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  • Faunal representation: Expl...
    Dabezies, Juan Martin; Cravino Mol, Alexandra; González, Enrique M.; Martínez-Lanfranco, Juan Andrés

    Biological conservation, June 2024, 2024-06-00, Letnik: 294
    Journal Article

    Iconographic symbols are crucial in constructing national identities, and public policies have a role in selecting these symbols. This study examines the relationship between national identity, conservation, and iconography in Uruguay from a postcolonial perspective. The study focuses on the representation of fauna in the official iconography, analyzing 387 elements from postage stamps, institutional telephone cards, and national currency produced between 1895 and 2021. The work revealed the connection between shaping Uruguay's national identity, the representation of fauna, and the development of conservation policies. Initially, colonial representations emphasized productive animals to reinforce Uruguay's European image. However, as Uruguay sought to establish its unique identity, native animals became more prominent. Conservation policies reflected this trend, promoting the conservation of native species and regulating exotic ones. Among the vertebrates with the greatest presence in the iconography, the most abundant were birds and mammals. Regarding invertebrates, the most abundant were butterflies. On the other hand, large, threatened, and grassland specialist species were also represented among vertebrates (Puma, Capybara, Pampas Deer, Greater Rhea). The grassland is the ecosystem that supported the growth of cattle ranching, a productive system intertwined with the origin of Uruguay as a nation-state. In this sense, the most referenced species not only aims to highlight the greater visibility of wildlife for the country but also gives it a Latin American specificity associated with a dominant type of ecosystem. Our findings have, therefore, implications for understanding the intersection of conservation policies, national identity, and iconography. Display omitted •Between 1895 and the 1950s the iconographic references were from production animals•From the 1960s, native species appeared frequently in the Uruguayan iconography•The animal groups with larger representations were birds, mammals, and butterflies•Most common species were colorful, charismatic, or related to grassland ecosystems