Cultural Borders and European Integration
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O.Staniulionis: “Visi Šokiai Yra Apie Meilę”
Vaikystėje Olegas Staniulionis mokėsi akrobatikos - ruošėsi dirbti cirke Sauliaus Venckaus nuotr. O.Staniulionis: “Visi šokiai yra apie meilę” Jo sukurtus šokius kiekvieną labai dėl šito stresuoju. Restoranuo- - Kokie “Tu gali šokti” šokėjai - Retai. Nebent į pasaulio čem- tys būna šokiuose, nuolat galvoju se šokau nuo 17 metų. Duoną val- būna per repeticijas? Ar verda pionatą nuvažiuoju pašokti. Bet jau apie tai, ką galima padaryti šokių sekmadienį mato TV3 žiūrovai, gau tik iš šokio, nors turiu dar tris aistros? Kunkuliuoja emocijos? jaučiu, kad esu nebe dvidešimties. aikštelėje. stebintys projektą “Tu gali šok- specialybes. - Kartais įsidūksta šokėjai, tada Darai ekstremalesnius judesius ir reikia pakelti balsą. jau bijai susižaloti. O anksčiau taip - Kas būdinga šokėjams? ti”. Kartais kamera atsigręžia ir - Kokias? nebūdavo - darydavai ir darydavai - Jie visada šneka apie šokius. į jį patį - pasislėpusį po kepure - Šaltkalvio-montuotojo, elek- - Ir klauso? negalvodamas. Bent jau mano pažįstami. tros suvirintojo ir dar siuvėjo. Atli- - Klauso, ačiū Dievui. su snapeliu, susikaupusį ir šiek kau 3 mėnesių praktiką “Lelijos” - Kokios dažniausios šokėjų - Kokie profesiniai ateities tiek nervingą, sergantį už savo fabrike. (Šypsosi.) Dabar neturiu jo- - O jei kas neišeina? patiriamos traumos? planai? kio vargo, kai reikia susitvarkyti ko- - Jei tikrai neišeina, aiškinu dar - Stuburo, kojų. Būna, eini gatve - Norėtųsi daugiau kurti - staty- šokėjus. Savamokslis, pradė- kį drabužį. kartą. Bet šiaip - atėjai į projektą, ir niksteli koją. Kai šoki, dažniausiai ti šokius. jęs gatvės šokius šokti kai dar vadinasi, turi daryti. nieko nenutinka, nes esi įpratęs - Kaip manai, ką šokėjai išsi- kontroliuoti kūną. O kai eini gatve, - Ar šokėjas gali vartoti alko- nebuvo “YouTube”. Vienas įspū- neš iš projekto “Tu gali šokti”? - Kiek laiko projekto šokėjai būni išsiblaškęs, atsipalaidavęs ir holį, rūkyti? dingiausių jo turimų apdovano- - Laimėtojai - pinigus. -
Name Artist Composer Album Grouping Genre Size Time Disc
Name Artist Composer Album Grouping Genre Size Time Disc Number Disc Count Track Number Track Count Year Date Mod ified Date Added Bit Rate Sample Rate Volume Adjustment Kind Equalizer Comments Plays Last Played Skips Last Ski pped My Rating Because The Beatles Abbey Road Pop 4149082 165 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# DF7AFDAC Carry That Weight The Beatles Abbey Road Pop 2501496 96 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 74 DF4189 Come Together The Beatles Abbey Road Pop 6431772 260 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 5081C2D4 The End The Beatles Abbey Road Pop 3532174 139 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 909B4CD9 Golden Slumbers The Beatles Abbey Road Pop 2374226 91 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# D91DAA47 Her Majesty The Beatles Abbey Road Pop 731642 23 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 8427BD1F 1 02.07.2011 13:33 Here Comes The Sun The Beatles Abbey Road Pop 4629955 185 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 23 6DC926 3 30.10.2011 18:20 4 02.07.2011 13:34 I Want You The Beatles Abbey Road Pop 11388347 467 1969 02.07.2011 13:38 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 97501696 Maxwell's Silver Hammer The Beatles Abbey Road Pop 5150946 207 1969 02.07.2011 13:38 02.07.2011 13:31 192 44100 MPEG audio file , AG# 78 0B3499 Mean Mr Mustard The Beatles Abbey Road Pop 1767349 66 1969 -
Escinsighteurovision2011guide.Pdf
Table of Contents Foreword 3 Editors Introduction 4 Albania 5 Armenia 7 Austria 9 Azerbaijan 11 Belarus 13 Belgium 15 Bosnia & Herzegovina 17 Bulgaria 19 Croatia 21 Cyprus 23 Denmark 25 Estonia 27 FYR Macedonia 29 Finland 31 France 33 Georgia 35 Germany 37 Greece 39 Hungary 41 Iceland 43 Ireland 45 Israel 47 Italy 49 Latvia 51 Lithuania 53 Malta 55 Moldova 57 Norway 59 Poland 61 Portugal 63 Romania 65 Russia 67 San Marino 69 Serbia 71 Slovakia 73 Slovenia 75 Spain 77 Sweden 79 Switzerland 81 The Netherlands 83 Turkey 85 Ukraine 87 United Kingdom 89 ESC Insight – 2011 Eurovision Info Book Page 2 of 90 Foreword Willkommen nach Düsseldorf! Fifty-four years after Germany played host to the second ever Eurovision Song Contest, the musical jamboree comes to Düsseldorf this May. It’s a very different world since ARD staged the show in 1957 with just 10 nations in a small TV studio in Frankfurt. This year, a record 43 countries will take part in the three shows, with a potential audience of 35,000 live in the Esprit Arena. All 10 nations from 1957 will be on show in Germany, but only two of their languages survive. The creaky phone lines that provided the results from the 100 judges have been superseded by state of the art, pan-continental technology that involves all the 125 million viewers watching at home. It’s a very different show indeed. Back in 1957, Lys Assia attempted to defend her Eurovision crown and this year Germany’s Lena will become the third artist taking a crack at the same challenge. -
Apsėdo Loftai
Viktoras Diavara-VEE rūpinasi, kad sulig kultūros centro “Loftas” veikla Vilnius praturtėtų įdomesniais renginiais Sauliaus Venckaus nuotr. V.Diavarą apsėdo loftai Kadaise JAV, Niujorke, pamatyti loftai bei juose vykę vakarėliai pama- viena liktume draugai. Kai tik turime - Ar tave galima sutikti virtu- vaiko gatvėse grojantį jaunimą, neva laisvo laiko, renkamės pas Vilių vėje? Ruošiantį vakarienę? trukdantį šalia esančiam restoranui... žu virsta VIKTORO DIAVAROS (DIAWARA) realybe. Vilniaus Naujamies- (“Skamp” narys Vilius Alesius - aut. - Labai mėgstu pabūti prie viryk- Kaip jie gali trukdyti? tyje, buvusių sovietinių gamyklų patalpose, neseniai įkurdinta gru- past.) sodyboje: kepsninėje čirškina- lės. Peržiūriu receptus ir tada im- me maistą, geriame alų, klausomės provizuoju. Mano firminis patiekalas - Tau labiausiai praverčianti pės “Skamp” studija, šalia baigiami įrengti paties V.Diavaros namai, muzikos. O dabar, kai esame su vai- - apkepas, bet jis visada būna kitoks. asmeninė savybė? o Švitrigailos g.29 kuriamas kultūros centras “Loftas” duris atvers ru- kais, viskas vyksta dar kitaip. Jo sudėtis priklauso nuo to, kokios - Gal ta, kad nepasiduodu. Jei tu- daržovės tuo metų laiku natūraliai riu idėją, kitų nuomonė man nesvar- denį. “Ir darbas, ir namai vienoje vietoje - mano sena svajonė. Toli eiti - Į ką panašus sūnus? auga. Mano apkepus diktuoja sezo- bi. Bet aš visuomet įsiklausau į kri- nereikia”, - šypsosi V.Diavara. Su egzotiško gymio “Skamp” nariu šne- - Kai susiraukęs - į mane. Kai niškumas. tiką. Net jei paskui pasielgiu ar nu- kučiuojamės apie “Loftą”, šeimos pagausėjimą, Vilnių ir kitus dalykus. šypsosi - į motiną. sprendžiu visiškai priešingai. Šią sa- - Esi miesto ar gamtos žmo- vybę paveldėjau iš motinos. - Kokių savybių išsiugdei gi- gus? Elena NIKONOVAITĖ nys - susivešime ir įrengsime čia mus sūnui? - Didmiesčiuose aš įsikraunu, - O kokios savybės tau riedučių parką.. -
DOMINGO 21 DE FEBRERO DE 2021 SUNDAY, FEBRUARY 21, 2021 Primer Domingo De Cuaresma the First Sunday in Lent 1:00 P.M
NOTE: This liturgy is intended for personal worship purposes only and not for distribution. Any reproduction of this material for monetary purposes is illegal. NOTA: Esta liturgia está destinada solo para fines de culto personal y no para su distribución. Cualquier reproducción de este material con fines monetarios es ilegal. DOMINGO 21 DE FEBRERO DE 2021 SUNDAY, FEBRUARY 21, 2021 Primer Domingo de Cuaresma The First Sunday in Lent 1:00 p.m. All Saints Church 132 N Euclid Ave Pasadena CA 91101 626.796.1172 www.allsaints-pas.org 2 ¡Bienvenidos! / Welcome! "Quienquiera que seas y dondequiera que te encuentres en el camino de la fe hay un lugar para ti aquí." “Whoever you are and wherever you find yourself on the journey of faith there is a place for you here.” Aprenda más sobre La Iglesia de Todos los Santos / Learn more about All Saints: https://allsaints-pas.org/welcome-to-asc/get-connected/ Las peticiones para una oración se pueden enviar llamando al 626.583.2707 para dejar un mensaje para la oficina de Pastoral o por correo electrónico a [email protected] o texto 910-839-8272 (910-TEXT-ASC) Prayer requests can be submitted by calling 626.583.2707 to leave a message for the Pastoral Care office or by email to [email protected] or text 901-TEXT-ASC or 901-839-8272 Nos unimos como comunidad amada en la Iglesia de Todos los Santos como una señal de lo que puede suceder fuera de nuestras puertas. Que podemos ser el cambio que nuestro mundo debe ver. -
Sensationalism, Cinema and the Popular Press in Mexico and Brazil, 1905-1930
Sensationalism, Cinema and the Popular Press in Mexico and Brazil, 1905-1930 By Rielle Edmonds Navitski A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kristen Whissel (chair) Professor Natalia Brizuela Professor Mary Ann Doane Professor Mark Sandberg Spring 2013 Sensationalism, Cinema and the Popular Press in Mexico and Brazil, 1905-1930 © 2013 by Rielle Edmonds Navitski Abstract Sensationalism, Cinema and the Popular Press in Mexico and Brazil, 1905-1930 by Rielle Edmonds Navitski Doctor of Philosophy in Film and Media University of California, Berkeley Professor Kristen Whissel, Chair This dissertation examines the role of new visual reproduction technologies in forging public cultures of sensationalized violence in two rapidly modernizing nations on the periphery of industrial capitalism. I trace parallel developments in the production and reception of silent crime and adventure film in Brazil's First Republic and in revolutionary and post-revolutionary Mexico, at a moment when industrialization and urbanization were reshaping daily experience without eliminating profound social inequalities. Re-evaluating critical frameworks premised on cinema’s relationship to the experience of modernity in the industrialized U.S. and Western Europe, I argue that these early twentieth-century cultures of popular sensationalism signal the degree to which public life in Mexico and Brazil has been conditioned by violence and social exclusion linked to legacies of neo-colonial power. In the first half of the dissertation, I examine cinematic re-enactments of real-life crimes filmed in Rio de Janeiro, São Paulo, and Mexico City between 1908 and 1919. -
UNIVERSITY of CALIFORNIA RIVERSIDE of Virtuoso Cynics: Plays on Language, Sleights of Hand, and Moving with Music a Dissertation
UNIVERSITY OF CALIFORNIA RIVERSIDE Of Virtuoso Cynics: Plays on Language, Sleights of Hand, and Moving with Music A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Spanish by Óscar Alain Ulloa December 2019 Dissertation Committee: Dr. Alessandro Fornazzari, Chairperson Dr. Marta Hernández Salván Dr. Jonathan Ritter Copyright by Óscar Alain Ulloa 2019 The Dissertation of Óscar Alain Ulloa is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS More than acknowledging, I’ll start by saying thanks: to mi amá, my abuelita María, and my carnala Almita, for being forever strong, beautiful, and kind; and the fam that went to cumplir la manda- life lifting pillars (Ariel, Nidia, tía Gela, tía Juanita y todos), I will ever always be grateful. To my committee: Alessandro, whom I took my first literary and cultural analysis class with as an undergrad, and he still agreed to be my advisor. As uncommunicative, insubordinate, and desubicado as I am, he managed to point me in a few good directions in spite of myself and got me here. Marta, for being exacting and incisive, and having faith in me when all of mine in myself was gone, and I thought it would never be seen again. Freya, who is always so welcoming and brutally honest, and whose counsel I’m sure she doesn’t even know she gave has let me lose alotta my fears. Jonathan, who through playing music with and two-three talks helped me go from thinking of illiterate musicianship, to theorizing about illicit inscriptions. To the presence they’ve been in my life; Emily, Jennifer, Jorge, Judith, Rivera, Ronika, Roxana, and Seher- making the days more worth the while. -
Las Vegas Daily Gazette, 01-27-1884 J
University of New Mexico UNM Digital Repository Las Vegas Gazette, 1880-1886 New Mexico Historical Newspapers 1-27-1884 Las Vegas Daily Gazette, 01-27-1884 J. H. Koogler Follow this and additional works at: https://digitalrepository.unm.edu/lv_gazette_news Recommended Citation Koogler, J. H.. "Las Vegas Daily Gazette, 01-27-1884." (1884). https://digitalrepository.unm.edu/lv_gazette_news/580 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Las Vegas Gazette, 1880-1886 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. fejetfc VOL. 5. LAS VEGAS, NEW MEXICO: SUNDAY MORNING, JANUARY 27, 1884. NO. 244. Nunez, a tobacco importer of this city, body was found in it, but in front of 'it, J.J.RTZCERRELL, THE NATIONAL CAPITAL was arrested on board the American GENERALNEWS. as if blown out by tho concussion, one schooner John B. Uamill, Jr., lying in body was found, and although un'cc- - tho harbor of Sangue La Grande, Cuba. ognizaule, it is supposed lobo the man, EMIL BATO, CHE LIVE Col. Nunez was formerly an officer in a Swede, who was forbiddon to enter. Fnrlhor Dolíalo ou tlio Bill for the patriot army, and recently applied Homicide at Starkville, and Ho said tho mino was very much for a passport to return to Cuba to set " troubled with gas, but was considered Wholesale dealer In Fitz-Jóh- - Wild n tho Belief of n tle his brother s estate. -
Promoting Nation Building and Nation Branding Through Western
Master Thesis Promoting Nation Building and Nation branding through Western European Integration in the Eurovision Song Contest Master Program: Politics and Economics of Contemporary Eastern and Southeastern Europe Thessaloniki, University of Macedonia Author: Theodoros Kitsios M1318 Supervisor: Dr. Fotini Tsimpiridou 0 Declaration in Lieu of Oath I hereby declare, under oath, that this master thesis has been my independent work and has not been aided with any prohibited means. I declare, to the best of my knowledge and belief, that all passages taken from published and unpublished sources or documents have been reproduced whether as original, slightly changed or in thought, have been mentioned as such at the corresponding places of the thesis, by citation, where the extent of the original quotes is indicated. The paper has not been submitted for evaluation to another examination authority or has been published in this form or another. Thessaloniki, 01.10.2013 Theodoros Kitsios 1 Acknowledgements I would like to thank Dr. Fotini Tsimpiridou who supervised, advised and supported me throughout the realization of this thesis. No matter which problems would have come up, she was always open and helpful in her counsel. I am really grateful to her, for giving me the chance to fulfill a dream of my early adolescence, to delve into the Eurovision Song Contest from the perspective I have been enraptured since 1990, when I watched the contest for the first time in my life from the couch of my parents’ house. From that time on, I knew there was something more in this show, than what the television programs suggested to be. -
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest
ESC Insight Unofficial Guide to the 2013 Eurovision Song Contest Table of Contents Foreword .................................................................................................................................. 3 Editors Introduction ................................................................................................................. 4 Albania...................................................................................................................................... 5 Armenia .................................................................................................................................... 7 Austria ...................................................................................................................................... 9 Azerbaijan ............................................................................................................................... 11 Belarus ................................................................................................................................... 13 Belgium ................................................................................................................................... 15 Bulgaria .................................................................................................................................. 17 Croatia .................................................................................................................................... 19 Cyprus ................................................................................................................................... -
Pdf Liste Totale Des Chansons
55, Eurovision Melodifestivalen 2010 Finale - Le samedi 29 mai 2010 à Oslo - Présenté par : Nadia Hasnaoui, Haddy Jatou N'jie & Erik Solbakken Drip, drop (Chute de goutte) 1 - Azerbaïdjan par Safura Əlizad ə 145 points / 5e Auteur : Sandra Bjurman / Compositeurs : Anders Bagge, Stefan Örn Algo pequeñito (Quelque chose vraiment petit) 2 - Espagne par Daniel Diges 68 points / 15e Auteur/Compositeur : Jesús Cañadilla My heart is yours (Mon cœur t'appartient) 3 - Norvège par Didrik Solli-Tangen 35 points / 20e Auteurs/Compositeurs : Hanne Sørvaag, Fredrik Kempe Run away (Enfuis-toi) 4 - Moldavie par Olia Tira & Sun Stroke Project 27 points / 22e Auteur : Alina Galetskaya / Compositeurs : Anton Ragoza, Sergey Stepanov Life looks better in spring (La vie est meilleure au printemps) 5 - Chypre par Jon Lilygreen & The Islanders 27 points / 21e Auteur : Nasos Lamprianidis / Compositeurs : Nasos Lamprianidis, Melis Constantinou Thunder and lightning (Tonnerre et foudre) 6 - Bosnie-Herzégovine par Vukašin Brajić 51 points / 17e Auteur/Compositeur : Dino Šaran Me and my guitar (Moi et ma guitare) 7 - Belgique par Tom Dice 143 points / 6e Auteurs/Compositeurs : Tom Eeckhout, Jeroen Swinnen, Ashley Hicklin Ово је Балкан - Ovo je Balkan - (C'est les Balkans) 8 - Serbie par Milan Stanković 72 points / 13e Auteurs : Goran Bregović, Marina Tucaković, Ljiljana Jorgovanović / Compositeur : Goran Bregović Butterflies (Les papillons) 9 - Biélorussie par 3 + 2 18 points / 24e Auteur : Malka Chaplin / Compositeur : Maxim Fadeev It's for you (C'est pour toi) 10 -
Nationalism at Eurovision
Titel: Nationalism at Eurovision: how is it demonstrated? Naam: Herben het Lam Studentnummer: 11149841 Begeleider: Patrick Weir Tweede lezer: Aslan Zorlu Opleiding: Sociale Geografie & Planologie E-mailadres: [email protected] Datum: 17 augustus 2018 UNIVERSITY OF AMSTERDAM Nationalism at Eurovision: how is it demonstrated? A new approach to the old east-west distinction of Hans Kohn and others. Herben het Lam 17-8-2018 1 Abstract The supposed distinction between eastern and western European countries based on civic and ethnic nationalism has got many scholars busy, but still there is no consensus on the actual existence of this distinction. The initiator of this idea is Hans Kohn. He dug into the history of nationalism to point out many events that created a distinction between western and eastern Europe. Yet he has been criticised by many later scholars, especially for the judgmental flavour Kohn added to his theory. The present study aimed to find out whether nationalism at the Eurovision Song Contest, which is regarded in science as a platform for geopolitics and nationalism, indicates the existence of an east-west distinction. Time limitations affected this study and its findings, making further research necessary. With a lot of reservation, this study found that there may be an indication for a distinction. 2 Content Introduction 3 Chapter 1: Theoretical framework 4 Chapter 2: Methodology 9 Chapter 3: Analysis 13 Chapter 4: Conclusion 20 Sources 21 Introduction The Eurovision Song Contest is an inter-European popular cultural phenomenon; an annual gathering of musicians and audience from all over Europe for a competition over something that doesn’t seem 3 suitable for competition: music.