National myths serve many social and political purposes, such as state-sponsored propaganda, or of inspiring civic virtue and self-sacrifice.
[5][6] The World Intellectual Property Organization (WIPO) has conducted a number of symposia on the protection of folklore, i.e., "traditional cultural expressions",[7] with the goal of preventing their "misappropriation" by branding, patenting, trademarking, or copyright by other persons.
"[8] The image of the crowning Charlemagne is on a Euro note, because he is "accepted as the Father of Europe and thereby of the EU, with buildings and rooms named after him.
After Europa was abducted by Zeus in his form as a white bull, she spent her adult life with him and their three boys in Crete, Greece.
No matter how much each of them would like to understand the other, ultimately, without an adjustment of these symbols, their attempts will be lukewarm and ineffective.Another example from 2011 is that of Japan's self-branding of its scientific expertise, which fell apart after the earthquake and tsunami that March, followed by the nuclear accidents.
"[9] Jonathan Rose first wrote about this concept in 2000, in which he claimed that Canada has had "an unholy alliance between advertising agencies and political parties" since the formation of the Confederation in 1867.
[1] Sitki explains in the Cyclical Formula "Us/Other+Other", how Turkey and the European Union can benefit by accepting that they have, and continue, to play a "triple role" to one another.
"[12] The "national myths" used in Masterpiece Theatre lead to "strengthen[ing] imperial attitudes", according to a 2009 book about the spate of Victorian British novels made in films from the 1980s through the 21st Century, and sources it cited.
[13] Elizabeth Hafkin Pleck argues that the "invented tradition ... of Kwanzaa" was equivalent to the American Indian challenge to "the National myth of inclusion of Thanksgiving...."[14]