Rules of the 59Th Eurovision Song Contest
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Copenhagen – Stockholm – Oslo in 5 Days
Train trips in Scandinavia Enjoy the Scandinavian capitals COPENHAGEN – STOCKHOLM Sweden – OSLO IN 5 DAYS Five days, three remarkable cities, one diverse and amazing Norway experience. Visiting the capitals of Denmark, Sweden and Norway all in one trip offers an enormous wealth of design and architecture, world-class cuisine, fashion, royalty and fascinating historical features. Just do it. Denmark Day 1 to 2: Copenhagen – The City of Design Come and meet a jovial and convivial city full of alleyways lined with charming old houses. That said, Copenhagen is also a modern city where design is obvious in all its forms and featuring lively cafés and high-quality restaurants. Take a stroll down the famous pedestrianised street of Strøget and enjoy everything from high-end shopping to lively street artists and musicians. Or why not hire a bike and explore 5 h the city in true Danish style? Sights well worth seeing include the traditional Tivoli amusement park and the world-famous and popular “Little Mermaid” statue. And don’t forget to sample the very essence of all things Danish: the open Danish sandwich, or “smørrebrød” as it is known to the locals. Day 2 to 3: Stockholm – The Capital of Scandinavia Stockholm is one of the most beautiful cities in the world. Built on fourteen islands and directly connected to an archipelago, it’s a city of contrasts and is often considered unique by visitors. It’s an international metropolis, modern and trendy, yet bursting with culture, traditions and a history that stretches back an entire millennium. With 19 roof-top bars in the city centre and more than a hundred White Guide restaurants, 5 h few cities can compete with Stockholm’s ability to offer a taste of modern urban life, history and wonderful countryside – all in the same day. -
Eurovision’ European Contest ∗
Repositorio Institucional de la Universidad Autónoma de Madrid https://repositorio.uam.es Esta es la versión de autor de la comunicación de congreso publicada en: This is an author produced version of a paper published in: WIMS '11: Proceedings of the International Conference on Web Intelligence, Mining and Semantics, ACM, 2011. 25 DOI: http://dx.doi.org/10.1145/1988688.1988718 Copyright: © 2011 ACM El acceso a la versión del editor puede requerir la suscripción del recurso Access to the published version may require subscription A Study on the Impact of Crowd-Based Voting Schemes in the ’Eurovision’ European Contest ∗ Gema Bello Orgaz, Raul Cajias and David Camacho Computer Science Department Escuela Politécnica Superior Universidad Autónoma de Madrid Madrid, Spain {gema.bello, raul.cajias, david.camacho}@uam.es ABSTRACT Categories and Subject Descriptors The Eurovision contest has been the reference on european H.3.3 [Information Systems]: Information Storage and song contests for the past 50 years. Countries in the Euro- Retrieval|Information Search and Retrieval, Clustering pean Union can shows the rest of the participants their cur- rent music tendencies. This phenomena has been studied in General Terms domains like physic and social sciences to find correlations CPM, Edge Betweenness, Data Mining, Eurovision, Televot- between contests and current political and socio-economy ing, Voting Partnership trends in EU. The inclusion of web and social technologies some years ago, have caused a disruption in the traditional voting system whereby the audience is encouraged to par- Keywords ticipate by casting votes for their favorite song. As a result, Graph Based Algorithms, Network, Web Mining, Social Min- this system yields new, relevant information that may be ex- ing trapolated to social and political tendencies in Europe with a higher degree accuracy than by data collected using the 1. -
Voyager of the Seas® - 2022 Europe Adventures
Voyager of the Seas® - 2022 Europe Adventures Get your clients ready to dive deep into Europe in Summer 2022. They can explore iconic destinations onboard the new Odyssey of the Seas S M. Fall in love with the Med's greatest hits and discover its hidden gems onboard Voyager of the Seas® ITINERARY SAIL DATE PORT OF CALL 9-Night Best of Western April 15, 2022 Barcelona, Spain • Cartagena, Spain • Gibraltar, Europe United Kingdom • Cruising • Lisbon, Portugal • Cruising (2 nights) • Amsterdam, Netherlands Cruising • Copenhagen, Denmark 7-Night Best of Northern April 24, 2022 Copenhagen, Denmark • Oslo, Norway Europe August 28, 2022 (Overnight) • Kristiansand, Norway • Cruising • Skagen, Denmark • Gothenburg, Sweden • Copenhagen, Denmark 7-Night Scandinavia & May 1, 8, 15, 22, 2022 Copenhagen, Denmark • Cruising • Stockholm, Russia Sweden • Tallinn, Estonia • St. Petersburg, Russia • Helsinki, Finland • Cruising • Copenhagen, Denmark 7-Night Scandinavia & May 29, 2022 Copenhagen, Denmark • Cruising • Stockholm, Russia Sweden • Helsinki, Finland • St. Petersburg, Russia • Tallinn, Estonia • Copenhagen, Denmark 10-Night Scandinavia & June 5, 2022 Copenhagen, Denmark • Cruising • Stockholm, Russia Sweden • Tallinn, Estonia • St. Petersburg, Russia (Overnight) • Helsinki, Finland • Riga, Latvia • Visby, Sweden • Cruising • Copenhagen, Denmark Book your Europe adventures today! Features vary by ship. All itineraries are subject to change without notice. ©2020 Royal Caribbean Cruises Ltd. Ships’ registry: The Bahamas. 20074963 • 11/24/2020 ITINERARY SAIL DATE PORT OF CALL 11-Night Scandinavia & June 15, 2022 Copenhagen, Denmark • Ronne, Bornholm, Russia Denmark • Cruising • Tallinn, Estonia • St. Petersburg, Russia (Overnight) • Helsinki, Finland • Visby, Sweden • Riga, Latvia • Cruising (2-Nights) • Copenhagen, Denmark 7-Night Scandinavia & July 3, 2022 Stockholm, Sweden• Cruising • St. -
View Adventure of the Seas 2021 European Sailings
Adventure of the Seas® Get ready to dive deeper into Old World adventures in Summer 2021. Rediscover the Med’s greatest hits onboard Harmony of the Seas® , sailing from Barcelona and Rome, or on returning favorites Vision® and Rhapsody of the Seas® . Head north for unforgettable sights in the Baltics and the British Isles onboard Jewel of the Seas® . Choose from fjord filled thrills in Norway to Mediterranean marvels and everywhere in between onboard Anthem of the Seas® , sailing from Southampton —all open to book now. ITINERARY SAIL DATE PORT OF CALL 18-Night Galveston to April 21, 2021 Galveston, Texas • Cruising (9 Nights) • Gran Canaria, Copenhagen Canary Islands • Cruising • Lisbon, Portugal • Cruising (2 Nights) • Paris (Le Havre), France • Rotterdam, Netherlands • Cruising • Copenhagen, Denmark 7-Night Scandinavia & May 16, 2021 Copenhagen, Denmark • Cruising • Stockholm, Sweden Russia • Tallinn, Estonia • St. Petersburg, Russia • Cruising (2 Nights) • Copenhagen, Denmark 8-Night Scandinavia & May 30, 2021 Copenhagen, Denmark • Cruising • Stockholm, Sweden Russia • Tallinn, Estonia • St. Petersburg, Russia • Helsinki, Finland • Cruising (2 Nights) • Copenhagen, Denmark 10-Night Scandinavia & June 7, 2021 Copenhagen, Denmark • Cruising • Riga, Latvia • Russia Tallinn, Estonia • St. Petersburg, Russia (Overnight) • Helsinki, Finland • Stockholm, Sweden • Cruising • Copenhagen, Denmark (Overnight) 10-Night Ultimate June 17, 2021 Copenhagen, Denmark • Berlin (Warnemunde), Scandinavia Adventure Germany • Cruising • Helsinki, Finland • St. Petersburg, Russia (Overnight) • Tallinn, Estonia • For deployment information and marketing resources, visit LoyalToYouAlways.com/Deployment Features vary by ship. All itineraries are subject to change without notice. ©2019 Royal Caribbean Cruises Ltd. Ships’ registry: The Bahamas. ITINERARY SAIL DATE PORT OF CALL Visby, Sweden • Riga, Latvia • Stockholm, Sweden (Overnight) 7-Night Scandinavia & June 27, 2021 Stockholm, Sweden • Cruising • St. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Lesbian Camp 02/07
SQS Bespectacular and over the top. On the genealogy of lesbian camp 02/07 Annamari Vänskä 66 In May 2007, the foundations of the queer Eurovision world seemed to shake once again as Serbia’s representative, Queer Mirror: Perspectives Marija Šerifović inspired people all over Europe vote for her and her song “Molitva”, “Prayer”. The song was praised, the singer, daughter of a famous Serbian singer, was hailed, and the whole song contest was by many seen in a new light: removed from its flamboyantly campy gay aesthetics which seems to have become one of the main signifiers of the whole contest in recent decades. As the contest had al- ready lost the Danish drag performer DQ in the semi finals, the victory of Serbia’s subtle hymn-like invocation placed the whole contest in a much more serious ballpark. With “Molitva” the contest seemed to shrug off its prominent gay appeal restoring the contest to its roots, to the idea of a Grand Prix of European Song, where the aim has been Marija Šerifović’s performance was said to lack camp and restore the to find the best European pop song in a contest between contest to its roots, to the idea of a Grand Prix of European Song. different European nations. The serious singer posed in masculine attire: tuxedo, white riosity was appeased: not only was Šerifović identified as shirt, loosely hanging bow tie and white sneakers, and was a lesbian but also as a Romany person.1 Šerifović seemed surrounded by a chorus of five femininely coded women. -
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. -
Important Information for All Applicants Scheduled for Immigrant Visa Interviews in Stockholm, Sweden
EMBASSY OF THE UNITED STATES OF AMERICA Consular Section, Immigrant Visa Unit Dag Hammarskjölds Väg 31 115 89 Stockholm, SWEDEN http://stockholm.usembassy.gov/ IMPORTANT INFORMATION FOR ALL APPLICANTS SCHEDULED FOR IMMIGRANT VISA INTERVIEWS IN STOCKHOLM, SWEDEN Please note that the U.S. Embassy in Stockholm conducts immigrant visa interviews for applicants legally residing in Denmark, Norway and Sweden. You have notified the National Visa Center (NVC) that you have all your documents ready in connection with your application for an immigrant visa. Therefore an appointment has been scheduled for you to come to this office on the date specified in the enclosed letter. All members of your family immigrating with you must appear on the appointment date. If you cannot keep the appointment date, please notify this office immediately via e- mail: [email protected] Please make sure to enter your case number (begins with STK followed by numbers XXXXXXXXXX) in the subject line. Please be aware that it may take up to 6 months to obtain a different appointment. Also keep in mind that we can only give approximately 3 weeks advance notice. Section 203(e) of the Immigration and Nationality Act requires that an intending immigrant pursue his or her visa application within one year from the date he or she is informed that it is possible to do so. This is our notice to you that it is now possible for you to pursue your application for a visa. If you fail to do so within one year from the date of the enclosed appointment letter, your application and any visa petition approved for you will be cancelled. -
Gender and Geopolitics in the Eurovision Song Contest Introduction
Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. -
Identity, Spectacle and Representation: Israeli Entries at the Eurovision
Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1 Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer- sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re- views especially about his research line ‘Identity politics at the Eurovision Song Contest’. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Abstract: Resumen: Through a sophisticated investment, both capital and symbolic, A partir de una sofisticada inversión, capital y simbólica, el Festival the Eurovision Song Contest generates annually a unique audio- de Eurovisión genera anualmente un espectáculo audiovisual en la ISSN: 1696-019X / e-ISSN: 2386-3978 visual spectacle, debating concepts as well as community, televisión pública problematizando conceptos como “comunidad”, Europeanness or cultural identity. Following the recent researches “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re- from the An-glo-Saxon ambit, we will research different editions of cientes en el ámbito anglosajón, recorreremos sus distintas ediciones the show. -
Inte Bara Bögarnas Fest” En Queer Kulturstudie Av Melodifestivalen
”Inte bara bögarnas fest” En queer kulturstudie av Melodifestivalen Institutionen för etnologi, religionshistoria och genusvetenskap Examensarbete 30 HP Mastersprogrammet i genusvetenskap 120 HP Vårterminen 2018 Författare: Olle Jilkén Handledare: Kalle Berggren Abstract Uppsatsen undersöker hur TV-programmet Melodifestivalen förhåller sig till sin homokulturella status genom att studera programmets heteronormativa ramar och porträttering av queerhet. Det teoretiska ramverket grundar sig i representationsteori, kulturstudier, gaystudier och queerteori. Analysen resulterar i att de heteronormativa ramarna framställer heterosexualitet som en given norm i programmet. Detta uppvisas bland annat av en implicit heterosexuell manlig blick som sexualiserar kvinnokroppar och ser avklädda män, queerhet och femininitet som något komiskt. Detta komplicerar tidigare studiers bild av melodifestivaler som huvudsakligen investerade och accepterande av queera subjekt. Den queera representationen består främst av homosexuella män. Den homosexuellt manliga identiteten görs inte enhetlig och bryter mot heteronormativa ideal i olika grad. Några sätt som den homosexuellt manliga identiteten porträtteras är artificiell, feminin, icke-monogam, barnslig och investerad i schlager. Analysen påpekar att programmet har queert innehåll trots dess kommersiella framställning och normativa ideal. Nyckelord: Melodifestivalen, schlager, genusvetenskap, homokultur, gaystudier, bögkultur, heteronormativitet. Innehållsförteckning 1. En älskad och hatad ”homofilfestival” 1 -
Diplomski Rad
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Juraj Dobrila University of Pula Digital Repository Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad Pula, 2018. Sveučilište Jurja Dobrile u Puli Filozofski fakultet KATARINA POKRAJAC POPULARNA KULTURA U HRVATSKOJ 1970-IH I 1980-IH Diplomski rad JMBAG: 0303030797, redoviti student Studijski smjer: Hrvatski jezik i književnost - Povijest Predmet: Hrvatska svakodnevica u socijalizmu Znanstveno područje: humanističke znanosti Znanstveno polje: povijest Znanstvena grana: hrvatska i svjetska moderna i suvremena povijest Mentor: izv. prof. dr. sc. Igor Duda Pula, srpanj 2018. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisana Katarina Pokrajac, kandidtkinja za magistru hrvatskog jezika i knjiţevnosti i povijesti ovime izjavljujem da je ovaj diplomski rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraţivanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio diplomskog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava. Izjavljujem, takoĎer, da nijedan dio rada nije iskorišten za koji drugi rad pri bilo kojoj drugoj visokoškolskoj, znanstvenoj ili radnoj ustanovi. U Puli, 28. lipnja 2018. Studentica ______________________ IZJAVA o korištenju autorskog djela Ja, Katarina Pokrajac