標(biāo)題: Titlebook: Eurovision and Australia; Interdisciplinary Pe Chris Hay,Jessica Carniel Book 2019 The Editor(s) (if applicable) and The Author(s), under e [打印本頁(yè)] 作者: 故障 時(shí)間: 2025-3-21 17:12
書目名稱Eurovision and Australia影響因子(影響力)
書目名稱Eurovision and Australia影響因子(影響力)學(xué)科排名
書目名稱Eurovision and Australia網(wǎng)絡(luò)公開度
書目名稱Eurovision and Australia網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Eurovision and Australia被引頻次
書目名稱Eurovision and Australia被引頻次學(xué)科排名
書目名稱Eurovision and Australia年度引用
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書目名稱Eurovision and Australia讀者反饋
書目名稱Eurovision and Australia讀者反饋學(xué)科排名
作者: 該得 時(shí)間: 2025-3-21 21:51 作者: Ovulation 時(shí)間: 2025-3-22 04:24 作者: 合唱團(tuán) 時(shí)間: 2025-3-22 06:50 作者: sperse 時(shí)間: 2025-3-22 12:45
Indigenous Representation at the Eurovision Song Contest: A Quintessentially Australian Identitynance of Indigenous performers, Jessica Mauboy and Isaiah Firebrace, among Australia’s first representatives. The choice of performers by Australia’s multicultural broadcaster, Special Broadcasting Service (SBS), can be perceived as an attempt to present Australia as a modern, multicultural, and pos作者: clarify 時(shí)間: 2025-3-22 13:48 作者: clarify 時(shí)間: 2025-3-22 19:59 作者: buoyant 時(shí)間: 2025-3-22 23:54
Australia and Eurovision: The View From Europeble to be, and yet, on the surface, the country appears to have been embraced by the so-called Eurovision Family—but was this really the case, and what does that say about notions of a European identity? Media outlets which previously carried stories about eastern European countries dominating the c作者: ascetic 時(shí)間: 2025-3-23 05:15 作者: Dissonance 時(shí)間: 2025-3-23 08:50 作者: 猛然一拉 時(shí)間: 2025-3-23 12:45 作者: Aura231 時(shí)間: 2025-3-23 16:54 作者: Colonoscopy 時(shí)間: 2025-3-23 21:56
Pyjama Fandom: Watching Eurovision Down Under performed as an interval act in Copenhagen. Since 2016, when Australia has been allowed to vote in the ESC as well as perform, the “l(fā)ive broadcast” of the ESC has taken place on SBS from 5.00 a.m.—marking a departure from the previous delayed telecast, which had been in the “prime time” slot from 8作者: Interdict 時(shí)間: 2025-3-24 01:29
Chris Hay,Jessica CarnielThis is the first collection of interdisciplinary scholarship on Australia and Eurovision from predominantly Australian scholars.Presents a timely intervention into questions of Australian national id作者: Lime石灰 時(shí)間: 2025-3-24 02:49 作者: CRAMP 時(shí)間: 2025-3-24 10:34
978-3-030-20060-2The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: Default 時(shí)間: 2025-3-24 11:54
https://doi.org/10.1007/978-3-030-20058-9Eurovision; Music; Migration; Eurovision Song Contest; Music performance; Australian music作者: Factorable 時(shí)間: 2025-3-24 16:15 作者: Malfunction 時(shí)間: 2025-3-24 22:06 作者: Palpate 時(shí)間: 2025-3-25 02:20
Indrajit Chowdhury,Shambhu P. Dasguptaal and political history of Australia and Europe. The first section demonstrates that Australia’s history in the ESC goes back to the very beginnings of the contest in the late 1950s, when Australia’s cultural and political orientations were still overwhelmingly British. The second section discusses作者: commensurate 時(shí)間: 2025-3-25 04:48 作者: 富饒 時(shí)間: 2025-3-25 11:27
Heriberta Casta?os,Cinna Lomnitznance of Indigenous performers, Jessica Mauboy and Isaiah Firebrace, among Australia’s first representatives. The choice of performers by Australia’s multicultural broadcaster, Special Broadcasting Service (SBS), can be perceived as an attempt to present Australia as a modern, multicultural, and pos作者: 鉆孔 時(shí)間: 2025-3-25 11:43 作者: Stress-Fracture 時(shí)間: 2025-3-25 18:10 作者: Microaneurysm 時(shí)間: 2025-3-25 20:18
S. ?ncü-Davas,H. Gazi,E. Güler,Cenk Alhanble to be, and yet, on the surface, the country appears to have been embraced by the so-called Eurovision Family—but was this really the case, and what does that say about notions of a European identity? Media outlets which previously carried stories about eastern European countries dominating the c作者: fatty-acids 時(shí)間: 2025-3-26 02:55
Microzonation for Earthquake Scenariosentertainment to the rest of the globe, including Europe and its immediate neighbourhood. It presents findings from a survey of ethnic community preferences in Australia, focussing on three Balkan communities: Bosnian, Croatian and Serbian. The survey’s results offer a novel insight into how politic作者: 易發(fā)怒 時(shí)間: 2025-3-26 04:18 作者: 不可接觸 時(shí)間: 2025-3-26 09:39
Source and Site Factors in Microzonation,2019, Australia’s entrant has been decided through invitation from the Special Broadcasting Service (SBS), the network which broadcasts Eurovision. As such, the selection of Australia’s representatives is closely aligned with the SBS’s mandate to represent Australia’s diversity. This representation 作者: ACTIN 時(shí)間: 2025-3-26 13:33 作者: 柱廊 時(shí)間: 2025-3-26 17:07
https://doi.org/10.1007/978-94-007-7981-5 performed as an interval act in Copenhagen. Since 2016, when Australia has been allowed to vote in the ESC as well as perform, the “l(fā)ive broadcast” of the ESC has taken place on SBS from 5.00 a.m.—marking a departure from the previous delayed telecast, which had been in the “prime time” slot from 8作者: 擴(kuò)音器 時(shí)間: 2025-3-26 22:34 作者: 可用 時(shí)間: 2025-3-27 02:42
Book 2019a variety of interdisciplinary perspectives — including history, politics, cultural studies, performance studies, and musicology — to explore Australia’s transition from observer to participant in the first thirty-six years of its love affair with the Eurovision Song Contest. .作者: 休閑 時(shí)間: 2025-3-27 05:43 作者: 仔細(xì)檢查 時(shí)間: 2025-3-27 12:21
Earthquake Data in Engineering Seismologyaround shifting norms of political participation, voting and direct democracy to document the popularity of the contest against the broader backdrop of personalised politics, populism and plebiscites.作者: 變化無(wú)常 時(shí)間: 2025-3-27 15:30 作者: MUMP 時(shí)間: 2025-3-27 17:56
Microzonation for Earthquake Scenarioschapter analyses perceptions presented about Eurovision through the lenses of diaspora politics, whilst providing commentary on the Balkan musical genre that has also influenced preferences of one of Australia’s largest post-war ethnic communities from Europe.作者: 最高點(diǎn) 時(shí)間: 2025-3-28 00:31 作者: glisten 時(shí)間: 2025-3-28 04:06 作者: 群居男女 時(shí)間: 2025-3-28 07:50
The Politics of Diversity and Participationaround shifting norms of political participation, voting and direct democracy to document the popularity of the contest against the broader backdrop of personalised politics, populism and plebiscites.作者: 很像弓] 時(shí)間: 2025-3-28 11:05 作者: GNAW 時(shí)間: 2025-3-28 17:49 作者: Perigee 時(shí)間: 2025-3-28 19:18
Lessons Learned: Teaching European Studies in Full Eurovisionoincidence that the first offering of a subject devoted primarily to Eurovision at the University of Melbourne should begin in the same year. There were a number of drivers for an experiment to harness the potential of the Eurovision Song Contest for teaching purposes. The two authors, both employed作者: 組裝 時(shí)間: 2025-3-28 22:57 作者: Autobiography 時(shí)間: 2025-3-29 05:47
“It Really Makes You Feel Part of the World”: Transnational Connection for Australian Eurovision Audbalisation. It interrogates dominant Eurocentric narratives about the place in Eurovision in Australia to explore the song contest’s possibilities as a transnational social space that can be inclusive of all Australians, while also fulfilling an historical desire for global belonging.作者: BROTH 時(shí)間: 2025-3-29 08:47 作者: 兵團(tuán) 時(shí)間: 2025-3-29 11:39 作者: 狗舍 時(shí)間: 2025-3-29 17:43 作者: penance 時(shí)間: 2025-3-29 21:46 作者: 窒息 時(shí)間: 2025-3-30 01:49
Heriberta Casta?os,Cinna Lomnitz Indigenous identity. Furthermore, Indigenous representation cannot help but reference the ancient lineage of Indigenous Australians, and their historic and ongoing struggles to overcome the legacy of colonialism.作者: Amnesty 時(shí)間: 2025-3-30 07:27 作者: ENDOW 時(shí)間: 2025-3-30 09:36
https://doi.org/10.1007/978-94-007-7981-5y accompanied by caffeinated drinks. This chapter considers how the live audience experience has changed in Australia with the shifting time of the broadcast, combining a historical survey of the ESC’s Australian reach with a thick description of the contemporary experience of Eurovision fandom from down under.作者: Notify 時(shí)間: 2025-3-30 15:41 作者: exclusice 時(shí)間: 2025-3-30 18:49
Our Aussie Divas: Interrogating Australian Identity through Audience Reactions to Australia’ Eurovisw ‘Australian-ness’ is perceived by the general public. Content analysis is conducted on audience comments on media reports between 2014 and 2016. This provides insights into the normalised view of how ‘Australian’ is constructed and how indigeneity and Asian-ness is negotiated in contemporary Australian identity.作者: CORE 時(shí)間: 2025-3-30 21:52
