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Keywords = Croatian diaspora

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14 pages, 286 KiB  
Article
Croatian Migrant Families: Local Incorporation, Culture, and Identity
by Jasna Čapo
Genealogy 2022, 6(2), 51; https://doi.org/10.3390/genealogy6020051 - 6 Jun 2022
Cited by 3 | Viewed by 3412
Abstract
So far, Croatian migrant families have been predominantly studied within the scope of theoretical questions oriented toward ethnicity and their role as the guardians of ethnic/national identity. Going beyond the ethnic lens of those studies, the article focuses on an exploration of family [...] Read more.
So far, Croatian migrant families have been predominantly studied within the scope of theoretical questions oriented toward ethnicity and their role as the guardians of ethnic/national identity. Going beyond the ethnic lens of those studies, the article focuses on an exploration of family structures and the social functioning of wider kinship networks in the migration context as well as an understanding of how migrants conceive of ethnic/national identity. By highlighting the complex entanglements of traditional family patterns (patrilocality, seniority, and gender roles), transnational kinship networks and “a little tradition of ethnic/national identity” held by migrants, this article seeks to establish autonomous research into family processes among Croatian migrants and to make a rapprochement between classical anthropological research of family and kinship and migration studies. Full article
(This article belongs to the Special Issue The Balkan Family in the 20th Century)
20 pages, 958 KiB  
Article
Romance and Croatian in Contact: Non-Clitic Auxiliaries in Istro-Romanian
by Adina Dragomirescu and Alexandru Nicolae
Languages 2021, 6(4), 187; https://doi.org/10.3390/languages6040187 - 13 Nov 2021
Cited by 5 | Viewed by 4125
Abstract
This paper focuses on Istro-Romanian and argues that the TAM auxiliaries of this variety are not morphophonological clitics. This analysis is supported by the existence of several empirical phenomena (auxiliary-licensed VP-ellipsis, scrambling, and interpolation), some not found in modern Romance, others very rare [...] Read more.
This paper focuses on Istro-Romanian and argues that the TAM auxiliaries of this variety are not morphophonological clitics. This analysis is supported by the existence of several empirical phenomena (auxiliary-licensed VP-ellipsis, scrambling, and interpolation), some not found in modern Romance, others very rare in modern Romance. This property of Istro-Romanian auxiliary verbs accounts, in conjunction with other features of this variety (e.g., the availability of C-oriented and I-oriented pronominal clitics), for the massive variation in the word order of pronominal clitics, auxiliaries, and the lexical verb found in the Istro-Romanian sentential core. An endangered Romance variety spoken in Istria and in the diaspora, historically related to (Daco-)Romanian, Istro-Romanian has been in contact with Croatian since the settlement of Istro-Romanians in the Istrian peninsula. As some of the Istro-Romanian features and phenomena are found both in Croatian and in old Romanian, it appears that contact with Croatian acts as a catalyst of structural convergence engendering the retention of an archaic property of Istro-Romanian auxiliaries: a lower position on the grammaticalization cline, closer to the full word status of their etyma. Full article
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12 pages, 281 KiB  
Article
The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music
by Marija Dumnić Vilotijević
Arts 2020, 9(2), 70; https://doi.org/10.3390/arts9020070 - 16 Jun 2020
Cited by 4 | Viewed by 8041
Abstract
In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people [...] Read more.
In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Full article
(This article belongs to the Special Issue Balkan Music: Past, Present, Future)
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