Introduction : gender and geopolitics in the Eurovision Song Contest

From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per-year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state. In research on Eurovision as it stands today, it would almost go without saying that Eurovision and the performances it contains have reflected, communicated and been drawn into narratives of national and European identity which were and are – by their very nature as a nexus between imaginaries of culture and territory – geopolitical

Alkimia Operativa and Alkimia Speculativa. Some Modern Controversies on the Historiography of Alchemy

The accent on scientific and empirical character of alchemy, especially from the field of the history of science, promotes the idea that one can understand the cryptic and metaphorical language of alchemy mainly through the laboratory chemical practice. As a result, the tendency is to interpret the spiritual and esoteric language of alchemy, as metaphors for laboratory work and the most representative research on historiography of alchemy that point the spiritual character as being contaminated by esoteric sciences and Victorian occultism. This paper is paying attention to this dichotomy by attempting to understand the exclusivist position of the position that alchemy is a proto-chemistry and to see the consequences of such an interpretation. It is reviewed one of the most representative voices that interpret alchemy as spiritual by Carl. G. Jung and Mircea Eliade, and their rejection, as it is illustrated by William R. Newman and Lawrence M. Principe, showing the boundaries of both approaches and the hazarded character of understanding alchemy merely as part of the history of chemistry

Building Deeper Relationships: How Steppenwolf Theatre Company Is Turning Single-Ticket Buyers Into Repeat Visitors

Describes the company's strategies to engage all audience members, including through post-show discussions, special events, diverse online content, and equal treatment of subscribers and non-subscribers; outcomes; and contributing factors

Songs of War: Anglo-Canadian Popular Songs on the Home Front, 1914-1918

This article explores the production, content, and reception of Anglo-Canadian popular songs composed during the First World War. It argues that popular songs reflected the changing attitudes of Anglo-Canadians, as composers and publishers created music to fulfill different purposes for those on the home front at various stages of the war. In the beginning, the majority of songs were patriotic marches composed to gather support for Britain and the Empire. As the war continued, there was an increase in the number of patriotic songs that expressed a growing sense of wartime Canadian nationalism to enlist recruits. Throughout the war, music was significant to the First World War experience on Canada’s home front

Harnessing Rural Radio for Climate Change Mitigation and Adaptation in the Philippines

The working paper documents the pilot rural radio campaign, dubbed as 'Climate Change i-Broadkas Mo', implemented by the CGIAR Research Program on Climate Change, Agriculture and Food Security in Southeast Asia (CCAFS SEA) and the Philippine Federation of Rural Broadcasters (PFRB)​ in strategic regions of the Philippines from 2015 to 2018. The radio campaign provided PFRB affiliated broadcasters with scripts and ready-to-be-aired (RTBA) interviews on climate-smart agriculture. The lessons learned from the project can be used to enhance the capacities of rural broadcasters on climate change reporting and to create a demand for radio-based distance learning, not only in Northern Philippines, but in similar regions in Southeast Asia

Retirement on the Line: Age, Work, and Value in an American Factory

[Excerpt] The motivations for and experiences of working in retirement are varied and contradictory. This book explores what work means for people in the United States who are of conventional retirement age. To examine issues of aging, work, meaning, and purpose, I focus on Vita Needle Company, a family-owned factory that produces stainless steel needles in the Boston suburb of Needham. As of this writing, in May 2011, the median age of the roughly forty production floor employees is 74 and the eldest is Rosa Finnegan, a 99-year-old former waitress who joined the factory when she was 85. As a cultural anthropologist, I immersed myself in life at Vita Needle for nearly five years (more intensively in some years than in others) in order to learn what, on top of a paycheck, Vita Needle provides its employees. The story I tell is based on interviews but also on my own work on the shop floor. The distinctive research method of cultural anthropology is participant observation : we immerse ourselves in the societies we study in order to understand experiences and meaning-making from an insider\u27s perspective. Sometimes we study our own societies, sometimes societies quite foreign to us, but even when we study our own, we remain outsiders and can never fully access an insider viewpoint. Though as anthropologists we can get quite close, and we use research methods and narrative techniques to bring out the insider perspectives, our stories always reflect our own priorities and perspectives that come from our personal biographies and professional positions. I was drawn into Vita Needle and became part of the story itself, and so these pages include my personal reflections on the complexity of a research design that required my own immersion in order to explore lives and dreams and situate them within the context of a broader analysis. It is my hope that readers will discover as much about their own views on aging and retirement as they do about people at Vita Needle