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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 ............................................................................................................ -
Communicative-Pragmatic, Normative and Functional Parameters of the Professional Discourse
COMMUNICATIVE-PRAGMATIC, NORMATIVE AND FUNCTIONAL PARAMETERS OF THE PROFESSIONAL DISCOURSE Collective monograph Liha-Pres 2021 Editor-in-Chief Mamych M., PhD of Philological Sciences, Professor, Head of the Department of Applied Linguistics of the National University “Odessa Law Academy”. Deputy Editor-in-Chief Kiselyova A., PhD of Philological Sciences, Associate Professor of the Department of Applied Linguistics of the National University “Odessa Law Academy”. Reviewers: dr Adam Wróbel, School of Polish Language and Culture of Cuiavian University in Wloclawek (Republic of Poland); mgr Joanna Skiba, Director of the Center for Foreign Languages, Cuiavian University in Włocławek (Republic of Poland); Navalna M., PhD of Philological Sciences, Professor, Professor of the Department of Documentation and Teaching Methods of Pereyaslav-Khmelnytsky State Pedagogical University named after Hryhoriy Skovoroda; Yarmak V., PhD of Philological Sciences, Associate Professor, Leading Researcher of the Department of Slavic Languages of the Institute of Linguistics named after O.O. Potebnya of NAS of Ukraine. Recommended for publication by the Academic Council of the National University “Odessa Law Academy” (Minutes № 6 of March 12, 2021) Communicative-pragmatic, normative and functional parameters of the professional discourse : collective monograph / ed. M. Mamych. – Lviv-Toruń : Liha-Pres, 2021. – 336 p. ISBN 978-966-397-232-9 The collective monograph offers an analysis of professional discourse as a thought-communicative activity. The validity of -
Reflections 3 Reflections
3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS AUSGABE 2019/2020 AUSGABE | TAUSEND FENSTER Der tschechische Sänger Karel Gott („Und samkeit in der großen Stadt beim Eurovision diese Biene, die ich meine, die heißt Maja …“) Song Contest 1968 in der Royal Albert Hall wurde vor allem durch seine vom böhmischen mit nur 2 Punkten den bescheidenen drei- SONG CONTEST CLUBS Timbre gekennzeichneten, deutschsprachigen zehnten Platz, fi ndet aber bis heute großen Schlager in den 1970er und 1980er Jahren zum Anklang innerhalb der ESC-Fangemeinde. Liebling der Freunde eingängiger U-Musik. Neben der deutschen Version, nahm Karel Copyright: Martin Krachler Ganz zu Beginn seiner Karriere wurde er Gott noch eine tschechische Version und zwei ÖSTERREICHISCHEN vom Österreichischen Rundfunk eingela- englische Versionen auf. den, die Alpenrepublik mit der Udo Jürgens- Hier seht ihr die spanische Ausgabe von „Tau- DUNCAN LAURENCE Komposition „Tausend Fenster“ zu vertreten. send Fenster“, das dort auf Deutsch veröff ent- Zwar erreichte der Schlager über die Ein- licht wurde. MAGAZINDAS DES Der fünfte Sieg für die Niederlande DIE LETZTE SEITE | ections Refl AUSGABE 2019/2020 2 Refl ections 4 Refl ections 99 Refl ections 6 Refl ections IMPRESSUM MARKUS TRITREMMEL MICHAEL STANGL Clubleitung, Generalversammlung, Organisation Clubtreff en, Newsletter, Vorstandssitzung, Newsletter, Tickets Eurovision Song Contest Inlandskorrespondenz, Audioarchiv [email protected] Fichtestraße 77/18 | 8020 Graz MARTIN HUBER [email protected] -
La Instrumentalización Política Del Festival De Eurovisión: El Caso Del Enfrentamiento Entre Rusia Y Ucrania (2010-2019)”
FACULTAD DE COMUNICACIÓN GRADO EN PERIODISMO TRABAJO DE FIN DE GRADO “La instrumentalización política del Festival de Eurovisión: el caso del enfrentamiento entre Rusia y Ucrania (2010-2019)” JUNIO 2020. SEVILLA. AUTOR: DANIEL LINDO GARCÍA TUTOR: FERNANDO RAMÓN CONTRERAS MEDINA RESUMEN La cuestionada gestión de los servicios públicos de televisión, y la influencia de la Unión Europea de Radiodifusión y sus derivados en los cinco continentes, hacen del Festival de Eurovisión un escenario perfecto para la propagación de las consignas políticas que defienden los dispares gobiernos europeos que administran los primeros. La Revolución del Maidán y la anexión rusa de Crimea no solo provocaron una colisión entre Kiev y Moscú, también lograron acercar a una antigua república soviética como Ucrania a Bruselas. El longevo evento de música, reflejo del poder económico occidental, no ha sido sino la mayor plataforma mediática donde Rusia y su país vecino han librado una de sus muchas batallas. Palabras clave: Rusia, Ucrania, Eurovisión, Europa, canciones, televisión. ÍNDICE 1. INTRODUCCIÓN ...................................................................................................... 1 1.1. INTERÉS EN EL TEMA DE ESTUDIO E HIPÓTESIS ...................................... 1 1.2. ESTRUCTURA ..................................................................................................... 2 1.3. PLANTEAMIENTO GENERAL .......................................................................... 3 1.3.1. Objetivos ........................................................................................................ -
Selección De Memorias Del Máster De Diplomacia Y Relaciones Internacionales 2017-2018
Selección de memorias del Máster de Diplomacia y Relaciones Internacionales 2017-2018 CUADERNOS DE LA ESCUELA DIPLOMÁTICA Selección de memorias del Máster de Diplomacia y Relaciones Internacionales 2017-2018 Nota Legal A tenor de lo dispuesto en la Ley de Propiedad Intelectual, no está permiti- da la reproducción total o parcial de esta publicación, ni su tratamiento informáti- co, ni la transmisión de ninguna forma o por cualquier medio, ya sea electrónico, por fotocopia, por registro u otros métodos, ni su préstamo, alquiler o cualquier otra forma de cesión de su uso, sin el permiso previo y por escrito del autor, sal- vo aquellas copias que se realicen para uso exclusivo del Ministerio de Asuntos Exteriores y de Cooperación”. MINISTERIO DE ASUNTOS EXTERIORES, UNIÓN EUROPEA Y COOPERACIÓN © de los textos sus autores © de la presente edición 2018: Escuela Diplomática Paseo de Juan XXIII, 5 - 28040 Madrid NIPO ESTABLE: (en línea) 108-19-002-1 NIPO ESTABLE: (en papel) 108-19-001-6 ISSN: 0464-3755 Depósito Legal: M-28074-2020 DISEÑA E IMPRIME: IMPRENTA DE LA DIRECCIÓN GENERAL DE COMUNICACIÓN, DIPLOMACIA PÚBLICA Y REDES DISEÑO PORTADA: JAVIER HERNÁNDEZ: (www.nolson.com) Reproducción en papel para conservación, consulta en biblioteca y uso exclusivo en sesiones de trabajo. Catálogo General de Publicaciones Oficiales de la Administración del Estado. https://publicacionesoficiales.boe.es "En esta publicación se ha utilizado papel reciclado libre de cloro de acuerdo con los criterios medioambientales de la contratación pública". Índice Nota Legal ........................................................................................................ 6 PRIMERA MEMORIA POR LUIS ÁLVAREZ LÓPEZ EL FESTIVAL DE EUROVISIÓN: un atípico Concierto Europeo ...................................................................... 13 AGRADECIMIENTOS .................................................................................... -
Popular Musical Television Projects of the Late Xx
Original Research Article: (2020), «EUREKA: Social and Humanities» full paper Number 5 POPULAR MUSICAL TELEVISION PROJECTS OF THE LATE XX – EARLY XXI CENTURIES Oleksandra Loktionova-Oitsius Department of Academic and Solo Vocal Institute of Arts Borys Grinchenko Kyiv University 18/2 Bulvarno-Kudryavska str., Kyiv, Ukraine, 04053 [email protected] Abstract The article is devoted to the study of the general state of television in the field of music performance. The most popular musical television programs and vocal shows are considered. The purpose of the work is to identify the features of music TV proj- ects, comparing with world models and highlighting the typical features of the musical television space. The research methodolo- gy consists in applying the general principles of scientific knowledge that correspond to modern cultural discourse. The formation of musical and television projects in the context of changes in the social mentality of the consumer of mass culture is considered. Television is interpreted as a means of approaching the global process closer to a person, that is, a consumer communicates with world-wide examples of popular art, music television projects, vocal show projects and etc. It creates the preconditions for imita- tion of the best world models of music TV projects in Ukraine. The article first analyzes the interconnection of Ukrainian music television projects as analogues to such worldwide shows as “The Voice”, “The X factor”, “American Idol”. Vocal talent shows are considered as combining the elements of a “game show” and a “perfection/transformation show”, promoting the development of the educational component, namely, the formation of educational activity through comments and advice of judges, classes with participants between performances, determination of the most successful performances, concert practice and etc. -
State of Artistic Freedom 2020 Report Is a Research Feelings
THE STATE OF ARTISTIC FREEDOM 2020 FREEMUSE THE STATE OF ARTISTIC FREEDOM 2020 1 Freemuse is an independent international organisation advocating for and defending freedom of artistic expression. We believe that at the heart of violations of artistic freedom is the effort to silence opposing or less preferred views and values by those in power – politically, religiously or societally – mostly due to fear of their transformative effect. With this assumption, we can address root causes rather than just symptoms – if we hold violators accountable. Our approach to artistic freedom is human rights-based as it provides an international legal framework and lays out the principles of accountability, equality and non-discrimination, and participation. ©2020 Freemuse. All rights reserved. Design and illustration: www.NickPurserDesign.com Editor: Dr Srirak Plipat Freemuse thanks those who spoke to us for this report, especially the artists who took risks to take part in this research. We also thank everyone who stands up for the human right to artistic freedom. Every effort has been made to verify the accuracy of the information contained in this report. All information was believed to be correct as of March 2020. Nevertheless, Freemuse cannot accept responsibility for the consequences of its use for other purposes or in other contexts. This report is kindly supported by the Swedish International Development Cooperation Agency (Sida), the Norwegian Ministry of Foreign Affairs and Fritt Ord Norway. THE STATE OF ARTISTIC FREEDOM 2020 FREEMUSE Today, perhaps all of us wonder “ whether a trigger pulled, a steering wheel turned, or a pin tugged by the fingers of some violent extremist will strike down our future prematurely. -
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür Ve Sanat Araştırmaları Dergisi Vol
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 10, No. 1, March 2021 DOI: 10.7596/taksad.v10i1.3009 Citation: Bekcan, U., & Uz Hançarlı, P. (2021). Evaluation of Eurovision Song Contest as a Cultural Impact Tool. Journal of History Culture and Art Research, 10(1), 84-97. doi: http://dx.doi.org/10.7596/taksad.v10i1.3009 Evaluation of Eurovision Song Contest as a Cultural Impact Tool Umut Bekcan1, Pınar Uz Hançarlı2 Abstract In this study, three claims/arguments regarding the emergence and function of the Eurovision Song Contest were put forward and tried to be grounded. First, the contest emerged as a tool for Western Europe to influence Eastern Europe culturally in the Cold War but it didn’t become an ideological conflict area of East-West. Second, the contest functioned as a stage of expressing the political problems/situations that countries experience within themselves or with each other in the Cold War era and aftermath. Third, although Turkey took place in the Western Europe side in the Cold War, this contest made Turkey feel non-European while having a different identity. In this context, the subject is discussed from the historical perspective with the assumption that the subject of history is unique. The study focused primarily on the concept of the Cold War and the contest. Then, it was explained with the examples which political problems/situations different from the Cold War ideological conflict environment were brought up on the contest platform. Finally, it was emphasized that the contest contributed to “us vs them” dichotomy in Turkey against Europe, contrary to Eurovision’s aim to form/create a common European culture. -
Guidaesc2019.Pdf
Eurovision Song Contest: la musica che unisce l'Europa... e non solo! C'è chi la definisce la "Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai è una rassegna globale, che vede protagonisti nel 2019 41 paesi: 40 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area, ma che nel 2015 fu invitata per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che poi, a partire dal 2016, è stata ufficialmente invitata dall’organizzazione. L'ideatore della rassegna fu un italiano, Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più paesi e promuovere il mezzo televisivo nel vecchio continente. -
Final Report of CVU on Observation Results of the Early Election of Mps of Ukraine on July 21, 2019
Final Report of CVU on Observation Results of the Early Election of MPs of Ukraine on July 21, 2019 Plan І. Election Law…………………………………………………………………… p. 3 ІІ. Activities of election commissions…………………………………………… p. 6 ІІІ. Nomination and registration of candidates…………………………………… p. 9 ІV. Campaigning……………………………………………………………….. p. 13 V. Election Violence…………………………………………………………… p. 26 VI. Election Day and Election Results ………………………………………… p. 32 2 І. Election Law Early Parliamentary Elections were held on July 21, 2019, on the basis of the Law “On Elections of People's Deputies of Ukraine”, adopted on November 17, 2011. After early election of MPs on October 26, 2014 the Law was amended with some norms which were implied during this election campaign for the first time. As for innovations, they did not anticipate direct changes to the current electoral system, but were mainly aimed at resolving organizational issues related to the preparation of the electoral process, as well as problems related to financing of election campaigns. In general, since the last parliamentary elections in 2014, the election law has been amended 8 times. On October 8, 2015, the Verkhovna Rada adopted the Law “On Amendments to Some Legislative Acts of Ukraine on Preventing and Combating Political Corruption” which also has amended the Law “On Elections of People's Deputies of Ukraine”. Amendments were about financing of election campaigns. In particular, amendments were about establishing the maximum size of election funds of candidates and political parties, determining the categories of persons, who are not allowed to make voluntary contributions to election funds, supplementing the list of state bodies responsible for revision of financial statements of candidates and parties (it is about National Agency for the Prevention of Corruption). -
Study of the Music Market of Ukraine and Its Prospects in the International Economy
Study of the Music Market of Ukraine and Its Prospects in the International Economy Report on the results of the study Supported by Kyiv, 2020 The study has been conducted by the music consulting agency Soundbuzz within the project “Study of the music market of Ukraine and its prospects in the international economy” of the Culture Analytics program supported by the Ukrainian Cultural Foundation. Research team: Dartsya Tarkovska Yuliia Melnyk Ruzana Yemelianova Sergiy Cane Inna Lytovka Anna Otnoshenko Marianna Tanska Volodymyr Vorobei Marta Kobrynovych Olena Kovalevska (editor) Alina Kuchma (English translation) Dmytro Yarovyi, Kateryna Yarova (design) Oleksandr Popenko, Yurii Hriaznov, Alex Charey (photography) The publication was realized with support of Ukrainian Cultural Foundation. The opinion of Ukrainian Cultural Foundation may not coincide with the idea of the authors. Soundbuzz is a music consulting agency established in 2013. It is engaged in educational projects in music marketing, advises on music export, and participates in professional events in the international music industry, including Music Conference Ukraine, Respublica Music Conference, PRO music USA, Gogolfest, Live at Heart, Ment Ljubljana, Waves Vienna, Nouvelle Prague, Budapest Showcase Hub and others. Website: www.soundbuzz.com.ua Ukrainian Cultural Foundation is a state institution established in 2017 based on the respective Law of Ukraine. Its goal is to promote the development of national culture and art nationwide; provide favorable conditions for the development of the intellectual and spiritual potential of individuals and the society, as well as access to the national cultural heritage, and to support cultural diversity and integration of Ukrainian culture into the global culture. -
The Ukrainian Weekly, 2019
INSIDE: l Interview: Anne Applebaum on “Red Famine” – page 9 l Carpathian Ski Club holds 65th annual races – page 14 l 1983 Famine symposium archives restored – page 15 THEPublished U by theKRAINIAN Ukrainian National Association Inc., a fraternal W non-profit associationEEKLY Vol. LXXXVII No. 10 THE UKRAINIAN WEEKLY SUNDAY, MARCH 10, 2019 $2.00 OCU hierarch fears further persecution Looking back at the Battle of Debaltseve by Russian occupying authorities in Crimea by Mark Raczkiewycz Prelude and backdrop of battle Russian-led forces had repeatedly flout- KYIV – Four years and one month ago, ed the first Donbas war truce that was bro- the second of two major and decisive bat- kered in Minsk in September 2014 follow- tles took place in the Donbas war. In the ing the disastrous Ilovaisk battle. Fighting Battle of Debaltseve in Donetsk Oblast, escalated in the fall and winter of that year Ukraine’s army tested itself against regular and reached a crescendo in January 2015 and irregular units of the Russian military, as clashes persisted for the Donetsk including battle-hardened mercenaries Airport, in the Debaltseve bulge and from the Wagner private military outfit. around Shyrokyne, 30 kilometers east of As in the August 2014 Battle of Ilovaisk, the Azov Sea coastal city of Mariupol. Kyiv was overwhelmed by a superior foe Slowly, Moscow-led forces continued to that broke through thin defensive lines gain territory. with a heavy concentration of forces and This included the area around Debaltseve, modern weaponry. In the end, more than a city that had a pre-war population of nine towns and territory were lost in a 25,000.