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Examines how a feminist approach to peace studies would alter & expand traditional peace curriculum. A feminist approach would (1) examine how gender shapes issues of war & peace, (2) expand the definition of violence, & (3) promote diversity in the field. Fundamental changes in the way war & peace are studied would be required to bring about a feminist curriculum. M. Nichols-Wagner

The oral tradition provides outlets for dissent which have been blocked by today's rulers

This article reports on interviews with eight women who surrendered their babies for adoption. The interviews revealed that depression, isolation, and feelings of relational disconnection characterized the experience of relinquishing their babies and continued to reverberate throughout the women's lives.

The article discusses the editing principle in cinematography, thanks to which the artistic thinking of cinematographers is able to generate new images. In discussions about the possibility of constructing a new person by means of cinematography (based on the editing principle), philosophical anthropology actualizes traditional problematic issues about the relationship between the spiritual and the bodily in a constructed person, about his integrity. In this regard, the problem of the correlation of the author's freedom of artistic experiment and ethical norms in the process of designing a complete human image requires a new understanding. It is concluded that the philosophical and anthropological interpretation of the specific features of the assembly principle of thinking in the construction of a new person with new qualities is relevant and in demand in the context of the loss of human integrity.

The production, distribution, and perception of moving images are undergoing a radical transformation. Ever-faster computers, digital technology, and microelectronic are joining forces to produce advanced audiovision - the media vanishing point of the 20th century. Very little will remain unchanged. The classic institutions for the mediation of film - cinema and television - are revealed to be no more than interludes in the broader history of the audiovisual media. This book interprets these changes not simply as a cultural loss but also as a challenge: the new audiovisions have to be confronted squarely to make strategic intervention possible. Audiovisions provides a historical underpinning for this active approach. Spanning 100 years, from the end of the 19th to the end of the 20th century, it reconstructs the complex genesis of cinema and television as historically relative - and thus finite - cultural forms, focussing on the dynamics and tension in the interaction between the apparatus and its uses. The book is also a plea for 'staying power' in studies of cultural technology and technological culture of film. Essayistic in style, it dispenses with complicated cross references and, instead, is structured around distinct historical phases. Montages of images and text provide supplemental information, contrast, and comment.