As a reporter for the prestigious New York Times the author interviewed many of the leading political figures of the Balkans (Illyria). He also sought out the area's intellectuals, many of them critical of their leaders, and everyday people who provide a sense of daily life. He devotes a chapter to each ethnic group from Vlachs to Serbs, talks about their differences and similarities, and does so without giving offense. He also provides a short historical account of the various places he visits, which deepens our understanding of the local cultures. The reader meets people from all walks of life: politicians, poets, literary and art critics, journalists, handymen, car mechanics, fishermen and farmers. From Milovan Djilas and Nicolae Ceausescu to Markos Vafiadis and Sali Berisha to the Serbian ?majstor? Misha and an un-named Bosnian bar singer, Binder's book features a remarkable gallery of people whose presence contributes authenticity and human warmth to the narrative.

The little-known story of a fierce rebellion against the Romans:“A very good read for anyone interested in ancient military history and historiography.” —The NYMAS Review In the year AD 9, three Roman legions were crushed by the German warlord Arminius in the Battle of the Teutoburg Forest. This event is well known, but there was another uprising that Rome faced shortly before, which lasted from AD 6 to 9, and was just as intense. This rebellion occurred in the western Balkans—an area roughly corresponding to modern Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, and parts of Serbia and Albania—and it tested the Roman Empire to its limits. For three years, fifteen legions fought in the narrow valleys and forest-covered crags of the Dinaric Mountains in a ruthless war of attrition against an equally ruthless and determined foe, and yet this conflict is largely unknown today. The Great Illyrian Revolt is believed to be the first book ever devoted to this forgotten war of the Roman Empire. Within its pages, we examine the history and culture of the mysterious Illyrian people, the story of how Rome became involved in this volatile region, and what the Roman army had to face during those harrowing three years in the Balkans.

Illyria in Shakespeare’s England is the first extended study of the eastern Adriatic region, often referred to in the Renaissance by its Graeco-Roman name “Illyria,” in early modern English writing and political thought. At first glance the absence of earlier studies may not be surprising: that area may seem significant only to critics pursuing certain specialized questions about Shakespeare’s Twelfth Night, which is set in Illyria. But in fact, it is not only often misrepresented in the discussions of that play but also typically ignored in the critical conversation on English prose romances, poems, and other plays that feature Illyria or its peoples, some rarely read, others well-known, including Shakespeare’s Comedy of Errors, 2 Henry VI, Measure for Measure, and Cymbeline. Lea Puljcan Juric explores the reasons for such views by engaging with larger questions of interest to many critics who focus on subjects other than geographic regions, such as “othering,” religion, race, and the development of national identity, among other issues. She also broadens the conversation on these familiar problems in the field to include the impact of post-Renaissance notions of the Balkans on the erasure of Illyria from Shakespeare studies. Puljcan Juric studies the encounters of the English with the ancient and early modern Illyrians through their Greek and Roman heritage; geographies, histories, and travelogues, written in a variety of European polities including Illyria itself; religious conflict after the Reformation and the threat of Islam; and international politics and commerce. These considerations show how Illyria’s geopolitical position among the Ottoman Empire, Habsburg Empire and Venice, its “national” struggles as well as its cultural heterogeneity figured in English interests in the eastern Mediterranean, and informed English ideas about ethnicity, nationhood, and religion. In Shakespeare studies, however, critics have consistently cast Twelfth Night’s Illyria as a utopia, an enigma, or a substitute for England, Italy, or Greece. Arguing that twentieth-century politics and negative conceptions of the eastern Adriatic as part of “the Balkans” have underwritten this erasure of Illyria from our perspective on the field, Puljcan Juric shows how entrenched cultural hierarchies tied to elitism and colonial politics still inform our analyses of literature. She invites scholars to recognize that, for Shakespeare and his contemporaries, Illyria is the site of important socio-political and cultural struggles during the period, some shared with neighboring areas, others geographically specific, that invite dynamic historical and literary scrutiny.

As a reporter for the prestigious New York Times the author interviewed many of the leading political figures of the Balkans (Illyria). He also sought out the area's intellectuals, many of them critical of their leaders, and everyday people who provide a sense of daily life. He devotes a chapter to each ethnic group from Vlachs to Serbs, talks about their differences and similarities, and does so without giving offense. He also provides a short historical account of the various places he visits, which deepens our understanding of the local cultures. The reader meets people from all walks of life: politicians, poets, literary and art critics, journalists, handymen, car mechanics, fishermen and farmers. From Milovan Djilas and Nicolae Ceausescu to Markos Vafiadis and Sali Berisha to the Serbian “majstor” Misha and an un-named Bosnian bar singer, Binder's book features a remarkable gallery of people whose presence contributes authenticity and human warmth to the narrative.

This is the first of two volumes of documents that describe the growth and development of theater in the United States. This book goes from the beginnings of theater in the North American colonies up to the First World War. It is organized in three chronological sections, each with its own introduction, documents and commentary, arranged into chapters on business practice, acting, theater buildings, drama, design, and audience behavior. Written sources include records of business transactions, letters, newspaper reports, reviews, memoirs and architectural descriptions. There are also numerous pictorial items. Volume 2, scheduled for publication in late 1996, covers the period from 1915 to the present.