Mod Et Normkritisk
MOD ET NORMKRITISK Towards a norm-critical Eurovision Song Contest Frederik Jørgen Kornelius Bjørk Kaptain | 115940 Kandidatafhandling | Cand.Soc. PKL. 15.05.2019 Vejleder | Jannick Friis Christensen Anslag 137.643 | Sider 78 Abstract The Eurovision Song Contest, or just Eurovision, emerged as a 1956 peace project aimed at bringing together a war-torn Europe. During the more than 60 years of competition, it has changed from being a small competition with quiet songs, to the world's largest, most extravagant, and most viewed song competition, and thus as a huge platform for political voices. In this thesis, I therefore seek to answer the question: How has Eurovision become an space of opportunity for norm-critical performances? and how is any space of opportunity attempted controlled by the European Broadcasting Union? To respond to this research question, it will first be analysed how Eurovision can be considered an affective event that, by virtue of being affective, opens an space of opportunity for norm-critical, or affective, performances. This analysis is based on Professor Sarah Ahmed's definition of affective events. Then, based on the French sociologist Michel Foucault, and his concept of genealogy, I will investigate how such a space of opportunity has historically been utilized, focusing on the performances that have been particularly norm- critical. From these two analyses, I can conclude how how an space of opportunity for norm- critical performances has emerged and has evolved. Here I can thus demonstrate the historical changes that have been made, from a kiss between Birthe Wilke and Gustav Winckler in 1957 being considered to be norm-breaking, to the bearded lady, Conchita Wurst, and her victory in 2014 was considered the norm for doing Eurovision.
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