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This book explores how ‘balkanization’ as a discourse underpins the policies of the European Union (EU) and the North Atlantic Treaty Organization (NATO) toward the Western Balkans. It shows how EU and NATO policies have emerged from, and led to, the constant reinvention of the unity of the West through ‘balkanizing’ the region and illustrates how this dynamic is maintained by and instrumentalized for the political elites. Through a genealogical analysis that stretches from the Balkans Wars to more recent events such as North Macedonia’s change of name in 2018, the author shows how Western policies have aimed at recreating the united West on the back of the ‘broken’ Balkans. The book will appeal to scholars and students of Southeast Europe, International Relations, Political Science, Peace and Conflict Studies and History.
Balkanization (territorial fragmentation) is becoming a significant urban and geopolitical pursuit in contemporary times. Countries, cities and regions are ever increasingly voicing the desire for independence and balkanization from the nation or union they are a part of. This monograph generally maps the historical and theoretical emergence of balkanization, as well its more recent spread into fields as far ranging as law, medicine, data and security studies, sociology, architecture and the urban. The spatialization of balkanization is particularly addressed in terms of destruction and renewal through a detailed sociopolitical interrogation of architecture and the urban, including their changing symbolic, ideological and functional forms. The spatial connections between balkanization, violent remaking (destruction and renewal) and global politics have predominantly been analyzed via the former Yugoslav context and the Balkans, however, spotlight has also been directed to the current political climate of the UK, Australia and the Anglo-Saxon geopolitics. The analysis helps in understanding broader emergent patterns of sociospatial polarization across various scales, and in respect to global geoeconomic and geopolitical restructuring. This is particularly important because drawing connections between balkanization, economics, law, media and technology is to gain an awareness of - and engagement with - the emerging implications of spatial remaking and global politics. This monograph is a valuable resource and will be relevant to academics and students interested in spatial politics; including architecture, urbanism, geography, sociology, politics, international development, conflict, and cultural studies.
Communication studies is a fragmented field. As a result of its roots in various disciplinary traditions, it is built on fluid intellectual boundaries with no theoretical or analytical center. Should we worry about this state of dispersion or be concerned that the discipline does not meet the basic conditions that define an academic field of inquiry? Silvio Waisbord argues that communication studies is a post-discipline and that it is impossible to transcend fragmentation and specialization through a single project of intellectual unity. What brings communication studies together is an institutional architecture of academic units, professional associations, and journals, rather than a shared commitment to a common body of knowledge, questions, and debates. This should not, Waisbord argues, be a matter of concern. Communication studies is better served by recognizing dispersion, embracing pluralism, fostering cross-cutting lines of inquiry, and tackling real-world problems, rather than hoping to meet conditions which would qualify it as a discipline. Communication: A Post-Discipline is important reading for scholars and advanced students of communication studies, as well as anyone interested in the state of this fascinating and vital academic field.
In the context of the transformations that Europe is undergoing, Zoom in, Zoom out: Crossing Borders in Contemporary European Cinema attempts to serve as a testimony to the multiple ways in which European filmmakers are questioning the many borders of the continent. European films have become a vital cultural space where the relationship between borders and identity is being renegotiated. The films discussed here self-consciously address the question of European identity while overtly crossing geographic, cultural, linguistic and aesthetic borders. While all the articles explore the crossing of borders in Contemporary European films, the volume maintains diverse themes and perspectives as subtopics. It includes articles not only about films that deal thematically with border-crossings, but also articles that examine movies that cross borders in genres and techniques. The articles have different theoretical approaches (Film theory, Cultural Studies, History, Sociology, Philosophy, and Psychoanalysis) and cover films from well-known cinematic traditions (French, Spanish, German, and Italian) as well as lesser-known cinematic traditions (Yugoslavian, Greek, and Irish). As a whole, the essays frame the self-conscious gesture by European filmmakers to define European cinema as a work-in-progress, or at the very least, as a project that, like Europe itself, raises as many questions as it answers. "This volume is a welcome addition to the growing critical literature on the evolution of the conception and practice of national cinema in Europe over the last two decades. Sandra Barriales-Bouche and Marjorie Attignol Salvodon have chosen a solid selection of representative case studies that reflects different critical approaches to the problem of maintaining local or national cinema production in Europe during a period of intense globalization. Their insightful introduction formulates the theme of “unsettled borders” and “renegotiated identities” that will resonate in the nine essays that follow. With a focus on the critical concept of these unsettled borders, the various authors explore the ways that the traditional mark of national space has been transformed through political and economic realignments as well as new technologies and the emergence of a new generation of filmmakers for whom national cinema no longer means what it did even twenty years ago. The volume provides a good balance of critical approaches that includes auteur studies, descriptions of state policies and the particular practices of filmmakers and producers in different parts of the continent (Spain, Germany, Ireland, the Balkans) and, finally, useful appendices that provide a close-up view of the complex nature of international co-productions." —Marvin D’Lugo, Professor of Spanish, Clark University "This is an interesting collection of essays that has been well conceived and organised. The standard of writing is high and I recommend publication. I particularly commend the conceptual framework underpinning the volume. This marries a cultural studies approach, which still dominates the study of film in Area Studies and language departments across Europe and the US (where filmic texts are increasingly used as teaching tools), with the more industry-based focus one tends to find adopted by Media and Screen Studies departments. Thus this collection will appeal to a wide range of students and academics. The introduction sets out the volume’s overarching framework cogently and clearly, giving a nuanced exploration of the way that the notion of the border can be used as a dynamic prism to help define and explore the limits of our understanding of Europe, European identity and European culture, within which cinema has long played a key role. The editors give a good account, for example, of the way film has been employed as a space to explore the possibilities of European integration by EU politicians as well as highlighting the flaws inherent within this project. They do, however, perhaps suggest a certain Western European/North American-centric view in their suggestion that the cinema of Yugoslavia, Greece or Ireland is somehow less well known than other national and transnational cinemas explored here. Less well known to whom? ... However, from the broad range of cinemas explored in the rest of the volume clearly this is not the case. Particular high points for me are the chapters on the work of Fatih Akin by Janis Little Solomon and John Davidson’s discussion of Schulze gets the Blues, as well as Olivier Asselin’s fascinating account of Database Cinema. This will be a good addition to scholarship on European film and I look forward to receiving my copy." —Professor Paul Cooke (University of Leeds)
This volume presents varied approaches concerning the relation between cinema and politics which focus on policies, eras, countries, mainstream and art cinema productions, transnational examples, changing narratives and identities. Both cinema and politics have actors and directors for their scenes, and in this sense their discourses intermingle. The performances of the “actors/actresses” in both arenas attract particular attention. The actors, directors, and producers with ‘hyphenated/creolised/hybrid identities’ such as German-Turks, directors of Balkan cinema, or Italian filmmakers of Turkish origin give a wide and refreshing perspective to the discussion of Europe in the media. What these ‘mediated identities’ represent goes beyond the limits of the old Europe, towards the different sensitivity of the New Europe. Scholars and advanced students of Film Studies, European Studies, Identity Politics, Migration / Emigration and Gender Studies will find this volume of integral importance to their work.
Yosefa Loshitzky challenges the utopian notion of a post-national "New Europe" by focusing on the waves of migrants and refugees that some view as a potential threat to European identity, a concern heightened by the rhetoric of the war on terror, the London Underground bombings, and the riots in Paris's banlieues. Opening a cinematic window onto this struggle, Loshitzky determines patterns in the representation and negotiation of European identity in several European films from the late 20th and early 21st centuries, including Bernardo Bertolucci's Besieged, Stephen Frears's Dirty Pretty Things, Mathieu Kassovitz's La Haine, and Michael Winterbottom's In This World, Code 46, and The Road to Guantanamo.
Despite prognostications of the "end of history," the 21st century has posed new challenges and a host of global crises. This book takes up the current global economic crisis in relation to new and changing dynamics of territory, authority, and rights in today's global system. The authors explore long simmering conflicts in comparative perspective, including settler colonialism in South Africa, Northern Ireland and Israel/Palestine. They discuss indigenous struggles against environmental land grabs and related destruction of indigenous lands by the US nuclear weapons complex. The book uniquely considers the sacred in the context of the global system, including struggles of Latina/o farm workers in the U.S. for social justice and for change in the Catholic Church. Other chapters examine questions of civilizations and identity in the contemporary global system, as well as the role of world-regions.
Open publicationThe Languages and Linguistics of Europe: A Comprehensive Guide is part of the multi-volume reference work on the languages and linguistics of the continents of the world. The book supplies profiles of the language families of Europe, including the sign languages. It also discusses the areal typology, paying attention to the Standard Average European, Balkan, Baltic and Mediterranean convergence areas. Separate chapters deal with the old and new minority languages and with non-standard varieties. A major focus is language politics and policies, including discussions of the special status of English, the relation between language and the church, language and the school, and standardization. The history of European linguistics is another focus as is the history of multilingual European 'empires' and their dissolution. The volume is especially geared towards a graduate and advanced undergraduate readership. It has been designed such that it can be used, as a whole or in parts, as a textbook, the first of its kind, for graduate programmes with a focus on the linguistic (and linguistics) landscape of Europe.
This book revisits images of the Balkans in twentieth-century travel writing that vividly mirrors the turbulent changes that the region went through. As such, it provides a vital basis for research into the variety of possibilities, or obstacles, present on the region’s path to accession, when its unique heritage will have to be reconciled with a more European identity. This volume explores the work of well-known authors, such as Rebecca West, Paul Theroux, Robert D. Kaplan, and also contributes to travel writing theory by addressing less-known travellers who recorded their thoughts on the social dynamics of the region. The corpus offers divergent and often contradictory views, ranging from moral and political criticism to a delight in the rich heritage and the still “undiscovered” Balkan paths. More importantly, its generic potentials prove to overcome both the discourse of power and the discourse of apology. Its narrative style also comprises striking variations, from the objective and well-researched approaches to quick impressionist sketches. Being a multi-generic form, travel writing is observed from a multidisciplinary perspective, encompassing fields such as literature, linguistics, history, sociology, anthropology, ethnology, political sciences, and geography.