Ovaj rad opisuje promene naucne paradigme u demografiji do kojih je doslo u kontekstu drustveno-politickih procesa tokom zadnje dve decenije dvadesetog veka. Promena se posmatra u domenu analize reproduktivnog ponasanja gde je, kako tvrdi autorka, teorija demografske tranzicije ostala dominantan okvir analize ali je prednost dobila njena modifikovana verzija koja primat daje idejnim u odnosu na struktrualne varijable u objasnjavanju reproduktivnog ponasanja; i u domenu socijalne politike, gde je, po recima autorke, napusten koncept planiranja porodice a na njegovo mesto stupio (...) koncept populacione politike. Autorka, medjutim, tvrdi da alarmirajuca upozorenja i ostra retorika o populacionim problemima nisu doveli do formulisanja specificnih mera populacione politike te da su demografski diskursi koji su u to vreme prepravili javni prostor bili mnogo znacajniji za politiku identiteta - nacionalnog i rodnog - nego za socijalnu politiku. (shrink)

This text gives a critical account of various, often conflicting interpretations of slash fiction - stories based on characters from popular TV show, The Star Trek, written by fans. What makes slash fiction, a subgenre of fan fiction, specific is a homoeroticization of characters that in the original narratives are either explicitly or implicitly heterosexual. Whether such?homoerotic pairing? has any foundation in the original Star Trek narrative, remains an open question. Answers to this question vary greatly. An affirmative answer, however, (...) begs a further question: whether these narratives are?homosexual representations? in a strict gay/lesbian sense? The authors propose that slash represents a non-hegemonic narrative which transgresses borders set up in the original narrative - queering, reexamining thus both sex and gender. (shrink)

The article explores two questions: what is feminist bioethics, and how different it is from standard bioethics. Development of feminist bioethics, it is argued, began as a response to standard bioethics, challenging its background values, and philosophical perspectives. The most important contribution of feminist bioethics has been its re-examination of the basic conceptual underpinnings of mainstream bioethics, including the concepts of?universality?,?autonomy?, and?trust?. Particularly important for feminists has been the concept of autonomy. They challenge the old liberal notion of autonomy that (...) treats individuals as separate social units and argue that autonomy is established through relations. Relational autonomy assumes that identities and values are developed through relationships with others and that the choices one makes are shaped by specific social and historical contexts. Neither relational autonomy, nor feminist bioethics, however, represents a single, unified perspective. There are, actually, as many feminist bioethics as there are feminisms-liberal, cultural, radical, postmodern etc. Their different ontological, epistemological and political underpinnings shape their respective approaches to bioethical issues at hand. Still what they all have in common is interest in social justice-feminists explore mainstream bioethics and reproductive technologies in order to establish whether they support or impede gender and overall social justice and equality. Feminist bioethics thus brings a significant improvement to standard bioethics. (shrink)

The article explores two questions: what is feminist bioethics, and how different it is from standard bioethics. Development of feminist bioethics, it is argued, began as a response to standard bioethics, challenging its background values, and philosophical perspectives. The most important contribution of feminist bioethics has been its re-examination of the basic conceptual underpinnings of mainstream bioethics, including the concepts of?universality?,?autonomy?, and?trust?. Particularly important for feminists has been the concept of autonomy. They challenge the old liberal notion of autonomy that (...) treats individuals as separate social units and argue that autonomy is established through relations. Relational autonomy assumes that identities and values are developed through relationships with others and that the choices one makes are shaped by specific social and historical contexts. Neither relational autonomy, nor feminist bioethics, however, represents a single, unified perspective. There are, actually, as many feminist bioethics as there are feminisms-liberal, cultural, radical, postmodern etc. Their different ontological, epistemological and political underpinnings shape their respective approaches to bioethical issues at hand. Still what they all have in common is interest in social justice-feminists explore mainstream bioethics and reproductive technologies in order to establish whether they support or impede gender and overall social justice and equality. Feminist bioethics thus brings a significant improvement to standard bioethics. (shrink)

This text gives a critical account of various, often conflicting interpretations of slash fiction - stories based on characters from popular TV show, The Star Trek, written by fans. What makes slash fiction, a subgenre of fan fiction, specific is a homoeroticization of characters that in the original narratives are either explicitly or implicitly heterosexual. Whether such?homoerotic pairing? has any foundation in the original Star Trek narrative, remains an open question. Answers to this question vary greatly. An affirmative answer, however, (...) begs a further question: whether these narratives are?homosexual representations? in a strict gay/lesbian sense? The authors propose that slash represents a non-hegemonic narrative which transgresses borders set up in the original narrative - queering, reexamining thus both sex and gender. (shrink)

This paper addresses the representation of violence in the film In the Land of Blood and Honey, which was directed by Angelina Jolie (2011). Internationally hailed, awarded but also hugely criticized, the film purports to be about rape camps where Muslim women were held and assaulted by Bosnian Serb forces during the Bosnian war. However, the film merges the story of rape camps with a story about a (sexual) relationship between an incarcerated Muslim woman and a Serb camp commander. Our (...) paper analyzes the cinematic tools used to tell these two stories, focusing on what is referred to as borrowing, and suggests that Jolie borrowed liberally to tell her story. The article focuses on three types of borrowing, cinematic, literary and experiential, and looks at three visual cinematic tropes obtained from Holocaust movies, Cold War movies, and ex-Yugoslav cinematic productions. It is concluded that the film recycles an already largely discarded narrative of “a history of ethnic hatred” as prime cause of war in the former Yugoslavia. The film’s director thus misses an opportunity to challenge the ethnicization of the region – something many local film directors have already successfully achieved. (shrink)