The book deals with some syntactic and semantic aspects of the shared Balkan Sprachbund properties. In a comprehensive introductory chapter, Tomić offers an overview of the Balkan Sprachbund properties. Sobolev, displaying the areal distribution of 65 properties, argues for dialect cartography. Friedman, on the example of the evidentials, argues for typologically informed areal explanation of the Balkan properties. The other contributions analyze specific phenomena: polidefinite DPs in Greek and Aromanian (Campos and Stavrou), Balkan constructions in which datives combine with impersonal clitics or non-active morphology (Rivero), Balkan optatives (Ammann and Auwera), imperative force in the Balkan languages (Isac and Jakab), clitic placement in Greek imperatives (Bošković), focused constituents in Romanian and Bulgarian (Hill), synthetic and analytic tenses in Romanian (D'Hulst, Coene and Avram), "purpose-like" modification in a number of Balkan languages (Bužarovska), Balkan modal existential “wh”-constructions (Grosu), child and adult strategies in interpreting empty subjects in Serbian/Croatian (Stojanović and Marelj), conditional sentences in Judeo-Spanish (Montoliu and Auwera).

This book investigates morpho-syntactic convergences that characterize the languages of the Balkan Sprachbund: Balkan Slavic, Greek, Romanian, Albanian, Balkan Romani. Apart from new data, the volume features contributions within different theoretical frameworks (contact linguistics, functional linguistics, typology, areal linguistics, and generative grammar).

Since the early twentieth century, 'balkanization' has signified the often militant fracturing of territories, states, or groups along ethnic, religious, and linguistic divides. Yet the remarkable similarities found among contemporary Balkan popular music reveal the region as the site of a thriving creative dialogue and interchange. The eclectic interweaving of stylistic features evidenced by Albanian commercial folk music, Anatolian pop, Bosnian sevdah-rock, Bulgarian pop-folk, Greek ethniki mousike, Romanian muzica orientala, Serbian turbo folk, and Turkish arabesk, to name a few, points to an emergent regional popular culture circuit extending from southeastern Europe through Greece and Turkey. While this circuit is predicated upon older cultural confluences from a shared Ottoman heritage, it also has taken shape in active counterpoint with a variety of regional political discourses. Containing eleven ethnographic case studies, Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse examines the interplay between the musicians and popular music styles of the Balkan states during the late 1990s. These case studies, each written by an established regional expert, encompass a geographical scope that includes Albania, Bosnia and Herzegovina, Bulgaria, the Republic of Macedonia, Croatia, Slovenia, Romania, Greece, Turkey, Serbia, and Montenegro. The book is accompanied by a VCD that contains a photo gallery, sound files, and music video excerpts.

Reporting from the heartland of Yugoslavia in the 1970s, Washington Post correspondent Dusko Doder described "a landscape of Gothic spires, Islamic mosques, and Byzantine domes." A quarter century later, this landscape lay in ruins. In addition to claiming tens of thousands of lives, the former Yugoslavia's four wars ravaged over a thousand religious buildings, many purposefully destroyed by Serbs, Albanians, and Croats alike, providing an apt architectural metaphor for the region's recent history. Rarely has the human impulse toward monocausality--the need for a single explanation--been in greater evidence than in Western attempts to make sense of the country's bloody dissolution. From Robert Kaplan's controversial Balkan Ghosts, which identified entrenched ethnic hatreds as the driving force behind Yugoslavia's demise to NATO's dogged pursuit and arrest of Slobodan Milosevic, the quest for easy answers has frequently served to obscure the Balkans' complex history. Perhaps most surprisingly, no book has focused explicitly on the role religion has played in the conflicts that continue to torment southeastern Europe. Based on a wide range of South Slav sources and previously unpublished, often confidential documents from communist state archives, as well as on the author's own on-the-ground experience, Balkan Idols explores the political role and influence of Serbian Orthodox, Croatian Catholic, and Yugoslav Muslim religious organizations over the course of the last century. Vjekoslav Perica emphatically rejects the notion that a "clash of civilizations" has played a central role in fomenting aggression. He finds no compelling evidence of an upsurge in religious fervor among the general population. Rather, he concludes, the primary religious players in the conflicts have been activist clergy. This activism, Perica argues, allowed the clergy to assume political power without the accountablity faced by democratically-elected officials. What emerges from Perica's account is a deeply nuanced understanding of the history and troubled future of one of Europes most volatile regions.

Volume I discusses the history of the major Balkan nationalities. It describes the differing conditions experienced under Ottoman and Habsburg rule, but the main emphasis is on the national movements, their successes and failures to 1900, and the place of events in the Balkans in the international relations of the day.

This volume concentrates on the Balkan wars and World War II, focusing particularly on Bulgaria, Greece, Montenegro, Romania and Serbia since 1945.

This book discusses the morpho-syntactic Balkan Sprachbund features in nine languages in which they are most numerous. It contains a wealth of Balkan linguistic material. The focus is on displaying similarities and differences in the representation of the most widely acknowledged Balkan Sprachbund morpho-syntactic features and their interaction with other features in the structure of the DP or the sentence of individual languages.