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So why is collocation so important to individual, social, collective, and other forms of peace literature criticism? Collocation is a sequence of words which co-occur more often than would be expected by chance; in other words, they are strongly associated with one another. For example, when we think of the word \"kitchen,\" it is collocative to think of the words sink, cooking, and stove, but not meteor shower or automobile; if we add the word \"women\" to this collocation, we can begin to appreciate why collocation is a powerful critical tool in interpreting peace literature. Linguistically, the technical term for this is that one word \"governs\" the use of another; for example, the word \"tea\" governs the use of the adjective \"strong\" but not \"powerful\" for reasons that neither grammar nor grammatology can explain. When we think of peace, the most common collocations (determinable statistically in computational linguistics) include its opposites (such as war, conflict, and violence), its composites (such as security, plenty, prosperity, and wealth), and its processes (such as diplomacy, conflict resolution, and social development). A strong footing in collocation provides the widest pivot point to both writers and critics of peace literature. Memetics, an evolutionary approach to collocative meaning based on the unit of the \"même\" as a replicable set of propositions or assumptions, may turn out to be the new saving-grace frontier for literary studies as a whole and is a fruitful starting point for the criticism of peace literature, as this collection makes clear.21 In another sense, however, peace literature is undoubtedly an Aristotelian genre because it makes full use of mimesis (\"representation\"), a ubiquitous and multifaceted literary device which, given established sets of cultural norms, elicits more or less predictable ethical and affective reader responses.8 Tragedy, for Aristotle, represents humans as \"better\" than we are, so that their trials and tribulations evoke pity and fear. Comedy, in contrast, represents humans as \"worse\" than we are, so that their adventures evoke ridicule and laughter. With this in mind, peace literature often takes on the complexities of tragicomedy à la Samuel Beckett, in which humans are represented \"as\" we are, so that our actualities evoke empathy. There are two ways in which this empathy is aroused. First, as an Aristotelian genre, peace literature elicits an empathie identification between readers, writers, contents, and contexts beyond identitarianism, because it can and does happen across identities (that is, in diversities). Second, peace literature can facilitate empathie ascription, by which writers and readers become able to examine their intellectual and affective preconceptions with regard to content, contexts, and correlates. In the words of Hans-Georg Gadamer in Truth and Method, describing what Aristotle means by the enigmatic term catharsis: \"To see that 'this is how it is' is a kind of self-knowledge for the spectator, who emerges with new insight from the illusions in which he [or she] , like everyone else, lives.\"9 It is this cathartic effect that makes peace literature an Aristotelian genre.

The ethnically diverse scope, broad chronological coverage, and mix of biographical, critical, historical, political, and cultural entries make this the most useful and exciting poetry reference of its kind for students today.

Sheryl Salloum's biography of the man shows excellent archival and manuscript research, and is to be credited for also giving the reader a full sense of the way Canadian and international photography developed in the early part of the twentieth century. Vanderpant's entirely black and white work can be divided into two categories: his portraits, which he did mostly for commercial reasons (and which in some cases, nevertheless, still show more talent behind the camera and in the dark room than some of the more mundane color photographs in Facing History), and those of purely artistic expression, of which his series of studies on the angles and shadows of cement buildings, and pattern studies in close-ups of vegetables and flowers bring out the mysticism from the everyday, with a simplicity that only a deeply spiritual man could have accomplished.

At PSI a new proton therapy facility has been assembled and commissioned. The major features of the facility are the spot scanning technique and the very compact gantry. The operation of the facility was started in 1997 and the feasibility of the spot scanning technique has been demonstrated in practice with patient treatments. In this report we discuss the usual initial difficulties encountered in the commissioning of a new technology, the very positive preliminary experience with the system and the optimistic expectations for the future. The long range goal of this project is to parallel the recent developments regarding inverse planning for photons with a similar advanced technology optimized for a proton beam.