New Challenges in Privacy Protection

2011 ◽  
pp. 125-140
Author(s):  
Lech J. Janczewski
Keyword(s):  
New York ◽  
Privacy Protection ◽  
World Trade ◽  
World Trade Center ◽  
Point Of View ◽  
Terrorist Attacks ◽  
The World ◽  
Trade Center ◽  
New Challenges

The protection of privacy is a function of many variables: culture, politics, and point of view. Practically all countries have introduced laws regulating these problems. Terrorist attacks culminating with the destruction of the World Trade Center in New York and the Pentagon in Washington indicated a need to change these regulations. Therefore, this chapter defines the notion of privacy and cites typical regulations related to the protection of privacy and the interception of private communications and documents. This discussion terminates with a presentation of a worldwide prognosis in this field.

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.

Oh Did You See the Ashes Come Thickly Falling Down?

2016 ◽  
Author(s):  
Steve Zeitlin
Keyword(s):  
New York ◽  
World Trade ◽  
World Trade Center ◽  
Terrorist Attacks ◽  
New York University ◽  
Ground Zero ◽  
The World ◽  
Trade Center ◽  
Union Square ◽  
New Yorkers

This chapter considers the proliferation of street poems as a form of healing and remembrance after the 9/11 terrorist attacks in New York City. In the days and weeks that followed the attack on the World Trade Center, the streets of New York lay eerily quiet and deserted. The poets did not wait for the dust to settle. As streams of water poured over the smoke at Ground Zero, distraught and bereaved New Yorkers scrawled missives in the ash. On the afternoon of the first day, Jordan Schuster, a student from New York University, laid out a sheet of butcher paper in Union Square; he was the first of many to inspire his fellow New Yorkers to set down their thoughts in poetry. Words proliferated into a barrage of written feeling that vented rage and offered solace. Street shrines served as portals for the living to talk directly to the terrorists.

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.

Staging the Televised (Nation)

2003 ◽  
Vol 28 (1) ◽  
pp. 61-78
Author(s):  
Johan Callens
Keyword(s):  
New York ◽  
Los Angeles ◽  
World Trade ◽  
World Trade Center ◽  
Terrorist Attacks ◽  
The Real ◽  
The World ◽  
Trade Center ◽  
Los Angeles Riots

The performative uses which Mark Ravenhill's Faust (Faust Is Dead) (1997) and Anna Deavere Smith's Twilight: Los Angeles, 1992 (1993), no matter how different, have made of the televised 1992 Los Angeles riots, underwrite Hal Foster's thesis that the 1990s have been confronted with a ‘return of the real’ in art and theory, through the insistence upon a renewed grounding in actual bodies and social sites, after the 1970s paradigm of art-as-text (Foucault) and the 1980s' art-as-simulacrum (Baudrillard). As such, Ravenhill's play and Smith's docudrama permit a commentary on the terrorist attacks in New York on 11 September 2001, when two planes crashed into the World Trade Center thereby further exploding the nation's semblance of reality and the false immunity it fosters.

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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