The old Magic logo is an iconic symbol that represents the vibrant and captivating world of magic. It is a circular design that features a stylized letter "M" with a magician's hat on top. The logo is predominantly purple in color, which adds a touch of mystery and intrigue to its overall appearance. The use of the letter "M" as the main element of the logo is a clever choice, as it not only represents the name of the game but also conveys a sense of movement and dynamism. The swirling strokes of the letter create a sense of visual motion, suggesting the illusion and enchantment that magic brings. The magician's hat on top of the "M" adds an extra layer of symbolism to the logo.
Natsuko Akagawa is Senior Lecturer at the University of Queensland, Australia. She researches heritage politics, practice and discourse in a global context and is Series General Editor for Routledge Research on Museums and Heritage in Asia. Her recent books include Heritage Conservation and Cultural Diplomacy (2015), and Safeguarding Intangible Heritage (2019).
Covering a wide range of cultural and linguistic contexts, the volume is divided into three parts memorial spaces, sites of trauma, and traumatic representations. The contributions explore how acknowledgement of past suffering is key to the complex inter-relationship between the politics of memory, expressions of victimhood, and collective memory.
The magician's hat on top of the "M" adds an extra layer of symbolism to the logo. The hat is a well-known symbol of magic and conjures up images of pulling rabbits and other surprises out of it. It symbolizes the creativity and imagination that are at the heart of the magical arts.
Places of Traumatic Memory : A Global Context
This volume explores the relationship between place, traumatic memory, and narrative. Drawing on cases from Africa, Asia, Europe, Oceania, and North and South America, the book provides a uniquely cross-cultural and global approach. Covering a wide range of cultural and linguistic contexts, the volume is divided into three parts: memorial spaces, sites of trauma, and traumatic representations. The contributions explore how acknowledgement of past suffering is key to the complex inter-relationship between the politics of memory, expressions of victimhood, and collective memory. Contributors take note of differing aspects of memorial culture, such as those embedded in war memorials, mass grave sites, and exhibitions, as well as journalistic, literary and visual forms of commemorations, to investigate how narratives of memory can give meaning and form to places of trauma.
Избранные страницы
Содержание
Sites of Trauma Traumatic RepresentationsДругие издания - Просмотреть все
Часто встречающиеся слова и выражения
Об авторе (2020)
Amy L. Hubbell is Senior Lecturer in French at the University of Queensland, Australia. Her research focuses on French narratives of trauma in autobiography and art. She is the author of Hoarding Memory: Covering the Wounds of the Algerian War (2020) and Remembering French Algeria: Pieds-Noirs, Identity, and Exile (2015).
Natsuko Akagawa is Senior Lecturer at the University of Queensland, Australia. She researches heritage politics, practice and discourse in a global context and is Series General Editor for Routledge Research on Museums and Heritage in Asia. Her recent books include Heritage Conservation and Cultural Diplomacy (2015), and Safeguarding Intangible Heritage (2019).
Sol Rojas-Lizana is Lecturer of Spanish Studies at the University of Queensland, Australia. She is a discourse analyst researching discrimination, memory, trauma, and translation, using decolonial thought. Her latest monograph is The Discourse of Perceived Discrimination (2019). Her co-authored historical graphic memoir Historias Clandestinas (2014) is being made into a film.
Annie Pohlman is Senior Lecturer in Indonesian Studies at the University of Queensland, Australia. She researches Indonesian history, comparative genocide studies, torture, gendered experiences of violence, and oral testimony.
Библиографические данные
Название | Places of Traumatic Memory: A Global Context Palgrave Macmillan Memory Studies |
Редакторы | Amy L. Hubbell , Natsuko Akagawa , Sol Rojas-Lizana , Annie Pohlman |
Издатель | Springer Nature, 2020 |
ISBN | 3030520560, 9783030520564 |
Количество страниц | Всего страниц: 319 |
  |   |
Экспорт цитаты | BiBTeX EndNote RefMan |
This volume explores the relationship between place, traumatic memory, and narrative. Drawing on cases from Africa, Asia, Europe, Oceania, and North and South America, the book provides a uniquely cross-cultural and global approach. Covering a wide range of cultural and linguistic contexts, the volume is divided into three parts: memorial spaces, sites of trauma, and traumatic representations. The contributions explore how acknowledgement of past suffering is key to the complex inter-relationship between the politics of memory, expressions of victimhood, and collective memory. Contributors take note of differing aspects of memorial culture, such as those embedded in war memorials, mass grave sites, and exhibitions, as well as journalistic, literary and visual forms of commemorations, to investigate how narratives of memory can give meaning and form to places of trauma.
The choice of the color purple is also significant. Purple is often associated with mysticism, spirituality, and power. It is a color that has long been associated with magic and its practitioners. The deep shade of purple used in the logo gives it a sense of seriousness and sophistication, further emphasizing the allure and enchantment of magic. The old Magic logo is instantly recognizable to fans and players of the game. It has become a symbol of the brand and carries with it a sense of nostalgia and history. While the logo has evolved over time, with the introduction of new editions and expansions, the iconic circular design and the magician's hat have remained consistent, ensuring that the essence and spirit of magic are preserved. Overall, the old Magic logo is a visually striking and powerful symbol that captures the imagination and conveys the excitement of the magical world. It is a testament to the enduring appeal and popularity of the game, as well as a symbol of the creativity and wonder that lies at the heart of the magical arts..
Reviews for "The Old Magic Logo's Role in the Game's Marketing Strategy"
1. John - 1 star
I really dislike the old magic logo. It looks outdated and unprofessional. The font choice is terrible and it lacks any visual appeal. I think the company should invest in rebranding and come up with a more modern and eye-catching logo that reflects their image better.
2. Sarah - 2 stars
The old magic logo is just plain boring. It lacks creativity and imagination. It doesn't catch your attention or make you curious about the brand. It feels like a generic logo that you can find anywhere. I think the company should have put more thought into creating a logo that stands out and represents their brand identity.
3. Michael - 1 star
The old magic logo is a total disappointment. It doesn't capture the essence of magic or evoke any sense of wonder or excitement. It's just a plain text logo with a generic font. It doesn't make me feel drawn to the brand or make me want to explore more about their products. I believe a logo should be captivating and make you curious about the brand, but this logo falls flat on all fronts.
4. Emily - 2 stars
The old magic logo is forgettable and unimaginative. It doesn't leave a lasting impression in your mind and doesn't make you remember the brand. It lacks any creative elements and looks like it was hastily put together. I think the logo is a missed opportunity to create a strong visual identity for the brand and make it stand out from the competition.