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Signifying Europe provides a systematic overview of the wide range of symbols used to represent Europe and Europeanness, both by the political elite and the broader public. Through a critical interpretation of the meanings of the various symbols—and their often contradictory or ambiguous dimensions—Johan Fornäs uncovers illuminating insights into how Europe currently identifies itself and is identified by others outside its borders. While the focus is on the European Union’s symbols, those symbols are also interpreted in relation to other symbols of Europe. Offering insight into the cultural dimensions of European unification, this volume will appeal to students, scholars and politicians interested in European policy issues, cultural studies and postnational cultural identity.

How music embodies and contributes to historical and contemporary nationalism What does music in Portugal and Spain reveal about the relationship between national and regional identity building? How do various actors use music to advance nationalism? How have state and international heritage regimes contributed to nationalist and regionalist projects? In this collection, contributors explore these and other essential questions from a range of interdisciplinary vantage points. The essays pay particular attention to the role played by the state in deciding what music represents Portuguese or Spanish identity. Case studies examine many aspects of the issue, including local recording networks, so-called national style in popular music, and music's role in both political protest and heritage regimes. Topics include the ways the Salazar and Franco regimes adapted music to align with their ideological agendas; the twenty-first-century impact of UNESCO's Intangible Cultural Heritage program on some of Portugal and Spain's expressive practices; and the tensions that arise between institutions and community in creating and recreating meanings and identity around music. Contributors: Ricardo Andrade, Vera Marques Alves, Salwa El-Shawan Castelo-Branco, Cristina Sánchez-Carretero, José Hugo Pires Castro, Paulo Ferreira de Castro, Fernán del Val, Héctor Fouce, Diego García-Peinazo, Leonor Losa, Josep Martí, Eva Moreda Rodríguez, Pedro Russo Moreira, Cristina Cruces Roldán, and Igor Contreras Zubillaga

Purpose This paper aims to explore the relationship between religious and linguistic nationalism in Sri Lanka in the context of the controversy on singing the national anthem in Tamil during National Independence Day celebrations. It illuminates how language and religious policy work together to maintain Sinhala–Buddhist hegemony and exclude Tamil speakers as second-class citizens in postcolonial Sri Lanka. Design/methodology/approach The examination of the anthem controversy includes language and religious policy documents, newspaper articles and YouTube videos. Findings The national anthem as a site of struggle is a powerful case to explore how nation-states’ actors mobilize affect, intertwining ideologies on language, religion, ethnicity, geography, and so on to maintain and reinforce dominance over minoritized groups. Therefore, the authors believe that (singing) the national anthem can be a site of study for language policy. Research limitations/implications The authors acknowledge that the data used in this study are only in Sinhala and English and identify the need for further research using data sources in Tamil. Originality/value While this paper generally contributes to the scholarly dialogues on religion and language, it also sheds light on understanding politics in Sri Lanka. Finally, the authors propose that any meaningful policy implementation efforts toward achieving linguistic justice in Sri Lanka need to include parallel policy changes that promote equality among religions.

A not infrequent musing on the growing European integration is that the process may signal a historic discontinuity with the logic and functioning of the modern state, forming an alternative to the Westphalian order. This article takes issue with this notion, holding that, more accurately, the interaction in Europe between the currents of post-national integration and the nation-state may have reduced the integrated Europe to a mere parody of the nation-state. In articulating this argument, the article draws on the ‘hybrid’ anxiety placed by Homi Bhabha at the heart of the encounter between the coloniser and the colonised – a binary perversely reproduced, the article claims, in the dichotomy between the European integration and the European nation-state. Next, through a discussion of ‘catachresis’ and ‘time-lag’, strategies of reversal introduced by Gayatri Spivak and Bhabha, respectively, the article rehearses ideas as to whether or not something of a post-Westphalian order can still be salvaged from the ongoing process of integration. Throughout, the article seeks to rely on the later Wittgenstein on meaning, especially his privileging of what is conventionally treated as secondary in meaning formation; namely appearances, difference, absence, mimesis, and the burlesque, as opposed to a transcendental essence, presence, or identity.

How often have North American singers considered singing art songs or opera arias in Brazilian Portuguese? How many Brazilian Opera composers do voice students and faculty outside of Brazil know? The lack of language familiarity of Brazilian Portuguese is a barrier to Brazilian vocal music’s accessibility and performance. And the challenging learning curve may contribute to the lack of interest non-native speakers may have toward Brazilian classical music. To help address this problem, the author decided to promote the accessibility of the Brazilian Portuguese repertoire of vocal music by re-imagining/simplifying sections of the Brazilian Portuguese IPA table. This simplified table coalesces phonemes from the Italian, French, and North American English IPA tables and diction concomitantly to a significant reduction of symbols compared to the Brazilian Portuguese IPA established in 2005. This reflective guide will apply practically the concepts and rules from this simplified Brazilian Portuguese IPA table through the transcription of the one act opera Lampião written by Brazilian composer Paulo Maron. In order to contextualize Brazilian Portuguese vocal music and Maron’s opera, a brief overview of Brazilian music, language and culture will contextualize elements that introduce North American anglophone singers to elements that are important to the performance of Brazilian vocal music and the Brazilian Portuguese texts they employ. This guide is universally applicable and directed to anyone working with music students or to the students themselves for private study. It is the author’s hope that this re-imagined/simplified Brazilian Portuguese IPA table will facilitate the engagement and performance of Brazilian Art Song and hopefully the production of Brazilian operas outside of Brazil.

In his famed novel,Goodbye to Berlin, Christopher Isherwood not only immortalized the heady atmosphere of Weimar-era Berlin’s nightlife, but he also chronicled the growing political tensions in the republic’s last years. During a trip to the island of Rügen in the summer of 1931, the protagonist strolls along the beach, noting, “Each family has its own enormous hooded wicker beach-chair, and each flies a little flag. There are the German city-flags—Hamburg, Hanover, Dresden, Rostock and Berlin, as well as the National, Republican and Nazi colors. Each chair is encircled by a low sand bulwark upon which the occupants

Clark briefly traces the origins and development of the European Union, outlines the path towards official ratification of Beethoven's \"Ode to Joy\" as \"The European Anthem\" and examines the EU'c choice of anthem from musicological and political perspectives.

The postwar political order that formally came into being in the course of 1919-1920 divided historic Carpathian Rus' among three countries: Poland, Czechoslovakia, and Romania. Of the approximately 640,000 Carpatho-Rusyns living in the European homeland at the time, 70 percent (458,000) found themselves within the borders of Czechoslovakia.

Manuscript additions to a printed pamphlet of psalms in the Huntington Library can now be identified as being in the hand of Henry Lawes. This discovery throws new light on the composer's collaboration with the poet Thomas Carew and his relationship with the first and second earls of Bridgewater.

During the spring of 1959, Bradbury’s ever-growing passion for the performing arts provided yet another diversion from story and novel writing—the one-act Irish plays that he had been working on intermittently for many months. These had evolved from his largely unpublished file of Irish stories and story ideas inspired by his seven months in Ireland during 1953–54, writing theMoby Dickscreenplay for John Huston. His daily encounters with the common speech of the Dublin shops and city entertainments still echoed in his mind. In late December 1958, he told Congdon how one Dublin voice in particular welled