Titlebook: Eurovisions: Identity and the International Politics of the Eurovision Song Contest since 1956; Julie Kalman,Ben Wellings,Keshia Jacotine

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Europe.Explores the role of culture and identity in post-warThis book uses the Eurovision Song Contest (ESC), as an analytical entry point to understand and illuminate post-War Europe and the drive to create an identity that can legitimise the European project in its broadest sense. The ESC presents

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Book 2019ty of European unity. Through the series of case studies that make up the chapters in this book, analysis brings these interlinked tensions to light, exploring the roles of culture and identity, alongside and a productive conversation with the political and economic projects of post-war European integration. 

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Book 2019 identity that can legitimise the European project in its broadest sense. The ESC presents an idealised vision of Europe, and this has long existed in a strained relationship with reality. While the trajectory of post-war European integration is a high-profile topic, we believe that the ESC offers a

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Benoît Lebrun,D. Hatzfeld,P. Y. Bardimacy afflicting the European project requires an examination of the normative dimensions of support for European integration. This chapter views the historic development of the Eurovision Song Contest in the 1950s as an element of the broader initiative for European unity. It examines Eurovision’s

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Kunihiko Shimazaki,William Stuartity, and the extent to which each gives Belgium meaning. In 1986, Belgium enjoyed its first and only win at the ESC, and thus became the host for 1987. The euphoria and national pride after the win quickly turned to controversy, and revealed the deep divisions in the country, when the Flemish broadc

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Third evaluation of VAN, 1992, 1995,re’. But Eurovision songs are subject to interpretation for the overt or implicit political messages that they carry. Three of the most successful Ukrainian Eurovision entries—Ruslana’s ‘Wild Dances’ (winner, 2004), ‘Dancing Lasha Tumbai’ by Verka Serdiuchka (runner-up, 2007) and Jamala’s ‘1944’ (wi