Mayordomo, A. y Barberá, O. (coords.): Escuelas y maestros: dos siglos de historia y memoria en València, Universitat de València, 2017, 519 pp. ISBN 978-84-9133-111-7.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
Akin, A. (2013). ‘The Reality is Not as It Seems From Turkey’: Imaginations About the Eurovision Song Contest From Its Production Fields. International Journal of Communication, 7, 2303-2321.
Aston, E. (2013). Competing Feminities: A ‘Girl’ for Eurovision. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 163-177.
Baker, C. (2008). Wild dances and Dying Wolves: Simulation, Essentialization and National Identity at the Eurovision Song Contest. Popular Communication, 6 (3), 173-189.
Baker, C. (2015). Gender and Geopolitics in the Eurovision Song Contest. Contemporary Southeastern Eu-rope, 2 (1), 74-93.
Baker, C, (2017). The ‘gay Olympics’? The Eurovision Song Contest and the politics of LGBT/European belonging. European Journal of International Relations, 23 (1), 97-121.
Baudrillard, J. [1990], 1991. La transparencia del mal. Barcelona: Anagrama.
Baumgartner, M. (2007). Chanson, canzone, schlager and song: Switzerland’s identity struggle in the Eurovision Song Contest. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 37-48.
Björnberg, A. (2007). Return to ethnicity: The cultural significance of musical change in the Eurovision Song Contest. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Euro-vision Song Contest. Aldershot: Ashgate, 13-24.
Bohlman, A. F. y Polychronakis, I. (2013). Eurovision Everywhere: A Kaleidoscopic Vision of the Grand Prix. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 57-78.
Bohlman, P. V. (2013). Tempus edax rerum. Time and the Making of the Eurovision Song. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 35-56.
Bolin, G. (2006). Visions of Europe: Cultural technologies of nation-states. International Journal of Cultu-ral Studies, 9, 189-206.
Bourideu, P. [1996] 1997. Sobre la televisión. Barcelona: Anagrama.
Bourdieu, P. [1998] 2007. La dominación masculina. Barcelona: Anagrama.
Brea, J. L. 2007. “Cambio del régimen escópico: del inconsciente óptico a la e-image”, Estudios Visuales, 4, 146-164.
Brook, P. [1968] 1973. El espacio vacío: arte y técnica del teatro. La Habana: Pueblo y educación.
Butler, J. [2004] 2006. Deshacer el género. Barcelona: Paidós.
Cazorla, R. (2016). Lo que la Olimpiada se llevó. Jot Down Contemporary Culture Mag, Recuperado de http://www.jotdown.es/2016/07/lo-la-olimpiada-se-llevo/
Coleman, S. (2008). Why is the Eurovision Song Contest Ridiculous? Exploring a Spectacle of Embar-rassment, Irony and Identity. Popular Communication, 6, 127-140.
Danto, A. [1997] 2012. Después del fin del arte. El arte contemporáneo y el linde de la historia. Barcelona: Paidós.
Deleuze, G. [1985] 1987. La imagen-tiempo. Estudios sobre cine 2. Barcelona: Paidós.
Derrida, J. (1996). Cosmopolitas de todos los países, ¡un esfuerzo más! Madrid: Cuatro Ediciones.
Egan J. (2015). All kinds of everything. A history of Eurovision postcards. Escinsight.com. Recuperado de http://escinsight.com/2015/05/22/all-kinds-of-everything-a-history-of-eurovision-postcards/
Esckaz.com (2016). ESCKAZ in Stockholm: Interview with Sacha Jean Baptiste (Lithuania, Armenia, Georgia, Cyprus). Recuperado de https://www.youtube.com/watch?v=JY7k0qqQknA
Escudero, V. (2017). #ThrowbackThursday to 40 years ago: Eurovision 1977. Recuperado de
https://eurovision.tv/story/throwback-thursday-1977
Esquirol, J. M. (2015). La resistencia íntima. Ensayo de una filosofía de la proximidad. Barcelona: Acantilado.
Eurovision-fr (2013). Concours Eurovision de la Chanson 1987. Recuperado de http://www.eurovision-fr.net/histoire/histoire87.php
Eurovision.tv (2015a). Behind the scenes: Props and stage changes. Recuperado de https://www.youtube.com/watch?v=G0ph6x53aEU
Eurovision.tv (2015b). Eurovision Milestones: 1965. Recuperado de https://www.youtube.com/watch?v=MS21wnWTgJo
Fabbri, F. (2013). Foreword: War without Tears: European Broadcasting and Competition. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, VII-XIV.
Giil, S. (2018). «Re: Eurosong ‘96». 8 de agosto de 2018. Correo personal.
Gluhovic, M. (2013). Sing for Democracy: Human Rights and Sexuality Discourse in the Eurovision Song Contest. K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 194-217.
Fricker, K. (2013). “‘It’s just Not Funny Any More’: Terry Wogan, Melancholy Britain, and the Euro-vision Song Contest”. K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 53-76.
Hall, S., du Gay, P. [1996] 2003. Cuestiones de identidad cultural. Buenos Aires: Amorrortu.
Jobson, C. (2017). When TV logos were physical objects. Thisiscolosal.com. Recuperado de http://www.thisiscolossal.com/2017/05/when-tv-logos-were-physical-objects/
Jordan, P. (2011). The Eurovision Song Contest: Nation Branding and Nation Building in Estonia and Ukraine. Glasgow: PhD-thesis, University of Glasgow.
Jordan, P. (2014). The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. Tartu: University of Tartu Press.
Kirkegaard, A. (2013). The Nordic Brotherhoods: Eurovision as a Platform for Partnership. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 79-108.
Lampropoulos, Apostolos. 2013. Delimiting the Eurobody. Historicity, Politicization, Queerness. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 151-172.
Langlois, T. (2013). The Rise and Fall of the Singing Tiger: Ireland and Eurovision. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 261-280.
Lee Adams, W. (2016). Light it up! 10 of the best Eurovision acts with golden showers. Wiwiblogs.com. Recuparado de http://wiwibloggs.com/2016/08/21/light-10-best-eurovision-acts-golden-showers/148551/
Marín Ramos, E. (2016). El valor artístico de los índices de audiencias. Laocoonte. Revista de Estética y Teoría de las Artes, 3, 166-175.
Mutsaers, L. (2007). Fernando, Filippo, and Milly: Bringing blackness to the Eurovision stage. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 61-70.
Mtv.fi. (2006). Lordin tulitekniikan hinnoista protesti. Recuperado de https://www.mtv.fi/viihde/musiikki/artikkeli/lordin-tulitekniikan-hinnoista-protesti/2859426#gs.1DmQgEQ
O’Connor, J. K. (2007): The Eurovision Song Contest: The Official History. Londres: Carlton Books.
Ogaespain (2017). Madrid 1969: un festival que marcó la historia de Eurovisión. Ogaespain.com. Recuperado de http://www.ogaespain.com/madrid-1969-un-festival-que-marco-la-historia-de-eurovision/
Oliver, S. (2011). The Secret Histoy of Eurovision. Australia: Brook Lapping Productions, Electric Pictures, Screen Australia, 80 min.
Ortiz Montero, L. (2017). El festival de Eurovisión: más allá de la canción. Fonseca. Journal of Communica-tion, 15 (2), 145-162.
Panea, J. L. (2017). Hello Millstreet, Sarajevo calling. Cuerpo y diáspora a través de la puesta en escena de la canción. Arte y Políticas de Identidad, 16, 161-186.
Pajala, M. (2007). Finland, zero points: Nationality, Failure and the Shame in the Finnish Media. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 71-82.
Pajala, M. (2013). Europe, with feeling. The Eurovision Song Contest as Entertainment. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 77-93.
Rampley, M. 2005. La amenaza fantasma: ¿la Cultura Visual como fin de la Historia del Arte? en J. L. Brea (ed.). Estudios visuales. La epistemología de la visualidad en la era de la globalización. Madrid: Akal.
Raykoff, I. (2007). Camping on the borders of Europe. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 1-12.
Sieg, K. (2013). Countdrums of Post-Socialist Belonging at Eurovision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Lon-dres: Palgrave Macmillan,, 218-237.
da Silva Theodoro, H. G., y Cogo, D. (2015). Corpo, mídia e transgeneridade: políticas de visibilidade e práticas contra hegemônicas na performance de Conchita Wurst no Eurovision 2014. Redes.com: revista de estudios para el desarrollo social de la comunicación, 11, 135-152.
Singleton, B. (2013). From Dana to Dustin: The Reputation of Old/New Ireland and the Eurovision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 142-162.
Tobin, R. D. (2007). Eurovision at 50: Post-Wall and Post-Stonewall. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 25-36.
Tragaki, Dafni. 2013. The Monsters’ Dream: Fantasies of the Empire Within. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 241-260.
Uribarri, J. L. (1998a). Eurovision siglo XX (Años 50-60). España: RTVE, 62 minutos.
Uribarri, J. L. (1998b). Eurovision siglo XX (Años 80). España: RTVE, 54 minutos.
Verdú. V. [2005] 2011. Yo y tú, objetos de lujo. El personismo: la primera revolución cultural del siglo XXI. Barce-lona: Random House Mondadori.
Vuletic, D. (2018). Postwar Europe and the Eurovision Song Contest. Londres y Nueva York: Bloomsbury.
Wolther, I. (2015). «You wouldn’t know me at all…». Texte 14. Public Service Media in Europe. Eurovision Song Contest: More than music? Viena: Österreichischer Rundfunk, ORF.
YLE Uutiset (2006). Lordin tulitekniikasta vaaditaan kiskurihintaa Euroviisuissa. Recuperado de https://yle.fi/uutiset/3-5224923
Zamora Bonilla, J. (2001). United Kingdom, four points; Royaume Uni, quatre points. La inferencia científica y el festival de Eurovisión. En J. M. Saguillo, J. L. Falguera y C. Martínez (eds.). Teorías formales y teorías empiristas. Santiago de Compostela: Universidad de Santiago de Compostela, 419-430.
Zaroulia, M. (2013). ‘Sharing the moment’: Europe, Affect, and Utopian Performativities in the Euro-vision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 31-52.
Zwart, J. (2017). How it's made: From flames to fireworks, Eurovision.tv. Recuperado de https://eurovision.tv/story/how-it-is-made-2017-flames-fireworks-pyros
Aston, E. (2013). Competing Feminities: A ‘Girl’ for Eurovision. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 163-177.
Baker, C. (2008). Wild dances and Dying Wolves: Simulation, Essentialization and National Identity at the Eurovision Song Contest. Popular Communication, 6 (3), 173-189.
Baker, C. (2015). Gender and Geopolitics in the Eurovision Song Contest. Contemporary Southeastern Eu-rope, 2 (1), 74-93.
Baker, C, (2017). The ‘gay Olympics’? The Eurovision Song Contest and the politics of LGBT/European belonging. European Journal of International Relations, 23 (1), 97-121.
Baudrillard, J. [1990], 1991. La transparencia del mal. Barcelona: Anagrama.
Baumgartner, M. (2007). Chanson, canzone, schlager and song: Switzerland’s identity struggle in the Eurovision Song Contest. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 37-48.
Björnberg, A. (2007). Return to ethnicity: The cultural significance of musical change in the Eurovision Song Contest. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Euro-vision Song Contest. Aldershot: Ashgate, 13-24.
Bohlman, A. F. y Polychronakis, I. (2013). Eurovision Everywhere: A Kaleidoscopic Vision of the Grand Prix. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 57-78.
Bohlman, P. V. (2013). Tempus edax rerum. Time and the Making of the Eurovision Song. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 35-56.
Bolin, G. (2006). Visions of Europe: Cultural technologies of nation-states. International Journal of Cultu-ral Studies, 9, 189-206.
Bourideu, P. [1996] 1997. Sobre la televisión. Barcelona: Anagrama.
Bourdieu, P. [1998] 2007. La dominación masculina. Barcelona: Anagrama.
Brea, J. L. 2007. “Cambio del régimen escópico: del inconsciente óptico a la e-image”, Estudios Visuales, 4, 146-164.
Brook, P. [1968] 1973. El espacio vacío: arte y técnica del teatro. La Habana: Pueblo y educación.
Butler, J. [2004] 2006. Deshacer el género. Barcelona: Paidós.
Cazorla, R. (2016). Lo que la Olimpiada se llevó. Jot Down Contemporary Culture Mag, Recuperado de http://www.jotdown.es/2016/07/lo-la-olimpiada-se-llevo/
Coleman, S. (2008). Why is the Eurovision Song Contest Ridiculous? Exploring a Spectacle of Embar-rassment, Irony and Identity. Popular Communication, 6, 127-140.
Danto, A. [1997] 2012. Después del fin del arte. El arte contemporáneo y el linde de la historia. Barcelona: Paidós.
Deleuze, G. [1985] 1987. La imagen-tiempo. Estudios sobre cine 2. Barcelona: Paidós.
Derrida, J. (1996). Cosmopolitas de todos los países, ¡un esfuerzo más! Madrid: Cuatro Ediciones.
Egan J. (2015). All kinds of everything. A history of Eurovision postcards. Escinsight.com. Recuperado de http://escinsight.com/2015/05/22/all-kinds-of-everything-a-history-of-eurovision-postcards/
Esckaz.com (2016). ESCKAZ in Stockholm: Interview with Sacha Jean Baptiste (Lithuania, Armenia, Georgia, Cyprus). Recuperado de https://www.youtube.com/watch?v=JY7k0qqQknA
Escudero, V. (2017). #ThrowbackThursday to 40 years ago: Eurovision 1977. Recuperado de
https://eurovision.tv/story/throwback-thursday-1977
Esquirol, J. M. (2015). La resistencia íntima. Ensayo de una filosofía de la proximidad. Barcelona: Acantilado.
Eurovision-fr (2013). Concours Eurovision de la Chanson 1987. Recuperado de http://www.eurovision-fr.net/histoire/histoire87.php
Eurovision.tv (2015a). Behind the scenes: Props and stage changes. Recuperado de https://www.youtube.com/watch?v=G0ph6x53aEU
Eurovision.tv (2015b). Eurovision Milestones: 1965. Recuperado de https://www.youtube.com/watch?v=MS21wnWTgJo
Fabbri, F. (2013). Foreword: War without Tears: European Broadcasting and Competition. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, VII-XIV.
Giil, S. (2018). «Re: Eurosong ‘96». 8 de agosto de 2018. Correo personal.
Gluhovic, M. (2013). Sing for Democracy: Human Rights and Sexuality Discourse in the Eurovision Song Contest. K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 194-217.
Fricker, K. (2013). “‘It’s just Not Funny Any More’: Terry Wogan, Melancholy Britain, and the Euro-vision Song Contest”. K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 53-76.
Hall, S., du Gay, P. [1996] 2003. Cuestiones de identidad cultural. Buenos Aires: Amorrortu.
Jobson, C. (2017). When TV logos were physical objects. Thisiscolosal.com. Recuperado de http://www.thisiscolossal.com/2017/05/when-tv-logos-were-physical-objects/
Jordan, P. (2011). The Eurovision Song Contest: Nation Branding and Nation Building in Estonia and Ukraine. Glasgow: PhD-thesis, University of Glasgow.
Jordan, P. (2014). The Modern Fairy Tale: Nation Branding, National Identity and the Eurovision Song Contest in Estonia. Tartu: University of Tartu Press.
Kirkegaard, A. (2013). The Nordic Brotherhoods: Eurovision as a Platform for Partnership. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 79-108.
Lampropoulos, Apostolos. 2013. Delimiting the Eurobody. Historicity, Politicization, Queerness. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 151-172.
Langlois, T. (2013). The Rise and Fall of the Singing Tiger: Ireland and Eurovision. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 261-280.
Lee Adams, W. (2016). Light it up! 10 of the best Eurovision acts with golden showers. Wiwiblogs.com. Recuparado de http://wiwibloggs.com/2016/08/21/light-10-best-eurovision-acts-golden-showers/148551/
Marín Ramos, E. (2016). El valor artístico de los índices de audiencias. Laocoonte. Revista de Estética y Teoría de las Artes, 3, 166-175.
Mutsaers, L. (2007). Fernando, Filippo, and Milly: Bringing blackness to the Eurovision stage. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 61-70.
Mtv.fi. (2006). Lordin tulitekniikan hinnoista protesti. Recuperado de https://www.mtv.fi/viihde/musiikki/artikkeli/lordin-tulitekniikan-hinnoista-protesti/2859426#gs.1DmQgEQ
O’Connor, J. K. (2007): The Eurovision Song Contest: The Official History. Londres: Carlton Books.
Ogaespain (2017). Madrid 1969: un festival que marcó la historia de Eurovisión. Ogaespain.com. Recuperado de http://www.ogaespain.com/madrid-1969-un-festival-que-marco-la-historia-de-eurovision/
Oliver, S. (2011). The Secret Histoy of Eurovision. Australia: Brook Lapping Productions, Electric Pictures, Screen Australia, 80 min.
Ortiz Montero, L. (2017). El festival de Eurovisión: más allá de la canción. Fonseca. Journal of Communica-tion, 15 (2), 145-162.
Panea, J. L. (2017). Hello Millstreet, Sarajevo calling. Cuerpo y diáspora a través de la puesta en escena de la canción. Arte y Políticas de Identidad, 16, 161-186.
Pajala, M. (2007). Finland, zero points: Nationality, Failure and the Shame in the Finnish Media. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 71-82.
Pajala, M. (2013). Europe, with feeling. The Eurovision Song Contest as Entertainment. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 77-93.
Rampley, M. 2005. La amenaza fantasma: ¿la Cultura Visual como fin de la Historia del Arte? en J. L. Brea (ed.). Estudios visuales. La epistemología de la visualidad en la era de la globalización. Madrid: Akal.
Raykoff, I. (2007). Camping on the borders of Europe. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 1-12.
Sieg, K. (2013). Countdrums of Post-Socialist Belonging at Eurovision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Lon-dres: Palgrave Macmillan,, 218-237.
da Silva Theodoro, H. G., y Cogo, D. (2015). Corpo, mídia e transgeneridade: políticas de visibilidade e práticas contra hegemônicas na performance de Conchita Wurst no Eurovision 2014. Redes.com: revista de estudios para el desarrollo social de la comunicación, 11, 135-152.
Singleton, B. (2013). From Dana to Dustin: The Reputation of Old/New Ireland and the Eurovision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 142-162.
Tobin, R. D. (2007). Eurovision at 50: Post-Wall and Post-Stonewall. En I. Raykoff y R. D. Tobin (eds.) A song for Europe. Popular Music and Politics in the Eurovision Song Contest. Aldershot: Ashgate, 25-36.
Tragaki, Dafni. 2013. The Monsters’ Dream: Fantasies of the Empire Within. En D. Tragaki (ed.) Empire of song. Europe and Nation in the Eurovision Song Contest. Plymouth: The Scarecrow Press, 241-260.
Uribarri, J. L. (1998a). Eurovision siglo XX (Años 50-60). España: RTVE, 62 minutos.
Uribarri, J. L. (1998b). Eurovision siglo XX (Años 80). España: RTVE, 54 minutos.
Verdú. V. [2005] 2011. Yo y tú, objetos de lujo. El personismo: la primera revolución cultural del siglo XXI. Barce-lona: Random House Mondadori.
Vuletic, D. (2018). Postwar Europe and the Eurovision Song Contest. Londres y Nueva York: Bloomsbury.
Wolther, I. (2015). «You wouldn’t know me at all…». Texte 14. Public Service Media in Europe. Eurovision Song Contest: More than music? Viena: Österreichischer Rundfunk, ORF.
YLE Uutiset (2006). Lordin tulitekniikasta vaaditaan kiskurihintaa Euroviisuissa. Recuperado de https://yle.fi/uutiset/3-5224923
Zamora Bonilla, J. (2001). United Kingdom, four points; Royaume Uni, quatre points. La inferencia científica y el festival de Eurovisión. En J. M. Saguillo, J. L. Falguera y C. Martínez (eds.). Teorías formales y teorías empiristas. Santiago de Compostela: Universidad de Santiago de Compostela, 419-430.
Zaroulia, M. (2013). ‘Sharing the moment’: Europe, Affect, and Utopian Performativities in the Euro-vision Song Contest. En K. Fricker y M. Gluhovic (eds.) Performing the 'New' Europe: Identities, Feelings and Politics in the Eurovision Song Contest. Londres: Palgrave Macmillan, 31-52.
Zwart, J. (2017). How it's made: From flames to fireworks, Eurovision.tv. Recuperado de https://eurovision.tv/story/how-it-is-made-2017-flames-fireworks-pyros
Mayordomo, A. y Barberá, O. (coords.): Escuelas y maestros: dos siglos de historia y memoria en València, Universitat de València, 2017, 519 pp. ISBN 978-84-9133-111-7. (2019). Historia de la Educación, 37, 574. https://revistas.usal.es/tres/index.php/0212-0267/article/view/21067
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