On March 1, 1995, at the time of the fiftieth anniversary of the liberation of the Nazi concentration camps, ARTE (a French-German state-funded television network) proposed an encounter between two highly-regarded figures of our time: Elie Wiesel and Jorge Semprún. These two men, whose destinies were unparalleled, had probably crossed paths—without ever meeting—in the Nazi concentration camp Buchenwald in 1945. This short book is the entire transcription of their recorded conversation. During World War II, Buchenwald was the center of a major network of sub-camps and an important source of forced labor. Most of the internees were German political prisoners, but the camp also held a total of 10,000 Jews, Roma, Sinti, Jehovah's Witnesses, and German military deserters. In these pages, Wiesel and Semprún poignantly discuss the human condition under catastrophic circumstances. They review the categories of inmate at Buchenwald and agree on the tragic reason for the fate of the victims of Nazism—as well as why this fate was largely ignored for so long after the end of the war. Both men offer riveting testimony and pay vibrant homage to the Jewish victims of the Holocaust. Today, seventy-five years after the liberation of the Nazi camps, this book could not be more timely for its confrontation with ultra-nationalism and antisemitism.

A conversation between Elie Wiesel and Jorge Semprún about what they experienced and observed during their time in the Buchenwald concentration camp. On March 1, 1995, at the time of the fiftieth anniversary of the liberation of the Nazi concentration camps, ARTE—a French-German state-funded television network—proposed an encounter between two highly regarded figures of our time: Elie Wiesel and Jorge Semprún. These two men had probably crossed paths—without ever meeting—in the Nazi concentration camp Buchenwald in 1945. This short book, published in association with the United States Holocaust Memorial Museum, is the entire transcription of their recorded conversation. During World War II, Buchenwald was the center of a major network of sub-camps and an important source of forced labor. Most of the internees were German political prisoners, but the camp also held a total of ten thousand Jews, Roma, Sinti, Jehovah’s Witnesses, and German military deserters. In these pages, Wiesel and Semprún poignantly discuss the human condition under catastrophic circumstances. They review the categories of inmate at Buchenwald and agree on the tragic reason for the fate of the victims of Nazism—as well as why this fate was largely ignored for so long after the end of the war. Both men offer riveting testimony and pay vibrant homage to the Jewish victims of the Holocaust. Today, seventy-five years after the liberation of the Nazi camps, this book could not be more timely for its confrontation with ultra-nationalism and antisemitism.

Since millennials, mankind has destroyed and dictated over humankind in the most brutal manner. From total obscurity, the chosen candidate is introduced and promoted by enablers through the International Political Mafia and Global Imperialism and Colonialism. The now powerful dictator is but a puppet of these internationals. Time and often the dictator barely realizes being a servitor of those power-wielders behind the curtain. This applies to Donald J. Trump whose ego and shortcomings made him easily manipulated by those in the Kremlin and other global Mafia bosses. What would be the scenario had Donald J. Trump won the second term in the 2020 presidential elections? Would he begin his term by first suspending the Constitution, declaring martial law, and appointing himself as the Martial Law Administrator? Considering the fact that he played a pivotal role in sending more than fifty thousand rioters to the Capitol Building to riot on his behalf on January 6, 2021 to overturn the presidential election results in his favor through violence and threats. It is easily possible that he could muster nearly five million fanatics and professional agitators to commit wanton acts of violence against those he despises. Perhaps sanity and logic could teach us a lesson to remember and never forget. Ousting the dictator once he is identified; and confronting him or her through non-violence is the only avenue to usher in peace and tranquility.

The world watched in horror in April 2007 when Virginia Tech student Seung-Hui Cho went on a killing rampage that resulted in the deaths of thirty-two students and faculty members before he ended his own life. Former Virginia Tech English department chair and distinguished professor Lucinda Roy saw the tragedy unfold on the TV screen in her home and had a terrible realization. Cho was the student she had struggled to get to know–the loner who found speech torturous. After he had been formally asked to leave a poetry class in which he had shared incendiary work that seemed directed at his classmates and teacher, Roy began the difficult task of working one-on-one with him in a poetry tutorial. During those months, a year and a half before the massacre, Roy came to realize that Cho was more than just a disgruntled young adult experimenting with poetic license; he was, in her opinion, seriously depressed and in urgent need of intervention. But when Roy approached campus counseling as well as others in the university about Cho, she was repeatedly told that they could not intervene unless a student sought counseling voluntarily. Eventually, Roy’s efforts to persuade Cho to seek help worked. Unbelievably, on the three occasions he contacted the counseling center staff, he did not receive a comprehensive evaluation by them–a startling discovery Roy learned about after Cho’s death. More revelations were to follow. After responding to questions from the media and handing over information to law enforcement as instructed by Virginia Tech, Roy was shunned by the administration. Papers documenting Cho’s interactions with campus counseling were lost. The university was suddenly on the defensive. Was the university, in fact, partially responsible for the tragedy because of the bureaucratic red tape involved in obtaining assistance for students with mental illness, or was it just, like many colleges, woefully underfunded and therefore underequipped to respond to such cases? Who was Seung-Hui Cho? Was he fully protected under the constitutional right to freedom of speech, or did his writing and behavior present serious potential threats that should have resulted in immediate intervention? How can we balance students’ individual freedom with the need to protect the community? These are the questions that have haunted Roy since that terrible day. No Right to Remain Silent is one teacher’s cri de coeur–her dire warning that given the same situation today, two years later, the ending would be no less terrifying and no less tragic.

This cahier unites two texts by celebrated Canadian poet Anne Carson, encouraging readers to experience them alongside and illuminating each other. Variations on the Right to Remain Silent is an essay on the stakes involved when translation happens, ranging from Homer through Joan of Arc to Paul Celan; it includes the author s seven translations of a poetic fragment from the Greek poet Ibykos. By Chance the Cycladic People is a poem about Cycladic culture where the order of the lines has been determined by a random number generator. The cahier is illustrated by Lanfranco Quadrio."

DescriptionIn this sci-fi fantasy novel, the author tells the story of the Northland, a mystical world in crisis. Once a magical realm of love and service, the inhabitants of this realm have abandoned their sacred heritage and embraced the world of the machine. As their intuitive awareness now fades into memory, selfishness and destruction expand. This descent into the lower mind has also created catastrophic energy surges that have spread throughout the Northland threatening its very existence. Their only hope is Baben, the Cosmic Being, and his fellow expedition members. They must solve the mystery of the magnetic disturbances and save their world. Their quest must rely on Mother World and their own latent abilities if they are to save the Northland and themselves. About the AuthorBecause of his lifelong struggle with a major mental illness, the author has relied on his writing to express frustration and direct his creative intelligence. This essential source of inspiration has helped satisfy his need to express his ideas while sidestepping the recurring traps of delusions and emotional extremes. In conjunction with medications, meditation, and other coping skills, Zurn's writing is now greatly improved, and his art is both thought provoking and entertaining. During the last two years, he has also begun to share his writing and his mental illness experiences in a wide variety of settings. This has been made possible by the help and encouragement he has received from Chipmunka Publishing and NAMI (National Alliance on Mental Illness) of DuPage County, Illinois. John Zurn was born in 1954 and lives with his wife, Donna, in Geneva Illinois. He received an M.A. in English from Western Illinois University in 1982.

Since 1986, Chinese film circles have turned from their study of Chinese film in terms of aesthetics and have begun to explore film in terms of ideological, political and cultural concerns. In particular, this concern has centered on matters of the marketplace, with much debate between film scholars and filmmakers over the qualities of entertainment. Film In Contemporary China draws together the first English translations of recent articles written by the most respected critics, theorists and filmmakers in China who discuss this significant new direction. Parts One and Two discuss the ideological problems now facing Chinese film scholars and filmmakers, focusing on the Fifth Generation filmmakers whose works brought Chinese filmmaking to international prominence. Part Three is a critical study of the relationship of traditional culture to contemporary aesthetics. The fourth part follows the theoretical and critical debate over the entertainment film which forms the basis for the Third Movement of Chinese film during the New Era. The fifth part concerns the ongoing debate over the values of film theory in relationship to filmmaking, and the final section summarizes developments in film scholarship following the events in Tiananmen Square in 1989. Film In COntemporary China is designed primarily for film scholars, especially those concerned with China, with international film more generally, and with the relationship between film and society.