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The United States' Various Responses to the Armenian Genocide
The Alexandrian II, no. 1 (2013) The United States’ Various Responses to the Armenian Genocide Rebecca Johnson In 1915 during the First World War, the Turks of the Ottoman Empire killed a significant number of Christian Armenians. The Turkish leaders targeted the Armenian people for allying with Turkey’s traditional enemy, Russia. The Turks deported most Armenians to camps and murdered them, but also killed others in their homes and communities where U.S. missionaries and diplomats witnessed it. The Americans then reported these atrocities to the U.S. asking for intervention. These reports brought about awareness of the killings and prompted various responses from the United States. An immediate popular response came from the American Committee for Armenian and Syrian Relief (ACASR). ACASR successfully raised millions of dollars for Armenian relief through its self-directed efforts to hold fundraisers and rallies throughout the country. The government responded informally through the American Committee for the Independence of Armenia (ACIA), designed to help Armenia gain independence. This long-range response failed in gaining independence for Armenia because the committee had to persuade another entity, the federal government, to act in a particular way over which the committee had no control. This paper examines the differences between the American’s nongovernmental and governmental response; in particular it maintains that the private committee, the ACASR, was more successful than the quasi-governmental ACIA because ACASR’s goals were more immediate and achievable through its own efforts. In 1915 during the First World War, the Turks of the Ottoman Empire killed a significant number of Christian Armenians. -
Ravished Armenia”
THIS STORY OF AURORA MARDIGANIAN which is the most amazing narrative ever written has been reproduced for the American Committee for Armenian and Syrian Relief in a TREMENDOUS MOTION PICTURE SPECTACLE “RAVISHED ARMENIA” Through which runs the thrilling yet tender romance of this CHRISTIAN GIRL WHO SURVIVED THE GREAT MASSACRES Undoubtedly it is one of the greatest and most elaborate motion pictures of the age — every stirring scene through which Aurora lives in the book, is lived again on the motion picture screen. SEE AURORA, HERSELF, IN HER STORY Scenario by Nora Wain — Staged by Oscar Apfel Produced by Selig Enterprises Presented in a selected list of cities By the American Committee for ARMENIAN AND SYRIAN RELIEF J. C. & A. L. Fawcett, Inc. Publishers 38-01 23rd AVENUE ASTORIA, N. Y. 11105 © 1990, MICHAEL KEHYAIAN PRINTING; COLOR LITHO, Made in U.S.A, ISBN 0-914567-11-7 MY DEDICATION each mother and father, in this beautiful land ^ of the United States, who has taught a daughter to believe in God, I dedicate my book. I saw my own mother's body, its life ebbed out, flung onto the desert because she had taught me that Jesus Christ was my Saviour. I saw my father die in pain because he said to me, his little girl, “Trust in the Lord; His will be done." I saw thousands upon thousands of beloved daughters of gentle mothers die under the whip, or the knife, or from the torture of hunger and thirst, or carried away into slavery because they would not renounce the glorious crown of their Christianity. -
Merenics Éva / Éva Merenics Individuality, Collectivity, Locality
Merenics Éva / Éva Merenics Individuality, Collectivity, Locality and Transnationality in Armenian Genocide Processing Institute of International Relations /Nemzetközi Kapcsolatok Intézet Témavezet ő / Supervisor: Dr. Habil. Kardosné Kaponyi Erzsébet, egyetemi tanár / Dr. Habil. Elisabeth Kardos Kaponyi, university professor © Merenics Éva / Éva Merenics 2 Budapesti Corvinus Egyetem /Corvinus University of Budapest Nemzetközi Kapcsolatok Multidiszciplináris Doktori Iskola / International Relations Multidisciplinary Doctoral School INDIVIDUALITY, COLLECTIVITY, LOCALITY AND TRANSNATIONALITY IN ARMENIAN GENOCIDE PROCESSING Doktori értekezés / Doctoral dissertation Szerz ő / Author: Merenics Éva / Éva Merenics Anyanyelvi lektor/Proofreader: Frank Thomas Zsigo Ph.D. Budapest, 2015. 3 The research for the present dissertation between 2009 and 2011 was conducted within the frameworks of the Visegrad Scholarship Program in two institutes of the National Academy of Sciences of the Republic of Armenia: In the Museum-Institute of the Armenian Genocide in the academic year of 2009-2010 under the supervision of Hayk Demoyan D. Sc. (director) In the Institute of History in the academic year of 2010-2011 under the supervision of Armen Maruqyan C. Sc. (senior researcher, present head of the Department of Armenian Cause and Armenian Genocide) 4 Table of Contents List of Charts.....................................................................................................................6 1. Introduction...............................................................................................................7 -
The Armenian Genocide and the Making of Modern Humanitarian Media in the US, 1915-1925
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2014 "Lest They Perish": The Armenian Genocide and the Making of Modern Humanitarian Media in the U.S., 1915-1925 Jaffa Panken University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the United States History Commons Recommended Citation Panken, Jaffa, ""Lest They Perish": The Armenian Genocide and the Making of Modern Humanitarian Media in the U.S., 1915-1925" (2014). Publicly Accessible Penn Dissertations. 1396. https://repository.upenn.edu/edissertations/1396 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1396 For more information, please contact [email protected]. "Lest They Perish": The Armenian Genocide and the Making of Modern Humanitarian Media in the U.S., 1915-1925 Abstract Between celebrity spokesmen and late night informercials, international humanitarian aid organizations use multiple media strategies to generate public interest in their programs. Though this humanitarian media has seemingly proliferated in the past thirty years, these publicity campaigns are no recent phenomenon but one that emerged from the World War I era. "Lest They Perish" is a case study of the modernization of international humanitarian media in the U.S. during and after the Armenian genocide from 1915 to 1925. This study concerns the Near East Relief, an international humanitarian organization that raised and contributed over $100,000,000 in aid to the Armenians during these years of violence. As war raged throughout Europe and Western Asia, American governmental propagandists kept the public invested in the action overseas. Private philanthropies were using similar techniques aimed at enveloping prospective donors in "whirlwind campaigns" to raise funds. -
Filmographie Du Génocide Arménien
Filmographie sur le génocide des Arméniens par ordre chronologique Fiction [F], Documentaires [D] Fin d’un tyran, réal. Georges Le Faure, Pathé, France, 1909 [F] L’Orient sanglant, réal. Alexandr Arkatov, Russie, 1915 ou 1916 [F] Ravished Armenia (ou Auction of souls), Oscar Apfel, USA, 1919 [F] America, America, réal. Elia Kazan, États-Unis, 1964 [F] Naapet, réal Henrik Malian, Arménie, 1977 [F] Forty Days of Musa Dagh, réal. Sarky Mouradian, USA, 1982 [F] Back to Ararat, réal. P.-A. Holmquist, S. Khardalian, Suède, 1988 Noltalgie, réal. Frounze Dovlatian, Arménie, 1990 [F] Le génocide renié, Michael Jones, Channel 4, RTBF, GB, 1992 [D]. Mayrig, réal. Henri Verneuil, France, 1992 [F] Mémoires arméniennes, réal. Jacques Kebadian, Isabelle Ouzounian, Mireille Bardakdjian, CRDA-AAA- Centre G. Pompidou, France, 1995 [D]. 1914-1918, réal. Carl Byker, KCET-BBC, GB, 1996 [D]. Une bête sur la lune, Richard Kalinoski, mise en scène, Irina Brook, Co-production Arte France,Tran Europe Film, Théâtre Vidy (Lausanne), MC93 Bobigny et CNDP, France, 2001 [F] I love the sound of kalachnikoff, it reminds me of Tchaikovsky, réal. Philippe Vartan Khazarian, GB, 2001 [D] Ararat, réal. Atom Egoyan, Canada, 2002 [F]. Aram, réal. Robert Kéchichian, France, 2002 [F] The Witness Trilogy : Voices from the Lake (2000), Germany and the Secret Genocide (2003), The River ran red (2008) - réal. Michael J. Hagopian, USA [D] (trilogie) Mon fils sera arménien, réal. Hagop Goudsouzian, Canada, 2004 [D] Le génocide arménien, réal. Laurence Jourdan, La Compagnie des Phares et Balises, France, 2005 [D] Les pyramides de la criminalité, 2005 [D] The Armenian Genocide, réal. -
Becoming Aurora: Translating the Story of Arshaluys Mardiganian
Dissidences Hispanic Journal of Theory and Criticism Volume 4 Issue 8 Reconciliation and its Discontents Article 13 November 2012 Becoming Aurora: Translating the Story of Arshaluys Mardiganian Shushan Avagyan Illinois State University Follow this and additional works at: https://digitalcommons.bowdoin.edu/dissidences Part of the Latin American Languages and Societies Commons, Latin American Literature Commons, and the Spanish Literature Commons Recommended Citation Avagyan, Shushan (2012) "Becoming Aurora: Translating the Story of Arshaluys Mardiganian," Dissidences: Vol. 4 : Iss. 8 , Article 13. Available at: https://digitalcommons.bowdoin.edu/dissidences/vol4/iss8/13 This Article / Artículo is brought to you for free and open access by the Journals at Bowdoin Digital Commons. It has been accepted for inclusion in Dissidences by an authorized editor of Bowdoin Digital Commons. For more information, please contact [email protected]. Becoming Aurora: Translating the Story of Arshaluys Mardiganian Keywords / Palabras clave Reconciliation, Memory, Armenia, Political Violence, United States, Arshaluys Mardiganian This article / artículo is available in Dissidences: https://digitalcommons.bowdoin.edu/dissidences/vol4/iss8/13 DISSIDEnCES Hispanic Journal of Theory and Criticism Becoming Aurora: Translating the Story of Arshaluys Mardiganian Shushan Avagyan/ Illinois State University The vexing silence in American culture and academic institutions surrounding Armenian literature in general, and particularly the literature produced as a response -
Genocide Commemoration at State House Takes Place April 20
APRIL 7, 2012 THE ARMENIAN Mirror -Spe ctaItn Ouor Mirror -Spe ctatror 80th Year Volume LXXXII, NO. 38, Issue 4233 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Since 1932 Kuwaiti Notable Endorses Armenian Genocide Commemoration at Church Demands KUWAIT (Kuwait Times) — Sheikha Fariha Al- Ahmad Al-Sabah announced that she will continue State House Takes Place April 20 supporting efforts of the Armenian community here to have a piece of land licensed for building an Armenian Apostolic Church. BOSTON — Each April members of the Dyke, whose recent play, “Deported/A host the day. Al-Sabah, who is the chairperson of the Kuwait Armenian community fill the State House Dream Play,” is the story of her own “The energy put into this event demon - Society for Ideal Family, announced her endorse - to commemorate the Armenian Genocide. grandmother, and to former state Sen. strates the devotion of the entire ment during a ceremony held in her honor at the This year’s event will take place on Friday, Steven Tolman. Performers include stu - Armenian-American community, and the Sheraton Hotel following her visit to the prelacy of April 20, at 10:30 a.m. dents of the Armenian Sisters’ Academy many friends of that community, to the the Armenian Orthodox in Salmiya last week. The event is both solemn and celebra - and St. Stephen’s Armenian Elementary commemoration and recognition of the Describing her as a “role model in modesty,” tory. School, and Haig Hovsepian on violin Genocide,” said Brownsberger. Bishop Shahi Banossian said that the visit of Al- Delivering the keynote address will be accompanied by Ani Hovsepian. -
Mass Media and the Genocide of the Armenians
Copyrighted material – 978–1–137–56401–6 Introduction, editorial matter and selection © Joceline Chabot, Richard Godin, Stefanie Kappler and Sylvia Kasparian 2016 All other chapters © respective authors 2016 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identifi ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2016 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–56401–6 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Aesthetics of Displacement Topics and Issues in National Cinema Volume 4 Aesthetics of Displacement: Turkey and Its Minorities on Screen
Aesthetics of Displacement Topics and Issues in National Cinema volume 4 Aesthetics of Displacement: Turkey and its Minorities on Screen Series Editor: Armida de la Garza, University College Cork, Ireland Editorial Board: Mette Hjort, Chair Professor and Head, Visual Studies Lingnan University, Hong Kong Lúcia Nagib, Professor of Film, University of Reading, UK Chris Berry, Professor of Film Studies, Kings College London, UK, and Co-Director of the Goldsmiths Leverhulme Media Research Centre, UK Sarah Street, Professor of Film and Foundation Chair of Drama, University of Bristol, UK Jeanette Hoorn, Professor of Visual Cultures, University of Melbourne, Australia Shohini Chaudhuri, Senior Lecturer and MA Director in Film Studies, University of Essex, UK Other volumes in the series: Volume 1: Revolution and Rebellion in Mexican Film by Niamh Th ornton Volume 2: Ecology and Contemporary Nordic Cinemas: From Nation-Building to Ecocosmopolitanism by Pietari Kääpä Volume 3: Cypriot Cinemas edited by Costas Constandinides and Yiannis Papadakis Volume 4: Aesthetics of Displacement by Özlem Köksal Volume 5: Film Music in ‘Minor’ National Cinemas edited by Germán Gil-Curiel Aesthetics of Displacement: Turkey and its Minorities on Screen Özlem Köksal Bloomsbury Academic An imprint of Bloomsbury Publishing Inc Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2016 Paperback edition fi rst published 2017 © Özlem Köksal, 2016 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. -
Dijital Ortamda
1915’TEN BUGÜNE: ERMENİ PORTRELERİ Gazete Karınca Zan Vakfı Yayınları – 3 Nisan 2018 Yayına Hazırlayan: Çağdaş Kaplan Editör: Bekir Avcı Çeviri: Tolga Er & Lokman Sazan Mizanpaj ve Sayfa Tasarım: Sinan Balık Kapak Tasarım: Kemal Bozkurt Baskı ve Cilt: Ceylan Matbaa Maltepe Mah. Davutpaşa Cad. 318 Güven San. Sit. B Blok Zeytinburnu, İstanbul Zan Vakfı Yayınları İktisadi İşletmesi Yenişehir Mahallesi, Lise Caddesi, Boğaziçi Apartmanı, No:01, D:07 Yenişehir Diyarbakır Tel: 0 412 223 3023 Gazete Karınca Caferağa Mah. Sakızgülü Sk. No:33-A Kadıköy/İSTANBUL ISBN: 978-605-82811-3-4 Alıntı ve tanıtımlar dışında, tamamı veya bir kısmı Gazete Karınca ve Zan Vakfı Yayınları’ndan izinsiz çoğaltılamaz. Bu kitap Gazete Karınca ve The Aurora Prize ortaklığıyla hazırlanmış, Heinrich Böll Stiftung Derneği Türkiye Temsilciliği’nin desteği ile çıkartılmıştır. Bursa’dan Fransa’ya: Serge Avedikyan.....................................................141 Kars’tan Gümrü’ye: Anna Mazmanyan.....................................................147 GİRİŞ.............................................................................................................4 Elazığ’dan Amerika’ya: Eric Bogosyan....................................................154 SUNUŞ..........................................................................................................5 Ankara’dan Arjantin’e: Ana Laura Menini ve Cecilia Mardirosyan.........157 Dersim’den Amerika’ya: Avrora Mardiganyan............................................ 6 Bitlis ve Elazığ’dan Amerika’ya: Alexis -
Post-Exilic Armenian “Homecoming” Films
Post-Exilic Armenian “Homecoming” Films: Working-through the Traumatic Postmemory of 1915 ............ by Kumru Bilici, BA (Hons.) A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies Carleton University OTTAWA, Ontario Submitted August 2016 © 2016, Kumru Bilici i We are two sick nations: Armenians and Turks. The Armenians are suffering an enormous trauma in relation to the Turks who live through a major paranoia towards the Armenians. We are both a clinical case…. Who will heal us? Is it the decision of French or the US Senate? Who is our doctor to write the prescription? The Armenians are the Turks' and the Turks are the Armenians' doctor. There’s no other doctor or prescription. Our medicine is dialogue. Hrant Dink ii Abstract The Armenian Genocide and its multigenerational effects have long been a topic of cinematic representation. Given the scarcity of archival images and the contested history of the events of 1915, filmmakers have historically been preoccupied with proving the genocide and recalling its trauma. Here, I draw attention to a group of recent documentaries by post-exilic Armenians depicting their emotionally difficult return journeys to Turkey against the background of continuing denial; and I propose that these independent and personal “homecoming” films help us better understand the Armenian filmmakers’ multigenerational diasporic rupture and relationship with their ancestral homeland. Through close examination of three of these documentaries, I argue that the post-exilic Armenian “homecoming” films are cautious yet promising cinematic memory work towards the working-through of the trauma of 1915 seeking the possibilities of restoring an unwelcoming space back into a homeland. -
Traces, Bones, Desert
Traces, bones, desert: the extermination of the Armenians through the photographer’s eye HUMAN REMAINS & VIOLENCE Anouche Kunth Centre National de la Recherche Scientifique [email protected] Abstract1 Braving the Ottoman’s ban on capturing any images of the persecuted Armenians, witnesses dodged censorship and photographed pictures that would later be branded as proof at the Paris Peace Conference in 1919–20. Despite the challenge of these images to representations of the Armenian genocide, they were soon forgotten after the 1923 Treaty of Lausanne erased the Armenian Question, while time took care of destroying the corpses abandoned in the desert. This article will examine the image-disappearance dialectic through distinct temporalities of remembrance and commemoration, each of which mobilises its own specific, iconographical semantics. In response to contemporary challenges, the repertoire of images has not remained sealed; over the last decade it has been reopened through depictions of bare landscapes and stretches of desert and bones that sud- denly pierce through the earth. The article will show how these images implicitly speak of the disappearance and seek meaning through emptiness. Key words: Armenian genocide, denial, image, icon, erasing memory The ‘cloud of denial and unknowing’2 that has long prevented the world from knowing clearly about and comprehending the genocide of the Armenians was, and still is, a challenge to its representation. Photography strove to meet this challenge right from the perpetration of the crime when, braving the official ban on capturing any image of the persecutions that were taking place, eyewitnesses took rare pictures that would be held up as proof after the First World War.