Polarization, Bias, and Other Imperfections
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A Case Study of Russia and Ukraine's Use of the Eurovision Song
Lund University FKVK02 Department of Political Science Spring 2020 Peace and Conflict Studies Supervisor: Fredrika Larsson The Battle of Eurovision A case study of Russia and Ukraine’s use of the Eurovision Song Contest as a cultural battlefield Character count: 59 832 Julia Orinius Welander Abstract This study aims to explore and analyze how Eurovision Song Contest functioned as an alternative – cultural – battlefield in the Russian-Ukrainian conflict over Crimea. With the use of soft power politics in warfare as the root of interest, this study uses the theories of cultural diplomacy and visual international relations to explore how images may be central to modern-day warfare and conflicts as the perception of. The study has a theory-building approach and aims to build on the concept of cultural diplomacy in order to explain how the images sent out by states can be politized and used to conduct cultural warfare. To explore how Russia and Ukraine used Eurovision Song Contest as a cultural battlefield this study uses the methodological framework of a qualitative case study with the empirical data being Ukraine’s and Russia’s Eurovision Song Contest performances in 2016 and 2017, respectively, which was analyzed using Roland Barthes’ method of image analysis. The main finding of the study was that both Russia and Ukraine used ESC as a cultural battlefield on which they used their performances to alter the perception of themselves and the other by instrumentalizing culture for political gain. Keywords: cultural diplomacy, visual IR, Eurovision Song Contest, Crimea Word count: 9 732 Table of Contents 1 Introduction ............................................................................................................ -
The Cultural Politics of Eurovision: a Case Study of Ukraine’S Invasion in 2014 Against Their Eurovision Win in 2016
Claremont-UC Undergraduate Research Conference on the European Union Volume 2017 Article 6 9-12-2017 The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Follow this and additional works at: http://scholarship.claremont.edu/urceu Part of the European Languages and Societies Commons, International and Area Studies Commons, International Relations Commons, and the Slavic Languages and Societies Commons Recommended Citation Cashman, Jordana L. (2017) "The ulturC al Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016," Claremont-UC Undergraduate Research Conference on the European Union: Vol. 2017, Article 6. DOI: 10.5642/urceu.201701.06 Available at: http://scholarship.claremont.edu/urceu/vol2017/iss1/6 This Chapter is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Claremont-UC Undergraduate Research Conference on the European Union by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Claremont–UC Undergraduate Research Conference on the European Union 45 4 The Cultural Politics of Eurovision: A Case Study of Ukraine’s Invasion in 2014 Against Their Eurovision Win in 2016 Jordana L. Cashman Brigham Young University Abstract Politics is officially banned from Eurovision, and songs that are too political can be prevented from being performed. However, the complete separation of culture and politics is impossible, and cultural performances often carry both indirect and explicit political mes- sages. -
The Ukrainian Weekly, 2017
INSIDE: l WFUWO at U.N. Commission on the Status of Women – page 5 l Vitaly Portnikov: sober voice in post-Maidan Ukraine – page 8 l Our community: Miami, Boston, Philadelphia – page 14 THEPublished U by theKRAINIAN Ukrainian National Association Inc., a fraternal W non-profit associationEEKLY Vol. LXXXV No. 21 THE UKRAINIAN WEEKLY SUNDAY, MAY 21, 2017 $2.00 Portugal wins Eurovision Song Contest, Poroshenko lauds closer ties with EU, Ukraine touts contest as great success admits ‘there’s much left to be done’ KYIV – Portugal was the top vote-getter inspired by the Soviet authorities’ mass in the 2017 Eurovision Song Contest, the deportation of Crimean Tatars to Central annual festival traditionally watched by a Asia in that year. The Crimean Tatar singer television audience of an estimated 200 returned to the contest this year, singing her million people. Some 4 million people new song “I Believe in U” as an interval act watched the contest’s grand final, breaking during the grand final on May 13. previous records, according to the official President Petro Poroshenko met with website of Eurovision 2017. organizers and hosts of the European Singer Salvador Sobral was declared the music contest and congratulated them on winner early on May 14 in the Ukrainian the successful completion of the contest. capital of Kyiv, giving Portugal its first victory “My sincere congratulations to you all. since it initially entered the contest in 1964. Eurovision 2017 was organized at a very The winner was determined by a combina- high level. This is the result of a very effi- tion of points awarded by national juries and cient coordination and interaction of your voting by telephone and text message from and our team,” he said. -
Præcis Og Koncis
Praktisk Swahili-Dansk Kortfattet ordbog med grammatikforklaringer Morten Munk Jakobsen Praktisk Swahili-Dansk Kortfattet ordbog med grammatikforklaringer Praktisk Swahili-Dansk Kortfattet ordbog med grammatikforklaringer Af Morten Munk Jakobsen Hillerød 2003 First edition December 2003 2003 Morten Munk Jakobsen Praktisk Swahili-Dansk downloaded from www.kiswahili.dk Indholdsfortegnelse Indholdsfortegnelse side 5 - 7 Forord 9 - 10 Kort 11 - 12 Indledning (introduktion til swahili): Hilsen og henvendelse 13 - 16 Swahili udtale 17 Stavelser og tryk 17 Vokalers udtale 17 Konsonanters udtale 18 Simpel ”sætningsdannelse” med udsagnsord 18 Tidsbestemmelse 18 - 19 Subjektpræfiks 19 - 21 Objektpræfiks 21 - 22 Personlige stedord 22 Simpel nutid 23 Spørgsmål og spørgeord 23 - 24 Navneord: Indledning 25 M WA klassen 26 - 27 M MI klassen 28 - 29 JI MA klassen 30 - 31 KI VI klassen 32 - 33 N klassen 34 - 36 U klassen 37 - 39 KU Klassen 40 - 41 Mahali klassen (PA, KU, MU) 42 - 43 Morten Munk Jakobsen 5 Tillægsord & biord 44 Tillægsord 44 - 46 Biord 46 - 47 Forholdsord 47 Udsagnsordsformer Navnemåde (Infinitiv) 48 Bydemåde (Imperativ) 48 - 49 Passiv (-wa) 49 - 50 Applikativ (-ia/-ea/-lia/-lea) 51 Kausativ (-sha/-za) 52 Kausativ applikativ (-shia/-zia) 52 -53 Reciprokke form (-ana) 53 Relativformen (som/der) (amba-) 53 - 56 Når, da (-po-) 56 Hvor (-po/-ko/-mo) 56 - 57 Der er – (pana-/kuna/-mna) 57 -ki-/-sipo-/-ka- formerne 58 - 59 -nge-/-ngali- formerne 59 - 60 Hu- formen 60 At være (-kuwa) 60 - 62 At have (-na) 62 At give (-pa) 63 At gøre og omgøre -
Anika Gauja – the Politics of Eurovision
>> Welcome to the podcast series of Raising the Bar Sydney. Raising the Bar in 2019 saw 21 University of Sydney academics take their research out of the lecture theatre and into bars across Sydney all on one night. In this podcast, you hear Anika Gouja’s talk The Politics of Eurovision. Enjoy the talk. [ Applause ] >> Good evening, Sorry Hill’s. [ Applause ] I’m just taking a very quick look at who’s in the audience so I can work out what I can and can’t say tonight. The results of the latest Eurovision fan survey were released today. Did anyone see those on social media? Okay. It’s a survey of Eurovision fans in Australia and overseas. And the Australian results showed that the typical Eurovision fan is aged 18-24, male. [ Laughter ] Part of the LGTBQI community, and is single. So if you’re not interested in politics, I don’t know why you’re here. [ Laughter ] I’ll wait for it. So I’m going to take you back to May 13, 2018. It’s 8:30 AM and I’ve been awake for more than 24 hours. I watched the delayed broadcast of the Eurovision first semifinal, the delayed broadcast of the Eurovision second semifinal. I watched the, you know, 50 Years of Eurovision documentary special. And I watched whatever ABBA retrospective was available. And that took me up to the grand final, 5:00 AM. I was at a Eurovision party with a group of friends like I am every single year. And the winner of the Eurovision Song Contest, Netta Barzilai with her song Toy was announced. -
The Role of Music in European Integration Discourses on Intellectual Europe
The Role of Music in European Integration Discourses on Intellectual Europe ALLEA ALLEuropean A cademies Published on behalf of ALLEA Series Editor: Günter Stock, President of ALLEA Volume 2 The Role of Music in European Integration Conciliating Eurocentrism and Multiculturalism Edited by Albrecht Riethmüller ISBN 978-3-11-047752-8 e-ISBN (PDF) 978-3-11-047959-1 e-ISBN (EPUB) 978-3-11-047755-9 ISSN 2364-1398 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover: www.tagul.com Typesetting: Konvertus, Haarlem Printing: CPI books GmbH, Leck ♾ Printed on acid free paper Printed in Germany www.degruyter.com Foreword by the Series Editor There is a debate on the future of Europe that is currently in progress, and with it comes a perceived scepticism and lack of commitment towards the idea of European integration that increasingly manifests itself in politics, the media, culture and society. The question, however, remains as to what extent this report- ed scepticism truly reflects people’s opinions and feelings about Europe. We all consider it normal to cross borders within Europe, often while using the same money, as well as to take part in exchange programmes, invest in enterprises across Europe and appeal to European institutions if national regulations, for example, do not meet our expectations. -
Amar Pelos Dois
APANHADOS NA REDE AMAR peLOS DOIS ÓSCAR FELGUEIRAS Universidade do Porto Este ano, pela primeira vez, Portugal venceu o Festival da Eurovisão da [email protected] Canção graças à música “Amar pelos Dois” de Salvador Sobral, a qual ob- teve um total de 758 pontos. Até que ponto é que esta votação poderá comparar-se com a de vencedores anteriores? Festival Eurovisão existe desde 1956 e conta com a volvendo sistemas de votação significativamente diferen- Oparticipação portuguesa desde 1964. Devido à sua tes. Basta dizer que se o resultado final da votação deste grande popularidade, é possível encontrar-se na Internet ano tivesse sido calculado com base nas regras em vigor várias análises comparativas entre os resultados da vota- em 2015, então Portugal teria obtido 417 pontos num má- ção de canções vencedoras de diferentes anos. Uma des- ximo de 492, o que lhe daria uma percentagem de 84,76%! tas1 exibe um ranking comparativo de todos os vencedores Isto colocaria a canção de Portugal em 2017 na liderança desde 1975 com a percentagem de votos obtidos relativa- destacada deste ranking. mente ao máximo possível. Na tabela 1, apresentam-se os Para se perceber um pouco melhor a influência do sis- primeiros 10. tema de votação na ordenação final das canções, observe- A prestação de Portugal em 2017 surge num honroso -se o que aconteceu em 2016. A cantora Jamala venceu 8.º lugar. No entanto, esta posição é bastante distorcida pela Ucrânia, mas a Austrália teria vencido caso estivesse devido ao facto de ser estabelecida uma comparação en- em vigor o sistema de votação de 20152. -
Ukraine: Crimea, Donetsk and Luhansk
Country Policy and Information Note Ukraine: Crimea, Donetsk and Luhansk Version 3.0 September 2017 Preface This note provides country of origin information (COI) and policy guidance to Home Office decision makers on handling particular types of protection and human rights claims. This includes whether claims are likely to justify the granting of asylum, humanitarian protection or discretionary leave and whether – in the event of a claim being refused – it is likely to be certifiable as ‘clearly unfounded’ under s94 of the Nationality, Immigration and Asylum Act 2002. Decision makers must consider claims on an individual basis, taking into account the case specific facts and all relevant evidence, including: the policy guidance contained with this note; the available COI; any applicable caselaw; and the Home Office casework guidance in relation to relevant policies. Country information COI in this note has been researched in accordance with principles set out in the Common EU [European Union] Guidelines for Processing Country of Origin Information (COI) and the European Asylum Support Office’s research guidelines, Country of Origin Information report methodology, namely taking into account its relevance, reliability, accuracy, objectivity, currency, transparency and traceability. All information is carefully selected from generally reliable, publicly accessible sources or is information that can be made publicly available. Full publication details of supporting documentation are provided in footnotes. Multiple sourcing is normally used to ensure that the information is accurate, balanced and corroborated, and that a comprehensive and up-to-date picture at the time of publication is provided. Information is compared and contrasted, whenever possible, to provide a range of views and opinions. -
Deploying Musical Narratives of Internal Others in Soviet and Post-Soviet Ukraine
“THEY BELIEVE THE DAWN WILL COME”: DEPLOYING MUSICAL NARRATIVES OF INTERNAL OTHERS IN SOVIET AND POST-SOVIET UKRAINE Melissa Bialecki A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Katherine Meizel, Advisor Sidra Lawrence © 2017 Melissa Bialecki All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor This thesis explores the roles of internal others in constructing a Soviet and post-Soviet Ukrainian national identity. I begin with an analysis of the kobzars—a group of blind, itinerant minstrels who performed across Ukraine in the late 19th and early 20th centuries, before they disappeared entirely during Stalin’s Great Terror in the 1930s. First, I explore the ways in which the Ukrainian bandura, an asymmetrical lute instrument, has become a site for documenting epistemologies of blind musicians in Ukraine. I then examine how these ways of knowing blindness have been influenced by myths of blind musicians in Ukraine that seek to demystify these internal “others.” Furthermore, I discuss how these myths continue to influence 21st century depictions of blind minstrels through an analysis of the 2014 Ukrainian film, The Guide. Finally, I turn my focus to the Eurovision Song Contest in order to examine how narratives of internal others are deployed in order to negotiate Ukraine’s position in 21st century Europe and in the context of the Russian-Ukrainian conflict. I then reflect on the ways in which deploying these narratives of internal others does not draw these groups into the mainstream, but instead emphasizes and exploits their difference for the purpose of rejecting external hegemony in Ukraine. -
TPIJUN16 056 Eurovision.Pdf
PRODUCTION PROFILE Opposite: Technical Director of the Eurovision Song Contest 2016, Ola Melzig (pictured with the faithful Eurovision cow); Head of Audio, Oskar Johanssen. EUROVISION SONG CONTEST 2016 The standard-setting, boundary-pushing entertainment behemoth that is the Eurovision Song Contest returned once again to its spiritual home in Sweden. TPi’s Ste Durham was in the eye of the storm for what was possibly the biggest production of the year so far. Whether you are talking about viewing figures, the number of performers another who worships at the altar of rock, Melzig is clearly honoured to put or the staggering amount of pre-production, it really is hard to put into his talents to use on this gargantuan production. He said: “I love that it is words the scale of the Eurovision Song Contest… but I’ll try. The entire one of the few shows that give you so much time – we’ve been in rehearsals time I was in Stockholm, travelling to and from the imposing Ericsson for almost three weeks. Everything is scripted from camera shots to pyro Globe arena, I couldn’t escape the Eurovision juggernaut. I was lucky cues. There are 22 cameras in the room averaging 70 shots per song and enough to be in town for one of the semi-finals, a number of rehearsals you will never see one camera filming another. It’s like an intricate ballet, and the grand final itself. In the majority of conversations with crew and the production is truly world class.” and creatives, I couldn’t shake the thought of that famous quote from As well as being something of a high-pressure assignment, in Muhammad Ali: “The fight is won or lost far away from witnesses - behind collaboration with host broadcaster SVT, Eurovision is the ideal platform for the lines, in the gym, and out there on the road, long before I dance trying new techniques. -
INF/9 Date: 1 September 2019
Atoms for Peace and Development General Conference GC(63)/INF/9 Date: 1 September 2019 General Distribution English only Sixty-third regular session Vienna, 16–20 September 2019 List of Participants Information received by Wednesday, 18 September 2019, 12.00 noon Pages 1. Member States 1–159 2. Entities Having Received a Standing Invitation to 160 Participate as Observers 3. United Nations and Specialized Agencies 161 4. Other Intergovernmental Organizations 162–167 5. Non-Governmental Organizations 168–175 The List of Participants contains information as provided by delegations. Member States Alternates: Ms Lejda TOÇI Afghanistan Minister Plenipotentiary Head of Delegation: Permanent Mission to the IAEA in Vienna Mr Tahir SHARAN Other members: Head Afghanistan Atomic Energy High Commission Ms Alma KASA Minister Counsellor Alternates: Permanent Mission to the IAEA in Vienna Ms Khojesta Fana EBRAHIMKHEL Ms Eni LAMÇE Ambassador* Technical Adviser Resident Representative to the IAEA Permanent Mission to the IAEA in Vienna Mr Mohammad Naeem POYESH Mr Jetmir SKUKA Counsellor Albanian National Nuclear Agency Alternate to the Resident Representative Permanent Mission to the IAEA in Vienna Mr Ahmad Munir FARUHEE Algeria Second Secretary Head of Delegation: Alternate to the Resident Representative Permanent Mission to the IAEA in Vienna Ms Faouzia Boumaiza MEBARKI Ambassador* Mr Abdul Subhan MOMAND Resident Representative to the IAEA Permanent Mission to the IAEA in Vienna Third Secretary Permanent Mission to the IAEA in Vienna Alternates: Other -
Ukraine's Eurovision Victory Brings the Plight of Crimean Tatars to A
Ukraine’s Eurovision victory brings the plight of Crimean Tatars to a European audience blogs.lse.ac.uk/europpblog/2016/05/15/ukraines-eurovision-victory-brings-the-plight-of-crimean-tatars-to-a-european-audience/ 5/15/2016 Ukraine won the Eurovision song contest on 14 May, with a song framed around the deportation of Crimean Tatars under Stalin in 1944. Ellie Knott writes that the result highlights the plight of Crimean Tatars following the territory’s annexation by Russia in 2014, particularly in light of the recent decision by a Crimean court to ban the legislature of the Crimean Tatar minority, the Mejlis. The 2016 Eurovision song contest was Ukraine’s second victory and Eurovision’s first song sung – at least partially – in the Crimean Tatar language. The country’s contestant, Jamala, Susana Jamaladinova, sang ‘1944’, a song about Stalin’s deportation of Crimean Tatars from the Crimean peninsula to Siberia and Central Asia on 18 May 1944. It was also a personal song, about her grandparents who themselves were deported from Crimea alongside approximately 200,000 Crimean Tatars, many of whom died en route. Following Jamala’s nomination to represent Ukraine, Russian authorities tried to lobby to have the song banned from Eurovision because political songs are against the rules of the contest. Russia’s reaction signals its uncertain approach to Stalin’s brutalities and creeping attempts to partially resuscitate Stalin as a World War Two hero and Soviet moderniser, rather than a brutal dictator. As much as ‘1944’ seems political, it is also about remembering the past, in particular these personal experiences and traumas.