title: Retirement home

abstract: A retirement home – sometimes called an old people's home, old folks' home, or old age home, although old people's home can also refer to a nursing home – is a multi-residence housing facility intended for the elderly. Typically, each person or couple in the home has an apartment-style room or suite of rooms with an en-suite bathroom. Additional facilities are provided within the building. This can include facilities for meals, gatherings, recreation activities, and some form of health or hospital care. A place in a retirement home can be paid for on a rental basis, like an apartment, or can be bought in perpetuity on the same basis as a condominium. A retirement home differs from a nursing home primarily in the level of medical care given. Retirement communities, unlike retirement homes, offer separate and autonomous homes for residents. Retirement homes offer meal-making and some personal care services. Assisted living facilities, memory care facilities and nursing homes can all be referred to as retirement homes. The cost of living in a retirement home varies from $25,000 to $100,000 per year, although it can exceed this range, according to Senior Living Near Me's senior housing guide. In the United Kingdom, there were about 750,000 places across 25,000 retirement housing schemes in 2021 with a forecast that numbers would grow by nearly 10% over the next five years.

text:
# Retirement home

A **retirement home** – sometimes called an **old people's home,** **old folks' home**, or **old age home**, although *old people's home* can also refer to a nursing home – is a multi-residence housing facility intended for the elderly. Typically, each person or couple in the home has an apartment-style room or suite of rooms with an en-suite bathroom. Additional facilities are provided within the building. This can include facilities for meals, gatherings, recreation activities, and some form of health or hospital care. A place in a retirement home can be paid for on a rental basis, like an apartment, or can be bought in perpetuity on the same basis as a condominium.

A retirement home differs from a nursing home primarily in the level of medical care given. Retirement communities, unlike retirement homes, offer separate and autonomous homes for residents.

Retirement homes offer meal-making and some personal care services. Assisted living facilities, memory care facilities and nursing homes can all be referred to as retirement homes. The cost of living in a retirement home varies from $25,000 to $100,000 per year, although it can exceed this range, according to Senior Living Near Me's senior housing guide.

In the United Kingdom, there were about 750,000 places across 25,000 retirement housing schemes in 2021 with a forecast that numbers would grow by nearly 10% over the next five years.

## United States

Proper design is integral to the experience within retirement homes, especially for those experiencing dementia. Wayfinding and spatial orientation become difficult for residents with dementia, causing confusion, agitation and a general decline in the physical and mental wellbeing.

### Signage

Those living with dementia often display difficulty with distinguishing relevance of information within signage. This phenomenon can be attributed to a combination of fixative behaviors as well as a tendency towards non discriminatory reading. Therefore, in creating appropriate signage for retirement homes, we must first consider the who, what, when, where, and why of the design and placement of signage.

Considering the “who” of the user requires an understanding of those who interact with North American care homes. This group includes staff and visitors, however understandable wayfinding is most important for residents experiencing dementia. This then leads to “what” kind of information should be presented. Important information for staff, visitors, and patients covers a great variety, and altogether the amount of signage required directly conflicts with the ideal of reducing distraction, overstimulation, and non-discriminatory reading for those within retirement homes. This is where the “when”, “where”, and “why” of signage must be addressed. In deciding “when” information should be presented, Tetsuya argues that it is “important that essential visual information be provided at a relatively early stage in walking routes.” Therefore, we can assume that immediately relevant information such as the direction of available facilities should be placed near the entrance of patient rooms, or at the end of hallways housing patient rooms. This observation also leads into “where” appropriate placement would be for information, and “why” it is being presented. In regards to wayfinding signage, making navigation as understandable as possible can be achieved by avoiding distraction while navigating. Addressing this, Romedi Passini suggests that “graphic wayfinding information notices along circulation routes should be clear and limited in number and other information should be placed somewhere else.” Signage not related to wayfinding can be distracting if placed nearby, and detract from the effectiveness of wayfinding signage. Instead, Passini suggests “to create little alcoves specifically designed for posting public announcements, invitations, and publicity.” These alcoves would best be placed in areas of low stimulation, as they would be better understood in a context that is not overwhelming. In a study done by Kristen Day, it was observed that areas of high stimulation were “found to occur in elevators, corridors, nursing stations, bathing rooms, and other residents’ rooms, whereas low stimulation has been observed in activity and dining rooms”. As of such, we can assume that activity and dining rooms would be the best place for these alcoves to reside.

### Architectural cues

Another relevant method of wayfinding is the presence of architectural cues within North American senior retirement homes. This method is most often considered during the design of new senior care centers, however there are still multiple items that can easily be implemented within existing care homes as well. Architectural cues can impact residents by communicating purpose through the implied use of a setting or object, assisting in navigation without the need for cognitive mapping, and making areas more accessible and less distressing for those with decreased mobility.

We will investigate how architectural cues communicate purpose and influence the behavior of residents. In a case study by Passini,“a patient, seeing a doorbell (for night use) at the hospital, immediately decided to ring”. This led to the conclusion that “architectural elements … determine to a certain extent the behavior of less independent patients.” In considering the influence of architectural cues on residents, this becomes an important observation, as it suggests that positive behavior can be encouraged through the use of careful planning of rooms. This claim is further supported in a case study by Day, in which “frequency of toilet use increased dramatically when toilets were visibly accessible to residents.” Having toilets placed within the sight lines of the residents encourages behavior of more frequently visiting the washroom, lessening the burden on nursing staff as well as leading to increased health of the residents. This communication of purpose though learned behavior can translate into creating more legible interior design as well. Through the use of distinctive furniture and flooring such as a bookshelf in a communal living room, the functionality and differentiation of spaces can become much easier for residents to navigate. Improving environmental legibility can also be useful in assisting with navigation within a care home.

Assistance in navigation through reducing a need for complicated cognitive mapping is an asset that can be achieved in multiple ways within care centers. Visual landmarks existing in both architectural and interior design helps provide differentiation between spaces. Burton notes “residents reported that...landmarks (features such as clocks and plants at key sections of corridors)\[were useful in wayfinding\]" Navigating using distinct landmarks can also define individual resident rooms. Tetsuya suggests that “doors of residents' rooms should have differentiated characteristics” in order to help in differentiating their own personal rooms. This can be done through the use of personal objects placed on or beside doorways, or in providing distinctive doors for each room.

Finally, considering accessibility is integral in designing architecture within care homes. Many members of the senior community require the use of equipment and mobility aids. As such, requirements of these items must be considered in designing a senior specific space. Open and clear routes of travel benefit the user by clearly directing residents along the path and reducing difficulty caused by the use of mobility aids. Similarly, creating shorter routes of travel by moving fundamental facilities such as the dining room closer to patient rooms has also been shown to reduce anxiety and distress. Moving between spaces becomes simpler, avoiding high stimulation areas such as elevators while also assisting wayfinding by making a simpler, smaller layout. Each of these methods can be achieved through the use of open core spaces. These spaces integrate multiple rooms into a single open concept space, "giving visual access and allowing a certain understanding of space without having to integrate into an ensemble that is perceived in parts, which is the most difficult aspect of cognitive mapping". In integrating more open core spaces into North American senior facilities, spaces become more accessible and easier to navigate.


title: Psammathodoxa

abstract: Psammathodoxa is a genus of moths of the family Erebidae. The genus was erected by Harrison Gray Dyar Jr. in 1921.

text:
# Psammathodoxa

***Psammathodoxa*** is a genus of moths of the family Erebidae. The genus was erected by Harrison Gray Dyar Jr. in 1921.

## Species

## InfoBox

| *Psammathodoxa* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Hypocalinae |
| Genus: | *Psammathodoxa*<br>Dyar, 1921 |
|


title: Prestige drama

abstract: Prestige drama is a genre of television show in which the tone of the show is serious, the production values are high, and there is a complex plot across episodes. Examples of prestige drama include shows such as Breaking Bad, Game of Thrones and True Detective.

text:
# Prestige drama

**Prestige drama** is a genre of television show in which the tone of the show is serious, the production values are high, and there is a complex plot across episodes.

Examples of prestige drama include shows such as *Breaking Bad*, *Game of Thrones* and *True Detective*.

## In the media

Common characteristics of prestige drama include a more sophisticated approach to cinematography than other generes, high production values, and a complex storyline. Most prestige dramas, as the name implies, are more dramatic and serious in tone.

## Popularity

One cause for the rise of prestige dramas is the rise in streaming video services where television creators are not limited by time slots and commercial breaks. These streaming services vie for viewer attention and spend large amounts to produce shows they hope will encourage customers to subscribe to their platform.

## Criticism

Prestige dramas have been criticized as being similar to one another. Most are bleak with anti-hero qualities in the primary characters. In recent years they have become cliche, with studios across the television industry creating shows with a familiar feeling.


abstract: The National University System Institute for Policy Research, established in 2006 as the San Diego Institute for Policy Research (SDI), formulates and promotes high quality economics, policy, and public opinion research. It aims to improve the efficiency and effectiveness of local governments in San Diego County and to improve the quality of life enjoyed by the region's citizens. It was established in San Diego by businessman and entrepreneur Steve Francis. In 2009 the San Diego Institute for Policy Research was absorbed into the National University System, a San Diego–based private nonprofit university, and became known as the National University System Institute for Policy Research. Since its founding in 2006, the institute has published a bi-monthly update on the San Diego Economy, several policy briefs on issues impacting San Diego, a half-dozen longer monographs and done extensive polling with CERC. The institute also publishes a weekly column in the San Diego Daily Transcript. SDI's president and CEO W. Erik Bruvold was formerly the Vice President for Public Policy for the San Diego Regional Economic Development Corporation.

text:
# National University System Institute for Policy Research

The **National University System Institute for Policy Research**, established in 2006 as the **San Diego Institute for Policy Research** (SDI), formulates and promotes high quality economics, policy, and public opinion research. It aims to improve the efficiency and effectiveness of local governments in San Diego County and to improve the quality of life enjoyed by the region's citizens. It was established in San Diego by businessman and entrepreneur Steve Francis. In 2009 the San Diego Institute for Policy Research was absorbed into the National University System, a San Diego–based private nonprofit university, and became known as the National University System Institute for Policy Research.

Since its founding in 2006, the institute has published a bi-monthly update on the San Diego Economy, several policy briefs on issues impacting San Diego, a half-dozen longer monographs and done extensive polling with CERC. The institute also publishes a weekly column in the *San Diego Daily Transcript*.

SDI's president and CEO W. Erik Bruvold was formerly the Vice President for Public Policy for the San Diego Regional Economic Development Corporation.


title: Matthew 27:11

abstract: Matthew 27:11 is the eleventh verse of the twenty-seventh chapter of the Gospel of Matthew in the New Testament. This verse brings the narrative back to Pilate's Court, and the final trial of Jesus.

text:
# Matthew 27:11

**Matthew 27:11** is the eleventh verse of the twenty-seventh chapter of the Gospel of Matthew in the New Testament. This verse brings the narrative back to Pilate's Court, and the final trial of Jesus.

## Content

The original Koine Greek, according to Westcott and Hort, reads:

ο δε ιησους εσταθη εμπροσθεν του ηγεμονος και επηρωτησεν αυτον ο ηγεμων λεγων συ ει ο βασιλευς των ιουδαιων ο δε ιησους εφη συ λεγεις

In the King James Version of the Bible it is translated as:

And Jesus stood before the governor: and the governor asked him, saying, Art thou the King of the Jews? And Jesus said unto him, Thou sayest.

The modern World English Bible translates the passage as:

Now Jesus stood before the governor: and the governor asked him, saying, "Are you the King of the Jews?" Jesus said to him, "So you say."

## Analysis

After the last verses describing the fate of Judas Iscariot, this verse returns to paralleling the passion narrative in other Gospels. The opening of the verse is unique to Matthew, resetting the narrative to the trial before Pilate.

The following exchange between Jesus and Pilate is a rare item found in all four Gospels; with variations it is also at Mark 15:2, Luke 23:3, and John 18:31-37.

This second interrogation closely parallels that of the first trial before the Sanhedrin in Matthew 26; the text implies that the Jewish leaders have briefed Pilate on the accusations they have against Jesus, and here he tests them himself.

This is the second time in Matthew a Gentile has referred to Jesus as "King of the Jews." The previous time was the Magi from the East doing so at Matthew 2:2. However, nowhere else in Matthew, or the other Gospels has Jesus been referred to as "King of the Jews" prior to the trial. The Gospel nowhere explains how this title became known and so central to the trial. In several places Jesus refers to "the kingdom" and the "kingdom of David" and that he would have a special role in this kingdom to come, so him being a king is not far removed from those notions. The nature of the title may be Gentile itself, with Jewish followers referring to Jesus as *Christ* rather than *king* and as representing *Israel* not the *Jews*. The title is also the one that would seem to be the most serious threat to the Romans. In later decades the Romans would forcibly suppress a number of religious movements, such as that of Theudas, but the era of Jesus was a largely peaceful one and there is no evidence of any such actions by Roman authorities in this period. Thus Pilate may not have been much concerned by someone calling himself a christ or messiah, but proclaiming oneself as King, and thus a rival to the emperor, would have been a greater concern.

Jesus' response to Pilate is ambiguous. Various later scholars have interpreted it as an agreement with Pilate, a denial of the charge, and a response that does not commit either way. While others refer to Jesus with a series of titles, nowhere in Matthew does he refer to himself as messiah or king, so a direct *yes* in response the question would have been out of character. Narratively the ambiguous reply does nothing to deny Jesus' messianic nature, but also does not have him admit the charges against him are correct, and thus the unjust nature of his execution is also maintained.

1. Gundry, Robert H. *Matthew a Commentary on his Literary and Theological Art.* Grand Rapids: William B. Eerdmans Publishing Company, 1982. p. 559
2. Brown, Raymond. *The Death of the Messiah*. Yale University Press, December 1, 1998, p. 729
3. Davies, W.D. and Allison, Dale C., Jr. *A Critical and Exegetical Commentary on the Gospel According to Saint Matthew*. Edinburgh : T. & T. Clark, 1988-1997. p. 581
4. Schweizer, Eduard. *The Good News According to Matthew.* Atlanta: John Knox Press, 1975 p. 507
5. Brown, Raymond. *The Death of the Messiah*. Yale University Press, December 1, 1998 p. 724
6. Davies, W.D. and Dale C. Allison, Jr. *A Critical and Exegetical Commentary on the Gospel According to Saint Matthew*. Edinburgh : T. & T. Clark, 1988-1997. p. 581
7. Nolland, John. *The Gospel of Matthew: a commentary on the Greek text.* Wm. B. Eerdmans Publishing, 2005 p. 1,161
8. Senior, Donald P. *The Passion of Jesus in the Gospel of Matthew.* Leuven University Press, 1975. p. 221
9. Nolland, John. *The Gospel of Matthew: a commentary on the Greek text.* Wm. B. Eerdmans Publishing, 2005 p. 1161
10. Senior, Donald P. *The Passion of Jesus in the Gospel of Matthew.* Leuven University Press, 1975. p. 221

| Preceded by
**Matthew 27:10** | **Gospel of Matthew
Chapter 27** | Succeeded by
**Matthew 27:12** |
| --- | --- | --- |

## InfoBox

| Matthew 27:11 | |
| --- | --- |
| 27:1027:12 | |
| "Jesus and Pilate" by William Hole. | |
| Book | Gospel of Matthew |
| Christian Bible part | New Testament |


title: Presumption of paternity

abstract: Presumption of paternity in paternity law and common law is the legal determination that a man is "presumed to be" a child's biological father without additional supportive evidence, usually as a result of marriage. Generally associated with marriage, a presumption of paternity can also be made by court order, contact over time with a child, or simple cohabitation with the mother. If there is no presumption of paternity, a process such as recognition may be used to establish paternity.

text:
# Presumption of paternity

**Presumption of paternity** in paternity law and common law is the legal determination that a man is "presumed to be" a child's biological father without additional supportive evidence, usually as a result of marriage.

Generally associated with marriage, a presumption of paternity can also be made by court order, contact over time with a child, or simple cohabitation with the mother.

If there is no presumption of paternity, a process such as recognition may be used to establish paternity.


title: Nikaea longipennis

abstract: Nikaea longipennis is a moth in the family Erebidae. It is found in Kumaon, Nepal, Sikkim, Assam and China. The species was described by Francis Walker in 1855.

text:
# Nikaea longipennis

***Nikaea longipennis*** is a moth in the family Erebidae. It is found in Kumaon, Nepal, Sikkim, Assam and China (Sichuan, Yunnan, Shaanxi, Hubei, Jiangxi, Zhejiang, Fujian). The species was described by Francis Walker in 1855.

## InfoBox

| *Nikaea longipennis* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Subfamily: | Arctiinae |
| Genus: | *Nikaea* |
| Species: | ***N. longipennis*** |
| Binomial name | |
| ***Nikaea longipennis***<br>(Walker, 1855) | |
|
| Synonyms | |
| * *Hypercompa longipennis* Walker, 1855 | |


title: Palaemonella burnsi

abstract: Palaemonella burnsi is a species of shrimp in the family Palaemonidae, from Maui, Hawaii. This species is closest to Palaemonella lata, which it resembles in the broad scaphocerite in which the lamella overreaches the final tooth, and in the unarmed merus of the second pereiopods. It differs from P. lata in the much longer fused part of the two branches of the upper antennular flagellum, in the relatively much longer fingers and shorter palm of the second legs, in the unarmed carpus of the second legs. It is named after John A. Burns, Governor of Hawaii, for declaring the Ahiki Kinau area a nature reserve.

text:
# Palaemonella burnsi

***Palaemonella burnsi*** is a species of shrimp in the family Palaemonidae, from Maui, Hawaii. This species is closest to *Palaemonella lata*, which it resembles in the broad scaphocerite in which the lamella overreaches the final tooth, and in the unarmed merus of the second pereiopods. It differs from *P. lata* in the much longer fused part of the two branches of the upper antennular flagellum, in the relatively much longer fingers and shorter palm of the second legs, in the unarmed carpus of the second legs. It is named after John A. Burns, Governor of Hawaii, for declaring the Ahiki Kinau area a nature reserve.

## Description

Its rostrum is high and straight. It reaches distinctly beyond the antennal peduncle and slightly beyond the scaphocerite. The upper margin possesses eight teeth. The midrib extends over the middle of the rostrum. The carapace shows a sharp antennal spine below the lower orbital angle. The first four abdominal pleura are broadly rounded, the fifth ends in a blunt angle. The sixth somite is 1.5 times longer than the fifth. The telson is elongate and triangular, ending in a narrow rounded posterior margin which bears the usual three pairs of spines. The dorsal surface of the telson bears two pairs of spines, which divide the length of the telson into three parts, the basal of which is slightly the longest, the distal slightly the shortest.

The eyes are well developed, have the cornea wider than the stalk, and an ocellus is fused to the cornea. The lamella is approximately of an equal width in the distal half and does not noticeably narrow near the top.

A strong external spine is present near the base of the scaphocerite. The mandible bears a distinct two-segmented palp. The incisor process ends in three strong teeth. The molar process shows several blunt knobs. The maxillula has both laciniae slender and ending in bristles and spines; the palp is distinctly bifid. All of its maxillipeds have large well developed exopods. The two endites of the first maxilliped are separated by a deep notch.

The first leg reaches with the chela beyond the scaphocerite. The fingers are slender and unarmed, they are approximately as long as the palm. The second legs are equal in shape, sometimes somewhat unequal in size; they reach with the chela or part of the carpus beyond the scaphocerite.

Its palm is slightly swollen. The carpus bears no teeth on the anterior margin. It is slender, and somewhat longer or somewhat shorter than the palm. The fifth leg reaches about half the propodus beyond the scaphocerite.

The eggs are numerous and small, measuring 0.4 millimetres (0.016 in) to 0.7 millimetres (0.028 in) in diameter. The carapace lengths of the animals vary between 6 and 9 millimetres (0.24 and 0.35 in).

Its body is transparent and sprinkled with chromatophores. The carapace shows a short and broad transverse white median band in the middle consisting of irregular bright white chromatophores. A white line or spot is also visible on the eye stalk. The legs are greenish transparent. The chelipeds are greenish with the fingers brownish orange, while the articulations between palm, carpus and merus are brownish. Teeth and spines, including those of the rostrum, carapace, tailfan and scaphocerite, show brownish tips. On the abdomen, distinct red transverse bands are visible. The pleura of the first five abdominal somites also show red chromatophores. The eyestalks are reddish, and some chromatophores are visible on the antennular peduncle. The lower surface of its body is a reddish colour.

## Distribution

*Palaemonella burnsi* has been seen in Cape Kinau and the Kona coast of the island of Hawaii in small anchialine pools. They are not evident during the day.

## InfoBox

| *Palaemonella burnsi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Malacostraca |
| Order: | Decapoda |
| Suborder: | Pleocyemata |
| Infraorder: | Caridea |
| Family: | Palaemonidae |
| Genus: | *Palaemonella* |
| Species: | ***P. burnsi*** |
| Binomial name | |
| ***Palaemonella burnsi***<br>Holthuis, 1973 | |
|


title: Shadow table

abstract: Shadow tables are objects in computer science used to improve the way machines, networks and programs handle information. More specifically, a shadow table is an object that is read and written by a processor and contains data similar to its primary table, which is the table it's "shadowing". Shadow tables usually contain data that is relevant to the operation and maintenance of its primary table, but not within the subset of data required for the primary table to exist. Shadow tables are related to the data type "trails" in data storage systems. Trails are very similar to shadow tables but instead of storing identically formatted information that is different, they store a history of modifications and functions operated on a table.

text:
# Shadow table

**Shadow tables** are objects in computer science used to improve the way machines, networks and programs handle information. More specifically, a shadow table is an object that is read and written by a processor and contains data similar to (in the same format as) its primary table, which is the table it's "shadowing". Shadow tables usually contain data that is relevant to the operation and maintenance of its primary table, but not within the subset of data required for the primary table to exist. Shadow tables are related to the data type "trails" in data storage systems. Trails are very similar to shadow tables but instead of storing identically formatted information that is different (like shadow tables), they store a history of modifications and functions operated on a table.

## History

Shadow tables, as an abstract concept, have been used since the beginning of modern computing. However, widespread usage of the specific phrase "shadow table" began when relational database management systems (RDBMS) became widely used in the 1970s.

The initial usage of relational DBMs for commercial purposes lead to the term "shadow tables" becoming widespread. A relational DBM uses related data fields (columns) to correlate information between tables. For example, two tables, transaction\_user and transaction\_amount, would both contain the column "key", and keys between tables would match, making it easy to find both the user and the amount of a specific transaction if the key is known. This relational technology allowed people to correlate information stored in a primary table and its shadow.

## Applications

Since shadow tables are such an abstract concept, their applications remain in the realm of computer science. Although their usage may not be specifically declared as "shadow table(s)", the concept remains the same. Shadow tables are usually used in order to improve the performance, capacity, and ability of an existing computer/network system. In most applications, shadow tables are usually a carbon copy of their primary tables' structure, but with unique data.

### Theoretical application

Since shadow tables are a specific type of object in computer science, the applications vary greatly, because their application depends on what data is stored in the shadow table and how that data is used. The following is a list of general, abstract applications for shadow tables that span all real-world applications.

* Storage \- The storage of a data entry in a shadow table that would have normally been deleted or modified.
* Encapsulation \- The placement of data within a shadow table in order to separate a set of data from another.
* Modularity \- The placement of data within a shadow table to make modification and handling of the data easier.

### Engineering Applications

When shadow tables are used to solve current problems in today's computer/network systems, usually a combination of more than one of the aforementioned theoretical/abstract applications of shadow tables are used. The following list is a very tiny subset of all real-world applications of shadow tables and is only shown to give an example of common applications of shadow tables.

#### Database management systems

Database management systems (DBMS) are software that handle the maintenance, security, and manipulation of data tables. Well known and widely used examples of DBMS' are SQL Server, MySQL, Oracle and PostgreSQL. Each of these DBMS' create a virtual "environment" in which tables of data are held and can be read and written to via a specific type of programming language known as a query language. Query languages specialize in the simple modification or retrieval of large and specific amounts of data. Most modern DBMS' specifically support SQL (a specific type of query language). Using SQL, one can easily create tables that share the same structure as already existing tables. SQL can also get data written to these new tables, creating a shadow table. Shadow tables are often used with DBMS' to improve efficiency by preventing redundant operations being performed by the DBM. Shadow tables are also easy to implement in most modern DBMS' because they do not affect the original data, so the way the databases and applications accessing them work together is not affected, unless desired.

For example, shadow tables could be used in an efficient backup system that supports large data tables that rarely change.

1. Without shadow tables, one could create a program that simply saves a version of that table every day.
After 50 days, with this backup system, there would be 50 copies of the same table,
2. With shadow tables, one could create an empty "shadow table" of that table and use a program that inserts a copy of a row into the shadow table every time that row gets deleted from the primary table.
After 50 days using the shadow table system in the worst-case scenario, there would be one copy of the primary table, assuming every row in the primary table got deleted.

#### Interfacing

Interfacing is the process of using "layers" to simplify the communications between technologies and between people and technologies. One example of layered interfacing is the buttons and menus used by home computer operating systems. These graphical objects exist as a link to the underlying "buttons" of the operating system. The command console is one level below these graphical objects as it gives you an even closer link to the underlying functions of the operating system.

Shadow tables are often used as layers between the end-user and the database. For example, if a user logs into his/her bank account and requests a history of all his/her past transactions, the database usually stores all transactions for all users in one huge table and distinguishes the parties involved in each transaction in one specific column of that table. At this point the server has two options:

1. The database can send the whole transactions table.
2. The database can send a shadow table that only contains the transactions involving the user that requested his/her transaction history.

The second option is usually more favorable because it saves bandwidth and processing power on the user's end. It also keeps others' transaction data secure.

#### Operating system virtualization

Operating system virtualization is the process of simulating the operation of a computer within another computer. This technique is useful for someone who wants to run more than one type of operating system on his/her PC concurrently. Shadow page tables are often used in simulating more than one operating system on a single set of memory and processor. A page table is used by an operating system to map the virtual memory, the actual memory used by programs and the operating system to store information, to its location on the physical memory, the hardware-specific memory stored in bytes on the RAM (Random Access Memory). A shadow page table is a pseudo-page table within a computer's main page table which allows a system to run more than one kind of operating system concurrently.


title: George X of Kartli

abstract: George X, of the Bagrationi royal dynasty, was a king (mepe) of the eastern Georgian kingdom of Kartli from 1599 until his death.

text:
# George X of Kartli

**George X** (Georgian: გიორგი X, romanized: giorgi X; c. 1561 – 7 September 1606), of the Bagrationi royal dynasty, was a king (*mepe*) of the eastern Georgian kingdom of Kartli from 1599 until his death.

## Life

George was the eldest son of Simon I of Kartli and his wife, Nestan-Darejan of Kakheti. George fought alongside his father against the Ottoman occupation forces since 1598. He held power after Simon was taken captive by the Turks at the Battle of Nakhiduri in 1599. George attempted several times, though vainly, to ransom his father (who would die as a prisoner in 1612) from captivity and even offered to the Sublime Porte his son as hostage. He soon returned to his struggle against the Ottomans and recovered Lorri in 1601. In 1602, when the Safavid shah of Persia Abbas I resumed a war against the Ottomans, George sided with the Persians and led the Georgian auxiliary troops which took part in the conquest of Erivan in 1603/1604. As a reward, Abbas I granted Giorgi X a minor possession in Iran. In exchange, the shah asked for an area in the Debed River valley in the strategic Lorri district. Abbas I populated this territory with members of the Turkmen tribe Borchali. Finally, the Shah permitted Giorgi X to return to Kartli.

He was the first king of Kartli who attempted to establish diplomatic ties with the northern co-religionist power of Muscovy. George decided even to give his daughter Elene to the Czar Boris Godunov in marriage. However, unstable political situation in both countries terminated these contacts.

According to Georgian chronicles, George X died suddenly, from a sting on his tongue, after biting into a cake with a bee in it, at Mejvriskhevi, 1606. There have also been some speculations that the king was poisoned on the orders of the Persian Shah Abbas I. He was buried at Mtskheta.

## Family

George married on 15 September 1578, Mariam (Tamar) (died c. 1614), daughter of Giorgi I Lipartiani, of the Dadiani dynasty. Their children were:

1. Luarsab II (1592-1622, r. 1606-1615), King of Kartli.
2. David (born c. 1595), who disappeared while on a mission to rescue Simon I from the Turkish captivity.
3. Elene (1591-?), affianced to Feodor II of Russia.
4. Khorashan (died 1658), second wife of Teimuraz I of Kakheti.
5. Tinatin (Lela; known as Fatma Sultan Begum and possibly as Gulchara in Iran) was given in marriage in 1604 to Shah Abbas I, who divorced her after the execution of her brother Luarsab II and married her of to Paykar Khān Igīrmī Dūrt, Khan of Barda and governor of Kakheti (1620–1625).

## Sources

* Floor, Willem; Herzig, Edmund, eds. (2012). *Iran and the World in the Safavid Age*. I.B.Tauris. ISBN 978-1850439301.
* Mikaberidze, Alexander (2015). *Historical Dictionary of Georgia* (2 ed.). Rowman & Littlefield. p. 335. ISBN 978-1442241466.

## InfoBox

| George X | |
| --- | --- |
| King of Kartli | |
| Reign | 1599–1606 |
| Predecessor | Simon I of Kartli |
| Successor | Luarsab II of Kartli |
|  | |
| Born | c. 1561 |
| Died | 7 September 1606 |
| Issue | Luarsab II of Kartli
Princess Elene of Kartli
Khorashan of Kartli |
| Dynasty | Bagrationi dynasty |
| Father | Simon I of Kartli |
| Mother | Nestan-Darejan of Kakheti, Queen of Kartli |
| Religion | Georgian Orthodox Church |
| Khelrtva |  |


title: Miholjački Karlovac

abstract: Miholjački Karlovac is a former village in Croatia. It was located west of Krunoslavje and south of Viljevo, and was last recorded as inhabited in the 1971 census.

text:
# Miholjački Karlovac

**Miholjački Karlovac** is a former village in Croatia. It was located west of Krunoslavje and south of Viljevo, and was last recorded as inhabited in the 1971 census.

## InfoBox

| Miholjački Karlovac | |
| --- | --- |
| Village | |
| Miholjački Karlovac | |
| Coordinates: 45°41′N 18°05′E / 45.683°N 18.083°E / 45.683; 18.083 | |
| Country | Croatia |
| Population (2011) | |
| Total | 0 |
| Time zone | UTC+1 (CET) |
| Summer (DST) | UTC+2 (CEST) |


title: Psammathodoxa cochlidioides

abstract: Psammathodoxa cochlidioides is a species of moth in the family Erebidae. It was described by Harrison Gray Dyar Jr. in 1921. It is found from southern Texas to Mexico. The wingspan is about 25 mm. The forewings are creamy brown, shaded darker except along the costa and basally. The wing is crossed by about fourteen light lines, irregularly waved, giving an irrorated appearance. A straight pale line, brown-edged within, runs from the apex to the middle of the inner margin. The hindwings are brown.

text:
# Psammathodoxa cochlidioides

***Psammathodoxa cochlidioides*** is a species of moth in the family Erebidae. It was described by Harrison Gray Dyar Jr. in 1921. It is found from southern Texas to Mexico.

The wingspan is about 25 mm. The forewings are creamy brown, shaded darker except along the costa and basally. The wing is crossed by about fourteen light lines, irregularly waved, giving an irrorated appearance. A straight pale line, brown-edged within, runs from the apex to the middle of the inner margin. The hindwings are brown.

## InfoBox

| *Psammathodoxa cochlidioides* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Lepidoptera |
| Superfamily: | Noctuoidea |
| Family: | Erebidae |
| Genus: | *Psammathodoxa* |
| Species: | ***P. cochlidioides*** |
| Binomial name | |
| ***Psammathodoxa cochlidioides***<br>Dyar, 1921 | |
|
| Synonyms | |
| * *Phyprosopus calligrapha* Hampson, 1926 | |


title: Zillah Byng-Thorne

abstract: Zillah Byng-Thorne is a British businesswoman, and chief executive of Dignity Funerals. She is the former CEO of Future plc, an FTSE 250 British media company, since April 2014. She was described by The Guardian in September 2022 as "one of the UK’s most successful media executives."

text:
# Zillah Byng-Thorne

**Zillah Byng-Thorne** (née Byng-Maddick, born November 1974) is a British businesswoman, and chief executive of Dignity Funerals. She is the former CEO of Future plc, an FTSE 250 British media company, since April 2014. She was described by *The Guardian* in September 2022 as "one of the UK’s most successful media executives."

## Early life

She was born in Cumbernauld in 1974, grew up near Glasgow, and earned a MA in management from University of Glasgow and a MSc in behavioural change from Henley Business School. She is a chartered management accountant and qualified treasurer.

## Career

Byng-Thorne qualified as an accountant with Nestlé UK. She later had senior finance roles with GE Capital and HMV, before becoming CFO of Threshers, then finance director of Fitness First.

She was previously CFO of Auto Trader Group.

Byng-Thorne joined Future in November 2013 as a part-time chief financial officer (CFO), and became CEO in April 2014. In 2021, she earned £8.8 million as chief executive, which included a salary of £575,000, a bonus of £1.15 million and £7.03 million through a performance share plan.

She is a non-executive director of Mecom and Betfair. She was the senior independent non-executive director of online retailer THG until stepping down in September 2022, at the same time as she was appointed as deputy chairman of online reviews site Trustpilot.

Zillah Byng-Thorne became CEO of the Dignity Funerals Group in June 2024.

## Personal life

She is married to Max Thorne. She has three sons and two stepsons.

## InfoBox

| Zillah Byng-Thorne | |
| --- | --- |
| Born | Zillah Byng-Maddick
1974 (age 4950)
Cumbernauld, Scotland |
| Education | University of Glasgow
Henley Business School |
| Board member of | Betfair, Future plc, Mecom, Trustpilot |
| Spouse | Max Thorne |
| Children | 5 |


title: Virginia House

abstract: Virginia House is a manor house on a hillside overlooking the James River in the Windsor Farms neighborhood of Richmond, Virginia, United States. The house was constructed from the materials of the 16th-century Priory House, Warwick in Warwickshire, England, and shipped over and reassembled, completed several months before the stock market crash of 1929. Virginia House is in the Tudor architectural style but incorporates a range of designs from other English houses and has modern facilities such as ten baths and central heating. Virginia House was built by Alexander and Virginia Weddell, salvaging many materials from the Priory and other old English manor houses and adding further elegant English and Spanish antiques, oriental carpets, silks, and silver. Today Virginia House is operated by the Virginia Historical Society as a house museum, although it largely remains as it was in the 1940s during the Weddells’ tenancy. Immediately to the west of the property is Agecroft Hall.

text:
# Virginia House

**Virginia House** is a manor house on a hillside overlooking the James River in the Windsor Farms neighborhood of Richmond, Virginia, United States.

The house was constructed from the materials of the 16th-century Priory House, Warwick in Warwickshire, England, and shipped over and reassembled, completed several months before the stock market crash of 1929. Virginia House is in the Tudor architectural style but incorporates a range of designs from other English houses and has modern facilities such as ten baths and central heating.

Virginia House was built by Alexander and Virginia Weddell, salvaging many materials from the Priory and other old English manor houses and adding further elegant English and Spanish antiques, oriental carpets, silks, and silver. Today Virginia House is operated by the Virginia Historical Society as a house museum, although it largely remains as it was in the 1940s during the Weddells’ tenancy. Immediately to the west of the property is Agecroft Hall.

## History

The façade of Virginia House was originally located on the grounds of the former Augustinian Priory of the Holy Sepulcher of Jerusalem (Warwick Priory) in Warwick, England, founded in 1109. In 1536, at the Dissolution of the Monasteries, the priory was shut down and the land later bought by a politician named Thomas Hawkins alias Fisher, during the reign of Edward VI. Fisher demolished most of the monastic buildings and erected the house which he named "Hawk's Nest," set among gardens. He entertained Elizabeth I at the house. The property was bought in 1709 by Henry Wise, Royal Gardener to Queen Anne. In the mid-nineteenth century, it was purchased by the Lloyds Bank family who put the manor up for sale at auction in 1925.

Alexander W. Weddell, a wealthy American diplomat and his wife Virginia Chase Steedman, however, offered a lump sum of £3,500 for the entire remaining structure and secured a deal before the auction was held. The purchase by the Americans caused an outrage in the British press and the Weddells were heavily criticized given that the heritage property was to be demolished. The objection to the purchase was also backed by a Member of Parliament (MP) who proposed that the sale be invalidated in order to prevent this "act of vandalism". However, the motion was rejected and as it gradually became apparent what the Weddels intentions were, on April 13, 1926, another MP, Frank Rye, sent a letter to Alexander Weddell saying, "Had you not stepped in and bought the materials of the partially demolished structure, they would have been lost for all time, whereas now they will be utilised in the erection of a new building."

The Tudor mansion was dismantled but, concerned that the stone would swiftly disintegrate during the demolition phase, Weddell's advisers ordered that a small explosive device be triggered in the centre of the house and the undamaged stones salvaged. However, the explosion had the effect of splitting the walls intact meaning that much of the building could be salvaged and shipped to the United States. The first shipments arrived in Richmond, Virginia in early 1926, but they were soaked in seawater and had to be dried in a barn for up to six months. From the very beginning, the Weddells planned on deeding the house to the Virginia Historical Society and allocating the west wing of the structure as a museum once it was rebuilt in Virginia. The Weddells also intended the structure to become the society's new headquarters.

Virginia House was constructed in the Windsor Farms neighborhood of Richmond by the General Contracting firm of Allen J. Saville, Inc., although several different architects were employed during the rebuilding. Foundation work began on November 6, 1925, and the structure was officially turned over to the Weddells on January 1, 1929. The total cost of the construction was $236,968.83, with an additional $15,000 spent on buying the lot, a considerable sum for that time.

The Weddells lived at Virginia House until they both died in a train accident in 1948. After their deaths the house became the permanent residence of the historical society. On June 13, 1990, Virginia House was listed on the National Register of Historic Places, due to it being considered "a noteworthy representative of a peculiar residential building type prevalent in the late 19th and early 20th century period of American architecture." During this time  known as the Country Place Era  many wealthy American families built extensive country estates emulating those they had seen while traveling in Europe.

## Structure

### Exterior

Although many stones and materials were salvaged and used to rebuild the Hawkins priory in Virginia, the reconstructed house incorporated other designs and influences. Following the acquisition of the Warwickshire property, the Weddells hired chief architect Henry Grant Morse and scouted the English countryside, surveying properties and considering various designs they could incorporate into the rebuilding process. As a result, the reconstruction is not a replica of the original building. The west wing of the house is actually a replica of Sulgrave Manor, a small manor house in Northamptonshire, England, which once belonged to Lawrence Washington, an ancestor of America's first president, George Washington. However, the center of the house is a reproduction of the original Warwickshire priory and uses the curvilinear gables, strapwork design, and balustrades that the English commonly adapted from the Low Countries in the early seventeenth century. The east wing of the house, however, is based on Wormleighton Manor, a Spencer-Churchill family estate in England.

### Interior

The interior to Virginia House is elegant with oak furnishings and an assortment of English and Spanish antiques, oriental carpets, silks, and silverware. The first floor consists mainly of large, elaborate rooms, intended for social meetings and to house the functions and exhibits of the Virginia Historical Society. The second floor was mainly designed to be used as the private living quarters of the Weddells and their staff and featured a large library, which now functions as the boardroom and research facility of the Virginia Historical Society.

The rear hall again uses old oak high paneling and has small six by nine-inch oil portraits of Renaissance figures. Freestanding Corinthian columns in the hallway form an ornamental gateway and stained glass doors at the end enter the rear porch arcade. The dining room was furnished with oak bought later from Redbourn Manor in Hertfordshire and has an imposing Portland stone fireplace positioned midway in the room. The floor is made of old re-sawn pegged oak and the Tudor rose ceiling motif is repeated. In the southeast wing of the house is the Sulgrave Room, a reproduction of the great hall from the Washington family's Sulgrave Manor. The fireplace mantel is made of an oak beam, once used at the original priory. Heavy oak timbers were used to construct the open beam ceiling in this room, which also features mottled plaster walls.

The grand second-floor library room is also of major note, with a high cathedralesque ceiling and a grand conference table previously used for board meetings by the Virginia Historical Society. As with the Sulgrave Room, the mantelpiece is made from the Hawkins manor oak and is notably carved with an Old English inscription that reads, "O ye fyre and heate bless ye the Lord." Behind the library paneling is a secret hidden passage, added at Alexander Weddell's request, leading to his private study. The rest of the second floor consists of living quarters and bathrooms, including many rooms of staff of the Virginia Historical Society and Virginia Weddell's bedroom, bath, and study.

## Gardens

Virginia House is set in carefully planned landscape gardens, which contain a diversity of plants and plantings. Virginia Weddell hired the noted landscape architect Charles Gillette in 1927, and over some twenty years he built more than 8 acres (32,000 m2) of scenic gardens containing close to 1,000 types of ornamental plants—from formal spring displays to wisteria, roses, and sprawling hydrangeas that drape balconies and garden rails. The first phase of the plan was to create an informal Garden Week tours are held in Virginia House gardens in the spring, attracting thousands of visitors annually.

## InfoBox

|  | |
| --- | --- |
| Virginia House | |
| U.S. National Register of Historic Places | |
| Virginia Landmarks Register | |
| Richmond City Historic District | |
|  | |
| Facade of Virginia House | |
|  | |
|  | |
| Location | 4301 Sulgrave Rd., Richmond, Virginia |
| Coordinates | 37°33′13″N 77°30′11″W / 37.5535356°N 77.5031028°W / 37.5535356; -77.5031028 |
| Area | 8.8 acres (3.6 ha) |
| Built | 1925 |
| Architect | Henry G. Morse (re-creation)
Charles Gillette (landscape)
William Lawrence Bottomley (1946 addition) |
| Architectural style | Classical Revival, Tudor Revival, Flemish |
| NRHP reference No. | 89001933 |
| VLR No. | 127-0255 |
| Significant dates | |
| Added to NRHP | June 13, 1990 |
| Designated VLR | June 20, 1989 |


title: Night (memoir)

abstract: Night is a 1960 memoir by Elie Wiesel based on his Holocaust experiences with his father in the Nazi German concentration camps at Auschwitz and Buchenwald in 1944–1945, toward the end of the Second World War in Europe. In just over 100 pages of sparse and fragmented narrative, Wiesel writes about his loss of faith and increasing disgust with humanity, recounting his experiences from the Nazi-established ghettos in his hometown of Sighet, Romania, to his migration through multiple concentration camps. The typical parent–child relationship is inverted as his father dwindled in the camps to a helpless state while Wiesel himself became his teenaged caregiver. His father died in January 1945, taken to the crematory after deteriorating from dysentery and a beating while Wiesel lay silently on the bunk above him for fear of being beaten too. The memoir ends shortly after the United States Army liberated Buchenwald in April 1945. After the war, Wiesel moved to Paris and in 1954 completed an 862-page manuscript in Yiddish about his experiences, published in Argentina as the 245-page Un di velt hot geshvign. The novelist François Mauriac helped him find a French publisher. Les Éditions de Minuit published 178 pages as La Nuit in 1958, and in 1960 Hill & Wang in New York published a 116-page translation as Night. Translated into 30 languages, the book ranks as one of the cornerstones of Holocaust literature. It remains unclear how much of Night is memoir. Wiesel called it his deposition, but scholars have had difficulty approaching it as an unvarnished account. The literary critic Ruth Franklin writes that the pruning of the text from Yiddish to French transformed an angry historical account into a work of art. Night is the first in a trilogy—Night, Dawn, Day—marking Wiesel's transition during and after the Holocaust from darkness to light, according to the Jewish tradition of beginning a new day at nightfall. "In Night," he said, "I wanted to show the end, the finality of the event. Everything came to an end—man, history, literature, religion, God. There was nothing left. And yet we begin again with night."

text:
# Night (memoir)

***Night*** is a 1960 memoir by Elie Wiesel based on his Holocaust experiences with his father in the Nazi German concentration camps at Auschwitz and Buchenwald in 1944–1945, toward the end of the Second World War in Europe. In just over 100 pages of sparse and fragmented narrative, Wiesel writes about his loss of faith and increasing disgust with humanity, recounting his experiences from the Nazi-established ghettos in his hometown of Sighet, Romania, to his migration through multiple concentration camps. The typical parent–child relationship is inverted as his father dwindled in the camps to a helpless state while Wiesel himself became his teenaged caregiver. His father died in January 1945, taken to the crematory after deteriorating from dysentery and a beating while Wiesel lay silently on the bunk above him for fear of being beaten too. The memoir ends shortly after the United States Army liberated Buchenwald in April 1945.

After the war, Wiesel moved to Paris and in 1954 completed an 862-page manuscript in Yiddish about his experiences, published in Argentina as the 245-page *Un di velt hot geshvign* ("And the World Remained Silent"). The novelist François Mauriac helped him find a French publisher. Les Éditions de Minuit published 178 pages as *La Nuit* in 1958, and in 1960 Hill & Wang in New York published a 116-page translation as *Night*.

Translated into 30 languages, the book ranks as one of the cornerstones of Holocaust literature. It remains unclear how much of *Night* is memoir. Wiesel called it his deposition, but scholars have had difficulty approaching it as an unvarnished account. The literary critic Ruth Franklin writes that the pruning of the text from Yiddish to French transformed an angry historical account into a work of art.

*Night* is the first in a trilogy—*Night*, *Dawn*, *Day*—marking Wiesel's transition during and after the Holocaust from darkness to light, according to the Jewish tradition of beginning a new day at nightfall. "In *Night*," he said, "I wanted to show the end, the finality of the event. Everything came to an end—man, history, literature, religion, God. There was nothing left. And yet we begin again with night."

## Background

Elie Wiesel was born on 30 September 1928 in Sighet, a town in the Carpathian mountains of northern Transylvania (now Romania), to Chlomo Wiesel, a shopkeeper, and his wife, Sarah (née Feig). The family lived in a community of 10,000–20,000 mostly Orthodox Jews. Northern Transylvania had been annexed by Hungary in 1940, and restrictions on Jews were already in place, but the period Wiesel discusses at the beginning of the book, 1941–1943, was a relatively calm one for the Jewish population.

That changed at midnight on Saturday, 18 March 1944, with the invasion of Hungary by Nazi Germany, and the arrival in Budapest of SS-Obersturmbannführer Adolf Eichmann to oversee the deportation of the country's Jews to the Auschwitz concentration camp in German-occupied Poland. From 5 April, Jews over the age of six had to wear a 10 x 10 cm (3.8 x 3.8 in) yellow badge on the upper-left side of their coats or jackets. Jews had to declare the value of their property, and were forbidden from moving home, travelling, owning cars or radios, listening to foreign radio stations, or using the telephone. Jewish authors could no longer be published, their books were removed from libraries, and Jewish civil servants, journalists and lawyers were sacked.

As the Allies prepared for the liberation of Europe, the mass deportations began at a rate of four trains a day from Hungary to Auschwitz, each train carrying around 3,000 people. Between 15 May and 8 July 1944, 437,402 Hungarian Jews are recorded as having been sent there on 147 trains, most gassed on arrival. The transports comprised most of the Jewish population outside Budapest, the Hungarian capital.

Between 16 May and 27 June, 131,641 Jews were deported from northern Transylvania. Wiesel, his parents and sisters—older sisters Hilda and Beatrice and seven-year-old Tzipora—were among them. On arrival Jews were "selected" for the death or forced labour; to be sent to the left meant work, to the right, the gas chamber. Sarah and Tzipora were sent to the gas chamber. Hilda and Beatrice survived, separated from the rest of the family. Wiesel and Chlomo managed to stay together, surviving forced labour and a death march to another concentration camp, Buchenwald, near Weimar. Chlomo died there in January 1945, three months before the 6th Armored Division of the United States Army arrived to liberate the camp.

## Synopsis

### Moshe the Beadle

*Night* opens in Sighet in 1941. The book's narrator is Eliezer, an Orthodox Jewish teenager who studies the Talmud by day, and by night "weep\[s\] over the destruction of the Temple". To the disapproval of his father, Eliezer spends time discussing the Kabbalah with Moshe the Beadle, caretaker of the Hasidic shtiebel (house of prayer).

In June 1941 the Hungarian government expelled Jews unable to prove their citizenship. Moshe is crammed onto a cattle train and taken to Poland. He manages to escape, saved by God, he believes, so that he might save the Jews of Sighet. He returns to the village to tell what he calls the "story of his own death", running from one house to the next: "*Jews, listen to me! It's all I ask of you. No money. No pity. Just listen to me!*"

When the train crossed into Poland, he tells them, it was taken over by the Gestapo, the German secret police. The Jews were transferred to trucks, then driven to a forest in Galicia, near Kolomay, where they were forced to dig pits. When they had finished, each prisoner had to approach the hole, present his neck, and was shot. Babies were thrown into the air and used as targets by machine gunners. He tells them about Malka, the young girl who took three days to die, and Tobias, the tailor who begged to be killed before his sons; and how he, Moshe, was shot in the leg and taken for dead. But the Jews of Sighet would not listen, making Moshe *Night's* first unheeded witness.

### Sighet ghettos

The Germans arrived in Sighet around 21 March 1944, and shortly after Passover (8–14 April that year) arrested the community leaders. Jews had to hand over their valuables, were not allowed to visit restaurants or leave home after six in the evening, and had to wear the yellow star at all times. Eliezer's father makes light of it:

> *The yellow star? Oh well, what of it? You don't die of it ...*
>
> (Poor Father! Of what then did you die?)

The SS transfer the Jews to one of two ghettos, each with its own council or *Judenrat*, which appoints Jewish police; there is also an office for social assistance, a labor committee, and a hygiene department. Eliezer's house, on a corner of Serpent Street, is in the larger ghetto in the town centre, so his family can stay in their home, although the windows on the non-ghetto side have to be boarded up. He is happy at first: "We should no longer have before our eyes those hostile faces, those hate-laden stares. ... The general opinion was that we were going to remain in the ghetto until the end of the war, until the arrival of the Red Army. Then everything would be as before. It was neither German nor Jew who ruled the ghetto—it was illusion."

In May 1944 the *Judenrat* is told the ghettos will be closed with immediate effect and the residents deported. Eliezer's family is moved at first to the smaller ghetto, but they are not told their final destination, only that they may each take a few personal belongings. The Hungarian police, wielding truncheons and rifle butts, march Eliezer's neighbours through the streets. "It was from that moment that I began to hate them, and my hate is still the only link between us today."

> Here came the Rabbi, his back bent, his face shaved ... His mere presence among the deportees added a touch of unreality to the scene. It was like a page torn from some story book ... One by one they passed in front of me, teachers, friends, others, all those I had been afraid of, all those I once could have laughed at, all those I had lived with over the years. They went by, fallen, dragging their packs, dragging their lives, deserting their homes, the years of their childhood, cringing like beaten dogs.

### Auschwitz

Eliezer and his family are among the 80 people crammed into a closed cattle wagon. On the third night one woman, Madame Schächter—*Night's* second unheeded witness—starts screaming that she can see flames, until the others beat her. Men and women are separated on arrival at Auschwitz II-Birkenau, the extermination camp within the Auschwitz complex. Eliezer and his father are "selected" to go to the left, which meant forced labour; his mother, Hilda, Beatrice and Tzipora to the right, the gas chamber. (Hilda and Beatrice managed to survive.)

> *Men to the left! Women to the right!*
>
> Eight words spoken quietly, indifferently, without emotion. Eight short, simple words. ... For a part of a second I glimpsed my mother and my sisters moving away to the right. Tzipora held Mother's hand. I saw them disappear into the distance; my mother was stroking my sister's fair hair ...and I did not know that in that place, at that moment, I was parting from my mother and Tzipora forever.

The remainder of *Night* describes Eliezer's efforts not to be parted from his father, not even to lose sight of him; his grief and shame at witnessing his father's decline into helplessness; and as their relationship changes and the young man becomes the older man's caregiver, his resentment and guilt, because his father's existence threatens his own. The stronger Eliezer's need to survive, the weaker the bonds that tie him to other people.

His loss of faith in human relationships is mirrored in his loss of faith in God. During the first night, as he and his father wait in line, he watches a lorry deliver its load of children's bodies into the fire. While his father recites the Kaddish, the Jewish prayer for the dead—Wiesel writes that in the long history of the Jews, he does not know whether people have ever recited the prayer for the dead for themselves—Eliezer considers throwing himself against the electric fence. At that moment he and his father are ordered to go to their barracks. But Eliezer is already destroyed. "\[T\]he student of the Talmud, the child that I was, had been consumed in the flames. There remained only a shape that looked like me." There follows a passage that Ellen Fine writes contains the main themes of *Night*—the death of God and innocence, and the *défaite du moi* (dissolution of self), a recurring motif in Holocaust literature:

> Never shall I forget that night, the first night in camp, which has turned my life into one long night, seven times cursed and seven times sealed. Never shall I forget that smoke. Never shall I forget the little faces of the children, whose bodies I saw turned into wreaths of smoke beneath a silent blue sky.
>
> Never shall I forget those flames which consumed my faith forever.
>
> Never shall I forget that nocturnal silence which deprived me, for all eternity, of the desire to live. Never shall I forget those moments which murdered my God and my soul and turned my dreams to dust. Never shall I forget these things, even if I am condemned to live as long as God Himself. Never.

With the loss of self goes Eliezer's sense of time: "I glanced at my father. How he had changed! ... So much had happened within such a few hours that I had lost all sense of time. When had we left our houses? And the ghetto? And the train? Was it only a week? One night  *one single night*?"

### Buna

In or around August 1944 Eliezer and his father are transferred from Birkenau to the work camp at Monowitz (known as Buna or Auschwitz III), their lives reduced to the avoidance of violence and the search for food. Their only joy is when the Americans bomb the camp. God is not lost to Eliezer entirely. During the hanging of a child, which the camp is forced to watch, he hears someone ask: *Where is God? Where is he?* Not heavy enough for the weight of his body to break his neck, the boy dies slowly. Wiesel files past him, sees his tongue still pink and his eyes clear.

> Behind me, I heard the same man asking: *Where is God now?*
>
> And I heard a voice within me answer him:  *... Here He is—He is hanging here on this gallows.*

Fine writes that this is the central event in *Night*, a religious sacrifice—the binding of Isaac and crucifixion of Jesus—described by Alfred Kazin as the literal death of God. Afterwards the inmates celebrate Rosh Hashanah, the Jewish new year, but Eliezer cannot take part: "Blessed be God's name? Why, but why would I bless Him? Every fiber in me rebelled ... How could I say to Him: Blessed be Thou, Almighty, Master of the Universe, who chose us among all nations to be tortured day and night, to watch as our fathers, our mothers, our brothers end up in the furnaces? ... But now, I no longer pleaded for anything. I was no longer able to lament. On the contrary, I felt very strong. I was the accuser, God the accused."

### Death march

In January 1945, with the Soviet army approaching, the Germans decide to flee, taking 60,000 inmates on a death march to concentration camps in Germany. Eliezer and his father are marched to Gleiwitz to be put on a freight train to Buchenwald, a camp near Weimar, Germany, 350 miles (563 km) from Auschwitz.

> Pitch darkness. Every now and then, an explosion in the night. They had orders to fire on any who could not keep up. Their fingers on the triggers, they did not deprive themselves of this pleasure. If one of us had stopped for a second, a sharp shot finished off another filthy son of a bitch.
>
> Near me, men were collapsing in the dirty snow. Shots.

Resting in a shed after marching over 40 miles (64 km), Rabbi Eliahou asks if anyone has seen his son. They had stuck together for three years, "always near each other, for suffering, for blows, for the ration of bread, for prayer", but the rabbi had lost sight of him in the crowd and was now scratching through the snow looking for his son's corpse. "*I hadn't any strength left for running. And my son didn't notice. That's all I know*." Eliezer does not tell the man that his son had indeed noticed his father limping, and had run faster, letting the distance between them grow: "And, in spite of myself, a prayer rose in my heart, to that God in whom I no longer believed. My God, Lord of the Universe, give me strength never to do what Rabbi Eliahou's son has done."

The inmates spend two days and nights in Gleiwitz locked inside cramped barracks without food, water or heat, sleeping on top of one another, so that each morning the living wake with the dead underneath them. There is more marching to the train station and onto a cattle wagon with no roof. They travel for ten days and nights, with only the snow falling on them for water. Of the 100 in Eliezer's wagon, 12 survive the journey. The living make space by throwing the dead onto the tracks:

> I woke from my apathy just at the moment when two men came up to my father. I threw myself on top of his body. He was cold. I slapped him. I rubbed his hand, crying:
>
> *Father! Father! Wake up. They're trying to throw you out of the carriage ...*
>
> His body remained inert ...
>
> I set to work to slap him as hard as I could. After a moment, my father's eyelids moved slightly over his glazed eyes. He was breathing weakly.
>
> *You see*, I cried.
>
> The two men moved away.

### Buchenwald, liberation

The Germans are waiting with megaphones and orders to head for a hot bath. Wiesel is desperate for the heat of the water, but his father sinks into the snow. "I could have wept with rage ... I showed him the corpses all around him; they too had wanted to rest here ... I yelled against the wind ... I felt I was not arguing with him, but with death itself, with the death he had already chosen." An alert sounds, the camp lights go out, and Eliezer, exhausted, follows the crowd to the barracks, leaving his father behind. He wakes at dawn on a wooden bunk, remembering that he has a father, and goes in search of him.

> But at that same moment this thought came into my mind. *Don't let me find him! If only I could get rid of this dead weight, so that I could use all my strength to struggle for my own survival, and only worry about myself.* Immediately I felt ashamed of myself, ashamed forever.

His father is in another block, sick with dysentery. The other men in his bunk, a Frenchman and a Pole, attack him because he can no longer go outside to relieve himself. Eliezer is unable to protect him. "Another wound to the heart, another hate, another reason for living lost." Begging for water one night from his bunk, where he has lain for a week, Chlomo is beaten on the head with a truncheon by an SS officer for making too much noise. Eliezer lies in the bunk above and does nothing for fear of being beaten too. He hears his father make a rattling noise, "Eliezer". In the morning, 29 January 1945, he finds another man in his father's place. The Kapos had come before dawn and taken Chlomo to the crematorium.

> His last word was my name. A summons, to which I did not respond.
>
> I did not weep, and it pained me that I could not weep. But I had no more tears. And, in the depths of my being, in the recesses of my weakened conscience, could I have searched for it, I might perhaps have found something like  free at last!

Chlomo missed his freedom by three months. The Soviets had liberated Auschwitz 11 days earlier, and the Americans were making their way towards Buchenwald. Eliezer is transferred to the children's block where he stays with 600 others, dreaming of soup. On 5 April 1945 the inmates are told the camp is to be liquidated and they are to be moved—another death march. On 11 April, with 20,000 inmates still inside, a resistance movement inside the camp attacks the remaining SS officers and takes control. At six o'clock that evening, an American tank arrives at the gates, and behind it the Sixth Armored Division of the United States Third Army. Wiesel looks at himself in a mirror for the first time since the ghetto and sees only a corpse.

## Writing and publishing

### Move to France

Wiesel wanted to move to Palestine after his release, but because of British immigration restrictions was sent instead by the *Oeuvre au Secours aux Enfants* (Children's Rescue Service) to Belgium, then Normandy. In Normandy he learned that his two older sisters, Hilda and Beatrice, had survived. From 1947 to 1950 he studied the Talmud, philosophy and literature at the Sorbonne, where he was influenced by the existentialists, attending lectures by Jean-Paul Sartre and Martin Buber. He also taught Hebrew, and worked as a translator for the Yiddish weekly *Zion in Kamf*. In 1948, when he was 19, he was sent to Israel as a war correspondent by the French newspaper *L'arche*, and after the Sorbonne became chief foreign correspondent of the Tel Aviv newspaper *Yedioth Ahronoth*.

### 1954: *Un di Velt Hot Geshvign*

Wiesel wrote in 1979 that he kept his story to himself for ten years. In 1954 he wanted to interview the French prime minister, Pierre Mendès-France, and approached the novelist François Mauriac, a friend of Mendès-France, for an introduction. Wiesel wrote that Mauriac kept mentioning Jesus: "Whatever I would ask – Jesus. Finally, I said, 'What about Mendès-France?' He said that Mendès-France, like Jesus, was suffering ..."

> When he said Jesus again I couldn't take it, and for the only time in my life I was discourteous, which I regret to this day. I said, "Mr. Mauriac", we called him Maître, "ten years or so ago, I have seen children, hundreds of Jewish children, who suffered more than Jesus did on his cross and we do not speak about it." I felt all of a sudden so embarrassed. I closed my notebook and went to the elevator. He ran after me. He pulled me back; he sat down in his chair, and I in mine, and he began weeping. ... And then, at the end, without saying anything, he simply said, "You know, maybe you should talk about it."

Wiesel started writing on board a ship to Brazil, where he had been assigned to cover Christian missionaries within Jewish communities, and by the end of the journey had completed an 862-page manuscript. He was introduced on the ship to Yehudit Moretzka, a Yiddish singer travelling with Mark Turkov, a publisher of Yiddish texts. Turkov asked if he could read Wiesel's manuscript. It is unclear who edited the text for publication. Wiesel wrote in *All Rivers Run to the Sea* (1995) that he handed Turkov his only copy and that it was never returned, but also that he (Wiesel) "cut down the original manuscript from 862 pages to the 245 of the published Yiddish edition."

Turkov's *Tzentral Varband für Polishe Yidn in Argentina* (Central Union of Polish Jews in Argentina) published the book in 1956 in Buenos Aires as the 245-page *Un di velt hot geshvign* (און די וועלט האָט געשוויגן; "And the World Remained Silent"). It was the 117th book in a 176-volume series of Yiddish memoirs of Poland and the war, *Dos poylishe yidntum* (*Polish Jewry*, 1946–1966). Ruth Wisse writes that *Un di Velt Hot Geshvign* stood out from the rest of the series, which survivors wrote as memorials to their dead, as a "highly selective and isolating literary narrative".

### Unpublished Hebrew manuscript

In the late 1950s, Wiesel wrote a manuscript that he intended to turn into a special, expanded Hebrew-language version of *Night*. However, before completion, Wiesel places the unfinished text in his archive, later discovered in 2016 by Wiesel's friend, Yoel Rappel, a historian and curator of his archive at Boston University.

The archived version included harsh criticisms of Jews who were too optimistic about the future, Jewish leaders who did not speak up, and Wiesel's Hungarian neighbors who "joyously watched the Jews" being deported. These were not included in the English-language version later published in 1960.

According to Rappel, this version of *Night* was intended for an Israeli audience, including survivors from Auschwitz and Buchenwald living in Israel.

### 1958: *La Nuit*

Wiesel translated *Un di Velt Hot Geshvign* into French and in 1955 sent it to Mauriac. Even with Mauriac's help they had difficulty finding a publisher; Wiesel said they found it too morbid. Jérôme Lindon of Les Éditions de Minuit, Samuel Beckett's publisher, agreed to handle it. Lindon edited the text down to 178 pages. Published as *La Nuit*, a title chosen by Lindon, it had a preface by Mauriac and was dedicated to Chlomo, Sarah and Tzipora.

### 1960: *Night*

Wiesel's New York agent, Georges Borchardt, encountered the same difficulty finding a publisher in the United States. In 1960 Arthur Wang of Hill & Wang in New York—who Wiesel writes "believed in literature as others believe in God"—paid a $100 pro-forma advance and published that year a 116-page English translation by Stella Rodway as *Night*. The first 18 months saw 1,046 copies sell at $3 each, and it took three years to sell the first print run of 3,000 copies, but the book attracted interest from reviewers, leading to television interviews and meetings with literary figures like Saul Bellow.

By 1997 *Night* was selling 300,000 copies a year in the United States. By 2011 it had sold six million copies in that country, and was available in 30 languages. Sales increased in January 2006 when it was chosen for Oprah's Book Club. Republished with a new translation by Marion Wiesel, Wiesel's wife, and a new preface by Wiesel, it sat at no. 1 in *The New York Times* bestseller list for paperback non-fiction for 18 months from 13 February 2006, until the newspaper removed it when a significant portion of sales were ascribed to educational usage rather than retail sales. It became the club's third bestseller to date, with over two million sales of the Book Club edition by May 2011.

## Reception

Reviewers have had difficulty reading *Night* as an eyewitness account. According to literary scholar Gary Weissman, it has been categorized as a "novel/autobiography", "autobiographical novel", "non-fictional novel", "semi-fictional memoir", "fictional-autobiographical novel", "fictionalized autobiographical memoir", and "memoir-novel". Ellen Fine described it as *témoignage* (testimony). Wiesel called it his deposition.

Literary critic Ruth Franklin writes that *Night*'s impact stems from its minimalist construction. The 1954 Yiddish manuscript, at 862 pages, was a long and angry historical work. In preparing the Yiddish and then the French editions, Wiesel's editors pruned mercilessly. Franklin argues that the power of the narrative was achieved at the cost of literal truth, and that to insist that the work is purely factual is to ignore its literary sophistication. Holocaust scholar Lawrence Langer argues similarly that Wiesel evokes, rather than describes: "Wiesel's account is ballasted with the freight of fiction: scenic organization, characterization through dialogue, periodic climaxes, elimination of superfluous or repetitive episodes, and especially an ability to arouse the empathy of his readers, which is an elusive ideal of the writer bound by fidelity to fact."

Franklin writes that *Night* is the account of the 15-year-old Eliezer, a "semi-fictional construct", told by the 25-year-old Elie Wiesel. This allows the 15-year-old to tell his story from "the post-Holocaust vantage point" of *Night's* readers. In a comparative analysis of the Yiddish and French texts, Naomi Seidman, professor of Jewish culture, concludes that there are two survivors in Wiesel's writing, a Yiddish and French. In re-writing rather than simply translating *Un di Velt Hot Geshvign*, Wiesel replaced an angry survivor who regards "testimony as a refutation of what the Nazis did to the Jews," with one "haunted by death, whose primary complaint is directed against God ..." *Night* transformed the Holocaust into a religious event.

Seidman argues that the Yiddish version was for Jewish readers, who wanted to hear about revenge, but the anger was removed for the largely Christian readership of the French translation. In the Yiddish edition, for example, when Buchenwald was liberated: "Early the next day Jewish boys ran off to Weimar to steal clothing and potatoes. And to rape German *shiksas* \[*un tsu fargvaldikn daytshe shikses*\]. The historical commandment of revenge was not fulfilled." In the 1958 French and 1960 English editions, this became: "On the following morning, some of the young men went to Weimar to get some potatoes and clothes—and to sleep with girls \[*coucher avec des filles*\]. But of revenge, not a sign."

Oprah Winfrey's promotion of *Night* came at a difficult time for the genre of memoir, Franklin writes, after a previous book-club author, James Frey, was found to have fabricated parts of his autobiography, *A Million Little Pieces* (2003). She argues that Winfrey's choice of *Night* may have been intended to restore the book club's credibility.

Wiesel wrote in 1967 about a visit to a rebbe (a Hasidic rabbi) who he had not seen for 20 years. The rebbe is upset to learn that Wiesel has become a writer, and wants to know what he writes. "Stories," Wiesel tells him, " ... true stories":

> *About people you knew?* "Yes, about people I might have known." *About things that happened?* "Yes, about things that happened or could have happened." *But they did not?* "No, not all of them did. In fact, some were invented from almost the beginning to almost the end." The Rebbe leaned forward as if to measure me up and said with more sorrow than anger: *That means you are writing lies!* I did not answer immediately. The scolded child within me had nothing to say in his defense. Yet, I had to justify myself: "Things are not that simple, Rebbe. Some events do take place but are not true; others are—although they never occurred."

## Sources

### Explanatory notes

### Citations

1. For 178 pages: Wiesel 2010, 319; Wieviorka 2006, 34.
2. In *Night*: "If only I could get rid of this dead weight ... Immediately I felt ashamed of myself, ashamed forever." In the memoir, everything is inverted, every value destroyed. "Here there are no fathers, no brothers, no friends", a kapo tells him. "Everyone lives and dies for himself alone."(Night 1982, 101, 105; Fine 1982, 7).
3. Wiesel 2010, 319; Franklin 2011, 73.
4. Franklin 2011, 69.
5. Franklin, Ruth (23 March 2006). "A Thousand Darknesses". *The New Republic*.
6. "Elie Wiesel Interview". Academy of Achievement. 29 June 1996. p. 3. Archived from the original on 28 March 2010.
7. Sternlicht 2003, 29; for the quote, Fine 1982, 29, citing Morton A. Reichek (Spring 1976). "Elie Wiesel: Out of the Night". *Present Tense*, 46.
8. Fine 1982, 13.
9. Braham 2000, 102.
10. Braham 2000, 101.
11. Braham 2000, 135.
12. Braham 2016, 774–775, citing Edmund Veesenmayer, Reich plenipotentiary in Hungary; Berenbaum 2002, 9.
13. Berenbaum 2002, 9.
14. "Transylvania". Yad Vashem.
15. "The Auschwitz Album". Yad Vashem. Archived from the original on 17 July 2018.
16. Fine 1982, 5.
17. *Night* 1982, 17
18. Sternlicht 2003, 30; Fine 1982, 13.
19. *Night* 1982, 9.
20. *Night* 1982, 9–10.
21. *Night* 1982, 14–15.
22. *Night* 1982, 27.
23. *Night* 1982, 34.
24. Fine 1982, 15–16.
25. "The Auschwitz Album: Arrival". Yad Vashem.
26. *Night* 1982, 32.
27. *Night* 1982, 34; Fine 1982, 15–16.
28. *Night* 1982, 50.
29. *Night* 1982, 61.
30. *Night* 1982, 61–62.
31. Fine 1982, 28, citing Alfred Kazin, *Contemporaries*, Little, Brown & Co, 1962, 297.
32. *Night* 1982, 64; Franklin 2011, 80.
33. *Night* 1982, 81.
34. *Night* 1982, 86.
35. *Night* 1982, 87.
36. *Night* 1982, 94.
37. *Night* 1982, 100
38. *Night* 1982, 101.
39. *Night* 1982, 102–105.
40. *Night* 1982, 105.
41. *Night* 1982, 107–109.
42. Wiesel 1979, 23.
43. Wiesel 2010, 240, 319.
44. Wiesel 2010, 241.
45. Seidman 2010, 312, n. 69.
46. Wiesel 2010, 319.
47. Rosen 2002, 1315–1316.
48. Wisse 2003, 212–213.
49. Aderet, Ofer (2016-07-02). "Elie Wiesel's Wrenching Lost Version of 'Night' Was Scathing Indictment of God and Fellow Jews". *Haaretz*. Retrieved 17 November 2023.
50. Wiesel 2010, 319, 333.
51. Weissman 2004, 65.
52. Wiesel 2010, 325; Samuels, Gertrude (13 November 1960). "When Evil Closed in: Night", *The New York Times*.
53. "Winfrey selects Wiesel's 'Night' for book club". Associated Press. 16 January 2006.
54. Weissman 2004, 65; Franklin 2011, 69.
55. Franklin 2011, 71. Memmott, Carol (16 January 2006). "Oprah picks 'Night'", *USA Today*. Donadio, Rachel (20 January 2008). "The Story of Night". *The New York Times*. Archived from the original on 5 August 2020.
56. Borg, Jason (20 May 2011). "Top 10 Bestselling Books in Oprah's Book Club". *GalleyCat*. Archived from the original on 23 May 2011.
57. Wyatt, Edward (19 January 2006). "The Translation of Wiesel's 'Night' Is New, but Old Questions Are Raised", *The New York Times*.
58. Weissman 2004, 65.
59. Fine 1982, 7.
60. Wiesel 2010, 79.
61. Franklin 2011, 71.
62. Franklin 2011, 16.
63. Langer 2001, 16.
64. Langer 2001, 82.
65. Seidman 1996, 1–19; for an interview with Seidman, see Manseau, Peter (April 2001). "Revising Night: Elie Wiesel and the Hazards of Holocaust Theology". *Killing the Buddha*.
66. Seidman 1996, 6; Roseman 2010, 89.
67. Franklin 2011, 71, 73.
68. Wiesel 2011, viii.

### Works cited

* Berenbaum, Michael (2002). "Foreword". In Braham, Randolph L.; Miller, Scott (eds.). *The Nazis' Last Victims: The Holocaust in Hungary*. Detroit: Wayne State University Press.
* Braham, Randolph (2000) \[1981\]. *The Politics of Genocide: The Holocaust in Hungary*. Detroit: Wayne State University Press.
* Braham, Randolph L. (2016). *The Politics of Genocide: The Holocaust in Hungary*. Vol. 1. New York: Columbia University Press. ISBN 978-0880337113.
* Fine, Ellen S. (1982). *Legacy of Night: The Literary Universe of Elie Wiesel*. New York: State University of New York Press. ISBN 9781438402796.
* Franklin, Ruth (2011). *A Thousand Darknesses: Lies and Truth in Holocaust Fiction*. New York: Oxford University Press. ISBN 9780199779772.
* Langer, Lawrence L. (2001). "The Dominion of Death". In Bloom, Harold (ed.). *Elie Wiesel's Night*. New York: Infobase Publishing.
* Rosen, Alan (2002). "Elie Wiesel". In Kremer, S. Lillian (ed.). *Holocaust Literature: An Encyclopedia of Writers and Their Work, Vol III*. New York: Taylor & Francis.
* Roseman, Mark (2010). "Holocaust Perpetrators in Victims' Eyes". In Wiese, Christian; Betts, Paul (eds.). *Years of Persecution, Years of Extermination: Saul Friedländer and the Future of Holocaust Studies*. London: Bloomsbury Publishing.
* Seidman, Naomi (Autumn 1996). "Elie Wiesel and the Scandal of Jewish Rage". *Jewish Social Studies*. **3** (1): 1–19. JSTOR 4467484.
* Seidman, Naomi (2010). *Faithful Renderings: Jewish-Christian Difference and the Politics of Translation*. Chicago: University of Chicago Press.
* Sternlicht, Sanford V. (2003). *Student Companion to Elie Wiesel*. New York: Greenwood Publishing Group.
* Weissman, Gary (2004). *Fantasies of Witnessing: Postwar Efforts to Experience the Holocaust*. Ithaca: Cornell University Press. ISBN 9780801442537.
* Wiesel, Elie (1982) \[1960\]. *Night*. New York: Bantam Books.
* Wiesel, Elie (2011) \[1967\]. *Legends of Our Time*. New York: Knopf Doubleday Publishing Group.
* Wiesel, Elie (1979). "An Interview Unlike Any Other". *A Jew Today*. New York: Knopf Doubleday Publishing Group.
* Wiesel, Elie (2010) \[1995\]. *All Rivers Run to the Sea*. New York: Knopf Doubleday Publishing Group.
* Wieviorka, Annette (2006). *The Era of the Witness*. New York: Cornell University Press. ISBN 9780801443312.
* Wisse, Ruth R. (2003). *The Modern Jewish Canon: A Journey Through Language and Culture*. Chicago: University of Chicago Press.

## Further reading

* Rosenthal, Albert (April 1994 – May 1995). "Memories of the Holocaust". part 1, part 2 (deportations from Sighet).

## InfoBox

Night
| 1982 Bantam Books edition, with the original<br>1960 English translation and cover adapted from the 1958 French edition | |
| --- | --- |
| Author | Elie Wiesel |
| Language | English |
| English translators |  |
|  | |
| Publication date | **1956**: *Un di Velt Hot Geshvign* (Yiddish). Buenos Aires: Central Union of Polish Jews in Argentina, 245 pages. |
| First translation | **1958**: *La Nuit* (French). Paris: Les Éditions de Minuit, 178 pages. |
|  | |
| Published in English | **1960**: *Night*. New York: Hill & Wang; London: MacGibbon & Kee, 116 pages. |
| ISBN | 0-8090-7350-1 (Stella Rodway translation. New York: Hill & Wang, 1960.)<br>ISBN 0-553-27253-5 (Stella Rodway translation. New York: Bantam Books, 1982.)<br>ISBN 0-374-50001-0 (Marion Wiesel translation. New York: Hill & Wang/Oprah Book Club, 2006.) |
| LC Class | D811 W4823 1960 (Hill & Wang, 1960) |
|  | |
| Followed by | *Dawn (1961)* |


abstract: The Paleoclimate Modelling Intercomparison Project is a project, somewhat along the lines of AMIP or CMIP, to coordinate and encourage the systematic study of atmospheric general circulation models (AGCMs) and to assess their ability to simulate large climate changes such as those that occurred in the distant past. Project goals include identifying common responses of AGCMs to imposed paleoclimate "boundary conditions," understanding the differences in model responses, comparing model results with paleoclimate data, and providing AGCM results for use in helping in the analysis and interpretation of paleoclimate data. PMIP is initially focussing on the mid-Holocene (6,000 years before present) and the Last Glacial Maximum (21,000 yr BP) because climatic conditions were remarkably different at those times, and because relatively large amounts of paleoclimate data exist for these periods. The major "forcing" factors are also relatively well known at these times. Some of the paleoclimate features simulated by models in previous studies seem consistent with paleoclimatic data, but others do not. One of the goals of PMIP is to determine which results are model-dependent. The PMIP experiments are limited to studying the equilibrium response of the atmosphere (and such surface characteristics as snow cover) to changes in boundary conditions (e.g., insolation, ice-sheet distribution, CO2 concentration, etc.)

text:
# Paleoclimate Modelling Intercomparison Project

The **Paleoclimate Modelling Intercomparison Project** is a project, somewhat along the lines of AMIP or CMIP, to coordinate and encourage the systematic study of atmospheric general circulation models (AGCMs) and to assess their ability to simulate large climate changes such as those that occurred in the distant past. Project goals include identifying common responses of AGCMs to imposed paleoclimate "boundary conditions," understanding the differences in model responses, comparing model results with paleoclimate data, and providing AGCM results for use in helping in the analysis and interpretation of paleoclimate data. PMIP is initially focussing on the mid-Holocene (6,000 years before present) and the Last Glacial Maximum (21,000 yr BP) because climatic conditions were remarkably different at those times, and because relatively large amounts of paleoclimate data exist for these periods. The major "forcing" factors are also relatively well known at these times. Some of the paleoclimate features simulated by models in previous studies seem consistent with paleoclimatic data, but others do not. One of the goals of PMIP is to determine which results are model-dependent. The PMIP experiments are limited to studying the equilibrium response of the atmosphere (and such surface characteristics as snow cover) to changes in boundary conditions (e.g., insolation, ice-sheet distribution, CO2 concentration, etc.)