Eleni foureira biography of christopher columbus

Language Mixing and Identity in Eleni Foureira’s Songs Vasiliki Vita Language Society and Communication 15PLIH004-A19/20 Assignment 2 SOAS University of London Word Count: 2829 Table of contents: 1. Introduction 2. Language Mixing and Latin Pop 3. Eleni Foureira’s “Fuego” and “Tómame” 4. Foureira, Latin Pop and Identity 5. Conclusion 6. References 7. Appendix 1. Introduction Language mixing or code switching is when individuals shift from one language to another within a conversation (Holmes, 2013: 35). Linguistic diversity is steadily becoming more visible both in traditional media of culture and information such as books and newspapers but also social media, the internet, music and the cinema (Androutsopoulos, 2007: 207). English has long been considered the lingua franca of pop music (Vulliamy, 2019). However, not many acknowledge that the gear is shifting, and that other languages, especially Spanish, are infiltrating and dominating pop and other genres. This essay will examine language mixing in Latin pop music and in particular the example of Eleni Foureira, a Greek pop-star who has shifted the language of her songs from Greek to English and recently to Spanish or a mix of the two languages. In the first part, language mixing in Latin pop culture will be introduced, along with its definition and factors that led to its popularising. In the second part, an analysis of two of Eleni Foureira’s Latin pop songs is attempted with a focus on the reasons behind the choice of Spanish or English in her songs and how this choice relates to her identity as an artist and an individual. 2. Language Mixing and Latin Pop A speaker may code switch to express solidarity, identity and membership with their interlocutor (Holmes, 2013: 35). They might also change languages because of a change of topic or for emotive purposes (Holmes, 2013: 36-37). Furthermore, code switching does not only involve oral communication.

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People of Albanian descent living outside Albania

The Albanian diaspora (Albanian: Mërgata Shqiptare or Diaspora Shqiptare) are the ethnic Albanians and their descendants living outside of Albania, Kosovo, southeastern Montenegro, western North Macedonia, southeastern Serbia, northwestern Greece and Southern Italy.

The largest communities of the Albanian diaspora are particularly found in Italy, Argentina, Greece, Romania, Croatia, Turkey, Scandinavia, Germany, Switzerland and the United States. Other important and increasing communities are located in Australia, Brazil, Canada, France, Belgium, New Zealand, and the United Kingdom. The Albanian diaspora is large and continues to grow, with Albanians now present in significant numbers in numerous countries.

The phenomenon of migration from Albania is recorded since the early Middle Ages, when numerous Albanians immigrated to southern Italy and Greece to escape various socio-political difficulties and the Ottoman conquest. The modern Albanian diaspora has been largely formed since 1991, following the end of communism in Albania. Over 800,000 Albanians have left the country, mostly settling in Greece and Italy either permanently or as temporary workforce.

In regard to the Kosovo-Albanian diaspora, more than one million Albanians have left Kosovo since the late 1980s permanently, excluding those fleeing the Kosovo War, who have subsequently returned. Further, important destinations for emigrating Albanians from Kosovo have been mostly Switzerland, Austria, Germany and the Nordic countries.

The Albanian diaspora constitutes one of Europe's largest contemporary diasporas, with emigration constantly growing. Those of Albanian descent may choose to self-identify as Albanian, adopt hybrid identities or opt to not identify with their Albanian ancestry. Many contemporary Albanians who belong to the diaspora opt to

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As of the writing, two Swiss cities remain in the running to host Eurovision 2025: Basel with two potential arenas, and Geneva with just one. I’m rooting for Basel because it’s a three hour drive from my grandma’s house in Germany, and thus I’d be more likely to go to next Eurovision if it’s in Basel.

Introduction

In Lisbon, the capital city of Portugal, 26 countries battled on the annual Saturday night to take the prize of Eurovision 2018. It was a tight competition this year, especially among the jury votes where the country on top kept changing. Fortunately, no song came anywhere near zero points this year: on the bottom was Portugal with a still impressive 39 points. Two of the top three are countries we usually don’t see this high. In third place (and first in the jury) came Austria, in second place came a huge fan favorite from Cyprus, and the winner was a more divisive but perhaps more fiercely loved entry from Israel, who took home their fourth victory.

RTP clearly had a lot of fun showcasing their country with this show, but for the opening films they seemed to be on a tight budget—all three nights used the same film. On the other hand, the opening act has an indulgent medley of songs from famous Portuguese artists (including the first proper fado representation in Eurovision!), all sung in Portuguese because this country is too cool for anglophone pop. Then comes a nautical-themed flag parade set to Portuguese DJ music, which is just the most charming thing. As with last year, the host country was introduced last. The postcards are what I would’ve hoped Portugal would do: the artists opening a door to a location in Portugal and performing an activity there. As a soft spot for all things Portuguese, these postcards get my stamp of approval.

I watched the grand final with Finland Swedish commentary, parts of which my