Podcast appearances and mentions of Amir Eshel

The Middle East is teetering on the precipice of major upheaval as the Islamic Republic of Iran and its proxies have ignited a devastating multi-front war against Israel and the West. An axis of authoritarian countries are working closely to create chaos in Europe and the Middle East. Regional dynamics are undeniably shuffling as the terrorist groups on Israel's borders and their financiers in Tehran grow more emboldened. Meanwhile, the US is attempting to restrain Israel from taking direct action against Iran and Hezbollah, fearing that one miscalculated move may tip the scale. Moreover, efforts by the United States, Qatar, and Egypt to broker a hostage deal seem to be moving one step forward and two steps back. These dynamics present unprecedented challenges to the U.S.-Israel security relationship.This critical moment demands strategic planning and raises several key questions: What are the implications of this escalating crisis for the U.S.-Israel security dynamic, and how might it impact the broader regional stability? How does the shifting global balance of power affect U.S.-Israeli relations and American interests in the Middle East? What adjustments might Israel need to make in the wake of October 7 and its war against Hamas? What weapon system and munitions challenges does the U.S. face as the “arsenal of democracy”? And finally, what lessons are to be learned from the ongoing wars with regard to intelligence reliability, deterrence, and conflict management?To explore these questions, FDD will host a panel discussion with MG (Ret.) Amir Eshel, FDD Senior Fellow and former Director General of the Israeli Ministry of Defense; Eyal Hulata, FDD Senior International Fellow and former Israeli National Security Advisor and Head of Israel's National Security Council; RADM (Ret.) Mark Montgomery, Senior Director of FDD's Center on Cyber and Technology Innovation; and Jonathan Schanzer, FDD Senior Vice President for Research. The conversation will be moderated by Katie Pavlich, editor for Townhall.com and Fox News contributor.

FDD Senior Vice President Jon Schanzer delivers timely situational updates and analysis, followed by a conversation with Major General (ret.) Amir Eshel, former Director General of Israel's Ministry of Defense and former Commander of the Israeli Air Force.

Nearly a month ago, Hamas invaded Israel and murdered over 1,400 men, women, and children. It was the deadliest attack on the Jewish people since World War II, which was also a war against the Jews that culminated in the Holocaust. The Israel Defense Forces are now in Gaza aiming to cripple Hamas's military capabilities, and it's a challenging mission. To discuss, host Cliff May is joined by three FDD experts: Bradley Bowman, Hussain Abdul-Hussain, and Retired Maj. Gen. Amir Eshel (former commander in chief of the Israeli Air Force).They talk about the status of Israel's ground operation inside Gaza, including why forces are current concentrated in the northern part of the Strip; how the IDF might deal with Hamas' extensive system of underground tunnels; what happened at Al Shifa Hospital and why Hamas is using ambulances; if there's a difference between a ceasefire and 'humanitarian pause' as well as Israel's conditions for agreeing to the former; how Israel's Arab neighbors are reacting to the war; Saudi Arabia's interception of missiles fired by Iran-backed Houthis in Yemen at Israel — and other related issues.

Nearly a month ago, Hamas invaded Israel and murdered over 1,400 men, women, and children. It was the deadliest attack on the Jewish people since World War II, which was also a war against the Jews that culminated in the Holocaust. The Israel Defense Forces are now in Gaza aiming to cripple Hamas's military capabilities, and it's a challenging mission. To discuss, host Cliff May is joined by three FDD experts: Bradley Bowman, Hussain Abdul-Hussain, and Retired Maj. Gen. Amir Eshel (former commander in chief of the Israeli Air Force).They talk about the status of Israel's ground operation inside Gaza, including why forces are current concentrated in the northern part of the Strip; how the IDF might deal with Hamas' extensive system of underground tunnels; what happened at Al Shifa Hospital and why Hamas is using ambulances; if there's a difference between a ceasefire and 'humanitarian pause' as well as Israel's conditions for agreeing to the former; how Israel's Arab neighbors are reacting to the war; Saudi Arabia's interception of missiles fired by Iran-backed Houthis in Yemen at Israel — and other related issues.

In this episode of the Chasing Leviathan podcast, PJ and Dr. Amir Eschel discuss contemporary crises, such as the tyranny imposed by recent technological innovations, the war in Ukraine, and the global pandemic, and how approaching these threats through poetic thinking provides a way forward that preserves human flourishing and freedom.For a deep dive into Dr. Amir Eschel's work, check out his book: Poetic Thinking Today: An Essay

In 1951, following the Holocaust and Second World War, Hannah Arendt wrote The Origins of Totalitarianism. Arendt's aim was in part to document and reflect on the atrocities that had occurred. But more importantly, she wanted to expose the elements of the human condition that enabled those atrocities to happen as well as the tools societies can use to fight totalitarian regimes. Amir Eshel is a professor of German Studies and Comparative Literature at Stanford University. He is the author of Poetic Thinking Today and Futurity: Contemporary Literature and the Quest for the Past.  See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In 1951, following the Holocaust and Second World War, Hannah Arendt wrote The Origins of Totalitarianism. Arendt's aim was in part to document and reflect on the atrocities that had occurred. But more importantly, she wanted to expose the elements of the human condition that enabled those atrocities to happen as well as the tools societies can use to fight totalitarian regimes. Amir Eshel is a professor of German Studies and Comparative Literature at Stanford University. He is the author of Poetic Thinking Today and Futurity: Contemporary Literature and the Quest for the Past.  See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

In 1951, following the Holocaust and Second World War, Hannah Arendt wrote The Origins of Totalitarianism. Arendt's aim was in part to document and reflect on the atrocities that had occurred. But more importantly, she wanted to expose the elements of the human condition that enabled those atrocities to happen as well as the tools societies can use to fight totalitarian regimes. Amir Eshel is a professor of German Studies and Comparative Literature at Stanford University. He is the author of Poetic Thinking Today and Futurity: Contemporary Literature and the Quest for the Past.  See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In 1951, following the Holocaust and Second World War, Hannah Arendt wrote The Origins of Totalitarianism. Arendt's aim was in part to document and reflect on the atrocities that had occurred. But more importantly, she wanted to expose the elements of the human condition that enabled those atrocities to happen as well as the tools societies can use to fight totalitarian regimes. Amir Eshel is a professor of German Studies and Comparative Literature at Stanford University. He is the author of Poetic Thinking Today and Futurity: Contemporary Literature and the Quest for the Past.  See more information on our website, WritLarge.fm. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Hannah Arendt said that she had one life-long “best friend.” That was Rachel Varnhagen, a Jewish woman who lived in Enlightenment-era Berlin around 1800 and died 73 years before Arendt was born, in 1906. Arendt wrote her first book, a startlingly original literary biography of Varnhagen who founded one of the most celebrated yet short-lived salons in Enlightenment era Prussia. I spoke with Courtney Blair Hodrick, a doctoral candidate completing a book-long study of Arendt, and Professor Amir Eshel, both of Stanford University to discover what is at stake in Arendt's unusual biography, why the book meant at once so much to Arendt and why she nonetheless almost neglected to publish it, and what this biography of a Jewish women in 19th century Berlin can teach us today about questions of identity, belonging, assimilation, women, Jews, anti-Semitism, freedom, politics, the private and the public, and many of the other topics that concerned Arendt throughout her lifetime. Uli Baer teaches literature and photography as University Professor at New York University. A recipient of Guggenheim, Getty and Humboldt awards, in addition to hosting "Think About It” he hosts (with Caroline Weber) the podcast "The Proust Questionnaire” and is Editorial Director at Warbler Press. Email ucb1@nyu.edu; Twitter @UliBaer. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2017, Ismail Ziada filed a civil suit at the District Court of the Hague against former Israeli military leaders Benny Gantz and Amir Eshel for their role in a 2014 strike—part of the Israeli offensive in Gaza known as Operation Protective Edge—which killed six of Ziada's family members. In 2020, the court dismissed Ziada's civil suit, arguing that, as agents of the state, Gantz and Eshel enjoy functional immunity from prosecution, and the court had no jurisdiction over the matter.Now, the Dutch court hearing his appeal has until Dec. 7 to decide whether the international legal principle of universal jurisdiction will allow him to pursue his case from the Netherlands, an enormous step forward for Palestinians trying to seek justice in Israel, where they're prohibited from addressing cases or appeals against Israel for war crimes and acts of war. TRNN contributor David Kattenburg talks to Ziada's lawyer, Liesbeth Zegveld, about this case and what it could mean for those seeking international justice by way of local jurisdictions.Read the transcript of this interview: https://therealnews.com/a-dutch-court-may-help-deliver-justice-for-a-gazan-family-killed-in-an-israeli-strikeHelp us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer: Donate: https://therealnews.com/donate-podSign up for our newsletter: https://therealnews.com/newsletter-podLike us on Facebook: https://facebook.com/therealnewsFollow us on Twitter: https://twitter.com/therealnews

In 1951, following the Holocaust and Second World War, Hannah Arendt wrote The Origins of Totalitarianism. Arendt’s aim was in part to document and reflect on the atrocities that had occurred. But more importantly, she wanted to expose the elements of the human condition that enabled those atrocities to happen as well as the tools societies can use to fight totalitarian regimes.  Amir Eshel is a professor of German Studies and Comparative Literature at Stanford University. He is the author of Poetic Thinking Today and Futurity: Contemporary Literature and the Quest for the Past.    See more information on our website, WritLarge.fm. Follow us on Twitter @WritLargePod. Join the conversation on the Lyceum app.

Was macht ein Gedicht zu einem Gedicht? Was kann dichterisches Denken, was andere Herangehensweisen nicht vermögen? Und wie drückt es sich in anderen Kunstformen aus? In dieser Folge geht es um Bücher, die eine besondere dichterische Form aufweisen, oder sich damit beschäftigen. In seinem Essayband Dichterisch Denken zeigt Amir Eshel anhand von Gedichten und Bildern, wie dichten das Denken beeinflusst und wie es ihm neue Perspektiven eröffnen kann. Er richtet seine Aufmerksamkeit auf zeitgenössische Künstler, die in ihrer Gestaltungsweise einen Ausweg aus der negativen Wirklichkeit, Erfahrung und Einschränkung weisen – hin zu eigenem Denken, zu perspektivischer Weite, zu neuen Formen und Inhalten. Friederike Mayröckers Buch da ich morgens und moosgrün. Ans Fenster trete lässt keine Zweifel an dem, was für die Autorin noch immer Tag für Tag zu tun ist: hellwach und neugierig auf die Welt blicken und sie in poetische Sprache verwandeln. Die Sprache selbst wird dabei als ein unerschöpflicher poetischer Zauberkasten begriffen. Mit dem zweisprachigen Lyrikband Running Upon The Wires / Vibrationen hat Kae Tempest erneut ein hochmusikalisches Sprachkunstwerk geschaffen, das mit Hilfe vieler unterschiedlicher Stilmittel sowohl das menschliche Herz als auch die politischen und sozialen Gegebenheiten beobachtet und abbildet. Radikal ehrlich und radikal verletzlich zeigt Kae Tempest, wie wir unser Zusammenleben neu gestalten können. Bei dem Buch Erinnerungen von Albrecht Schöne, das kürzlich im Wallstein Verlag erschien, handelt es sich um den Lebensbericht des großen Germanisten, der eine Vielzahl dichterischer Werke kommentiert und herausgegeben hat. Alle Bücher der Folge: Dichterisch Denken von Amir Eshel: http://shrk.vg/DichterischDenken-P da ich morgens und moosgrün. Ans Fenster trete von Friederike Mayröcker: http://shrk.vg/Moosgruen-P Running upon the Wires / Vibrationen von Kae Tempest: http://shrk.vg/Vibrationen-P Erinnerungen von Albrecht Schöne: http://shrk.vg/AlbrechtSchoene-P

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization? I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

On 17 September 2019, Ismail Ziada, a Dutch national of Palestinian descent, brought a civil suit against Benny Gantz, head of Israel’s Blue and White Party and the Israeli Army General Chief of General Staff during the 2014 Gaza onslaught and Amir Eshel, Israeli Air Force Chief. The suit alleges war crimes for the killing of six of Ziada’s family members including his mother, three brothers, sister-in-law, and twelve-year old nephew when the family’s home in the Al-Bureij refugee camp was bombed in 2014. The hearing will determine whether the Dutch court has jurisdiction. In this interview, Noura Erakat speaks with Liesbeth Zegveld, Ziada’s attorney and renowned human rights attorney, scholar of international humanitarian law, and professor at Leiden University. Interviewed by Noura Erakat | English

Paul Celan's poetry marks the end of European modernism: he is the last poet of the era where the poetic "I" could center a subjective vision of the world through language. Celan bears witness to the Holocaust as the irredeemable rupture in European civilization, but he does so in German, the language of the perpetrators who murdered his parents along with millions of others. How do you bear witness to suffering, murder and loss in the language of the murderers? How can poetry account for the inhumanity of the Holocaust without aestheticizing it? How can language prevail when words fail to express what really happened to millions upon millions at the hands of a people who claimed to be the height of civilization?  I spoke with Amir Eshel, a critic and poet who is also Edward Clark Crossett Professor of Humanistic Studies and Professor of German Studies and Comparative Literature at Stanford University. His books include: Poetic Thinking Today (forthcoming with Stanford University Press in 2019); Futurity: Contemporary Literature and the Quest for the Past (University of Chicago Press 2013); as editor, The German-Hebrew Dialogue: Studies of Encounter and Exchange (2018), and with Uli Baer, an edited book of essays on Hannah Arendt, Hannah Arendt: zwischen den Disziplinen. He's published several books on poetry after the Holocaust and on writings about the Palestinian expulsion. In 2018 Amir published a book with the artist Gerhard Richter, called Zeichnungen/רישומים, a book which brings together 25 drawings by Richter from the cycle 40 Tage and Eshel’s bi-lingual poetry in Hebrew and German. Eshel first encountered Celan in Hebrew translations before learning German himself. I read Celan in (my native) German but not until I have moved to America and started writing and mostly speaking in English. Amir and I met, in a way, as an Israeli and a German, via Celan's poetry. We talked about the experience of reading Celan, how being estranged by language can come close to grasping another's experience that we will never know, and why poetry never quite lives only in a familiar idiom. 

Amir Eshel, Tobias Wolff and Abbas Milani lead a discussion about the writing of Salman Rushdie and how they think his religion led to how he lived his life and how he was perceived in various cultures. (November 28, 2012)

In his very recent work, Futurity: Contemporary Literature and the Quest for the Past(University of Chicago Press, 2013), Amir Eshel presents us with a very interesting examination of what he refers to as “futurity” or literature’s ability to provide us with a way to access the past, rethink it, and move forward. Eshel’s work here can best be understood as part of the larger effort in literary studies to move beyond the tired and exceedingly fruitless lens of the hermeneutics of suspicion and the despairing chasm of postmodernity. As foci, Eshel examines postwar German literature and Hebrew literature particularly focused on the Israeli-Palestinian conflict. Overall, the portion of Futurity that continues to linger with me is Eshel’s beautiful ruminations on W.G. Sebald’s masterpiece, Austerlitz. Eshel’s reflections on Austerlitz encouraged me to pick up that novel once more and for this alone I highly encourage anyone interested in postwar German literature, Hebrew literature, and or the future and meaning of literary studies to give Eshel’s work a read. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his very recent work, Futurity: Contemporary Literature and the Quest for the Past(University of Chicago Press, 2013), Amir Eshel presents us with a very interesting examination of what he refers to as “futurity” or literature’s ability to provide us with a way to access the past, rethink it, and move forward. Eshel’s work here can best be understood as part of the larger effort in literary studies to move beyond the tired and exceedingly fruitless lens of the hermeneutics of suspicion and the despairing chasm of postmodernity. As foci, Eshel examines postwar German literature and Hebrew literature particularly focused on the Israeli-Palestinian conflict. Overall, the portion of Futurity that continues to linger with me is Eshel’s beautiful ruminations on W.G. Sebald’s masterpiece, Austerlitz. Eshel’s reflections on Austerlitz encouraged me to pick up that novel once more and for this alone I highly encourage anyone interested in postwar German literature, Hebrew literature, and or the future and meaning of literary studies to give Eshel’s work a read. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his very recent work, Futurity: Contemporary Literature and the Quest for the Past(University of Chicago Press, 2013), Amir Eshel presents us with a very interesting examination of what he refers to as “futurity” or literature’s ability to provide us with a way to access the past, rethink it, and move forward. Eshel’s work here can best be understood as part of the larger effort in literary studies to move beyond the tired and exceedingly fruitless lens of the hermeneutics of suspicion and the despairing chasm of postmodernity. As foci, Eshel examines postwar German literature and Hebrew literature particularly focused on the Israeli-Palestinian conflict. Overall, the portion of Futurity that continues to linger with me is Eshel’s beautiful ruminations on W.G. Sebald’s masterpiece, Austerlitz. Eshel’s reflections on Austerlitz encouraged me to pick up that novel once more and for this alone I highly encourage anyone interested in postwar German literature, Hebrew literature, and or the future and meaning of literary studies to give Eshel’s work a read. Learn more about your ad choices. Visit megaphone.fm/adchoices

Amir Eshel and Gabriel Motzkin outline the goals, questions, purpose, and some of the material of the two-day "History and Memory: Global and Local Dimension" conference. (May 17, 2012)

Amir Eshel gives his opinions on the activity in the Arab-Israeli conflict. He includes background information as well as ideas of where the conflict is headed. He uses many outside stories along with many of his own experiences as examples. (September 25, 2010)