DOI: 10.24308/iass-2014-043

Sonia Andreou

Cyprus University of Technology

ss.andreou@edu.cut.ac.cy

Stephanie StylianouCyprus University of Technology

sm.stylianou@edu.cut.ac.cy

Evripides Zantides Cyprus University of Technology

evripides.zantides@cut.ac.cy

Alstract

The proposed case study aims to discuss the ways and roles in which the female figure is represented in postage stamps produced in Cyprus, after state independence in 1960. While female role portrayals have been examined in the local culture in the forms of lifestyle magazines and radio advertisements (Maniou & Photiou, 2013), the potentialinterest of a postage stamp analysis has been overlooked. However it is important to note, that the social role of women of Cyprus is documented and analysed using theoretical framework in a number of studies and books. The current study is based on the notion that ties the importance of the selection of postage stamp representation with a nation’s profile. As Bushnell argues (2011), the postage stamp designs produced in order to represent a nation’s image are chosen following decisions essentially made by formal committees of experts and civic personalities. As a result, the figures and symbols recruited are obviously “revealing to one extent or another political and cultural values in a society”. In the analysis/interpretation of the data a combination of methodologies was employed, namely content and semiotic analysis. A sample of 158 plates was selected from a corpus of 1.121 postage stamps printed from 1960 until 2013, all of which feature at least one recognizable female figure. The starting year 1960 stands as a landmark in the island’s history and it signals the beginning of state independence. The postage stamps, as well as information regarding their production, were collected from the Cyprus Postal Museum and the Cyprus’ Ministry of Communications and Works publications. Upon close examination of the female iconography on the postage stamps the research reveals a strong preference for specific roles, intricately related to the country’s socio-cultural context, including religion, heritage and prevailing social norms, but also to specific historical experiences and national imaginings.

1. Introduction

This paper proposes a closer examination of the female roles preferred in the case of Cyprus postage stamp design, starting from the landmark date for the island’s history – 1960 (state independence) – until recent years, more specifically 2013. The researchers have collected a corpus of 1.121 postage stamps in total, including definitive and commemorative issues. The rationale behind this selection is based on the historical background of the country. The year 1960 was chosen as a proverbial starting point, because it marks the end of the colonial period and the start of Cyprus’s history as an independent state, following the Zurich agreement signed on the 16th August of 1960.

Upon this agreement, the newly-funded Republic of Cyprus began printing its very own postage stamps. The three first designs were presented on the very same day that the Zurich agreement was signed (Castle 1987).

It should be at this point noted the role and importance of the postage stamp and consequently its design for a country’s status, especially when we are discussing newly funded states.  Although, the postage stamp seems to be a neglected medium of research in comparison to a country’s official touristic branding, its flag or even numismatics, can and should be read as a text with significant political purposes transmitted through the images they depict (Deans and Dobson 2005). The stamps are a provider of national identity as they are simultaneously government documents and representatives of the country, which they have been published as symbols of the state’s “official culture” (Osmond 2008). While, postage stamps are to be considered a strong vehicle for the transmission of national identity they have also recently been acknowledged as objects of popular culture (Child 2012).

The principal motivation that encouraged this study was the lack of substantial and rigorously documented bibliography as far as Cyprus is concerned, both, regarding the field of postage stamp design as well as female representation in stamp design. However, it needs to be acknowledged that role portrayals have been examined in the local culture in the forms of lifestyle magazines and radio advertisements in recent years (Maniou and Photiou 2013).

Moreover the social role of the Cypriot woman has been discussed using theoretical frameworks in a number of studies and books, such as The Cypriot Woman: A Research(Milona et al. 1982). The specific work is quite seminal and has been the base for a number of studies concerning the island. It investigates the psychosocial conditions in the country through the years, attempting to gain a deeper understanding of the Cypriot mentality in respect of the woman’s social role and status.

We are attempting to link our findings with the social status of women in Cypriot society as this is documented and shown in relevant theoretical framework. Interestingly enough the publication of Cyprus’s first postage stamp came in parallel with the decision that the women of Cyprus are guaranteed to have voting rights equal to those of men (Γεωργίου 2013). Interestingly, Koliou (2006) remarks that the patriarchal model is still quite dominant in Cypriot society and this is evident both within the institution of family and general society practices as relevant studies show.

2. Literature review

A rather small amount of researches concerning the portrayal of women on stamps has been documented in worldwide bibliography although the findings are without a doubt enlightening.

Theorist David Bushnell (2011) traces the development of “philatelic feminism”, regarding Argentina, Colombia, Cuba and the United States of America in his own study. The author argues that while a country’s postage stamp design actually constitutes a bureaucratic decision, it can reveal and even influent political and cultural values in the range of a specific society. Bushnell finds a significant increase in the usage of female figures in the postage stamps of the United States and Cuba, especially after the 1940’s. Also a lack of international female figures in the United States postage stamps and diversity in the representation of professions is documented. In contrast, countries such as Cuba and Argentina tend to use more international figures instead of native famous personalities. Bushnell believes that the decision of placing an actual female figure on the postage stamp design constitutes a general recognition of feminine accomplishments in the past century and also an effort to be seen in a favourable light not only by feminist movements, but additionally by the general female population of the country. While this may be true let us not forget that feminine figures were and still are employed countless times to represent allegories, with liberty being one of the more popular ones in various countries.

Ogletree, Merritt and Roberts (1994) in their study Female/male portrayals on U.S. postage stamps of the twentieth century have found that gender representation on the United State’s postage stamps is consistent with the general tendencies of female/male portrayal in other forms of media, throughout the 20^th century. As could be expected, male oriented representations are predominately more; the traditional role representations are significantly higher than none traditional ones, but note a small decline concerning the traditional male portrayals after the 1980’s. According to the authors, the findings indicate a general awareness towards gender bias and this fact alone reflects views formulated in the specific society under consideration.

3. Method and definitions

The entire corpus was studied without sampling taking place. The reason for this decision lies in the framework the authors wanted to investigate, that is all the postage stamps issued by the Republic of Cyprus since its independence till present day. The researchers have chosen to include both definitive issues as well as commemorative. The term “definitive” refers to a postage stamp that belongs to the regular issues of the state, it is sold by all the post offices within the country for a long period of time and it serves everyday postal needs. On the other hand, a commemorative postage stamp is issued by the state for a limited time period in order to commemorate or honour an important person or event (Carlton 1997).

The authors have taken a sample of 158, clearly depicting one or more female figures. The criteria for this choice were for the representation to be easily recognisable as female, thus excluding portrayals that did not posses any easily understandable female characteristics. Furthermore, the researchers did not consider stamp designs that simply reproduced earlier postage stamps depictions for the coding to be valid.

The 158 postage stamps selected to be included in the research were divided into twelve categories, rated by two coders separately. An inter-rater reliability analysis using the Kappa statistic was performed to determine consistency among the two coders. The inter-rater reliability for the coders was found to be Kappa = 1.000 (p <.0.001), 95% CI (0.078, 0.182) (See Symmetric Measures, Appendix A).

The categorization was based on the relevant study of Ogletree, Roberts and Merritt (1994), although, it had to be modified in order to accommodate the main topics that emerged from the corpus. These categories are the following:

1. Individuals

2. Religion – representations deriving from Greek Orthodox religion

3. Greek Mythology – female representations featuring or inspired by the sphere of Greek mythology

4. Allegory

The particular category was further divided into two subcategories:

· Symbol of beauty

· Symbol of freedom

5. Spouse and/or parenthood

· Motherhood

6. Education

7. Historical events

8 .Social themes

· Refugee

9 .Professions

10.Women in sports

11. Traditional culture

12. Other

After conducting the content analysis, the authors proceeded into employing elements from visual semiotic analysis in order to delve deeper into specific categories that were larger and/or showed to have researching potentials. The two postage stamps analysed were selected by using purposive sampling as with this choice the results could be validated.

4. Results

The findings of the content analysis which was the primal method of analysis for this study are presented below (Table 1).

Table 1: Numbers and percentages of female representation by stamp category

According to our results the overwhelming majority of female representations were found mainly in stamps illustrating religious themes. The number is 40.5%, out of which 59 solely focus on the portrayal of Virgin Mary, while the 5 stamps remaining show Saint Lazarus’s sisters. Other anonymous female figures depicted on religious scenes do not hold significant roles (anonymous female figures).

The second largest category was predictably the one associated with Greek Mythology, 18.9%. The design of these postage stamps is influenced by various myths deriving from the Ancient Greece, concerning the nature of the world in the form of stories about native gods and heroes attempting to explain universal mysteries in a semi-didactic manner. Aphrodite the goddess of love and beauty is the one that holds higher position and appears more often in contrast to other mythological female characters (10 of 30 postage stamps).

The next category entitled Individuals is represented by 8.9%, and presents particular interest due to the fact that depictions showing actual Cypriot women are very few. Only 3 out of 14 images contain a female figure that could be a Cypriot, whether celebrated or anonymous. The majority of the representations under this category are recognisable international figures such as Diana Princess of Wales (1961–1997), Queen Elizabeth II (1926–) and Mother Teresa (1910–1997). The only known female figures on postage stamps that are actually Cypriot come from two vastly different contexts. The first postage stamp was published in 1996 and is honouring a lesser known Cypriot hero with the name ‘Maria Sygklitiki’, Μαρία η Συγκλητική. The second female portrayal on a postage stamp is this of visually impaired Paralympic winner Karolina Pelendritou (1986–).

The fourth category documented concentrates on images deriving from the traditional-folklore Cyprus culture and is represented with 8.9%. Many of those postage stamps are dedicated to the regional costumes that can be found across the island.

The subsequent category Spouse and/or parenthood features 5.1% of the corpus. It depicts women participating in aspects of the institution of traditional family such as marriage and parenthood with the necessity of the presence of a male figure. However, a group of these stamps show the female as a mother figure bonding with a child without the presence of a male counterpart.

The next two categories Professions and Social Themes both rank 3.8% each.  The first group depicts a number of professions, some of them linked with tradition, such as the profession of the needlewomen (traditional Cyprus embroidery) and farmers, as well as nurses shown in two cases tending exclusively on male children. The social themes category is further divided in the stamps that present the issues of providing care for the elderly and AIDS campaigns for the alert and its treatment. The other four remaining postage stamps are solely focused on the image of the woman going through the experience of being a refugee. These depictions are related with the 1974 Turkish invasion and the displacement of hundreds of Cypriots.

The group Women in Sports features 2.5% of the corpus and celebrates the female participation in major athletic events such as the Olympic Games of Los Angeles (1984), Atlanta (1996) and Sydney (2000). It is important to note that, the Republic of Cyprus issued postage stamps for all the other Olympiads since 1960 as well as Commonwealth Games, but female figures were not presented.

The Allegory thematic group with the total amount of 1.9% contains representations that show women having allegorical and metaphorical meanings or being the symbols of a broader idea or notion. The first subcategory consisting of two postage stamps (1.3%) uses the female figure in order to allegorically portray the idea of freedom and fight for liberation.

The second subcategory contains only one postage stamp (0.6%) and is entitled Woman as a Symbol of Beauty. It illustrates an abstract female figure wearing a crown and was issued for the event of Miss Universe contest (2000) which was held in Nicosia, Cyprus.

The Historical Events group consists of two stamps only, (1.3%). The first postage stamp is focused on an engraving entitled The Confession first published in the British newspaper Illustrated London News in 1878. During that period Cyprus was becoming part of United Kingdom’s protectorate after the Ottoman Empire has agreed to give away the island in exchange for military support. The particular illustration was part of a bigger collection published by the newspaper and was supposedly depicting the day of the regime’s change in a pseudo – documentary way. The second stamp commemorates the 40^th anniversary of EOKA’s (an organization that fought for the self-determination of the island) formation.

The education category on the other hand, although consisting of one stamp only (0.6%) shows more interest in terms of postage stamp design and consequently the female representation as it seems to reflect other relevant studies.

The last category is entitled Other and features 3.8% of the entire corpus. It is composed of postage stamps that could not be easily assigned in a specific category by either of the two coders.

5. A semiotic look on selected stamps

During the content analysis the researchers came upon some interesting findings concerning the biggest thematic category of Cyprus postage stamps. The group that deals with depictions deriving from Greek Orthodox Christianity’s repertoire counts 64 stamps, the majority of which represent the Virgin Mary (59 postage stamps). The rather large amount of stamps is significant as it shows a preference for dominantly religious thematic groups. This fact seems to illuminate the high position that religion and the Church hold in Cypriot society. Interestingly enough the portrayals of Madonna seem to have a direct influence on the separate groups that depict women as mother figures and refugees.

The image of Virgin Mary seems to have the maternal dimension of her personality as the dominant quality, making her accessible to the pilgrim not unlike an ordinary woman who understands humanity’s anguish. According to the study conducted by Ioli Kalavrezou (1990) on Virgin Mary’s status in religion, her role as ‘Holy Vessel’, Θεοτόκος,shifted to accommodate the image of a Mother for all the believers, thus changing her title to ‘Mother of God’, Μήτηρ Θεού, during the period of Iconoclasm (8^th century). This introduction of Mary as a now accessible, understanding and sentimental motherly figure was slow and is reflected on the distinctive iconography of each period. The role of Virgin Mary as a strong mother figure is additionally indicated by the Gospels (PG 100, col. 1476D), where Jesus Christ while addressing Saint John exclaims: “Here is your Mother”, and then towards Virgin Mary “Woman, here is your son”. Christ himself goes on to explain the above statement: “Be for them what all that mothers are naturally for their children” (Kalavrezou 1990).

In the subsequent section, the authors will attempt to showcase the influence that the major thematic group of religious representations and specifically the ones highlighting Virgin Mary’s role as a mother figure have on other stamp categories. In particular, the authors have chosen to demonstrate this relation by presenting two postage stamps from two different categories.

The first example (figure 1) is a postage stamp designed by A. Tassos and issued on the 28^th of April 1975, almost a year after the Turkish invasion and features a work by the Cypriot painter George Paul Georgiou. Starting from the title of the image Virgin and Child from Liopetri, sometimes referred to as Virgin Mary from Liopetri we can spot connotations with both the figure of Madonna and the notion of been a refugee, as Liopetri is a village situated in the geographical district of Famagusta, thus certainly been affected by both the invasion and occupation. On a first level of analysis we can easily note how the pose prepares the reader to perceive the connotations of a signified (Barthes 1983). The way the woman is holding the child has clear connotations with the idea of motherhood and could be linked to the caring and loving way Virgin Mary herself is holding Baby Jesus. The woman is almost attaching the child to her body in a protective manner and their heads are tenderly touching as in gentle embrace.

Fig. 1: Virgin and Child from Liopetri, 28 April 1975, A. Tassos.

On a deeper level of analysis we can notice the meaning constructed by colours and the values they help to create (Barthes 1988). Nevertheless, we should always have in mind how colours tend to create a multitude of codes, depending on the societies and cultures they are used by. There definitely are broader trends and tendencies with the aid of which psychologists and other researchers attempt to construct a single and universal “language of colours”, but there are still colour associations with limited contexts (Leeuwen 2011).

Starting from the main figure, which is the mother or according to the title of the postage stamp the Virgin, we can notice that she is having her hair covered with a black scarf. This sign has clear connotations of death, in this context the demise of a close family member, most probably a husband (Pastoureau 2008). Additionally, the rest of the woman’s clothing points to a poor and socially low background. More specifically, she is wearing the traditional rubber boots usually worn by land workers and farmers. The child she carries is simply wearing a white shirt alluding to the values of colour white, such as innocence and pureness of soul (Beasley and Danesi 2002).

Next to the group of figures which seems to be almost compressed by their own frame, a candleholder is standing. On the level of iconology which takes into account the cultural and historical context of the image (Panofsky 1939), this item is rather significant as it is a part of the Divine Liturgy process of the Greek Orthodox religion and it alludes once more to the spiritual nature of the woman/Virgin. The main colours of the depiction are a combination of burgundy and gold, related to religious imagery, while the background is a deep hue of purple usually signalling emotional devastation and mourning (Gage 1999).

Fig. 2: Mother and Child on the way of becoming refugees, 7 October 1991, A. A. Ioannidis.

The second example presented (figure 2) is a postage stamp designed by A. A. Ioannidis, issued on the 7^th of October 1991 on the occasion of the 40^th Anniversary of the United Nations High Commissioner for Refugees. The engraving featured on the stamp is in black and white, a colour combination that tends to be associated with notions such as mourning and loss (Gage 1999). The postage stamp is entitled Mother and Child on their way of becoming refugees. This title is intersemiotically translated (Jakobson 1959) by placing in the middle of the picture a group of tents, used as temporary housing in emergency situations, more specifically a war in our case – 1974. Furthermore, the framework is deliberately narrowed down in order to be associated only with the refugees of Cyprus stopping the production of any other associations. This is achieved byplacing the outline of the island’s shape next to the woman’s figure making it clear to the viewer that we are discussing the Cypriot refugees. This type of depictions could be associated with the second biggest trauma of 1974, a trauma that is gender-specific and relates to the inability of women to accomplish their role as caretakers. As Cockburn (2004) asserts during that period the mother was considered the primary caretaker of the children due to the fact that men were forced into military recruitment, having as a consequence for the mother to be experiencing the anxiety of keeping the children safe as her main responsibility.

By showcasing the visual examples deriving from the categories Motherhood and Refugee, the researchers attempted to demonstrate the link between those categories with the largest thematic group of the corpus that is Religion. Furthermore, going to a more spiritual level it seems that in some cases the female figure serves as a metaphorical vehicle for the mother’s pain while employing forms and even phrases that allude to Virgin Mary and her own loss of a child.

6. Discussion

The researchers have been able to draw some general observations regarding the nature of the postage stamp as a modest or low key cultural memorial, especially, in the field of female representation in the Cyprus context. The images represented on the postage stamps are proving to be individually ephemeral but simultaneously substantial reflections of the society that produced them (Deans and Dobson 2005). One of the major reasons for conducting this research in the first place proved to be a big obstacle in the end, and this has been the lack of significant literature. However as mentioned before, our findings were able to be linked with the results given by the few relevant literacies concerning Cyprus.

According to other researches the Cypriot female tends to have a secondary role in contrast with the Cypriot male within the family institution, as well as the society and this is reflected by the small corpus the researchers were able to gather. She is associated with strongly emotional values (Milona et al. 1982). According to sociologists Lia Milona’s research (1982) the female Cypriot believes that motherhood is her main goal in life and her biggest achievement. The 80% of the participants – all of them female – answered that having a child reinforces their status within the family and society, as they complete their natural role and destiny. Furthermore, the 44% of the participating women consider the birth and catering of the children as the biggest happiness of their lives.

As documented in international literature women tend to feel quite closer with their respected religion in comparison to male believers. This might be caused by the man’s traditional role as the one who is a more active citizen and far more controlled by social laws. The traditional female tends to be regarded as the member of the family who is regulated much more by laws and norms deriving from the ethos of her religion (Hamilton 1978). As Milona (1982) asserts the female’s role in patriarchal communities is tied with the domestic environment and this brings her closer to the spiritual realm of the religion. The 82% of the participants – female Cypriots – tends to believe that they are very religious, feel extremely close to God, and the institution of Church. As the postage stamp is considered a product of the official state and according to some researchers also a part of popular culture (Child 2005, 2012) definitely reflects social attitudes towards women within the Cyprus contexts. In this sense the subtle messages that postage stamps convey might potentially impact users/members of a society and their understanding of the type of male/female roles that are being sent (Ogletree, Roberts, and Merritt 1994).

Additionally, the results might be hints to uncover aspects concerning the social status of both sexes in the Cyprus context and the ideologies behind them. The female figure seems to be a large part of the postage stamps’ representations in Cyprus holding important and key roles as a symbol of motherhood. However, the corpus following fifty three years (1960–2013) does not document and honour significantly any fights or accomplishments of the female gender. What is more not even known Cypriot women who excel in their respected fields are commemorated.

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Appendix A

Case Processing Summary

CODER 1 * CODER 2 Crosstabulation

Symmetric Measures

a. Not assuming the null hypothesis.

b. Using the asymptotic standard error assuming the null hypothesis.

Appendix B

The copyrights for the stamps belong to the Cyprus Ministry of Communication and Works. The permission for their usage was granted to the authors for this publication.