Background: The Illyrians (Ancient Greek: Illurioi, Illyrioi; Latin: Illyrii or Illyri) were a group of Indo-European tribes in antiquity, who inhabited part of the western Balkans. The territory the Illyrians inhabited came to be known as Illyria to Greek and Roman authors, who identified a territory that corresponds to Croatia, Bosnia and Herzegovina, Slovenia, Montenegro, part of Serbia and most of central and northern Albania, between the Adriatic Sea in the west, the Drava river in the north, the Morava river in the east and the mouth of the Aoos river in the south. The first account of Illyrian peoples comes from the Periplus of Pseudo-Scylax, an ancient Greek text of the middle of the 4th century BC that describes coastal passages in the Mediterranean. The name "Illyrians", as applied by the ancient Greeks to their northern neighbors, may have referred to a broad, ill-defined group of peoples, and it is today unclear to what extent they were linguistically and culturally homogeneous.
Context: Even before the advent of post-modernism, scholars recognized a "difficulty in producing a single theory on the ethnogenesis of the Illyrians" given their heterogeneous nature. Modern scholarship is unable to refer to the Illyrians as a unique and compact people and agrees that they were a sum of ill-defined communities without common origins that never merged to a single ethnic entity. On the other hand, some past Pan-Illyrian theories have been dismissed by scholars, based as they were on racialistic notions of Nordicism and Aryanism. The specific theories have found little archaeological corroboration, as no convincing evidence for significant migratory movements from the Luzatian culture into the west Balkans have ever been found. Rather, archaeologists from the former Yugoslavia highlighted the continuity between the Bronze and succeeding Iron Age (especially in regions such as Donja Dolina, central Bosnia-Glasinac, and northern Albania (Mat river basin)), ultimately developing the so-called "autochthonous theory" of Illyrian genesis. The "autochthonous" model was most elaborated upon by Alojz Benac and B. Covic. They argued (following the "Kurgan hypothesis") that the 'proto-Illyrians' had arrived much earlier, during the Bronze Age as nomadic Indo-Europeans from the steppe. From that point, there was a gradual Illyrianization of the western Balkans leading to historic Illyrians, with no early Iron Age migration from northern Europe. He did not deny a minor cultural impact from the northern Urnfield cultures, however "these movements had neither a profound influence on the stability.. of the Balkans, nor did they affect the ethnogenesis of the Illyrian ethnos". Aleksandar Stipcevic raised concerns regarding Benac's all-encompassing scenario of autochthonous ethnogenesis. He points out "can one negate the participation of the bearers of the field-urn culture in the ethnogenesis of the Illyrian tribes who lived in present-day Slovenia and Croatia" or "Hellenistic and Mediterranean influences on southern Illyrians and Liburnians?". He concludes that Benac's model is only applicable to the Illyrian groups in Bosnia, western Serbia and a part of Dalmatia, where there had indeed been a settlement continuity and 'native' progression of pottery sequences since the Bronze Age. Following prevailing trends in discourse on identity in Iron Age Europe, current anthropological perspectives reject older theories of a longue duree (long term) ethnogenesis of Illyrians, even where 'archaeological continuity' can be demonstrated to Bronze Age times. They rather see the emergence of historic Illyrians tribes as a more recent phenomenon - just prior to their first attestation. The impetus behind the emergence of larger regional groups, such as "Iapodes", "Liburnians", "Pannonians" etc., is traced to increased contacts with the Mediterranean and La Tene 'global worlds'. This catalyzed "the development of more complex political institutions and the increase in differences between individual communities". Emerging local elites selectively adopted either La Tene or Hellenistic and, later, Roman cultural templates "in order to legitimise and strengthen domination within their communities. They were competing fiercely through either alliance or conflict and resistance to Roman expansion. Thus, they established more complex political alliances, which convinced (Greco-Roman) sources to see them as 'ethnic' identities." Contemporary perspectives again highlight that the term "Illyrian" was a 'catch-all' exonym used by the Greeks and Romans to denote diverse communities beyond Epirus and Macedonia. Each was differentially conditioned by specific local cultural, ecological and economic factors; none of which fall into a compact, unitary "Illyrian" narrative.
Question: What scholarship?
Answer: post-modernism, scholars

Background: Grandaddy is an American indie rock band from Modesto, California. The group was formed in 1992, and featured Jason Lytle, Aaron Burtch, Jim Fairchild, Kevin Garcia and Tim Dryden. After several self-released records and cassettes, the band signed to Will Records in the US and later the V2 subsidiary Big Cat Records in the UK, going on to sign an exclusive deal with V2. The bulk of the band's recorded output was the work of Lytle, who worked primarily in home studios.
Context: Common lyrical themes include technology and a resistance to change. Adrien Begrand, writing for PopMatters, described the lyrics on The Sophtware Slump as "one's attempt to transcend the glut of technology in today's urban lifestyle, in search of something more real, more natural, more pastoral". Ben Sisario of The New York Times stated that the band "provided the soundtrack to dot-com-era alienation, singing in a cracked yet still innocent voice of life spent staring into a computer screen". Ross Raihala, reviewing Sumday for Spin, identified what he called Lytle's "geeky identification with technology". On The Sophtware Slump, CMJ writer Richard A. Martin commented on Lytle's "sympathy for the lost souls and machines of the high-tech dot-com landscape". Lytle described his empathy with machines in 2003, stating "I find it easier dealing with certain things by living through inanimate objects" and how the song "I'm on Standby" is about Lytle relating to a mobile phone: "I was spending so much time learning the art of turning off, while still being 'on'". Lytle said of the tracks on Excerpts from the Diary of Todd Zilla: "For some reason, they are tied together by the idea of being fed up with your environment." He stated in 2001: "I have a growing appreciation for that which is simple and natural. I get that from the outdoors, and seeing the accumulation of clutter and waste and not being too happy about it." There is also much humor in Lytle's songwriting, including the band's promotional Christmas single released in 2000, "Alan Parsons in a Winter Wonderland", which was also included on the charity compilation It's a Cool Cool Christmas, described by AllMusic's Tim DiGravina as possibly "the funniest song from 2000".
Question: did she win any awards?
Answer:
". On The Sophtware Slump, CMJ writer Richard A. Martin commented on Lytle's "sympathy for the lost souls and machines of the high-tech dot-com landscape".