Eurovision Song Contest
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90 Av 100 Ålänningar Sågar Upphöjd Korsning Säger Nej
Steker crépe på Lilla holmen NYHETER. Fransmannen Zed Ziani har fl yttat sitt créperie till Lilla holmen i Mariehamn och för första gången på många år fi nns det servering igen på friluftsområdet. Både salta och söta crépe, baguetter och kaffe fi nns på menyn i det lilla caféet med utsikt över fågeldammen Lördag€ SIDAN 18 12 MAJ 2007 NR 100 PRIS 1,20 och Slemmern. 90 av 100 ålänningar sågar upphöjd korsning Säger nej. Annette Gammals deltog i Nyans gatupejling om Ålandsvägens upphöjda korsning- ar. Men planerarna har politikernas uppdrag att se Men frågan är: Vems bekvämlighet är viktigast? till också den lätta trafi kens intressen. NYHETER. Ska alla trafi kanter – bilister, – Jag tycker mig känna igen trafi kplane- ålänningarna kanske har svårare än andra att – Jag hatar bumpers, sa Ingmar Håkansson cyklister, fotgängare och gamla med rullator ringsdiskussionen från 1960-talet när devisen ge avkall på bilbekvämligheten. från Lumparland som har jobbat 26 år som – behandlas jämlikt i stadstrafi ken? var att bilarna ska fram, allt ska ske på bilis- – Åland är väldigt bilberoende. Men man yrkeschaufför. Ja, säger planerarna i Mariehamn. Politi- ternas villkor och de oskyddade och sårbara måste ändå tänka på att också andra har rätt 90 personer svarade nej på frågan om de vill kerna har godkänt de styrdokument som de trafi kanterna får klara sig bäst de kan, säger till en säker trafi kmiljö. ha upphöjda korsningar, tio svarade ja. baserar ombyggnaden av Ålandsvägen på. tekniska nämndens ordförande Folke Sjö- Känslorna var starka då Nyan i går pejlade – Jag har barn som skall gå över Ålandsvä- Det som nu har hänt är att en del politiker lund. -
WEE19 – Reviewed by London Student
West End Eurovision 2019: A Reminder of the Talent and Supportive Community in the Theatre Industry ARTS, THEATRE Who doesn’t love Eurovision? The complete lack of expectation for any UK contestant adds a laissez faire tone to the event that works indescribably well with the zaniness of individual performances. Want dancing old ladies? Look up Russia’s 2012 entrance. Has the chicken dance from primary school never quite left your consciousness? Israel in 2018 had you covered. Eurovision is camp and fun, and we need more of that these days… cue West End Eurovision, a charity event where the casts from different shows compete with previous Eurovision songs to win the approval of a group of judges and the audience. The seven shows competing were: Only Fools and Horses, Everybody’s Talking About Jamie, Aladdin, Mamma Mia!, Follies, The Phantom of the Opera, and Wicked. Each cast performed for four judges – Amber Davies, Bonnie Langford, Wayne Sleep, and Tim Vincent – following a short ident. Quite what these were for I’m not sure was explained properly to the cast: are they adverts for their shows (Everybody’s Talking About Jamie), adverts for the song they’re to perform (Phantom) or adverts for Eurovision generally (Mamma Mia!)? I don’t know, but they were all amusing and a good way to introduce each act. The cast of Only Fools and Horses opened the show, though they unfortunately came last in the competition, a less-than jubly result. That said, with sparkling costumes designed by Lisa Bridge, the performance of ‘Dancing Lasha Tumbai’, first performed by Ukraine in 2007, was certainly in the spirit of Eurovision and made for a sound opening number. -
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. -
MA Thesis: Linguistics: English Language and Linguistics
MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 1 The Stylistics of Language Switches in Lyrics of Entries of the Eurovision Song Contest MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 2 Acknowledgements It did not come as a surprise to the people around me when I told them that the subject for my Master’s thesis was going to be based on the Eurovision Song Contest. Ever since I was a little boy I have been a fan, and some might even say that I became somewhat obsessed, for which I cannot really blame them. Moreover, I have always had a special interest in mixed language songs, so linking the two subjects seemed only natural. Thanks to a rather unfortunate turn of events, this thesis took a lot longer to write than was initially planned, but nevertheless, here it is. Special thanks are in order for my supervisor, Tony Foster, who has helped me in many ways during this time. I would also like to thank a number of other people for various reasons. The second reader Lettie Dorst. My mother, for being the reason I got involved with the Eurovision Song Contest. My father, for putting up with my seemingly endless collection of Eurovision MP3s in the car. -
Introduction. Queer Eurovision, Post-Closet SQS 02/07 Mikko Tuhkanen
Introduction. Queer Eurovision, post-closet SQS 02/07 Mikko Tuhkanen 8 First staged in 1956, the Eurovision Song Contest (ESC) calls “the narrative of decline”. The proponents of this nar- was originally established to allow European countries to rative critique what they consider the commercialisation Introduction showcase their particular national cultures. Each country of a space where the coming together of neighbours was was to choose a contestant that best reflected the national to be enacted. Yet, like so many other stories we tell of our constituent. While the entries from different countries pasts, this legend mourns something that may never have would meet on the stage in a playful competition, the existed. As Pajala points out, only in 2002 was the wish event’s real aim was to enhance transnational understand- that the songs reflect national cultures inscribed in the ing by familiarising European peoples with each other’s Eurovision Broadcasting Union (EBU) rules (ibid., 377n43). cultures. Moreover, one need not underline the paradox in the la- ment over the presumed loss of Eurovision’s innocence: Yet, the idea behind the contest—a benevolent encounter the fact that a “mass event” cannot but produce “mass of nationalities, beamed to domestic spaces across the entertainment”. It is not surprising that the ESC became continent—quickly disintegrated into a mass-culture spec- the phenomenon it was in the 1970s (if not earlier) only by tacle that held scant allegiance to its original intentions. owning the most easily assimilable idiom and strategies Rather than celebrate their particular cultures, countries of popular culture. -
Eurovision Karaoke
1 Eurovision Karaoke ALBANÍA ASERBAÍDJAN ALB 06 Zjarr e ftohtë AZE 08 Day after day ALB 07 Hear My Plea AZE 09 Always ALB 10 It's All About You AZE 14 Start The Fire ALB 12 Suus AZE 15 Hour of the Wolf ALB 13 Identitet AZE 16 Miracle ALB 14 Hersi - One Night's Anger ALB 15 I’m Alive AUSTURRÍKI ALB 16 Fairytale AUT 89 Nur ein Lied ANDORRA AUT 90 Keine Mauern mehr AUT 04 Du bist AND 07 Salvem el món AUT 07 Get a life - get alive AUT 11 The Secret Is Love ARMENÍA AUT 12 Woki Mit Deim Popo AUT 13 Shine ARM 07 Anytime you need AUT 14 Conchita Wurst- Rise Like a Phoenix ARM 08 Qele Qele AUT 15 I Am Yours ARM 09 Nor Par (Jan Jan) AUT 16 Loin d’Ici ARM 10 Apricot Stone ARM 11 Boom Boom ÁSTRALÍA ARM 13 Lonely Planet AUS 15 Tonight Again ARM 14 Aram Mp3- Not Alone AUS 16 Sound of Silence ARM 15 Face the Shadow ARM 16 LoveWave 2 Eurovision Karaoke BELGÍA UKI 10 That Sounds Good To Me UKI 11 I Can BEL 86 J'aime la vie UKI 12 Love Will Set You Free BEL 87 Soldiers of love UKI 13 Believe in Me BEL 89 Door de wind UKI 14 Molly- Children of the Universe BEL 98 Dis oui UKI 15 Still in Love with You BEL 06 Je t'adore UKI 16 You’re Not Alone BEL 12 Would You? BEL 15 Rhythm Inside BÚLGARÍA BEL 16 What’s the Pressure BUL 05 Lorraine BOSNÍA OG HERSEGÓVÍNA BUL 07 Water BUL 12 Love Unlimited BOS 99 Putnici BUL 13 Samo Shampioni BOS 06 Lejla BUL 16 If Love Was a Crime BOS 07 Rijeka bez imena BOS 08 D Pokušaj DUET VERSION DANMÖRK BOS 08 S Pokušaj BOS 11 Love In Rewind DEN 97 Stemmen i mit liv BOS 12 Korake Ti Znam DEN 00 Fly on the wings of love BOS 16 Ljubav Je DEN 06 Twist of love DEN 07 Drama queen BRETLAND DEN 10 New Tomorrow DEN 12 Should've Known Better UKI 83 I'm never giving up DEN 13 Only Teardrops UKI 96 Ooh aah.. -
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Morphosyntactic analysis of Surzhyk, a Russian–Ukrainian mixed lect A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Kateryna Kent IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Nancy Stenson Adviser August 2012 © Kateryna Kent 2012 i Acknowledgements I am grateful for the assistance of the following professors: o Dr. J.P. Marcotte for his invaluable guidance on the earlier drafts of this dissertation. o Dr. Nancy Stenson for many hours of time and guidance. Her knowledge and expertise in the area of language contact and field research made this dissertation possible. I would like to thank my research participants in Ukraine for providing me with hours of corpus data and for sharing their life stories with me. Their stories enriched me professionally, culturally, and spiritually. I would like to thank my colleagues from the Classical Private University in Ukraine for their help with collecting data and recruiting research participants for my study. I would like to thank my parents, Viktor and Svitlana Dyatlov, for help and support throughout these years of graduate studies. They spent countless hours helping me recruit the research participants, driving me to my research sites all over Ukraine, and watching my son so that I can spend time writing. Finally, I would like to thank my husband, Daniel, and my son, Motya, who watched me sit in front of the computer and write, who supported me through all of the difficult times and stress that dissertation writing can cause. I love you both. -
'Gay Olympics'?: the Eurovision Song Contest and the Politics of LGBT/European Belonging Catherine Baker
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository@Hull - CRIS The ‘Gay Olympics’?: The Eurovision Song Contest and the politics of LGBT/European belonging Catherine Baker (University of Hull) Accepted for publication in European Journal of International Relations Abstract The politics of gay and transgender visibility and representation at the Eurovision Song Contest, an annual televised popular music festival presented to viewers as a contest between European nations, show that processes of interest to Queer International Relations do not just involve states or even international institutions; national and transnational popular geopolitics over ‘LGBT rights’ and ‘Europeanness’ equally constitute the understandings of ‘the international’ with which Queer IR is concerned. Building on Cynthia Weber’s reading the persona of the 2014 Eurovision winner Conchita Wurst with ‘queer intellectual curiosity’, this paper demonstrates that Eurovision shifted from, in the late 1990s, an emerging site of gay and trans visibility to, by 2008–14, part of a larger discursive circuit taking in international mega-events like the Olympics, international human-rights advocacy, Europe/Russia relations, and the politics of state homophobia and transphobia. Contest organisers thus had to take positions – ranging from detachment to celebration – about ‘LGBT’ politics in host states and the Eurovision region. The construction of spatio-temporal hierarchies around attitudes to LGBT rights, however, revealed exclusions that corroborate other critical arguments on the reconfiguration of national and European identities around ‘LGBT equality’. Introduction The theoretical interventions of Queer International Relations, which recognise how sexualities and gender non-conformity are embedded in international politics, have ‘transformative’ potential for International Relations (Langlois, 2015: 1). -
Eurovision Karaoke
1 Eurovision Karaoke Eurovision Karaoke 2 Eurovision Karaoke ALBANÍA AUS 14 Conchita Wurst- Rise Like a Phoenix ALB 07 Hear My Plea BELGÍA ALB 10 It's All About You BEL 06 Je t'adore ALB 12 Suus BEL 12 Would You? ALB 13 Identitet BEL 86 J'aime la vie ALB 14 Hersi - One Night's Anger BEL 87 Soldiers of love BEL 89 Door de wind BEL 98 Dis oui ARMENÍA ARM 07 Anytime you need BOSNÍA OG HERSEGÓVÍNA ARM 08 Qele Qele BOS 99 Putnici ARM 09 Nor Par (Jan Jan) BOS 06 Lejla ARM 10 Apricot Stone BOS 07 Rijeka bez imena ARM 11 Boom Boom ARM 13 Lonely Planet ARM 14 Aram Mp3- Not Alone BOS 11 Love In Rewind BOS 12 Korake Ti Znam ASERBAÍDSJAN AZE 08 Day after day BRETLAND AZE 09 Always UKI 83 I'm never giving up AZE 14 Start The Fire UKI 96 Ooh aah... just a little bit UKI 04 Hold onto our love AUSTURRÍKI UKI 07 Flying the flag (for you) AUS 89 Nur ein Lied UKI 10 That Sounds Good To Me AUS 90 Keine Mauern mehr UKI 11 I Can AUS 04 Du bist UKI 12 Love Will Set You Free AUS 07 Get a life - get alive UKI 13 Believe in Me AUS 11 The Secret Is Love UKI 14 Molly- Children of the Universe AUS 12 Woki Mit Deim Popo AUS 13 Shine 3 Eurovision Karaoke BÚLGARÍA FIN 13 Marry Me BUL 05 Lorraine FIN 84 Hengaillaan BUL 07 Water BUL 12 Love Unlimited FRAKKLAND BUL 13 Samo Shampioni FRA 69 Un jour, un enfant DANMÖRK FRA 93 Mama Corsica DEN 97 Stemmen i mit liv DEN 00 Fly on the wings of love FRA 03 Monts et merveilles DEN 06 Twist of love DEN 07 Drama queen DEN 10 New Tomorrow FRA 09 Et S'il Fallait Le Faire DEN 12 Should've Known Better FRA 11 Sognu DEN 13 Only Teardrops -
Impuls 3|07 O Čem Přemýšlí Dominik Hašek Volejte Bez Překážek Za Korunu Firemní Dobrovolnictví Dotkněte Se Norských Krás
Impuls 3|07 O čem přemýšlí Dominik Hašek Volejte bez překážek za korunu Firemní dobrovolnictví Dotkněte se norských krás Víno, vinaři, vinobraní T-Mobile zákazníky zdarma pro úvodník 1 Milé čtenářky, milí čtenáři, stalo se v Impulsu takřka tradicí, že si v podzimním čísle neodpustíme zmínku o tomto ročním období, které – alespoň na některé z nás – doléhá smutkem z loučícího se léta a melancholickým rozpoložením. Třeba je náš časopis pomůže na chvíli zahnat. Psí zamyšlení Nezbývá mi než vám popřát příjemné čtení. Říká se sice „pes – nejlepší přítel člověka“, ale jazyk je Opět totiž přenechávám prostor svému přitom samý protimluv. Co si myslet o ustálených spojeních, čtyřnohému kolegovi, který právě odložil kde jsme symbolem toho zlého, bídného, zkrátka záporného? slovník spisovné češtiny. Posute sami. Venku panuje psí počasí (že by ani psa Martina Školníková nevyhnal), člověk bývá na člověka jako pes, je studený jako psí čumák, v lepším případě má jen náladu pod psa nebo je jako pes alespoň spráskaný. Výrazem další krajnosti budiž rčení každý pes, jiná ves; dále ani pes by od něj kůrku nevzal; přivést vepsí a podobně. O hanlivosti přirovnání „být zlitý jako doga“ snad raději pomlčím. Ale děje se i jazykový opak. Onehdy mě polidštil jeden dvounožec, nazvav mne – s prominutím – strakatým debilem. Inu, příjemné mi to nebylo, ale přivedlo k úvaze. Přimlouvám se za pečlivější zvažování slov, méně urážek a negativních postojů. Život by pak mohl být větší psina, nemyslíte? Váš Doksík vydává: T-Mobile Czech Republic a.s., adresa redakce: Tomíčkova 2144/1, 149 00 Praha 4, e-mail: [email protected], redakce a produkce: Martina Školníková, tel.: +420 603 601 131, Doksík, foto: ISIFA – Image Service s. -
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. -
Deploying Musical Narratives of Internal Others in Soviet and Post-Soviet Ukraine
“THEY BELIEVE THE DAWN WILL COME”: DEPLOYING MUSICAL NARRATIVES OF INTERNAL OTHERS IN SOVIET AND POST-SOVIET UKRAINE Melissa Bialecki A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2017 Committee: Katherine Meizel, Advisor Sidra Lawrence © 2017 Melissa Bialecki All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor This thesis explores the roles of internal others in constructing a Soviet and post-Soviet Ukrainian national identity. I begin with an analysis of the kobzars—a group of blind, itinerant minstrels who performed across Ukraine in the late 19th and early 20th centuries, before they disappeared entirely during Stalin’s Great Terror in the 1930s. First, I explore the ways in which the Ukrainian bandura, an asymmetrical lute instrument, has become a site for documenting epistemologies of blind musicians in Ukraine. I then examine how these ways of knowing blindness have been influenced by myths of blind musicians in Ukraine that seek to demystify these internal “others.” Furthermore, I discuss how these myths continue to influence 21st century depictions of blind minstrels through an analysis of the 2014 Ukrainian film, The Guide. Finally, I turn my focus to the Eurovision Song Contest in order to examine how narratives of internal others are deployed in order to negotiate Ukraine’s position in 21st century Europe and in the context of the Russian-Ukrainian conflict. I then reflect on the ways in which deploying these narratives of internal others does not draw these groups into the mainstream, but instead emphasizes and exploits their difference for the purpose of rejecting external hegemony in Ukraine.