The present volume is the last in the Entangled Balkans series and marks the end of several years of research guided by the transnational, “entangled history” and histoire croisée approaches. The essays in this volume address theoretical and methodological issues of Balkan or Southeast European regional studies—not only questions of scholarly concepts, definitions, and approaches but also the extra-scholarly, ideological, political, and geopolitical motivations that underpin them. These issues are treated more systematically and by a presentation of their historical evolution in various national traditions and schools. Some of the essays deal with the articulation of certain forms of “Balkan heritage” in relation to the geographical spread and especially the cultural definition of the “Balkan area.” Concepts and definitions of the Balkans are thus complemented by (self-)representations that reflect on their cultural foundations.

Modern Balkan history has traditionally been studied by national historians in terms of separate national histories taking place within bounded state territories. The authors in this volume take a different approach. They view the modern history of the region from a transnational and relational perspective in terms of shared and connected, as well as entangled histories. This regards the treatment of shared historical legacies by rival national historiographies. The volume deals with historiograpical disputes that arose in the process of “nationalizing” the past. Contributors include: Diana Mishkova, Alexander Vezenkov, Roumen Daskalov, Tchavdar Marinov and Bernard Lory.

The authors in this volume seek to treat the modern history of the Balkans from a transnational and relational perspective in terms of shared and connected, as well as entangled, histories, transfers and crossings.

Modern Balkan history has traditionally been studied by national historians in terms of separate national histories taking place within bounded state territories. The authors in this volume take a different approach. They all seek to treat the modern history of the region from a transnational and relational perspective in terms of shared and connected, as well as entangled, histories, transfers and crossings. This goes along with an interest in the way ideas, institutions and techniques were selected, transferred and adapted to Balkan conditions and how they interacted with those conditions, resulting in mélanges and hybridization. The volume also invites reflection on the interacting entities in the very process of their creation and consecutive transformations rather than taking them as givens. Contributors include: Diana Mishkova, Alexander Vezenkov, Constantin Iordachi, Roumen Daskalov, Tchavdar Marinov, Blagovest Njagulov.

Volume 4 is the last in the 'Entangled Balkans' series and marks the end of several years of research guided by the transnational, "entangled history" and histoire croisée approaches. The essays in this volume address theoretical and methodological issues of Balkan or Southeast European regional studies-not only questions of scholarly concepts, definitions, and approaches but also the extra-scholarly, ideological, political, and geopolitical motivations that underpin them. These issues are treated more systematically and by a presentation of their historical evolution in various national traditions and schools. Some of the essays deal with the articulation of certain forms of "Balkan heritage" in relation to the geographical spread and especially the cultural definition of the "Balkan area." Concepts and definitions of the Balkans are thus complemented by (self- )representations that reflect on their "cultural" foundations.

The present volume is the last in the 'Entangled Balkans' series and marks the end of several years of research guided by the transnational, "entangled history" and histoire croisée approaches. The essays in this volume address theoretical and methodological issues of Balkan or Southeast European regional studies-not only questions of scholarly concepts, definitions, and approaches but also the extra-scholarly, ideological, political, and geopolitical motivations that underpin them. These issues are treated more systematically and by a presentation of their historical evolution in various national traditions and schools. Some of the essays deal with the articulation of certain forms of "Balkan heritage" in relation to the geographical spread and especially the cultural definition of the "Balkan area." Concepts and definitions of the Balkans are thus complemented by (self-)representations that reflect on their "cultural" foundations.

This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Marxist iconology’. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology’s reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography.

Volume 4 is the last in the 'Entangled Balkans' series and marks the end of several years of research guided by the transnational, "entangled history" and histoire croisée approaches. The essays in this volume address theoretical and methodological issues of Balkan or Southeast European regional studies-not only questions of scholarly concepts, definitions, and approaches but also the extra-scholarly, ideological, political, and geopolitical motivations that underpin them. These issues are treated more systematically and by a presentation of their historical evolution in various national traditions and schools. Some of the essays deal with the articulation of certain forms of "Balkan heritage" in relation to the geographical spread and especially the cultural definition of the "Balkan area." Concepts and definitions of the Balkans are thus complemented by (self- )representations that reflect on their "cultural" foundations.