scholarly journals Rising Like the Eurovision Song Contest

2020 ◽  
Vol 25 (2) ◽  
pp. 93-113
Author(s):  
Tiina Rosenberg
Keyword(s):  
Communication Strategies ◽  
Good Taste ◽  
Eurovision Song Contest ◽  
Aesthetic Style ◽  
Post War

The 2020 Eurovision Song Contest (ESC) was cancelled due to the COVID-19 pandemic. However, the ESC is still shining after more than half a century and even now seems relevant for its audiences. In the ESC, queer interaction and togetherness are based on a combination of kitsch and camp, an aesthetic style and sensibility that aficionados regard as appealing because of its ironic, overthe-top challenging of the norms of ‘good behavior’ and ‘good taste.’ Nonetheless, it may seem strange that the ESC, a post-war European peace utopia and mainstream music event, is identified to such a degree as queer today, and the question remains whether the ESC can be of interest to dykes and feminists. This essay, therefore, revisits the notions of kitsch and camp as queer communication strategies. It closes with a reflection on the contest’s arbitrary notions of Europe, its troubled geopolitics, and its radically extroverted playing with taste taboos as pleasurable entertainment.

scholarly journals FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK

2019 ◽  
Vol 15 (1) ◽  
pp. 22-27
Author(s):  
Svetlana Khubulova
Keyword(s):  
Civil War ◽  
The State ◽  
Trial And Error ◽  
Theater Companies ◽  
Good Taste ◽  
Archival Documents ◽  
Post War ◽  
New Theater ◽  
The Revolution

Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.

Virtual Orientalism/Imagined Dualism (VO/ID) Expansion

2021 ◽  
pp. 53-71
Author(s):  
Aya Kamperis
Keyword(s):  
Social Media ◽  
Visual Culture ◽  
The Self ◽  
The Other ◽  
Contemporary World ◽  
Product Service ◽  
The Us ◽  
Aesthetic Style ◽  
Post War ◽  
Insight Into

In Virtual Orientalism, Jane Naomi Iwamura extends Edward Said's theory through an analysis of the US post-war visual culture to trace the genealogy of the icon of the East she calls the ‘Oriental Monk'. The aim of the chapter is to explore the appropriation of the notion of Zen, particularly its application and exploitation as an aesthetic ‘style', and the mechanisms behind such phenomena. The chapter extends Iwamura's thesis to elaborate on the function of the Virtual Monk to question the development of its ontology in the contemporary world of neoliberalism and social media to introduce the concept of VO/ID, which has been deployed by capitalist corporations to market Zen as a lifestyle product/service. It offers an insight into the process of identification within the framework of orientalism, that is, the way in which the Self and the Other come into being, and offer Gen as a possible solution to the VO/ID expansion.

Context matters: Professionalization of campaign posters from Adenauer to Merkel

2020 ◽  
Vol 45 (1) ◽  
pp. 98-121
Author(s):  
Niklas Venema ◽  
Dennis Steffan
Keyword(s):  
Content Analysis ◽  
Political Parties ◽  
Political Communication ◽  
Communication Strategies ◽  
Downward Trend ◽  
Election Campaigns ◽  
Negative Campaigning ◽  
Quantitative Content ◽  
The Social ◽  
Post War

AbstractThis study examines the professionalization of political communication by focusing on changes to campaign posters for Bundestag elections over the course of five eras of German post-war history. We conducted a quantitative content analysis of both visual and textual elements of campaign posters (N = 1,857) in the period from 1949 to 2017 with regard to personalization, de-ideologization, and negative campaigning. The study revealed differences related to the five eras. Following the early conservative governments (1949–1969), high levels of personalization and ideologization first became defining features of election campaigns during the social-liberal era (1969–1982). After the Kohl era (1982–1998), these trends have occurred again since the Schröder era (1998–2005) and have been reinforced in the Merkel era (2005–2017). Furthermore, we found neither a clear upward nor a downward trend for negative campaigning. Overall, our study demonstrated that political parties adapt their communication strategies to the context of the respective election.

From Eurovision to Asiavision: the Eurovision Asia Song Contest and negotiation of Australia’s cultural identities

2020 ◽  
Vol 175 (1) ◽  
pp. 36-49
Author(s):  
Denise Woods
Keyword(s):  
Cultural Identity ◽  
Cultural Identities ◽  
Asia Pacific ◽  
Pacific Region ◽  
Asia Pacific Region ◽  
Eurovision Song Contest ◽  
Post War

Australia’s participation in the Eurovision Song Contest and involvement in the organisation of the Asian version of Eurovision (the Eurovision Asia Song Contest) through broadcaster SBS has been celebrated, questioned and criticised. In this article, I examine Australia’s role in the organisation of the Eurovision Asia Song Contest in the context of Australia’s relationship with the region, and what this reveals about Australia’s cultural identity and place in this Asia-Pacific region. If Eurovision was conceived as a post-war project to unify Europe, I argue that for the Eurovision Asia Song Contest to become a reality, it needs to have a framework that takes into account the region’s own historical, political and geo-political contexts rather than having a Eurocentric model imposed on it.

Music in Paris during the Franco-Prussian War and the Commune

2005 ◽  
Vol 22 (2) ◽  
pp. 173-202 ◽  
Author(s):  
JESS TYRE
Keyword(s):  
Art Music ◽  
Social Contexts ◽  
Social Stability ◽  
Second Empire ◽  
Paris Commune ◽  
French Music ◽  
Musical Tradition ◽  
Good Taste ◽  
Republican Government ◽  
Post War

ABSTRACT The years 1870––71 marked the beginning of dramatic changes in French political and cultural life. A few short months witnessed defeat to Germany in the Franco-Prussian War and the fall of the Second Empire, as well as the rapid rise of the Paris Commune and its subsequent violent suppression through the establishment of republican government. The Parisian musical world, while severely affected by the events of war and deprived of performers and audiences, did not come to a standstill. Indeed, these years ushered in a remarkable increase in the number of institutions and concert societies dedicated to supporting French music and to making what would become the standard repertoire more accessible to the average citizen. Music heightened reactions to the turmoil of war and revolution in Paris at this crucial moment in France's history. Because of their stringent governmental control and largely middle- and working-class audiences, entertainments organized initially by wartime concert societies, and then under the aegis of the Commune, provide us with the greatest opportunity for understanding the political and social contexts in which music operated. Through investigation of the contemporary French press it can be shown that: (1) the perceived function of musical performance was adjusted to suit the practical and symbolic needs of a besieged city; (2) all the factions competing for power during the war and the post-war insurrection in Paris appropriated the connotations of civilization, social stability, and good taste that surrounded ““art music””; (3) the Commune's sudden rejection of the Austro-German musical tradition marked a brief but significant moment in which nationalistic preoccupations supplanted historically cosmopolitan attitudes toward foreign art. The study concludes with a meditation on Alfred Roll's painting of the execution of a Communard trumpeter, in which we find one of the strongest images relating war and rebellion to music in the France of 1871.

Using Binding Communication to Promote Conservation Among Hotel Guests

2015 ◽  
Vol 74 (3) ◽  
pp. 169-175 ◽  
Author(s):  
Lohyd Terrier ◽  
Benedicte Marfaing
Keyword(s):  
Low Cost ◽  
Communication Strategies ◽  
Communication Strategy ◽  
Communication Model ◽  
Classical Communication ◽  
Persuasive Message ◽  
Sustainable Behavior ◽  
And Behavior ◽  
Attitudes And Behavior

This research applies the binding communication model to the sustainable communication strategies implemented in most hotels. The binding communication model links a persuasive message with the implementation of a low-cost commitment to strengthen the link between the attitudes and behavior of those receiving the message. We compared the effectiveness of a classical communication strategy (n = 86) with that of a binding communication strategy (n = 101) to encourage guests to choose sustainable behavior. Our results show that using the binding communication strategy generates significantly more sustainable behavior in guests than using the classical communication strategy. We discuss our results and suggest future avenues of research.

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