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Lovran u Krležinu životu nije tek, kako se to na prvi pogled čini, usputna stanica. To je mjesto važna prekretnica prije puta u Galiciju i novih književnih djela. U Lovranu je Krleža tijekom oporavka 1916., u vrijeme Prvoga svjetskog rata, razmišljao o životu i smrti te vjerojatno i o svojemu stvaralaštvu (preuzeo je cijankalij za ratište i uskoro će spaliti rukopise). O Lovranu piše u tekstovima diskurzivnoga književnog roda (Davni dani, Dnevnik 1943. i Izlet u Istru). Navedeno se mjesto javlja i u njegovim poznatim književnim djelima (Tri domobrana, Povratak Filipa Latinovicza i Zastave), ne kao ključan motiv, nego kao onaj koji nam pomaže doživjeti likove. Lovran, kao i cijeli Kvarner, vrijedan je istraživanja u kontekstu Krležina života i stvaralaštva. Čini se kako ima nemalu vrijednost te kako preko njega možemo doći do brojnih saznanja o Krleži i njegovim pojedinim djelima., Although it might seem as such at the first glance, Lovran was not an unimportant station for Krleža. That place was his important turning point before the journey to Galicia and new literary work. He spent time recovering in Lovran in 1916, during the World War I, thinking about life and death and, probably, about his creative work (he received cyanide for a battlefield and soon he burnt his manuscripts). He wrote about Lovran in discursive literary texts (Olden Days, Diary 1943, and Journey to Istria). This place is also mentioned in his well-known literary works (Three Guardsmen, The Return of Philip Latinowicz and Banners), not as main motive, but as one that is important to understand the characters. Lovran, just like the entire area of Kvarner, is worth exploring in the context of Krleža’s life and work. It seems like Lovran is offering a valuable insight about Krleža and some of his works.

This study aims to identify the form of imperative speech that positively affects banners in Pekanbaru City and analyses the meaning and function of imperative speech, which positively affects banners in Pekanbaru City. This research includes the form, meaning, and function of imperative speech, which positively affects banners in Pekanbaru City. This type of research is qualitative research with descriptive methods. Data collecting techniques are documentation techniques, by capturing images taken directly, so the real results are obtained. Imperative speech forms with a positive meaning on banners in Pekanbaru City are 33 ordinary imperative, 31 requests, and six prohibitions. Imperative speech with a positive meaning on banners in Pekanbaru City were: 14 orders, 13 requests, ten persuasion, and 33 invitations. Imperative speech functions with a positive meaning on banners in Pekanbaru City are 56 about invitations and 14 about requests.

В статье впервые обобщены сведения о пожалованных Уссурийскому казачьему войску и его строевым частям в конце XIX — начале XX в. войсковых регалиях и знаках отличия, которыми являлись знамёна, насека, высочайшие грамоты, одиночные белевые петлицы на воротники и обшлага рукавов мундиров нижних чинов, а также знаки на головные уборы с надписью «За отличие в войну с Японией в 1904 и 1905 годах», приведены их описания. Рассматривается формирование строевых частей войска и их участие в военных конфликтах. В научный оборот введены новые документы, раскрывающие обстоятельства пожалования в 1914 г. и вручения в 1916 г. ранее почти неизвестной исследователям регалии — знамени Уссурийского казачьего дивизиона, строевой части войска, вновь образованной в Первую мировую войну. Прослежена судьба ряда регалий. Публикуется информация о хранящихся в фондах Государственного центрального музея современной истории России (г. Москва), принадлежавших войску знамени и штандарте, которые определяются авторами как знамя Уссурийского казачьего войска, пожалованное в 1907 г., и знамя Уссурийского казачьего дивизиона 1914 г. Эти знамёна во время Гражданской войны были вывезены уссурийскими казаками в Китай и после Советско-японской войны 1945 г. переданы советским представителям., For the first time, the paper summarizes information about conferred military regalia and insignia to the Ussuri Cossack Army and its combat units from the late 19th century until the early 20th century: banners, maces, the highest diplomas, single white buttonholes on the collars and cuffs of the sleeves of the uniforms of the lower ranks as well as signs on headdresses with the inscription “For distinguished conduct during the War with Japan in 1904 and 1905”. Also, their descriptions are given. The formation of combat units of the army and their participation in military conflicts is examined. The new documents have been introduced into the scientific discourse revealing the circumstances of the award in 1914 and the presentation in 1916 of a regalia previously almost unknown to researchers — the banner of the Ussuri Cossack division — a combat unit of the army newly formed during the First World War. The fate of a number of regalia is traced. The information about the banner and the standard that belonged to the army and is stored in the funds of the State Central Museum of Contemporary History of Russia (Moscow) is published. The authors define them as the banner of the Ussuri Cossack Army, granted in 1907, and the banner of the Ussuri Cossack division of 1914. These banners were brought to China by the Ussuri Cossacks during the Civil War and handed over to Soviet representatives after the Soviet-Japanese War of 1945.

Photograph of red banners in Chinese and Tibetan hanging from the walls of the Potala Palace, reading and colorful flags at the base in Lhasa.

Indonesia is experiencing a significant increase in the spread of Covid-19 cases, especially in the middle of 2021. Efforts made by the government to reduce the spread of Covid-19 include instructions for implementing the 5M health protocol (Wearing masks, Washing hands, Keeping distance, Staying away from crowds, Reducing mobility). ) and Vaccination. The purpose of this community service activity is to educate the community, especially the community around Wonorejo Village, Tegalsari District, Surabaya City to increasingly implement and comply with the 5M health protocol and support the government's vaccination program so that the spread of Covid-19 can be reduced. The method applied in community service activities by this group of 10 Thematic National Defense Community Service Programs is by conducting education using a media banner about Steps to restore the situation in Indonesia through the government's vaccination program, as well as complying with the 5M health protocol and vaccination based on the Covid-19 prevention protocol of the Ministry of Health. Republic of Indonesia. The results of community service carried out by a group of 10 Thematic National Defense Community Service Programs in 2021, making and installing 5M banners and vaccinations in the Wonorejo Village, Tegalsari District, Surabaya City can run well

The Second World War produced many iconic photographs. Among these were two famous photographs of flag-raisings. Americans are most familiar with Joe Rosenthal’s photo of United States Marines raising the Stars and Stripes over Mount Sarabachi on the Japanese island of Iwo Jima. In the Soviet Union and modern Russia, the best known flag-raising photo from the war is Evgennyi Khaldei’s photo of Soviet soldiers raising the red banner with the hammer, sickle and star over the Reichstag in Berlin. When this photo is published it is usually labeled in Russian as “Znamia Pobedy nad Reikhstagom”, or “Banner of Victory over the Reichstag”. It is not only used to illustrate the end of the war, but has also become a powerful symbol of the Soviet victory over Fascist Germany. In some written accounts about the photograph it is linked to the “Znamia Pobedy”, or Victory Banner – a historical flag, museum artifact, and Soviet relic that is still treasured in post-Soviet Russia. This banner (and reproductions of it) have become a regular feature of the Victory Day parades held annually on May 9 since the end of the war. Some discussions of the Znamia Pobedy suggest that the flag in Khaldei’s photo and the flag in the museum are one in the same. Others, however, suggest that these are two different flags and that they are just a few of the many red banners raised over the Reichstag building during the final battle for Berlin. Further confusing the issue, the term “Znamia Pobedy” also refers to replicas of the museum artifact flag that are used on Victory Day. In early post-Soviet Russia a proposal was made to change the design of the Victory Banner to eliminate Soviet symbolism. However, changing a relic is not easy to do, so today the Znamia Pobedy retains its hammer, sickle, and star. This paper will examine the many aspects of the Victory Banner including the Khaldei photo, the museum relic, and the role of the banner in Russia and elsewhere today.

165-168 Цель - показать формы и средствах визуализации образов парков культуры и отдыха Омска. Метод - аналитическое изложение. Результат - преобразование и развитие культурного ландшафта городской среды. The purpose - to show forms and visualization tools of images of recreation parks of Omsk. A method - an analytical statement. Result. Result - transformation and development of a cultural landscape of the urban environment.

165-168 Цель - показать формы и средствах визуализации образов парков культуры и отдыха Омска. Метод - аналитическое изложение. Результат - преобразование и развитие культурного ландшафта городской среды. The purpose - to show forms and visualization tools of images of recreation parks of Omsk. A method - an analytical statement. Result. Result - transformation and development of a cultural landscape of the urban environment.

Cet article présente les résultats d’une enquête sur la sémiotique des drapeaux, et emblèmes confectionnés par les publics au festival des Vieilles Charrues, en Bretagne. Aux côtés de la sémiotique, l’anthropologie de la communication s’est imposée aux enquêteurs pour aborder les pratiques festivalières et analyser les usages de ces formes totémiques qui participent à l’expérience musicale en festival. Enfin, dans une perspective épistémologique, ce point de vue sert également le questionnement autour de l’intérêt d’une sémio-anthropologie de la communication pour observer les pratiques festivalières en sciences de l’information et de la communication. This article presents the results of a research focusing on the use of flags, banners and other tokens used by the festival-goers at the Vieilles Charrues Festival. The anthropology of communication is essential for the researchers to accurately tackle the festival-goers practices and analyse the different uses done with these symbolic forms which participate in the musical experience that a festival offers. Considering an epistemological perspective, this standpoint also favors a better understanding of the use of the anthropology of communication as way to address the field for the Information and Communication Sciences.

La publicidad en la web seguirá evolucionando a la misma velocidad que lo ha hecho hasta ahora. En primer lugar la actual incongruencia entre el tipo de contenidos existentes en la web y las manifiestas preferencias del colectivo de usuarios más numeroso, pro­ vocará el auge del patrocinio que se centrará en las páginas y portales dedicadas a la información de calidad y al entretenimiento. En segun­ do lugar el lógico y progresivo descenso del click-through y la previsi­ ble coexistencia durante un tiempo bastante amplio de las dos veloci­ dades en las conexiones de Internet, incrementará la inversión en ban­ ners y éstos, ante la imposibilidad de ganar en espectacularidad visual a través del preciosismo fotográfico, tenderán a desarrollar la narra­ ción audiovisual. Advertising in the web will develop at the same speed than up to now. In the first place the actual íncongruíty of the type of con­ tent that the web offers and the demands of its major audience, will lead to an increase of sponsorship, mainly of pages focused on high quality information and entertainment. Secondly, the logical and pro­ gressive decrease of click-through and the foreseeable coexistence during quite a long period of the two speeds in the internet conexion, will augment the investment on banners, which, taking into account the impossibility of major visual spectacularity through elaborate pho­ tography, will tend to develop audiovisual narrative.