The updated second edition provides an evaluation of events over the last two years and the prospects for a lasting peace following the Dayton Accord.

In Researching Yugoslavia and its Aftermath, a common thread is the authors’ path through the time and space context in which fieldwork has taken place. Accordingly, this collection tackles problems that have always existed but have not been dealt with in a single volume. In particular, it examines a range of methodological questions arising from the contributors’ shared concerns, and thus the obstacles and solutions characterising the relationship between researchers and their objects of study. Being an interdisciplinary project, this book brings together highly regarded historians, sociologists, anthropologists, political scientists, cultural and social theorists, as well as experts in architecture and communication studies. They share a belief that the awareness of the researcher’s own position in fieldwork is a precondition of utmost significance to comprehend the evolution of objects of study, and hence to ensure transparency and ultimate credibility of the findings. Moreover, the contributors come from diverse backgrounds, including authors from the former Yugoslavia and others who have made their way to the region after starting their research careers; some from universities in the area, others from institutions in the Global North. Here, they explore cross-cutting issues such as the repercussions of gender, nationality, institutional affiliation and the consequences of their entry into the field. This is examined in terms of the results of the research and the ethical aspect of the relationship with the object of study, as well as the implications of the chosen time framework in the methodological design and the clash between this decision and the interests of the actors studied.

This book assembles texts by renowned academics and theatre artists who were professionally active during the wars in former Yugoslavia. It examines examples of how various forms of theatre and performance reacted to the conflicts in Serbia, Croatia, Bosnia and Herzegovina, Slovenia, and Kosovo while they were ongoing. It explores state-funded National Theatre activities between escapism and denial, the theatre aesthetics of protest and resistance, and symptomatic shifts and transformations in the production of theatre under wartime circumstances, both in theory and in practice. In addition, it looks beyond the period of conflict itself, examining the aftermath of war in contemporary theatre and performance, such as by considering Ivan Vidić’s war trauma plays, the art campaigns of the international feminist organization Women in Black, and Peter Handke’s play Voyage by Dugout. The introduction explores correlations between the contributions and initiates a reflection on the further development of the research field. Overall, the volume provides new perspectives and previously unpublished research in the fields of theory and historiography of theatre, as well as Southeast European Studies.

By looking through the prism of the West's involvement in the breakup of Yugoslavia, this book presents a new examination of the end of the Cold War in Europe. Incorporating declassified documents from the CIA, the administration of George H.W. Bush, and the British Foreign Office; evidence generated by The Hague Tribunal; and more than forty personal interviews with former diplomats and policy makers, Glaurdić exposes how the realist policies of the Western powers failed to prop up Yugoslavia's continuing existence as intended, and instead encouraged the Yugoslav Army and the Serbian regime of Slobodan Milosević to pursue violent means.The book also sheds light on the dramatic clash of opinions within the Western alliance regarding how to respond to the crisis. Glaurdić traces the origins of this clash in the Western powers' different preferences regarding the roles of Germany, Eastern Europe, and foreign and security policy in the future of European integration. With subtlety and acute insight, "The Hour of Europe" provides a fresh understanding of events that continue to influence the shape of the post-Cold War Balkans and the whole of Europe.

Focusing on the life and career of Slobodan Milosevic from the perspective of both a diplomatic insider and a scholar, this text provides first-hand observations of Milosevic during his rise to power and, later, in the endgame of the Bosnian war.

This book examines the relationship between nationalism and the rise and fall of Yugoslavia under the rule of Josip Broz Tito. It deals particularly with the interactions between communist and intellectual elites. The authors analyze elites’ initial enthusiasm about the Yugoslav federation and how, with time, they found themselves unable to suppress the nationalists in Yugoslavia. Other scholars have argued that, in a certain sense, Tito’s Yugoslavia proved to be a “hatchery” for the nations that once constituted Yugoslavia, making them ever closer to “completeness.” However, as the authors highlight in this study, this process was one of conflict. The personal role of Tito as an arbiter was essential, although, for the majority of his time in power, he did not act as a dictator. His departure was strongly felt in the 1980s, when ethnic entrepreneurial activity began to flourish—and when ethnic and political relations had gone out of control. While a significant part of this book follows the chronology of ethnic elite interaction in communist Yugoslavia, the global context of Yugoslavia’s rise and fall is taken into account. The authors also use Yugoslavia as a case study to test the validity of nationalism studies more generally.

It is 1968. Across America, citizens march for social reform and an end to the Vietnam War. Amid all this, Surya Green--a New York-born, self-absorbed, modern young woman--is a student at Stanford University, blithely pursuing a graduate degree in communication. Her view of life's purpose unexpectedly starts to expand when she says "Yes" when her Stanford film mentor selects her for a writing job at Zagreb Film in Yugoslavia. Family and friends marvel at her courage, or foolishness. The Zagreb studio may be the renowned producer of the first non-American animated film to win an Oscar, but it is in a country most Americans fear and reject as "communist." Green has no idea that her stay in Yugoslavia will ultimately take her beyond national borders to the outermost limits of her mind. Although penned in the first person against the backdrop of Tito's Yugoslavia in historic 1968, Once Upon a Yugoslavia is, paradoxically, most timely. The global economic crisis has compelled people to question excessive consumption and redefine success and the good life while embracing new lifestyle priorities--just as Yugoslavia required of Surya Green decades ago. Once Upon a Yugoslavia addresses this present-day longing while also offering a lively history lesson. History books have objectively described the former Yugoslavia, but Once Upon a Yugoslavia gives personalized look at the everyday lives of people in pre-1989 Eastern Europe that shows how the experience transformed one young woman's American Dream. Chronicling the sights, sounds, and ups and downs of the everyday Yugoslav existence, Green speaks to both the positive and negative aspects of the contemporary phenomenon known as "Yugo-nostalgia." The pros and cons of the American and Yugoslav societies fly to and fro during Surya's conversations with a host of colorful characters--some of whom she lodges with and travels the countryside with, others of whom she dates. In this strange Big Brotherish country of perplexing language, culture, and customs--which gives Surya an early experience of living a monitored life without privacy in a land where paranoia is contagious--more than once readers will hear her sobbing at night. Ultimately, the Yugoslav social experiment--its plus points, at least--were to give Surya Green a considerably altered view of the American values with which she was raised. And it is what led to that perspective--a personal transformation that started for her in explosive, memorable, life-changing 1968 in Tito's Yugoslavia, and continues to this day--which makes Once Upon a Yugoslavia such a unique and remarkable book. From the Trade Paperback edition.

The book brings together many of the best known commentators and scholars who write about former Yugoslavia. The essays focus on the post-Yugoslav cultural transition and try to answer questions about what has been gained and what has been lost since the dissolution of the common country. Most of the contributions can be seen as current attempts to make sense of the past and help cultures in transition, as well as to report on them. The volume is a mixture of personal essays and scholarly articles and that combination of genres makes the book both moving and informative. Its importance is unique. While many studies dwell on the causes of the demise of Yugoslavia, this collection touches upon these causes but goes beyond them to identify Yugoslavia's legacy in a comprehensive way. It brings topics and writers, usually treated separately, into fruitful dialog with one another.

Essays, stories and a play set in Yugoslavia. The title piece, written by Dubravka Ugresic, is a satire on murderous folklore, while Bogdan Bogdanovic's The City of Death is on Belgrade.

A “funny and tragic and beautiful in all the right places” (Jenny Lawson, #1 New York Times bestseller author of Furiously Happy) memoir about the immigrant experience and life as a perpetual fish-out-of-water, from the acclaimed Serbian-Australian storyteller. Sofija Stefanovic makes the first of many awkward entrances in 1982, when she is born in socialist Yugoslavia. The circumstances of her birth (a blackout, gasoline shortages, bickering parents) don’t exactly get her off to a running start. While around her, ethnic tensions are stoked by totalitarian leaders with violent agendas, Stefanovic’s early life is filled with Yugo rock, inadvisable crushes, and the quirky ups and downs of life in a socialist state. As the political situation grows more dire, the Stefanovics travel back and forth between faraway, peaceful Australia, where they can’t seem to fit in, and their turbulent homeland, which they can’t seem to shake. Meanwhile, Yugoslavia collapses into the bloodiest European conflict in recent history. Featuring warlords and beauty queens, tiger cubs and Baby-Sitters Clubs, Sofija Stefanovic’s memoir is a window to a complicated culture that she both cherishes and resents. Revealing war and immigration from the crucial viewpoint of women and children, Stefanovic chronicles her own coming-of-age, both as a woman and as an artist. Refreshingly candid, poignant, and illuminating, “Stefanovic’s story is as unique and wacky as it is important” (Esquire).