Medieritualer Som Klass- Och Kulturbundna Diskurser Och Funktioner

Total Page:16

File Type:pdf, Size:1020Kb

Medieritualer Som Klass- Och Kulturbundna Diskurser Och Funktioner Nordica Helsingiensia 47 MEDIERITUALER SOM KLASS- OCH KULTURBUNDNA DISKURSER OCH FUNKTIONER Hufvudstadsbladets lucia och konstruktionen av Svenskfinland Tiina Räisä Akademisk avhandling som med tillstånd av Humanistiska fakulteten vid Helsingfors universitet framläggs till offentlig granskning i auditorium XII torsdagen den 22 december 2016 kl. 12. Nordica Finska, finskugriska och nordiska institutionen Helsingfors universitet 2016 © Tiina Räisä och Finska, finskugriska och nordiska institutionen vid Helsingfors universitet Denna bok är nummer 47 i serien Nordica Helsingiensia, en bokserie som utges av Nordica vid Finska, finskugriska och nordiska institutionen vid Helsingfors universitet. Ansvarig utgivare: Nordica, Finska, finskugriska och nordiska institutionen, Helsingfors universitet Kontaktinformation: Nordica PB 24 FIN-00014 Helsingfors universitet [email protected] Pärmfoto: Tiina Räisä ISSN 1795-4428 ISBN 978-951-51-2826-3 (print) ISBN 978-951-51-2827-0 (online) Tryckt i Finland av universitetstryckeriet Unigrafia Helsingfors 2016 HELSINGFORS UNIVERSITET Finska, finskugriska och nordiska institutionen (Nordica) Tiina Räisä, 2016. Medieritualer som klass- och kulturbundna diskurser och funktioner. Hufvudstadsbladets lucia och konstruktionen av Svenskfinland Sammanfattning I avhandlingen gör jag en empirisk och tvärvetenskaplig studie av Hufvudstadsbladets lucia. Syftet är att uppmärksamma en långvarig medietext som blivit betydelsefull för den svenskspråkiga befolkningen i Finland. Jag definierar HBL:s lucia som ett exempel på en medieritual och använder lucia för att undersöka hur medieinstitutioner genom en återkommande textproduktion konstruerar kultur och över tid även symboliska gemenskaper såsom Svenskfinland. Det teoretiska anspråket är att understryka ritualen som en kraftfull kontext som dels påverkar språkanvändarnas förmåga att fritt välja sina uttryck, dels som en praktik som inverkar på konstruktionen av det kulturellt distinkta och följaktligen den kollektiva identitetskonstruktionen. Som material har jag använt artiklar som HBL publicerat i samband med starten av en ny luciaperiod. Undersökningen fokuserar endast på HBL:s luciapraktiker och inte på andra luciatraditioner i Finland eller Norden. Inte heller analyseras själva luciadagens händelser utan endast de medietexter som produceras av medieinstitutionen i samband med medieritualens initiala fas. I analysen har jag inbegripit de tre medverkandegrupper som tidningen återkommande lyfter fram: luciakandidaterna, trion som också kallas för luciajuryn samt gruppen de utsatta som är mottagarna av luciainsamlingens resurser. Jag gör synkrona analyser av medietexter från vart tionde år samt en diakron jämförelse av utvecklingen av lucia under perioden 1950–2012. De metodologiska valen återspeglar det tvärvetenskapliga perspektivet. Sekvensbegreppet har använts både inom antropologin och samtalsforskningen och jag tillämpar sekvensen för att organisera och analysera dels upprepningens olika systematiska former, dels betydelsen av upprepningarna. Med hjälp av sekvensen analyseras namn och namnliknande uttryck, verb som uttrycker handlingar och tillstånd samt karaktär. Den sekventiella textpraktiken reflekterar ritualens krav på logisk och strategisk kommunikation. Jag förankrar undersökningen i en konstruktivistisk tradition och ser inte orden som naturliga eller förgivettagna resurser. Tvärtom blir varje uttryck en betydelsefull symbol som bidrar till den diskursiva utvecklingen av medieritualen samt manifesteringen av de olika funktioner och uppdrag som medieinstitutionen tillskriver de tre medverkandegrupperna. De ritualteoretiska begreppen 2 möjliggör tolkningen av medietexter och ordval som presenteras som naturliga, men som istället är resurser som konstruerar upplevelsen av det sociala, av kultur och ideologi. I avhandlingen understryks konsekvenserna av de diskurser och funktioner som den rituella kontexten åstadkommer. Medieritualer är strukturella, funktionella och kulturspecifika fenomen. De bekräftar sålunda vilka som ingår i det sociala centret och vilka som placeras i periferin. Jag hävdar att den mytiska konstruktionen av nation och kultur har implikationer för det diversifierade samhället och den avgörande integrationen. Genom att uppmärksamma den upprepade symbolproduktionen som distribueras av journalister och accepteras av den tilltänkta publiken kan man föra en diskussion kring de ritualiserade mediepraktikernas betydelse för konstruktionen av inkludering och exkludering. Nyckelord: ritual, medieritual, ritualiserad, myt, konstruktion, diskurs, funktion, sekvens, strategi, mediespråk, upprepning, symbol, namnforskning, medverkandegrupper, kultur, klass, genus, identitet, typer, socialt center, konsensus, inkludering, exkludering 3 UNIVERSITY OF HELSINKI Department of Finnish, Finno-Ugrian and Scandinavian Studies (Nordica) Tiina Räisä, 2016. Media rituals as class- and culture-dependent discourses and functions Lucia in Hufvudstadsbladet and the construction of Svenskfinland. Abstract This study is an empirical and interdisciplinary examination of Lucia in the Hufvudstadsbladet (HBL) daily newspaper. My aim is to give visibility to a longstanding media text that has become important for the Swedish- speaking people in Finland. I define Lucia as a media ritual and use it as an example to investigate how media institutions, through a reproduction of texts, construct culture and, over time, also symbolic communities such as Svenskfinland. The theoretical aim is to emphasize ritual as a powerful context, which has an impact on how language users choose their words, and also, to highlight rituals as constituting borders, and thus, influencing the construction of distinctive and collective identities. The research material consists of articles produced by the HBL at the beginning of each, new ritual season. The focus is exclusively put on the Lucia practices produced and distributed by the HBL rather than on any other Finnish or Scandinavian Lucia traditions. I have also excluded the events of the actual Lucia day, 13 December, and have instead concentrated only on those media texts by which the media institution launches the initial phase of the media ritual. I analyse the reproduction of three participatory groups: Lucia candidates, the “trio” (also called the Lucia jury) and the various groups that receive the proceeds of the fundraising campaign connected to the media ritual. For a synchronic analysis, I have studied media texts from every ten years during 1950–2012 and have applied a diachronic perspective to establish how the ritual and its meanings have changed over time. The interdisciplinary approach is reflected by the methodological choices. The concept of “sequence” has been used both in conversation analysis and anthropology to deconstruct the elements of an event. I apply sequence to organize and analyse the different systematic forms of repetition. Names and name-like expressions as well as various verb phrases (active and static conditions of being and doing, as well as quality) are communicated sequentially, thus reflecting the ritual demands of logic and strategy. My study is situated in a constructivist tradition in that language is not taken for granted, but is rather seen as a practice which constructs meaning-making. Words become significant symbols that have an impact on the discursive development of the media ritual and resources that manifest the various 4 functions and tasks distributed to the participatory groups by the media institution. The concept of “ritual” makes is possible to evaluate the difference between what is presented as natural but which is in fact a means of constructing the social, that is, culture and ideology. The dissertation underlines the social consequences of the discourses and functions established by the ritual context. Media rituals are structurally, functional and culture specific phenomena, implying both who belong to the social centre who are placed in the periphery. I claim that the mythical construction of nation and culture implications for the diversified society and the integration process. It is by highlighting the repeated symbolic practices distributed by journalists and accepted by the public that one can understand the impact of the ritualized media practices that lead to constructions of inclusion and exclusion. Key words: ritual, media rituals, ritualization, myth, construction, discourse, function, sequence, strategy, media language, repetition, symbol, onomastics, participatory groups, types, identity, culture, class, gender, social centre, consensus, inclusion, exclusion 5 FÖRORD Det har blivit dags att avsluta en lärorik fas i livet. Avhandlingen är färdig och nu behöver eller kan jag inte längre grubbla på frågor som kunde vara relevanta för forskningen. Det är med en stor lättnad och tacksamhet som jag lägger ifrån mig detta projekt. Det förefaller inte finnas något ensammare än ett skriva en avhandling. Att umgås med sina egna tankar, och vidhålla ett gränsöverskridande perspektiv, har ibland känts övermäktigt. Orosmolnen har dock skingrats varje gång jag träffat mina handledare. De har aldrig tvivlat utan ställt frågor som hjälp mig att komma vidare. Med deras stöd har jag nått mitt mål. Jag riktar därför ett innerligt och varmt tack till Jan Lindström och Lars Lundsten. Janne har med sin sävliga ton undrat varför jag inte sätter på pränt det som jag förklarar muntligt. En bra handledare påminner också om vikten av att ta det litet lugnt ibland. Janne
Recommended publications
  • Lordi Killection
    Lordi Killection Release January 31, 2020 Genre Hardrock / Heavy Metal Producer Studio Cover Artwork Mr. Lordi TIP Photographer Nobody knows exactly how old the Finish monsters really are or how long they’ve been striking terror into people’s hearts. Officially the Rock/Heavy Metal monsters LORDI were founded in 1992 by lead singer, songwriter, visual art designer and costume designer Mr. Lordi. The band has deep Finnish roots, originating from the city of Rovaniemi, in Lapland. In 2006 they celebrated their international breakthrough by winning the Eurovision Song Contest (“Hard Rock Hallelujah”) They are Finland’s only winners to date and they earned more points than any other artists in the history of the Eurovision Song Contest up to that time. But is it possible that this is only a pale misperception of our poor, small, pathetic reality? Is there, however unlikely it may seem, another truer reality? What if LORDI would have already been making music since the early 70's? And what if they have been releasing one hit single after the other since those times and now, almost 50 years later, are looking back on a full collection of songs that have been successful ever since? This is exactly the idea that LORDI are celebrating, or maybe a more appropriate word is executing, with their newest studio album “Killection.” Killection will be released on January 31st via AFM Records/Soulfood Music. Once more Mr Lordi, the master of the masquerade, presents us with one of his ideas, absurd and genius at the same time, and comes up with a concept that has never been done before in the music industry: "Killection" is a compilation album that simply says “what if” LORDI had been in existence since the early 70's.
    [Show full text]
  • Highland Park Public Schools Highland Park, New Jersey Mission Statement
    HIGHLAND PARK PUBLIC SCHOOLS HIGHLAND PARK, NEW JERSEY MISSION STATEMENT The mission of the Highland Park School District is to provide the community with the finest educational services through respect for diversity and commitment to collaboration, continuous improvement, and achievement of excellence. The Highland Park Board of Education will hold a REGULAR PUBLIC MEETING on Monday, September 19, 2016, at 6:30 p.m., at the Middle School, 330 Wayne Street, Highland Park, New Jersey. This meeting will be broadcast live on hpschools.net and youtube.com. AGENDA: 1. Call to Order 2. Announcement of Notice The New Jersey Open Public Meetings Act was enacted to ensure the right of the public to have advance notice of and to attend the meetings of the public bodies at which any business affecting their interest is discussed or acted upon. In compliance with the Open Public Meeting Act, the Highland Park Board of Education has caused notice of this meeting setting forth the time, date, and location to be submitted for publication to the Home News Tribune and Star Ledger and posted on the Board’s website at least 48 hours in advance of this meeting. Members of the public who wish to address the Board will be given the opportunity to do so before the Board adjourns for the evening. 3. Roll Call 4. Recess to Executive Session Be It Resolved, pursuant to the Sunshine Act, N.J.S.A. 10:4-12 and 13, the Highland Park Board of Education will now meet in closed session to discuss litigation. This exemption is permitted to be discussed in closed session in accordance with N.J.S.A.
    [Show full text]
  • 2018 Commencement
    2018 COMMENCEMENT Undergr aduate Ceremony Friday, May 18, 2018, 9:00 a.m. Prudential Center, Newark, New Jersey Letter From the President Dear Graduate, On behalf of the faculty and staff at William Paterson University, I offer our warmest congratulations as you and your family celebrate this milestone event in your life. Today we will award you the university degree that you so richly deserve. As this chapter of your life comes to a close, I encourage you to reflect on your journey to this place and time, and to look forward to the world that awaits you. You will have opportunities beyond imagination in the years ahead. But with opportunity comes responsibility. The world will need strong leaders and engaged citizens to make the good choices that will lead our country forward to higher ideals. You will be called upon to marshal the resources to help realize the dreams of your ancestors and to create a sustainable world for generations to come. As artists and musicians, you will embody the creative spirit of a new generation. As business women and men, you will build and sustain our nation and world economically into the twenty-first century. As educators, you will shape the minds and lives of our children and grandchildren. As humanists, you will create new and deeper ways of thinking and perceiving ourselves and our world. And as social and natural scientists, you will help us more deeply understand ourselves and create scientific discoveries that will better our daily lives. You are our future…and we couldn’t be more proud of you.
    [Show full text]
  • Kappale Artisti
    14.7.2020 Suomen suosituin karaokepalvelu ammattikäyttöön Kappale Artisti #1 Nelly #1 Crush Garbage #NAME Ednita Nazario #Selˆe The Chainsmokers #thatPOWER Will.i.am Feat Justin Bieber #thatPOWER Will.i.am Feat. Justin Bieber (Baby I've Got You) On My Mind Powderˆnger (Barry) Islands In The Stream Comic Relief (Call Me) Number One The Tremeloes (Can't Start) Giving You Up Kylie Minogue (Doo Wop) That Thing Lauren Hill (Every Time I Turn Around) Back In Love Again LTD (Everything I Do) I Do It For You Brandy (Everything I Do) I Do It For You Bryan Adams (Hey Won't You Play) Another Somebody Done Somebody Wrong Song B. J. Thomas (How Does It Feel To Be) On Top Of The W England United (I Am Not A) Robot Marina & The Diamonds (I Can't Get No) Satisfaction The Rolling Stones (I Could Only) Whisper Your Name Harry Connick, Jr (I Just) Died In Your Arms Cutting Crew (If Paradise Is) Half As Nice Amen Corner (If You're Not In It For Love) I'm Outta Here Shania Twain (I'll Never Be) Maria Magdalena Sandra (It Looks Like) I'll Never Fall In Love Again Tom Jones (I've Had) The Time Of My Life Bill Medley & Jennifer Warnes (I've Had) The Time Of My Life Bill Medley-Jennifer Warnes (I've Had) The Time Of My Life (Duet) Bill Medley & Jennifer Warnes (Just Like) Romeo And Juliet The Re˜ections (Just Like) Starting Over John Lennon (Marie's The Name) Of His Latest Flame Elvis Presley (Now & Then) There's A Fool Such As I Elvis Presley (Reach Up For The) Sunrise Duran Duran (Shake, Shake, Shake) Shake Your Booty KC And The Sunshine Band (Sittin' On) The Dock Of The Bay Otis Redding (Theme From) New York, New York Frank Sinatra (They Long To Be) Close To You Carpenters (We're Gonna) Rock Around The Clock Bill Haley & His Comets (Where Do I Begin) Love Story Andy Williams (You Drive Me) Crazy Britney Spears (You Gotta) Fight For Your Right (To Party!) The Beastie Boys 1+1 (One Plus One) Beyonce 1000 Coeurs Debout Star Academie 2009 1000 Miles H.E.A.T.
    [Show full text]
  • Thirty Years Gone by a Message from Executive Director, Gloria
    Thirty Years Gone By Throughout the last thirty years many things have changed from the invention of cell phones, home computers, and the internet, to advances in science and medicine. We have seen war and political change – the fall of the Berlin Wall, Operation Desert Storm, the end of apartheid in South Africa, the collapse of the Soviet Union, Hong Kong’s return to China, plus too many more to name. However, throughout all the changes, several things have remained the same, including the passion and dedication with which Our Lady’s Inn still serves its clients. The Inn may have changed locations over the years, but the mission has remained the same – to provide shelter for pregnant women and their children through humble acts of love. Throughout the last thirty years, over 5,000 women and their children have lived at Our Lady’s Inn and over 1,500 babies have been born here due to the wonderful care their mothers received during their residence. In 2006, Our Lady's Inn expanded to include St. Charles and opened a second location in Defiance and, in 2008, our Twice Blessed resale shop was opened as a way to make extra money to support the organization. We are looking to the future and are excited to see what the next thirty years will bring, but one thing is for sure, no matter what else is happening in the world, Our Lady’s Inn will still be here working hard to provide the best possible care for these amazing ladies and their children, who are simply in need of a helping hand.
    [Show full text]
  • Eurovision Song Contest 1970Er Jahre
    Alle 1. Platzierten in der ESC-Geschichte Eurovision Song Contest 1950er Jahre Jahr Austragungsort Gewinner 1956 Lugano, Schweiz Lys Assia, Schweiz Song:„Refrain“ 1957 Frankfurt, Corry Brokken, Deutschland Niederlande Song: „Net als toen“ 1958 Hilversum, André Claveau, Niederlande Frankreich Song: „Dors, mon amour“ 1959 Cannes, Frankreich Teddy Scholten, Niederlande Song: „Een beetje“ Eurovision Song Contest 1960er Jahre Jahr Austragungsort Gewinner 1960 London, Jacqueline Boyer, Großbritannien Frankreich Song: „Tom Pillibi“ 1961 Cannes, Frankreich Jean Claude Pascal, Luxemburg Song: „Nous les amoureux“ 1962 Luxemburg, Isabelle Aubert, Luxemburg Frankreich Song: „Un premier amour“ 1963 London, Grethe & Jorgen Großbritannien Ingmann, Dänemark Song: „Dansevise“ 1964 Kopenhagen, Gigliola Cinquetti, Dänemark Italien Song: „Non ho l’eta (per amarti)“ 1965 Neapel, Italien France Gall, Luxemburg Song: „Poupée de circe, poupée de son“ 1966 Luxemburg, Udo Jürgens, Luxemburg Österreich Song: „Merci Chérie“ 1967 Wien, Österreich Sandie Shaw, Großbritannien Song: „Puppet On A String“ 1968 London, Massiel, Spanien Großbritannien Song: „ La La La“ 1969 Madrid, Spanien Lenny Kuhr, Niederlande Song: „Vivo cantando“ Eurovision Song Contest 1970er Jahre Jahr Austragungsort Gewinner 1970 Amsterdam, Dana, Irland Niederlande „All Kinds Od Everything“ 1971 Dublin, Irland Séverine, Monaco Song: „Un banc, u narbe, un rue“ 1972 Edinburgh, Vicky Leandros, Großbritannien Luxemburg Song: „Après toi“ 1973 Luxemburg, Anne-Marie David, Luxemburg Luxemburg Song: Tu te
    [Show full text]
  • Nation Branding, National Identity and the Eurovision Song Contest in Estonia Politics and Society in the Baltic Sea Region 2
    This book provides a unique and intriguing insight into current debates concerning the relationship between nation and state Jordan Paul as well as the political management of international image in today’s Europe through an examination of debates on nation branding and the Eurovision Song Contest. Europe is a con- tested construct and its boundaries are subject to redefinition. This work aims to advance critical thinking about contempo- rary nation branding and its relationship to, and influence on, Paul Jordan nation building. In particular it focusses on key identity debates The Modern Tale Fairy that the Eurovision Song Contest engendered in Estonia in the run-up to EU accession. The Eurovision Song Contest is an event which is often dismissed as musically and culturally The Modern Fairy Tale: inferior. However, this work demonstrates that it has the capac- ity to shed light on key identity debates and illuminate wider Nation Branding, National Identity socio-political issues. Using a series of in-depth interviews with and the Eurovision Song Contest political elites, media professionals and opinion leaders, this book is a valuable contribution to the growing field of research in Estonia on nation branding and the Eurovision Song Contest. Paul Jordan obtained his PhD from the University of Glasgow in 2011. His research interests include nation building and nation branding of post-communist states, national identity and nationalist politics. He is also a regular media commenta- tor on the Eurovision Song Contest. Politics and Society in the Baltic Sea Region Politics and Society ISBN 978-9949-32-558-0 2 in the Baltic Sea Region 9 789949 325580 > www.tyk.ee 2 Politics and Society in the Baltic Sea Region 2 Paul Jordan The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia Politics and Society in the Baltic Sea Region 2 Politics and Society in the Baltic Sea Region is a series devoted to contemporary social and political issues in the countries surrounding the Baltic Sea.
    [Show full text]
  • Press Release
    PRESS RELEASE Eurovision Song Contest: 65 years on, poll shows high awareness and viewership within and far beyond Europe ABBA’s Waterloo is the most popular song in the history of the contest Paris, 12th May 2020 —The 65th Eurovision Song Contest will be replaced by a special television broadcast on Saturday, May 16th titled Eurovision: Europe Shine a Light 2020, because of the coronavirus pandemic. The special will feature songs from 41 countries that had been chosen to take part in the 2020 contest in a non-competitive format. Ahead of the event, Ipsos conducted a global survey to gauge interest in and compare familiarity with the Eurovision Song Contest among 13 countries that have participated in the event, along with another 15 countries across the world. Key findings: • Across the 12 European countries surveyed and Australia, all of which are currently participating or have participated in the contest, 94% of adults have heard of it, 63% say they have watched it at least once, and 10% say they have voted for a contestant at least once. Outside of Europe and Australia, an average of 40% report having heard of the contest and 17% say they have watched it at least once. • About two in five adults who know of the Eurovision Song Contest (38% across Europe and Australia, and 45% across countries in other parts of the world) said they were likely to watch any of this year’s semi-finals or final before it was announced that this year’s contest was cancelled and replaced by a special event.
    [Show full text]
  • Eurovision Song Contest: a Global View
    Eurovision Song Contest: A Global View A 28-Country Ipsos Survey May 2020 © 2016 Ipsos. All rights reserved. Contains Ipsos' Confidential and Proprietary information and may not be disclosed or reproduced without the prior written consent of Ipsos. Eurovision Song Contest: A Global View 2020 | © Ipsos | Public | 1 Eurovision Song Q. Which of the following applies to you for each the Total Ever Total Contest Awareness following TV programs: Eurovision Song Contest Watched Aware And Experience by Total 7% 31% 27% 35% 63% 94% Current or Past Total ESG Countries 10% 53% 31% 6% 86% 97% Total Non-ESG Countries 5% 12% 23% 60% Participating 82% 97% Sweden 23% 63% 10% 4% 80% 97% Country Turkey 17% 64% 15% 3% 73% 98% Spain 10% 70% 17% 3% Netherlands 11% 62% 25% 2% 73% 99% Poland 15% 58% 26% 1% 72% 99% Russia 9% 63% 27% 1% 67% 97% Great Britain 10% 57% 30% 3% 66% 95% Belgium 8% 58% 29% 5% 63% 95% Germany 11% 52% 31% 6% 45% 96% France 3% 42% 51% 4% 43% 96% Hungary 6% 37% 53% 4% Australia 4% 33% 53% 11% 36% 89% Italy 6% 29% 40% 26% 34% 74% Watched and voted at least once Watched at least once but never voted Heard of but never watched Never heard of *ESG Countries: 13 countries surveyed that have ever participated in the Eurovision Song Contest (including Turkey and Hungary) Base: Global Advisor 20,031 adults aged 16-74 from 28 countries interviewed February 20-March 3, 2020 Eurovision Song Contest: A Global View 2020 | © Ipsos | Public | 2 Eurovision Song Q.
    [Show full text]
  • Europack 2006 Final
    Europack 2006 –final LI FESTIVAL DE EUROVISIÓN 2006 ATENAS – GRECIA Europack 2006 final El punto de encuentro de los fans de eurovisión eurovisión-spain.com | eurofan.tv – pág 1 Europack 2006 –final Saludos nuevamente a todos: Un nuevo año y un nuevo Festival de eurovisión se avecina, ya ha pasado un año desde los momentos emocionantes vividos en Kiev. Como cada año ponemos a vuestra disposición este tracional “europack” para que podáis seguir el Festival de Eurovisión “con los papeles en la mano”. Todo el equipo que hace posible eurovision-spain.com |eurofan.tv quiere agradeceros vuestra compañía y fidelidad durante este, ya quinto año. Recordad que este año como novedad el orden de votación también ha sido sorteado junto al de participación. Agradecemos así mismo la colaboración de los visitantes del foro eurofestival.superforos.com para la traducción de las letras de las canciones. Os deseamos un Feliz Festival de Eurovisión. Equipo de redacción: [email protected] eurovisión-spain.com | eurofan.tv – pág 2 Europack 2006 –final Ficha técnica: LI Festival de Eurovisión - 2006 Fecha Final: 20/05/06 Fecha Semifinal: 18/05/06 Sede: Atenas - Grecia – OAK complex Votacion: televoto (votan todos + Serbia-Mont.) Participantes: 38: 14 finalistas + 23 semifinalistas Presentadores: Sakis Rouvas y Maria Menounos www.eurovision.tv Atenas 2006 Participantes en la final – 20/05/06 Orden votación: nº País Intérprete - canción pts. pos. 1º Eslovenia 1 Suiza Six4one - If we give a Litle! 2º Andorra 2 Moldavia Arsenium & Natalia Gordienko -
    [Show full text]
  • Linguistic and Cultural Changes Throughout the History of the Eurovision Song Contest
    Linguistic and cultural changes throughout the history of the Eurovision Song Contest Trabajo de Fin de Grado Lenguas Modernas y Traducción Facultad de Filosofía y Letras Written by: Sergio Lucas Rojo Tutored by: Irina Ursachi July 2020 Abstract This paper aims to clarify some of the linguistic problems that have arisen in recent years at the Eurovision Song Contest, one of the most important music events in the world. Through an exhaustive bibliographic review and the individual analysis of a large number of entries, it is concluded that linguistic diversity, an identifying feature of the show in the past, has been reduced by establishing a rule that does not oblige artists to sing in the language of the country they represent. English has taken over the reins of this annual competition, although there is still room for the traditional and the ethnic. The research that has been carried out is intended to serve as a reference for all Eurovision followers who wish to expand their knowledge. It also attempts to clarify concepts such as “linguistic diversity”, “identity” and “culture”, which can be extrapolated to other fields of knowledge. It must be noted that not only have linguistic issues been dealt with, but there are references to all the factors involved in the contest. However, it is those phenomena related to languages that form the backbone of the work. Key words: Eurovision Song Contest, languages, culture, identity, Europe, music. Resumen Este trabajo responde a la necesidad de aclarar algunos problemas lingüísticos que han surgido en los últimos años en el Festival de Eurovisión, uno de los eventos musicales más importantes del mundo.
    [Show full text]
  • Wild Dances and Dying Wolves: Simulation, Essentialization, and National Identity at the Eurovision Song Contest
    Wild dances and dying wolves: simulation, essentialization, and national identity at the Eurovision Song Contest ABSTRACT This paper examines Eurovision as a site for the public representation of the nation and explores the tendency towards simulation in such representations. The contest’s transnational audience and implication in commercial practices create pressures towards representing the nation through simplified, well-known images. A critique of globalization from south-east Europe argues that cultural production from marginalized countries which emphasizes local distinctiveness is a sign of structural inequality. This critique is tested against representational strategies from Ukraine, Bosnia-Herzegovina, Serbia and Croatia. Eurovision is then related to tourism through an analysis of the representation of the Mediterranean in Eurovision performances, which reflect symbolic hierarchies constructed by travel writing since the Enlightenment. Finally, the paper considers the overarching representational power exerted by host states. Key words: Eurovision Song Contest, popular music, folklore, national identity, Croatia, Bosnia-Herzegovina, Serbia, Ukraine Word count: 9, 235 words including notes and references This paper seeks to explore the tendency towards simulation in contemporary public representations of the nation through a historical account of the representation of national tradition in the Eurovision Song Contest since 2004. Eurovision offers two forms of opportunity for nations to be represented: the production of a live performance (and often a promotional video) by each competitor, and the promotion of the host city and country on the part of the state broadcaster organizing the event. This paper contends that the nature of the Eurovision audience (with viewers in more than 40 countries inside and outside Europe) and the commercial practices in which Eurovision is implicated create pressures towards public representations which play on simplified, well-known images of a country or region.
    [Show full text]