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Mauno viires5/17/2023 ![]() In interpreting colour term-containing motifs and related topics, this article draws on context-centred folklore research (i.e. the premise that colour terms are found in set lexical phrases). The analysis of the songs studied in this article is based on the formulaic concept (i.e. At the same time, they are conspicuous in set phrases, forming formulae, fixed lexical combinations characteristic of the regilaul tradition. Earlier studies on colour terms in the Estonian regilaul have shown that colour terms are rarely found in songs. In this article the occurrence of the colour term ‘red’ is studied comparatively in the regilaul of two Estonian counties. The colour grey represents wisdom but it can also be seen as a colour that disguises magical as ordinary. Possessing a golden object can also hint at the owner’s high moral values. Gold and other metals show the object’s magical characteristics, but at the same time also its value. At the same time, the colour red can be used as an opposite to white, having in this case a negative meaning. The colour red represents health, fertility, and beauty that is why it is frequently used in the descriptions of women. Those meanings remain with them also in case one is being used without the other. In addition to physical description, colours are used to present characters’ or objects’ inner values, also expressing the way they differ from the ordinary, or hinting at the magical qualities they may possess.īlack and white form a pair of opposites, symbolising good and evil, beauty and ugliness, life and death. Also, such colours as grey and gold occupy special places in fairy tales. The colours that are particularly meaningful are black, white, and red. The symbolical meanings of different colours in fairy tales largely overlap with their meanings in folk belief and runo songs. The topic of colour usage also includes the aspect of corporeality that generates a critical discussion on the presentation of a woman in fairy tales. The article presents a research of the usage of colours in Estonian fairy tales and the associations that are created by means of colours. The colors on the six regional logos match the Hex code and color names The results showed the colors in the regional logos were dominated by primary colors. Data were collected through literature and observation. The method used is descriptive, statistical and using feature color picker, Hex and color name finder. Based on this, the purpose of this study is to determine the type of color and to know the Hex code which refers to the color contained in the logos of provinces such as Banten, West Java, Central Java, East Java, DKI Jakarta and DI Yogyakarta. Hex codes which refer to the colors of regional logos are important to know for the use of original colors according to those contained in regional regulations and to maintain the consistency of the logo color. However, in that regulations, there is no Hex codes. In the regional regulations regarding color, there are meanings and provisions for color types. The use of color in regional logos is tied to images as symbols. ![]() Regional logos reflect cultural symbols such as regional peculiarities, regional identities, which is contained in the graphic elements of regional logos such as images, colors and text. Each provincial government has a regional logo. Each Province, City and Regency has a local government to manage the community as representatives of the central government. ![]() Indonesia has 34 provinces, 98 cities and 416 districts. their meanings in different languages coincide and that they appear in languages in a certain order. To make it very brief, Berlin and Kay's main conclusion was that the basic colour terms are universals, i.e. Some of the specifications of their theory will be discussed below. Berlin and Kay's main postulations need not be introduced here in detail, as there are enough reviews of them in Estonia (Allik 1982, Parmasto 1982, Viires 1983). Both take Berlin and Kay's theory as their point of departure, and in both cases it is confirmed, with some concession, in the Balto-Finnic languages. ![]() ![]() The Finnish analogue was Mauno Koski's comprehensive monograph Värien nimitykset suomessa ja lähisukukielissä (Koski 1983). Viires's Eestlaste värvimaailm ('The Estonian's World of Colours') -not so much an exhaustive treatise, but a good example of a perfectly posed question. The weightiest of all these treatments is, no doubt, A. The following years saw the publication in Estonia of a number of articles dealing with the terms, psychology, and symbolism of colours (Allik. Its primary impetus was given by Brent Berlin and Paul Kay"s Basic Color Terms: Their Universality and Evolution (Berlin, Kay 1969), a work that today has become a classic that can hardly be ignored when speaking about the relations of colours and language. This paper could be named an echo of an echo. ![]()
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