A Wider Europe: the View from Moscow and Kyiv

The expansion of NATO and the enlargement of the EU will produce outside states in which perceptions and policies will be influenced by feelings of exclusion and isolation. Russia and Ukraine are two important examples. In Russia the sense of exclusion results from NATO expansion and it was exacerbated by the air strikes against Serbia. Although Ukraine also responded negatively to NATO's attack on Serbia, Ukrainian perceptions of exclusion are caused primarily by disappointment that EU membership is proving so difficult to attain. Based on elite interviews, opinion surveys and the analysis of focus group discussions, this article compares and contrasts the attitudes towards NATO and the EU in the two countries.     

A wider Europe: the view from Minsk and Chisinau

The expansion of NATO and the enlargement of the EU will produce outside states in which perceptions and policies will be influenced by feelings of exclusion and isolation. Building on an earlier article published in International Affairs (January 2000) on Russia and Ukraine, this article analyses two countries 'inbetween' in which these feelings are particularly strong. Belarus and Moldova, two classic borderlands, are small, new states with borders not of their own choosing and little sense of identity. Their economies are in dire straits and each has a large problem that hampers European integration. For Belarus the problem is its president; for Moldova it is the separatist regime controlling 12 per cent of its territory. Based on elite interviews, opinion surveys and the analysis of focus group discussions, this article compares and contrasts the attitudes towards NATO and the EU in these two countries.     

Exportando “marginalidad”: Consuelo Tamayo Hernández, “la Tortajada” (1867–1957)

Abstract

Although nowadays barely remembered, the dancer and singer Consuelo Tamayo Hernández, “la Tortajada” (1867–1957), once was a Spanish performer of considerable talent. She was a diva skilled at self-fashioning who knew how to exploit her public image both on and off stage. Born in Santa Fe (Granada, Spain), Tortajada hardly ever performed in her country of birth. But although her presence on the Spanish stage was merely marginal, as a “Spanish dancer” she achieved celebrity status in the music halls of Europe and the United States. Tortajada perfectly exemplifies the mobility and cultural transfer that took place between the cosmopolitan stages at the end of the nineteenth and the beginning of the twentieth century. This article explores how Tortajada obtained international fame and success, not so much because of the authenticity of her performances—which were often contaminated by the music halls where she performed—but because of her ability to export a certain idea of Spanish “otherness” and “marginality” by staging a series of traditional movements and dances. It is by skillfully embodying a stereotype construction of “Spanishness” (elapsing it into an Oriental fantasy) and a certain type of femininity that the artist achieved international celebrity.