior in color similarity.

Two epochs of British cultural memory claim prominent positions in the intertextual depositories of Byatt’s fiction: the English Renaissance and the Victorian Age. Much of the cultural data inscribed into the intertextual depository of Byatt’s tetralogy refers to the English Renaissance, whilst the Victorian Age features strongly in her two biographic metafictions. As I have argued in Chapter 8, Byatt’s tetralogy conceptualizes the figures of Shakespeare and Elizabeth I as the two prevailing cultural paradigms that determine Frederica’s search for her identity. As outlined in Chapter 9, the novels represent literary texts of the English Renaissance as cultural texts which form Frederica’s identity. Furthermore, the Elizabethan Age — which is part of the wider historical and cultural context of the English Renaissance — features prominently in The Virgin in the Garden, since the novel alludes to Elizabethan history (e.g. VG, p.130, pp.171-2, p.321, p.376) and discusses elements of English Renaissance culture such as the cult of Elizabeth I (VG, pp.132-3, pp.180-1), colour symbolism in Renaissance clothing (VG, pp.144-5), and Renaissance visual art (VG, pp.186-7). What is more, The Virgin in the Garden is set in the years 1952–1953 and witnesses the accession of Elizabeth II. To honour this occasion, the local grandee of Frederica’s home town, Matthew Crowe, organizes a festival which culminates in the staging of Alexander Wedderburn’s verse drama Astraea.KeywordsLiterary TheoryCultural TheoryLiterary TextProminent PositionCultural DataThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

The subject of the article is the symbolic meaning of black color in the culture and folklore of various civilizations, especially in the Russian, French and Chinese traditions. The research aims to identify the evolution of the perception of black color over time and its role in religious, mythological and socio-cultural contexts. The author examines the transformations of the symbolism of the black color, its connection with myths, rituals and ideas about the world in various cultures, as well as its significance as a reflection of social and cultural norms and values. The research is aimed at identifying common and unique features in the perception of black color, its role in religious and ritual practices. The methodology is based on the collection and analysis of cultural texts on the symbolism of the black color in Slavic and Chinese cultures. Comparative analysis and contextual research methods are used to identify the role and significance of black color in culture and society. The novelty of the research lies in the analysis of the symbolism of black color in Russian, French and Chinese cultures through the prism of mythology and folklore. In Russian mythology and folklore, black color is associated with dark forces, death and the afterlife. It is dangerous, but it also has protective properties. In French mythology and folklore, black color is often associated with mystery, magic and riddles. It may symbolize death, but it also carries elegance and style. In Chinese mythology and folklore, black color is usually associated with death and ancestor worship. It can also symbolize power and authority. These results not only expand our understanding of mythological representations, but also highlight the importance of cultural context in interpreting color symbols.

The study of color symbolism in the culture of the Turkic peoples is relevant and necessary, since color reflects the ethnic mentality of the Turkic peoples, their collective social and cultural experience, as well as the individual’s personal psychophysical perception of the world. The visible world is also perceived through color, and therefore color is understood as an act of world vision and world awareness in the human mind. The purpose of this research (article) is to reveal the features of the mental perception of color by the Turkic peoples on the basis of the Orkhon-Yenissei written monuments, in particular, through the prism of ancient Turkic toponyms. The symbolic content of color is analyzed using data from cultural anthropology, history, linguistics, and ethnography. Therefore, the general scientific methods (descriptive, comparative) used in the article, combined with historical and cultural and conceptual-semantic ones, allowed us to reveal the symbolism of co lor in the culture of the ancient turks, to determine their mentality and spiritual views. The Orkhon-Yenissei monuments are evidence of the ancient Turkic civilization and the unique cultural history of the Turkic peoples. The ancient Turkic peoples recorded on stone steles the names of the Turkic khagans, their heroic campaigns and battles, the names of their own and other people’s settlements, settlements and countries, the names of natural objects, in the meaning of which color symbols also played an important role. The article provides a semantic analysis of green, black, and white color symbols, reveals the variety of their meanings that reveal the perception of the world by the ancient Turks. Color symbols are defined as a unique code of the common Turkic culture

The purpose of the article is to study the semantics and role of color symbols in the verbal description of national heraldry, and its relevance is due to the current trend towards an increase in the number of independent states with their own national symbols. The objectives of the research include determining the semiotic specificity of the color symbol, establishing the object prototypes motivating this symbol and identifying new concepts and ideals symbolized in modern national heraldry with the help of color. The study was carried out on the material of the state emblems of countries united by a common language of blazoning, using the technique of analyzing color images. It has been established that in color symbolism there are two types of semiotic units: symbols in which the image refers to some natural standard of color that motivates color, and symbols in which the connection between the expression and the content planes of the semiotic formation turns out to be conventional and conditioned exclusively by cultural tradition. In most cases, the appearance in national heraldry of a particular color or shade of the latter is determined by the taste preferences of the compiler of the coat of arms, but sometimes the symbolic meaning of the color in the blazon is explicitly stated. The content plane of color symbols, which receive an explicit interpretation in state heraldry, is represented both by specific objects, which act here as prototypes motivating the symbol, and by concepts of one or another level of abstraction, and the connection of these concepts with color is not figuratively motivated in any way and is determined exclusively by cultural traditions. The medieval list of secular and Christian virtues, to which the main heraldic colors refer, is supplemented by modern concepts and ideals in the state heraldry of today. At the same time, the black color as a symbol of sadness and mourning does not appear in state heraldry, and there is no purple color in the studied national heraldry. The results of the study lead to the conclusion that the color symbolism reflects the national, cultural and linguistic specificity of the countries that own the state emblem.

Article is devoted to lexical-semantic classification of word-combinations with the color names in fiction. aim of the article is a lexical characteristic of the language and speech means with the color names in the novel N. Hawthorne The Scarlet Letter. In particular, in article the analysis of color symbols, emotionally expressive and grammatical features of expression of color is carried out. It is known that the functions of color terms in prose and color symbolism are connected with national specifics of the language, language is closely connected with culture. Feature of the lexical filling of N. Hawthorne's novel is a huge variety of words and expressions, representing generally adjectives in combination with nouns (a black shadow); separate adjectives (so black and dense); compound nouns, expressing the shades of the color names ( this rose-bush); tint color terms, which are represented by two adjectives (dark and abundant hair); tone color terms presented in the form of a combination with pronouns (other darksome) ; tint color terms expressed by a noun (the darker); color terms expressed by two nouns (the Scarlet Letter); color terms in combination with a participial phrase. Color naming in the novel mainly contain red, white and black colors and their shades. semantic contrast of the color names gives an indication of the opposites: love and hate, passion and indifference, life and death. Along with the metaphors the author uses comparisons between phenomena. With the help of conjunctions like and as the author manages to create visual images that allow a better understanding of a certain shade of the compared colors. As a result of the analysis it was revealed that the lexical filling of colors is represented in the novel mainly by adjectives in combination with nouns or separate adjectives, compound nouns, two adjectives, combined with pronouns, nouns, two nouns, combined with a participial phrase, idiomatic and metaphorical expressions.

This paper is devoted to the issue of color symbolism in poetic text. The relevance of this study is in the fact that the specificity of the linguistic worldview of the people speaking this language is revealed through color epithets in a literary text. The purpose of the study is to identify the symbolism of black color in the poems of Ivan Gogolev and Takamura Kotaro, which will reveal the features of the traditional color symbols of the Yakuts and Japanese. The authors use a systemic, holistic, functional approaches in the study of a work of art, historical-literary and comparative-comparative research methods. The scientific novelty of the research is in the fact that the poetry of Ivan Gogolev and Takamura Kotaro was first considered in terms of the identification of the specific characteristics of color symbolism in works of art. As a result, the authors state that the black color in the culture of Sakha and the Japanese traditionally carries different semantic meanings, denoting practically opposite meanings: "хара" (black) – "lower", "difficult", "bad / evil"; "Kuroi" (black) – "solemn", "wise". With all the differences, it can be noted that in these cultural traditions, a subtle perception of color symbolism is preserved, which is often expressed in numerous shades and half shades. Moreover, the main lexical expression of the color epithet "black" is expressed by a single adjective in both Yakut and Japanese.

Symbolism in prose of V. S. Makanin provides better conveyance of the ideological focus of his works, contributes to the implementation of the author’s narrative strategies, the expansion of the associative background and, in general, the creation of an extensive and dynamic information structure. The main wri­ter’s task is to create visual images, reveal their associative meanings and form an appropriate recipient. Makanin not only uses traditional, universal symbols in his works, but also offers his own individual artistic interpretation, in which a certain writer’s conception is reflected, showing the author’s view on certain phenomena of the surrounding reality. The demand for a symbol is determined by the writer’s desire to find universal forms not only expressing the author’s position, but also revealing the ambivalence of the human nature, the metaphysical nature of being in general. At the same time, symbolism helps to focus the reader’s attention on the unique features of the character’s inner world and to reflect the psychological motivation for his actions so that the reader could fully participate in the creative process and penetrate the essence of the author’s design. The subtext in Makanin’s works is formed with the help of a number of symbolic images, analysis of which is necessary to comprehend the originality of the author’s creative personality and the complexity of the person’s spiritual world. In this article, we focus on two key aspects of the symbolic system in the early prose of Makanin – animalistic and color symbolism, most clearly reflecting the interaction of the traditional and the author’s unique interpretation. The first system consists of the symbols of the wolf, worm, firebird, bear, fish, bird (in particular, hen) and butterfly, the second one consists of the blue, red, black and white color symbols. By analyzing them, we discover that the author focuses on social and psychological aspects of these images, creating the new ways of presenting the man of that time and depicting the Soviet society of the second half of the 20 th century

Colours can draw an identity to all living things. Natural colours can either calm down or disturb a person’s inner Self. At the times of crisis, it tends to give the individual soul wit and hope. Colours also have alchemical significance and can impact every man’s mind in certain ways. Colour representations have been used by many symbolists throughout literary history from the past to the present. Symbolists point out the importance of symbols in the poems of symbolist poetry. Moreover, the use of colour symbolism in literature contributes to the treasure of literary forms. In Canadian literature, Yann Martel holds a prominent position for his adaption of symbols and uses them to portray the inner quest of his characters. Frequently, his symbolism embodies a deep search for a spiritual quest with a religious component. Colour is one of the most important aspects in deciphering the psyche of his heroes. He has constructed various symbolic interpretations that exhibit the spiritual longing of individuals. Many colours like red, black, white, green, orange, etc have been used as symbolic representations to decode the mind set and religious beliefs. Among them, black and white colours play a vital role in an in-depth portrayal of the leading characters. The religious quest of the characters has been satisfied through the identification of colour representations and ancient relics. They were satisfied at the end. Hence, his works depict that colours have symbolic dramatic elements that naturally novelize the central theme of the search for Self. It also emphasizes the development of the Self with the supremacy of faith in the Almighty God. This paper deciphers the black and white colour symbols in the novels, “Self”, “Life of Pi”, “Beatrice and Virgil”, and “The High Mountains of Portugal” of Yann Martel.

The study of the symbolism of traditional culture categories, including the symbolism of colour in folklore studies and toponymic names becomes very relevant due to the revival of many aspects of spiritual culture. Nowadays the symbolism of colour becomes important in the life of a modern person. It accumulates deep meanings. The extent of research done on the topic: In the Altaian folkloristics colour epithets were studied in detail in the research of M. A. Demchinova, V. P. Oinoshev, S. P. Tyukhteneva and others. Up to the present time colour symbolism in the traditional culture of the Altaian people has not been the object of special research. The aim of the study is to highlight some aspects of colour symbolism in folklore art and toponymy of the Altai Mountains. Theoretical comprehension of colour symbolism as a special category in Altaian folklore studies is based on the functional method and has been applied in the researches by S.S. Surazakov, S.P. Tyukhteneva and M.A. Demchinova. The genre symbolism of Altaian folklore seemed to be considered in those researches. The present study includes the usage of a complex of comparative and historical research methods. Being a characteristic and actively used component for a number of ethnonyms, toponyms, hydronyms and to designate religious names colour has a great semantic load in the traditions of Altaians. For example, many Altaian clans (seoki) are divided into smaller units and colours such as white, black and yellow are actively used to name them: ak (white) kobok [kœbœk], karа (black) kobok [kœbœk], kara todosh (black todosh), sary todosh (yellow todosh). There is also a large number of hydronyms and toponyms associated with black, white, yellow, blue and other colours: KaraArka, Sary-Chet, Karakol, Akkem, Karasuu etc. O.P. Molchanova, a researcher of the toponymy of the Altai Mountains, writes about the great importance of some adjectives that indicate colour in the construction of geographical names. The use of colour epithets in folklore works creates a colorful image. The sharply contrasting colours show the opposition of good and evil. There is a hierarchy of colours in traditional culture. Red colour shows the colorfulness of the object being described, also symbolizes health, wealth, a world of prosperity. Grey is typical for poor people, and it has semantics of unhealthiness. There are names with the formant “kan” in the toponymy of Altai. It turns out that the formant “kan” is added to the names of especially revered natural objects. The author of the article suggests that the word “kan” (in the meaning of “blood”) is present in the names of especially revered objects. Research perspectives: The results of the research of colour symbolism in folklore and toponymy of the Altai Mountains can be applied for further study of the characterization of artistic images in literature, folklore and ethnography. The topic requires further research.

The article analyzes some characteristics of the phraseological locution with designation of black color and its negative and positive connotations in the modern Spanish.

article deals with color symbolism in landscape descriptions in the works of a well-known Japanese writer Akutagawa Ryunosuke. landscape can signify the place of an action, create some emotional atmosphere or it can be a significant component of characters psychological characteristic. In his famous story Spinning Gears the author points out some colors that are annoying for him. For example, black color resembles him the sinners' souls of Dante's Hell. Akutagawa's color perception is painful enough as a result of his mental disease. In his novella At the seaside landscape colors are used to depict the inner state of the main characters and their mood. White color of a lotus flower in the novella The Death of a Holy Man, The Spider's Thread is a symbol of peacefulness, beauty, happiness and purity. Red color in the short story Three Men gains negative characteristics and meaning as it is associated with blood and death.

Covering the period from the Spanish Armada in 1588 to publication of the First Folio in 1623, this book presents over 700 biographies of the leading figures of the Shakespearean era, not only in theatre and the arts, but also in politics, the Church, the Court and the secret service.

In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603). The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too. S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.

James Joyce visited Galway and the Aran Islands in 1912 and took advantage of the occasion to write two articles in Italian that he published in Il Piccolo della Sera in 1912. I analyse the vision that Joyce conveyed of the Spanish Armada both in these articles and later in Ulysses (1922) and in Finnegans Wake (1939). Joyce’s knowledge of the 1588-Armada episode and of the shipwrecks of several Spanish vessels in the vicinity of Galway are the result of both the propagandistic narration usually provided by pro-British historiography and by his presumed readings on the history of the city and the nearby Aran Islands. In such writings, Joyce may have intended, on the one hand, to reflect his tacit acceptance of the imperialism exercised by post-Victorian Britain over Ireland, fully convinced that the decline of the Spanish Empire had begun with the Armada’s defeat against Elizabethan England in 1588. He believed this event gave rise to the birth of the British Empire. On the other hand, Joyce reflects in them his only moderate Irish pride for the supposed humanitarian actions of the population of Galway (the birthplace of Nora), a city he described both as “Spanish” and as sympathetic towards the Armada castaways in Ireland. Joyce’s employment of the Irish chapter of the Gran Armada’s historical episode contributes with a relevant insight about his perception of British imperialism in Ireland.