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Dictionary of Genocide - D Ank Unlimited

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Land <strong>of</strong> Wandering Souls. This 1999 film, which was produced by Rithy Panh, who, as a<br />

teenager, fled the Khmer Rouge takeover in Cambodia, is about a group <strong>of</strong> survivors <strong>of</strong> the<br />

Cambodian genocide (1975–1979). It depicts some Cambodian families digging trenches<br />

amid “human minefields” (the wasted and the dead) in order to lay a fiber-optic cable network<br />

from east to west. In doing so, the group not only travels across the countryside but<br />

retraces their history.<br />

Language and <strong>Genocide</strong>. The language and syntax employed by those engaging in<br />

genocide ranges from the use <strong>of</strong> extremely blunt language to deceptive euphemisms. In<br />

some cases, it is the combination <strong>of</strong> the two. For example, the Nazi phrase “The Final<br />

Solution <strong>of</strong> the Jewish Question” (Die Endlösung des Judenfrage) embodies both elements.<br />

The finality <strong>of</strong> genocide is <strong>of</strong>ten expressed in absolutes: annihilate, eradicate, destroy. Such<br />

words convey the violence <strong>of</strong> physical destruction associated with genocide. In contrast, deportations,<br />

resettlement, special treatment, and shower have all served as euphemisms for killing.<br />

Most, if not all, genocides use a vocabulary to depict the hated target, the one to<br />

be obliterated. For example, subhuman, cockroach, microbes, dogs, pigs, cancer, virus,<br />

life-unworthy-<strong>of</strong>-life, and excrement were used by various perpetrators <strong>of</strong> genocide in the<br />

twentieth and early twenty-first centuries. Although some <strong>of</strong> the latter terms depict a<br />

target that is less than human, others depict something that is dangerous and harmful to<br />

humanity and needs to be removed for the sake <strong>of</strong> humanity’s safety.<br />

The language <strong>of</strong> genocide is always an egregious exaggeration <strong>of</strong> reality and fantasy, and<br />

the genocidal mind expresses itself in apocalyptic terms and in polarized terms such as “us<br />

versus them.” Indeed, it sees the world in terms <strong>of</strong> rival races, nations, religions, and<br />

classes. In the language <strong>of</strong> genocide, there is also <strong>of</strong>ten an element <strong>of</strong> pornography, with references<br />

to perversity as a means <strong>of</strong> further demonizing the stereotyping <strong>of</strong> the hate-object—<br />

the easier to justify carrying out extreme measures.<br />

Ultimately, the language <strong>of</strong> genocide serves as a prelude to physical violence; it is its<br />

precursor, resorting to words that rationalize and exhort a population into accepting that<br />

turning to violent means is legitimate. Given its two faces <strong>of</strong> extremism and euphemism, the<br />

language <strong>of</strong> genocide can and does veer from the brutal to the benign, from the cruel and the<br />

threatening to the seemingly condescending. Its practitioners are adept at both, creating an<br />

atmosphere <strong>of</strong> pr<strong>of</strong>ound uncertainty, insecurity, and isolation in the ranks <strong>of</strong> the victims.<br />

Last Days <strong>of</strong> the Jerusalem <strong>of</strong> Lithuania: Chronicles from the Vilna Ghetto and<br />

the Camps, 1929–1944. Written by Herman Kruk (1897–1944), The Last Days <strong>of</strong> the

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