Destroying Modernity: The World Trade Center

2021 ◽  
pp. 127-145
Author(s):  
Miles Orvell
Keyword(s):  
New York ◽  
World Trade ◽  
World Trade Center ◽  
September 11 ◽  
Karlheinz Stockhausen ◽  
The Us ◽  
The World ◽  
Iconic Image ◽  
Trade Center ◽  
Photographic Imagery

This chapter centers on the World Trade Center disaster and how its significance was interpreted through photographic imagery and the mass media. The spectacle of destruction has never been more vividly recorded than in the imagery of 9/11. The chapter discusses the work of two influential documentary photographers—James Nachtwey and Joel Meyerowitz—and what they were trying to achieve. But 9/11 photographs were also collected in two major archives that are discussed in the chapter—Here Is New York and the Library of Congress’s September 11 project—with their contrasting goals. The question of the “iconic” image is discussed in terms of the Falling Man photos, and the chapter concludes with a consideration of the extreme aestheticizing of the event in the remarks of composer Karlheinz Stockhausen, which caused an uproar in Europe and the US.

Treating Survivors of the World Trade Center Terrorist Attacks of September 11, 2001

CNS Spectrums ◽  
2002 ◽  
Vol 7 (8) ◽  
pp. 611-615
Author(s):  
Robert Grossman ◽  
Rachel Yehuda
Keyword(s):  
New York ◽  
Traumatic Stress ◽  
World Trade ◽  
Terrorist Attack ◽  
World Trade Center ◽  
September 11 ◽  
Terrorist Attacks ◽  
The World ◽  
Trade Center ◽  
New Yorkers

ABSTRACTAs part of an established traumatic stress research and treatment program located in New York City, we experienced the September 11, 2001, terrorist attacks on the World Trade Center first as New Yorkers, but also as professionals with an interest in both treating the survivors and furthering scientific knowledge regarding the neurobiology and treatment of traumatic stress. This paper gives vignettes of calls to our program and the treatment of World Trade Center terrorist attack survivors.

Abbreviating terror: 9/11 in the press

English Today ◽  
2003 ◽  
Vol 19 (2) ◽  
pp. 62-64
Keyword(s):  
World Trade ◽  
World Trade Center ◽  
September 11 ◽  
Telephone Number ◽  
The Press ◽  
The Us ◽  
The World ◽  
Trade Center ◽  
National Emergency

On and around the first anniversary of the attack on the World Trade Center, the world's press made full use of ‘9/11’ (also the national emergency telephone number in the US). The symbolism of number/divider/number has not replaced either ‘September 11’ or ‘Sept. 11’, but added to them by giving the date a special resonance. It may yet become the key name for the whole horrific series of events.

Terorisme: Perspektif Barat dan Islam

2017 ◽  
Vol 2 (2) ◽  
pp. 31-38
Author(s):  
Mohd. Hefzan ◽  
Fitria Fitria
Keyword(s):  
United States ◽  
New York ◽  
World Trade ◽  
World Trade Center ◽  
The United States ◽  
September 11 ◽  
Western World ◽  
The West ◽  
The World ◽  
Trade Center

The issue of terrorism has tapped the border of human civilization. The West has a viewon terrorism following their own perceptions. Now the Western world is afraid of theirown shadows after the entry into force of the events of September 11, 2001 which haveembodied the World Trade Center (WTC) in New York. This black event has reallyshocked the Western world which so far they are proud that the United States is thegreat power of the world, has now been attacked so extreme. The problem that arisesnow in the Islamic world is that the West has misinterpreted what is said to be jihad.The enemy of Islam has labeled terrorism as a jihad in Islam, this is how the West triesto put Islam as a ferocious religion. The term jihad is what terrorism says for the West.In Islamic teachings jihad cases are something that is highly demanded and has nodirect connection with terrorism activities.

scholarly journals Memories of the Terrorist Attacks of September 11, 2001: A Study of the Consistency and Phenomenal Characteristics of Flashbulb Memories

2006 ◽  
Vol 9 (1) ◽  
pp. 52-60 ◽  
Author(s):  
Pilar Ferré Romeu
Keyword(s):  
New York ◽  
World Trade ◽  
World Trade Center ◽  
September 11 ◽  
Terrorist Attacks ◽  
The World ◽  
Trade Center ◽  
Very High ◽  
Over Time ◽  
Memory Questionnaire

In this study, I investigated students' memories of the terrorist attacks of September 11, 2001, carried out by Al Qaeda terrorists against the World Trade Center in New York and the Pentagon in Washington. Participants completed on two occasions (2 weeks and 8 months after the events took place) a memory questionnaire that included an assessment of the phenomenal richness of their memories. The results showed that the participants remembered very well the circumstances in which they first heard about the terrorist attacks, that they were very confident about this information, and that these memories were characterized by a high phenomenal richness. Over time, there was a decrease in all of these variables, but people's ratings of phenomenology and confidence were still very high.

September 11 as Heist

2011 ◽  
Vol 45 (4) ◽  
pp. 835-851 ◽  
Author(s):  
HAMILTON CARROLL
Keyword(s):  
New York ◽  
World Trade ◽  
World Trade Center ◽  
September 11 ◽  
Terrorist Attacks ◽  
Representational Space ◽  
The World ◽  
Trade Center ◽  
Genre Conventions ◽  
The City

This article examines two films, James Marsh's Man on Wire and Spike Lee's Inside Man in relation to the terrorist attacks of September 11, 2001. It looks at both films as examples of the heist genre and explores the ways in which genre conventions enable the production of meaning about the terrorist attacks. The conventions of the heist film, it argues, help make sense of September 11 by producing a different set of relations to time and space that draw on the uncanny, rather than the traumatic, nature of the events. Narrating stories of transgression, both films place the horrors of September 11 in another context. Through the genre conventions of the heist, each film offers a view of New York in which the events of September 11 and the destruction of the World Trade Center stand as the center. Not yet complete in one, already destroyed in the other, the Twin Towers haunt these films. As Man on Wire and Inside Man each attempt to make sense of the world in which the city of New York is marked most powerfully by a profound absence, it is in their uses of the heist genre that they find a representational space in which to mourn the World Trade Center and the victims of the attacks.

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