LEADER 03035oam 2200709I 450 001 9910462322003321 005 20200520144314.0 010 $a1-280-66229-8 010 $a9786613639226 010 $a0-203-11995-9 010 $a1-136-31813-5 024 7 $a10.4324/9780203119952 035 $a(CKB)2670000000203412 035 $a(EBL)958658 035 $a(SSID)ssj0000701414 035 $a(PQKBManifestationID)12261543 035 $a(PQKBTitleCode)TC0000701414 035 $a(PQKBWorkID)10672783 035 $a(PQKB)10181487 035 $a(SSID)ssj0000690102 035 $a(PQKBManifestationID)11385628 035 $a(PQKBTitleCode)TC0000690102 035 $a(PQKBWorkID)10620474 035 $a(PQKB)11209431 035 $a(MiAaPQ)EBC958658 035 $a(Au-PeEL)EBL958658 035 $a(CaPaEBR)ebr10566853 035 $a(CaONFJC)MIL363922 035 $a(OCoLC)798530530 035 $a(OCoLC)795123451 035 $a(EXLCZ)992670000000203412 100 $a20180706d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aHuman rights in world history /$fPeter N. Stearns 210 1$aAbingdon, Oxon ;$aNew York :$cRoutledge,$d2012. 215 $a1 online resource (217 p.) 225 1 $aThemes in world history 300 $aDescription based upon print version of record. 311 $a0-415-50796-0 311 $a0-415-50795-2 320 $aIncludes bibliographical references (p.164-166) and index. 327 $aCover; Human Rights in World History; Copyright; Contents; Acknowledgments; Preface; 1. The contemporary dilemmas; 2. Human rights in premodern world history; 3. The new push for human rights; 4. Human rights on a world stage: the 19th century and the interwar decades; 5. Human rights and global expansion: surges of growth since 1945; 6. Resistance and response: more globalization, or less; 7. Conclusion: human rights in motion; Index 330 $aDefended by a host of passionate advocates and organizations, certain standard human rights have come to represent a quintessential component of global citizenship. There are, however, a number of societies who dissent from this orthodoxy, either in general or on particular issues, on the basis of political necessity, cultural tradition, or group interest.Human Rights in World History takes a global historical perspective to examine the emergence of this dilemma and its constituent concepts. Beginning with premodern features compatible with a human rights approach, including 410 0$aThemes in world history. 606 $aHuman rights 606 $aWorld politics 608 $aElectronic books. 615 0$aHuman rights. 615 0$aWorld politics. 676 $a323.09 700 $aStearns$b Peter N.$0183190 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462322003321 996 $aHuman rights in world history$92087772 997 $aUNINA LEADER 03042nam 2200553z- 450 001 9910413450303321 005 20210212 035 $a(CKB)4100000011401322 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/61271 035 $a(NjHacI)994100000011401322 035 $a(oapen)doab61271 035 $a(EXLCZ)994100000011401322 100 $a20202102d2018 |y 0 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aTrauma, Memory and Religion$eJournal for Religion, Film and Media 210 $cSchu?ren Verlag$d2018 215 $a1 online resource (125 p.) 225 1 $aJournal for Religion, Film and Media 311 08$a3-7410-0068-X 330 $aHow can we screen trauma? This question might lead the perception of documentary films about atrocities in the 20th and 21st centuries, like S21 THE KHMER ROUGE KILLING MACHINE (Rithy Panh, CAMB/FR 2003) about Cambodia, THE LOOK OF SILENCE (Joshua Oppenheimer, ID/DK 2014) about Indonesia or DAS RADIKAL BO?SE (Stefan Ruzowitzky, AT 2013) about Nazi-Europe. A concern that may emerge as we watch films on atrocities is whether these artistic representations perhaps guide the public away from what "really happened". There certainly is a huge gap between, on the one hand, the immediate experience of the event that lies behind the interpretative screening and, on the other hand, watching the director's material while neither being a part nor ever having been part of the event. Yet often filmic representations are not intended to show what happened; instead they present case studies to be explored in the present. Often the films contain an inherent critique of genocidal violence and present humanistic perspectives on obedience. Mostly, these films underline the humanity of the victims, seeking to give names, faces and biographies so that they are much more than just numbers. What appears on the screen therefore challenges the audience with a moral question: what would you do? 517 $aBook Review 517 $aMusic Review 517 $aFilm Review 517 $aTrauma, Memory and Religion in Film 606 $aDocumentary films$xHistory and criticism 606 $aDocumentary films$zUnited States$xHistory and criticism 615 0$aDocumentary films$xHistory and criticism. 615 0$aDocumentary films$xHistory and criticism. 676 $a070.18 700 $aNatalie Fritz$4auth$01280142 702 $aHessel Jan Zondag$4auth 702 $aDaria Pezzoli-Olgiati$4auth 702 $aStefanie Knauss$4auth 702 $aVaughan S Roberts$4auth 702 $aVerena Marie Eberhardt$4auth 702 $aLucien M. van Liere$4auth 702 $aGerwin van der Pol$4auth 702 $aJacob Given$4auth 702 $aFreek L. Bakker$4auth 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910413450303321 996 $aTrauma, Memory and Religion$93016637 997 $aUNINA