both in the context of grammatical theory and in comparison with other languages of the Balkan region, is for many linguists the initial point of departure in conducting any serious research on the language. Catherine’s work encompasses disparate areas, from wh-movement, complementation, and relativization, to clitics and clitic doubling, to concessive and irrealis constructions. If you want to know anything about Bulgarian grammar, for years now the answer has been “Ask Catherine.” But she is a person of many lives, with seemingly boundless energy and diverse interests. One of those is dance and folk music, hence the title of the present book, Katerino Mome—a very popular Bulgarian folksong about an eponymous girl. In this spirit, we offer this celebration of Catherine Rudin’s life and scholarship.
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