English summary: Since antiquity, technical innovations have had a direct influence on the portrayal of war in the media and the arts. But has the actual structure and substance of war reporting changed in the course of technological progress from antiquity to the present day? Have pamphlets, war paintings, photography, radio reports and radio plays, newsreels, war films, tv news coverage or internet videos yielded more information content? Have they been able to make the incomprehensible reality of the horrors of war more comprehensible, or have means of manipulation and discourse through war images remained the same? Are the media truth machines in both senses? These are the central questions discussed in this anthology. German text. German description: Technische Innovationen haben zweifellos seit der Antike unmittelbaren Einfluss auf die Darstellung des Krieges in den Medien und Kunsten ausgeubt. Doch haben sich tatsachlich die Strukturen und Inhalte der Kriegsberichterstattung in den Produkten verandert, die mit diesen Innovationen erstellt wurden? Haben von der Antike bis zur Gegenwart des 21. Jahrhunderts Flugschriften, Schlachtengemalde, Fotografien, Radioberichte und Horspiele, Wochenschauen und Kriegsfilme, Fernsehnachrichten oder Internetvideos zu einem Mehr an Informationsgehalt gefuhrt? Haben sie die unfassbare Realitat des Grauens der Schlachten nachvollziehbar gestaltet, oder sind die Manipulationswege und die den Bildern eingeschriebenen Diskurse unverandert geblieben? Sind die Medien Wahrheitsmaschinen im doppelten Sinne? Dies waren die zentralen Fragestellungen der Tagung Wahrheitsmaschinen. Der Einfluss technischer Innovationen auf die Darstellung und das Bild des Krieges in den Medien und Kunsten, die vom 3. bis 6. September 2009 an der Universitat Osnabruck stattfand und deren Beitrage im vorliegenden Band versammelt sind.

This edited volume brings together a series of contributions exploring the socio-cultural and psychological representation of peace and conflict. It ventures into areas of the humanities and social sciences not typically foregrounded in Peace Studies, such psychology, sociology, media studies, cultural studies, history, and geography.

This is the first comparative transnational approach to the language of absolute war and the literature on World War II.

The twenty-seven original contributions to this volume investigate the ways in which the First World War has been commemorated and represented internationally in prose fiction, drama, film, docudrama and comics from the 1960s until the present. The volume thus provides a comprehensive survey of the cultural memory of the war as reflected in various media across national cultures, addressing the complex connections between the cultural post-memory of the war and its mediation. In four sections, the essays investigate (1) the cultural legacy of the Great War (including its mythology and iconography); (2) the implications of different forms and media for representing the war; (3) ‘national’ memories, foregrounding the differences in post-memory representations and interpretations of the Great War, and (4) representations of the Great War within larger temporal or spatial frameworks, focusing specifically on the ideological dimensions of its ‘remembrance’ in historical, socio-political, gender-oriented, and post-colonial contexts.

War, migration, and refugeehood are inextricably linked and the complex nature of all three phenomena offers profound opportunities for representation and misrepresentation. This volume brings together international contributors and practitioners from a wide range of fields, practices, and backgrounds to explore and problematize textual and visual inscriptions of war and migration in the arts, the media, and in academic, public, and political discourses. The essays in this collection address the academic and political interest in representations of the migrant and the refugee, and examine the constructed nature of categories and concepts such as ‘war,’ ‘refuge(e),’ ‘victim,’ ‘border,’ ‘home,’ ‘non-place,’ and ‘dis/location.’ Contributing authors engage with some of the most pressing questions surrounding war, migration, and refugeehood as well as with the ways in which war and its multifarious effects and repercussions in society are being framed, propagated, glorified, or contested. This volume initiates an interdisciplinary debate which re-evaluates the relationship between war, migration, and refugeehood and their representations.

"Based on unique access to the IAEA Archives in Vienna and numerous interviews with leading diplomats and scientists, this book provides the first comprehensive, empirically grounded, and independent study on the history of the International Atomic Energy Agency"--

The Crimean War (1853-1856) was the first modern war. A vicious struggle between imperial Russia and an alliance of the British, French and Ottoman Empires, it was the first conflict to be reported first-hand in newspapers, painted by official war artists, recorded by telegraph and photographed by camera. In her new short history, Trudi Tate discusses the ways in which this novel representation itself became part of the modern war machine. She tells forgotten stories about the war experience of individual soldiers and civilians, including journalists, nurses, doctors, war tourists and other witnesses. At the same time, the war was a retrograde one, fought with the mentality, and some of the equipment, of Napoleonic times. Tate argues that the Crimean War was both modern and old-fashioned, looking backwards and forwards, and generating optimism and despair among those who lived through it. She explores this paradox while giving full coverage to the bloody battles (Alma, Balaklava, Inkerman), the siege of Sebastopol, the much-derided strategies of the commanders, conditions in the field and the cultural impact of the anti-Russian alliance.