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🔗 Germany 🔗 Military history 🔗 Military history/World War II 🔗 Military history/German military history 🔗 Jewish history 🔗 Military history/European military history

Kristallnacht (German pronunciation: [kʁɪsˈtalnaχt]) or the Night of Broken Glass, also called the November Pogrom(s), was a pogrom against Jews carried out by SA paramilitary forces and civilians throughout Nazi Germany on 9–10 November 1938. The German authorities looked on without intervening. The name Kristallnacht ("Crystal Night") comes from the shards of broken glass that littered the streets after the windows of Jewish-owned stores, buildings and synagogues were smashed.

Jewish homes, hospitals and schools were ransacked as the attackers demolished buildings with sledgehammers. The rioters destroyed 267 synagogues throughout Germany, Austria and the Sudetenland. Over 7,000 Jewish businesses were damaged or destroyed, and 30,000 Jewish men were arrested and incarcerated in concentration camps. British historian Martin Gilbert wrote that no event in the history of German Jews between 1933 and 1945 was so widely reported as it was happening, and the accounts from foreign journalists working in Germany sent shockwaves around the world. The Times of London observed on 11 November 1938: "No foreign propagandist bent upon blackening Germany before the world could outdo the tale of burnings and beatings, of blackguardly assaults on defenceless and innocent people, which disgraced that country yesterday."

The pretext for the attacks was the assassination of the Nazi German diplomat Ernst vom Rath by Herschel Grynszpan, a 17-year-old German-born Polish Jew living in Paris. Estimates of fatalities caused by the attacks have varied. Early reports estimated that 91 Jews had been murdered. Modern analysis of German scholarly sources puts the figure much higher; when deaths from post-arrest maltreatment and subsequent suicides are included, the death toll climbs into the hundreds, with Richard J. Evans estimating 638 suicide deaths. Historians view Kristallnacht as a prelude to the Final Solution and the murder of six million Jews during the Holocaust.

🔗 Medicine 🔗 Linguistics 🔗 Linguistics/Applied Linguistics

Semantic satiation is a psychological phenomenon in which repetition causes a word or phrase to temporarily lose meaning for the listener, who then perceives the speech as repeated meaningless sounds. Extended inspection or analysis (staring at the word or phrase for a lengthy period of time) in place of repetition also produces the same effect.

🔗 United States 🔗 Film 🔗 Library of Congress 🔗 Film/American cinema 🔗 United States/Film - American cinema 🔗 Film/Core

The Conversation is a 1974 American mystery thriller film written, produced and directed by Francis Ford Coppola and starring Gene Hackman with supporting roles by John Cazale, Allen Garfield, Cindy Williams, Frederic Forrest, Harrison Ford, Teri Garr and Robert Duvall.

The plot revolves around a surveillance expert and the moral dilemma he faces when his recordings reveal a potential murder. Coppola cited the 1966 film Blowup as a key influence. However, since the film was released to theaters just a few months before Richard Nixon resigned as President, he felt that audiences interpreted the film to be a reaction to the Watergate scandal. The Conversation has won critical acclaim and multiple accolades, including the Grand Prix du Festival International du Film, the highest honor at the 1974 Cannes Film Festival. It was nominated for three Academy Awards in 1974 and lost Best Picture to The Godfather Part II, another Francis Ford Coppola film. In 1995, it was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

🔗 Philosophy 🔗 Philosophy/Aesthetics 🔗 Philosophy/Social and political philosophy 🔗 Philosophy/Philosophy of religion

In a paper delivered to the Aristotelian Society on 12 March 1956, Walter Bryce Gallie (1912–1998) introduced the term essentially contested concept to facilitate an understanding of the different applications or interpretations of the sorts of abstract, qualitative, and evaluative notions—such as "art", "philanthropy" and "social justice"—used in the domains of aesthetics, development, political philosophy, philosophy of history, and philosophy of religion.

Garver (1978) describes their use as follows:

The term essentially contested concepts gives a name to a problematic situation that many people recognize: that in certain kinds of talk there is a variety of meanings employed for key terms in an argument, and there is a feeling that dogmatism ("My answer is right and all others are wrong"), skepticism ("All answers are equally true (or false); everyone has a right to his own truth"), and eclecticism ("Each meaning gives a partial view so the more meanings the better") are none of them the appropriate attitude towards that variety of meanings.

Essentially contested concepts involve widespread agreement on a concept (e.g., "fairness"), but not on the best realization thereof. They are "concepts the proper use of which inevitably involves endless disputes about their proper uses on the part of their users", and these disputes "cannot be settled by appeal to empirical evidence, linguistic usage, or the canons of logic alone".

🔗 Economics 🔗 Law

The Brussels effect is the process of unilateral regulatory globalisation caused by the European Union de facto (but not necessarily de jure) externalising its laws outside its borders through market mechanisms.

🔗 Television 🔗 Star Trek

Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after several failed attempts to create a feature film based on the property, coupled with plans for a Paramount Television Service (PTS) as a fourth broadcast television network in the United States.

Both PTS and the Star Trek revival were announced in early June 1977, with PTS to debut as one evening of programming each Saturday night and to gradually expand to other nights; a strategy successfully employed by the Fox Broadcasting Company a decade later. Star Trek: Phase II was to be the flagship show, and be broadcast at 8pm EST, followed by a movie of the week starting at 9pm. The initial order was for a two-hour pilot, followed by 13 hour-long episodes.

With the exception of Leonard Nimoy as Mr. Spock, who had ongoing disputes with Roddenberry and Paramount, the entire regular and recurring cast of The Original Series were contracted to return, notably William Shatner as Captain Kirk. Three new and younger regular characters were created, science officer Lt. Xon, navigator Lt. Ilia, and ship's executive officer Willard Decker. Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation, and two of the scripts written for Phase II would be re-developed for use in that series.

Behind the cameras, Roddenberry recruited Trek-novices Harold Livingston and Robert Goodwin as producers. Veterans of The Original Series were few, and included costume designer William Ware Theiss and illustrator Mike Minor. Art director Matt Jefferies was otherwise employed and brought in as a "technical advisor" and to update the design of the starship USS Enterprise. Special effects (on set) were to be by Jim Rugg. Science fiction novelist Alan Dean Foster received the assignment to write the story outline for the two-hour pilot, but, with a looming production deadline and unable to find a suitable writer to develop this story into a teleplay, Harold Livingston took on the writing job himself. Of the remaining 12 script assignments handed out, about half were to veterans of The Original Series.

Pre-production began in earnest, with the emphasis on what would be the standing sets of the Enterprise, which differed radically in layout, design and detailing from those for The Original Series. Many costumes and props, too, were designed. Ultimately, Paramount's plans for its network and Star Trek's TV return faltered, as the low anticipated advertising revenues for the Paramount Television Service indicated that it was not viable, and the Paramount Pictures parent company Gulf and Western's chairman, Charles Bluhdorn, refused to back the plan, resulting in the eventual exit of Paramount chief executive officer Barry Diller. In August 1977 Paramount president Michael Eisner announced—internally—that the two-hour pilot script was to be the long sought-after feature film story. However, In order to prevent negative publicity, the "cancellation" of the series and network was not immediately disclosed and development of the series and its scripts continued for a further five months, during which time tests were filmed on the incomplete Enterprise sets in widescreen format - a clear indication that whatever Star Trek would be, it would not be a TV movie.

On March 28, 1978, any illusions that Star Trek would be returning to television were ended when Paramount announced that instead of a series it would be producing what became the big budget film titled Star Trek: The Motion Picture (1979), which was itself a massive reworking of the "In Thy Image" two-hour pilot script.

Preproduction work on the series did not entirely go to waste. The standing Enterprise sets would be extensively reworked for the film (and its eventual sequels), and an unfinished admiral's office set's walls became part of the Enterprise cargo deck. However, the visual effects people hired for the feature film decided that the miniatures under construction were not up to the standards of a post-Star Wars feature, and all were scrapped. Director Robert Collins, who had been hired to direct the pilot, and promised he was to direct the feature, was replaced by Robert Wise.

The concept of a "Paramount Network" led by a flagship Star Trek series finally came to fruition in January 1995 when Paramount launched the United Paramount Network (UPN) and the Star Trek: Voyager series.

🔗 International relations 🔗 Death 🔗 Law 🔗 International relations/International law

A custom of the sea is a custom said to be practiced by the officers and crew of ships and boats in the open sea, as distinguished from maritime law, which is a distinct and coherent body of law governing maritime questions and offenses.

Among these customs was the practice of cannibalism among shipwrecked survivors, by the drawing of lots to decide who would be killed and eaten so that the others might survive.

🔗 Classical Greece and Rome 🔗 Board and table games

Ludus latrunculorum, latrunculi, or simply latrones (“the game of brigands”, from latrunculus, diminutive of latro, mercenary or highwayman) was a two-player strategy board game played throughout the Roman Empire. It is said to resemble chess or draughts, but is generally accepted to be a game of military tactics. Because of the scarcity of sources, reconstruction of the game's rules and basic structure is difficult, and therefore there are multiple interpretations of the available evidence.

🔗 Religion 🔗 Philosophy 🔗 Philosophy/Philosophy of religion 🔗 Philosophy/Ethics 🔗 Christianity 🔗 Christianity/theology 🔗 Christianity/Calvinism

The Protestant work ethic, also known as the Calvinist work ethic or the Puritan work ethic, is a work ethic concept in scholarly sociology, economics and historiography. It emphasizes that diligence, discipline, and frugality are a result of a person's subscription to the values espoused by the Protestant faith, particularly Calvinism.

The phrase was initially coined in 1905 by Max Weber in his book The Protestant Ethic and the Spirit of Capitalism. Weber asserted that Protestant ethics and values, along with the Calvinist doctrines of asceticism and predestination, enabled the rise and spread of capitalism. It is one of the most influential and cited books in sociology, although the thesis presented has been controversial since its release. In opposition to Weber, historians such as Fernand Braudel and Hugh Trevor-Roper assert that the Protestant work ethic did not create capitalism and that capitalism developed in pre-Reformation Catholic communities. Just as priests and caring professionals are deemed to have a vocation (or "calling" from God) for their work, according to the Protestant work ethic the "lowly" workman also has a noble vocation which he can fulfill through dedication to his work.

The concept is often credited with helping to define the societies of Northern, Central and Northwestern Europe as well as the United States of America.