Bringing together the voices of scholars from Europe and North America with those of key contest stakeholders, Performing the 'New' Europe: Identities, Feelings, and Politics in the Eurovision Song Contest argues that this popular music competition is a symbolic contact zone between European cultures: an arena for European identification in which both national solidarity and participation in a European identity are confirmed, and a site where cultural struggles over the meanings, frontiers and limits of Europe are enacted. This exciting collection explores the ways in which European artists perform, disavow, and contest their racial, national, and sexual identities in the Eurovision Song Contest (ESC), and asks difficult questions about European inclusions and exclusions the contest reflects. It suggests the ESC as an ever-evolving network of peoples and places transcending both historical and geographical boundaries of Europe that brings into being new understandings of the relationship between culture, space, and identities.

This fascinating and lively volume makes the case that the Eurovision Song Contest is an arena for European identification in which both national solidarity and participation in a European identity are confirmed, and a site where cultural struggles over the meanings, frontiers and limits of Europe are enacted.

Two decades after the fall of communism in Eastern Europe and one decade into the twenty-first century, European music remains one of the most powerful forces for shaping nationalism. Using intensive fieldwork throughout Europe -- from participation in alpine foot pilgrimages to studies of the grandest music spectacle anywhere in the world, the Eurovision Song Contest -- Philip V. Bohlman reveals the ways in which music and nationalism intersect in the shaping of the New Europe. Focus: Music, Nationalism, and the Making of the New Europe begins with the emergence of the European nation-state in the Middle Ages and extends across long periods during which Europe’s nations used music to compete for land and language, and to expand the colonial reach of Europe to the entire world. Bohlman contrasts the "national" and the "nationalist" in music, examining the ways in which their impact on society can be positive and negative -- beneficial for European cultural policy and dangerous in times when many European borders are more fragile than ever. The New Europe of the twenty-first century is more varied, more complex, and more politically volatile than ever, and its music resonates fully with these transformations.

A pioneering textbook which explains the dynamics of politics across Europe in the post-Cold war era. Comparing democratisation, transition to a market economy and increasing economic and political integration in the countries of central and eastern Europe with experiences in Scandinavia, and southern and western Europe, the book provides a wealth of information and analysis on the state of Europe at the end of a momentous century of European and World history.

The book represents a state of the art review of key research on small firms in tourism in relation to European integration. It is, therefore, an essential resource for those engaged in research relating to tourism SMEs in transitional economies throughout the world. In addition, it is an essential purchase for the increasing number of students studying modules on small businesses as part of their final year undergraduate and postgraduate degree programmes. One of the key features of this book is its clear focus on breaking new ground by reporting recent research and theorising on small firms in tourism. In many cases, the analysis provided by contributors will carefully relate small business behaviour to issues of wider concern to tourism academics and policy-makers. It is also distinctive for its overt emphasis on contrasting European experiences. These characteristics contrast with the existing literature on small firms in tourism and hospitality, particularly in Europe. Previous literature achieved their aims by providing valuable syntheses of existing literature. Now that such 'taking of stock' has been undertaken, there is a demand for more overtly research-based texts that are nevertheless accessible to a wide audience. This book does exactly that.

This truly comparative volume examines the "life cycle" of party governments in Europe from 1990 onwards, and analyses its role and function in contemporary European parliamentary democracies. The life and the performance of party governments in Europe became more and more volatile and publicly contested. In some cases, it has even challenge the democratic quality of the state. This book presents comparative analyses of party governments from formation and duration, to performance. It brings together some of the foremost scholars researching on party government to evaluate existing theories and compare both the developments in the Western and the ‘new’ Eastern Europe in an empirically-grounded comparative analysis. The book discusses the interaction between various institutions, political parties and policies, and evaluates how institutional change and party behaviour can drive the "life cycle" of party government. Party Government in the New Europe will be of interest to students and scholars of Comparative Politics, Democracy, Government and European Politics.

The Eurovision Song Contest (ESC) is more than a musical event that ostensibly “unites European people” through music. It is a spectacle: a performative event that allegorically represents the idea of “Europe.” Since its beginning in the Cold War era, the contest has functioned as a symbolic realm for the performance of European selves and the negotiation of European identities. Through the ESC, Europe is experienced, felt, and imagined in singing and dancing as the interplay of tropes of being local and/or European is enacted. In Empire of Song: Europe and Nation in the Eurovision Song Contest, contributors interpret the ESC as a musical “mediascape” and mega-event that has variously performed and performs the changing visions of the European project. Through the study of the cultural politics of the ESC, contributors discuss the ways in which music operates as a dynamic nexus for making national identities and European sensibilities, generating processes of “assimilation” or “integration,” and defining the celebrated notion of the “European citizen” in a global context. Scholars in the volume also explore the ways otherness and difference are produced, spectacularized, challenged, or even neglected in the televised musical realities of the ESC. For the contributing authors, song serves as a site for constituting Europe and the nation, on- and offstage. History and politics, as well as the constant production of European subjectivities, are sounded in song. The Eurovision song is a shifting realm where old and new states imagine their pasts, question their presents, and envision ideal futures in the New Europe. Essays in Empire of Song adopt theoretical and epistemological orientations in their exploration of “popular music” within ethnomusicology and critical musicology, questioning the idea of “Europe” and the “nation” through and in music, at a time when the European self appears more fragmented, if not entirely shattered. Bringing together ethnomusicology, music studies, history, social anthropology, feminist theory, linguistics, media ethnography, postcolonial theory, comparative literature, and philosophy, Empire of Song will interest students and scholars in a vast array of disciplines.