Cultural-Civilizational Europeanization since 1989

Author(s):  
Katherine Graney

This chapter examines how understandings and practices of Europeanization are shaped in the cultural-civilizational realm since 1989, focusing specifically on the evolution of a European cultural space through the European Broadcasting Union’s yearly Eurovision song contest and the Union of European Football Association’s yearly EURO football championships. It demonstrates the importance that Russia and the non–Central Asian ex-Soviet republics place on being seen as “European enough” to participate successfully in both Eurovision and the EURO football championships, and the ways that participating in these cultural events forces these states to “act European” in political and economic ways, as well as cultural ones. The discussion of Eurovision highlights that event’s influence on spreading the idea of LGBTQ rights as a marker of “Europeanness,” while the EURO football championships are an arena where expectations about civility and racial tolerance as European norms are negotiated.

2018 ◽  
Vol 22 (4) ◽  
pp. 519-535
Author(s):  
Haktan Ural

This study examines the Eurovision stage as a cultural space that cultivated an affective-discursive terrain forging Turkish national identity. It draws upon the media texts as a heuristic to examine how an image of ‘Turkishness’ was created and negotiated. Focusing in particular on four specific cases (Semiha Yankı in 1975, Çetin Alp in 1983, Şebnem Paker in 1997 and Sertab Erener in 2003), this study suggests that the Eurovision stage was a space where ‘Turkishness’ encountered an imagined ‘Europeanness’. In these cases, affective discourses gave meanings of national allegories of ‘Turkishness’ to performing bodies on the Eurovision stage. The affective registers generated a discursive formation shaping the contours of ‘Turkishness’ in relation to Europe. Yet these discourses did not generate fixed and stable meanings. In particular, the construction of national success was negotiated and contested in terms of the appropriateness of the national embodiment.


2015 ◽  
Vol 43 (1) ◽  
pp. 45-62 ◽  
Author(s):  
Serhy Yekelchyk

This article analyzes the early stage of the Ukrainian “sixtiers” movement as a semi-autonomous space of cultural expression that was tolerated by the authorities and defined, developed, and inhabited by young Ukrainian intellectuals. In contrast to present-day Ukrainian representations of the sixtiers as a force acting in opposition to the Soviet regime, the spatial angle employed here reveals an ambiguous relationship with official institutions. The Ukrainian Komsomol organization in particular appears to be both a controlling and an enabling agent that, together with the Writers' Union, provided meeting venues for the sixtiers until the mid-1960s. This complex symbiotic relationship continued even after some creative youth pioneered the first attempts to claim public space for cultural events without the authorities' permission. The cultural terrain inhabited by young Ukrainian intellectuals was not fully separate from mainstream Soviet Ukrainian culture or in opposition to it, although their vibrant cultural space also reached into a world of non-conformist culture unregulated by the state. A series of government crackdowns beginning in the mid-1960s dramatically shrank this open, ambivalent space of semi-free cultural expression, imposing firm boundaries and forcing intellectuals to make political choices.


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