September 11 terrorist attacks not only affect the United States but also the entire international community. Hundreds perished; most of them innocent citizens from over ninety different nations. It has changed the history of America, much like Japan’s strike against Pearl Harbor. The 9/11 attacks triggered the United States’ ongoing war against terrorism, starting with Afghanistan as the first target to overthrow Taliban, changing the course of world history. The significance of the incident and severity of that traumatic loss makes a case for a memorial on the UMass campus in tribute to those victims. It is worth mentioning that a UMass community member (computer research specialist) lost his life in that event. The intention of this design is to pay a well-deserved tribute to the victims of the September 11 tragedy, together with providing information about the whole story. The statistics of the event have a visceral interpretation. All different aspects and numbers are incorporated into the design: number of the flights, number of the people killed, nationality of the victims, each have their specific place in the design pattern.

This study intends to examine why the Swedish children’s programme Bolibompa is produced the way it is during a larger catastrophe. Our intention was to find out how the editorial staff, in the children’s department in the public service television of Sweden (SVT),was handling the Estonia disaster, the September 11 attacks and the Asian Tsunami. To accomplish that, we first had to find out how the children’s programme looked during these catastrophes and also understand how the editorial staff was working with children’s programme during ordinary days. To achieve our purpose we have been interviewing five persons from SVT, who was involved in producing the children’s programme during these three catastrophes. The method we used was qualitative research interview and theories of socialisation, media effects, social responsibility and theories of rhetoric mass media guided our study. We found out that the editorial staff was producing the children’s programme differently during each catastrophe. When the Estonia disaster occurred, the children’s programme was delayed because of extended news. Next to the children’s programme a host was talking directly to the children trying to explain the accident. The day after the September 11 attacks the host of the children’s programme was discussing the catastrophe with invited guests in the TV studio. The editorial staff thought that many children were frightened at the time and that explains why they decided to keep a conversation. During the Asian Tsunami, SVT was broadcasting a Christmas special, and the children’s programmes weren’t changed at all,mostly because a break in the Christmas series would cause a lot of problems.

<p>This study intends to examine why the Swedish children’s programme Bolibompa is produced the way it is during a larger catastrophe. Our intention was to find out how the editorial staff, in the children’s department in the public service television of Sweden (SVT),was handling the Estonia disaster, the September 11 attacks and the Asian Tsunami. To accomplish that, we first had to find out how the children’s programme looked during these catastrophes and also understand how the editorial staff was working with children’s programme during ordinary days.</p><p>To achieve our purpose we have been interviewing five persons from SVT, who was involved in producing the children’s programme during these three catastrophes. The method we used was qualitative research interview and theories of socialisation, media effects, social responsibility and theories of rhetoric mass media guided our study.</p><p>We found out that the editorial staff was producing the children’s programme differently during each catastrophe. When the Estonia disaster occurred, the children’s programme was delayed because of extended news. Next to the children’s programme a host was talking directly to the children trying to explain the accident. The day after the September 11 attacks the host of the children’s programme was discussing the catastrophe with invited guests in the TV studio. The editorial staff thought that many children were frightened at the time and that explains why they decided to keep a conversation. During the Asian Tsunami, SVT was broadcasting a Christmas special, and the children’s programmes weren’t changed at all,mostly because a break in the Christmas series would cause a lot of problems.</p>

The objective of this study is to investigate trends in international terrorism since the end of the Cold War, including those identified as “new” terrorism and to determine to what extent these are applicable to the Al-Qaeda movement. To achieve this aim, the study focused on aspects such as the origin and development of new terrorism; the differences and resemblances between traditional and new terrorism; the historical development of international terrorism; the effect of the end of the Cold War on terrorism; and factors impacting on contemporary terrorism. An analysis of the Al-Qaeda movement was done with respect to its motivation, ideology, transnational character, target selection, operational strategy and tactics, and its desire to use non-conventional weapons. The intention was to identify aspects which may indicate whether the movement serves as a model of the characteristics identified by certain authors as a new terrorism. Case studies of the most important terrorist incidents linked to Al-Qaeda, including the September 11 attacks on the US, are included. The study demonstrates that the nature of terrorism as an instrument to obtain political objectives has evolved but, at the same time, it has retained most of its essential characteristics. An investigation of the characteristics of traditional and new terrorism confirmed this conclusion, as well as that a differentiation between these types of terrorism is mostly a matter of perspective. Another finding of the study is that terrorist campaigns have rarely obtained their strategic goals but that it nevertheless remains a popular strategy aimed at effecting desired political change. The study furthermore confirms that terrorist groups do not operate in a vacuum but are influenced by the existing political, socio-economic and cultural environments. As such the end of the Cold War has caused specific changes in the international system which facilitated the rise of a movement like Al-Qaeda and which enabled it to function at a global level. The usefulness of the study lies in the clarification of the concepts of traditional and new terrorism; its indication of the evolving of motivations and strategies applied by terrorist organisations; and in the findings about the current campaign of the Al-Qaeda movement. Copyright 2007, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Bester, F 2007, New trends in contemporary international and transnational terrorism as manifested in the Al-Qaeda movement, MSS dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-04112008-125925/ > / Dissertation (MSS)--University of Pretoria, 2008. / Political Sciences / unrestricted

The tragic and devastating September 11 attacks resulted in a variety of original musical responses. Exemplary works expressed their reactions through overt 9/11-concentric dialogues to express themes of mourning, military retribution, dissent and commemoration. An examination of such works concludes that effective musical responses express a direct message clarified by supporting musical and/or textual materials. Musical materials can accentuate the specific thematic message of the responsive work as they often evoke images and emotions reminiscent of the attacks and their aftermath. Compositional techniques used in these works are often reminiscent of historical works written in similar circumstances. The recurrence of these historical approaches illuminates the timeless compositional design of historical examples and exemplifies modern advancements in music composition and production. A comparison between classical and popular post-9/11 musical compositions concludes that certain classical and popular genres deal with responsive themes more effectively than others. A recommendation for further study is enclosed.