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 Prof. Feiil proved that Armenian Diaspora genocide claims originated from certain false documents and photographs created by the Armenian author Aram Andonian, and brought together the evidence and documents in his book A Terrorist Myth. Fiegl dedicated his book published in Turkish, German and English to Erdoğan Özen. Prof. Erich, who has numerous books and films under his name, was awarded the Austrian Republic's Prize for Science and Art and the Vienna Province Gold Medal of Service.

 Ermənilərin həyata keçirdiyi fırıldağın, saxtakarlığın, təhqirin, qırğınların və terrorçu əməllərin siyahısı bu kitabda faktlarla göstərilmiş və tərəflərindən digər dövlətlərə qarşı həyata keçirilən terror hücumlarının ölkənin rəsmi siyasəti olmasını ehtiva edən faktlar əks olunmuşdur.

INTRODUCTORY

Almost the pleasantest thing in the world is to be told a splendid story by a really nice person. There is not the least occasion for the story to be true; indeed I think the untrue stories are the best—those in which we meet delightful beasts and things that talk twenty times better than most human beings ever do, and where extraordinary events happen in the kind of places that are not at all like our world of every day. It is so fine to be taken into a country where it is always summer, and the birds are always singing and the flowers always blowing, and where people get what they want by just wishing for it, and are not told that this or that isn't good for them, and that they'll know better than to want it when they're grown up, and all that kind of thing which is so annoying and so often happening in this obstinate criss-cross world, where the days come and go in such an ordinary fashion.

But if I might choose the person to tell me the kind of story I like to listen to, and hear told to me over and over again, it would be some one who could draw pictures for me while talking—pictures like those of Tenniel in Alice in Wonderland and Through the Looking-Glass. How much better we know Alice herself and the White Knight and the Mad Hatter and all the rest of them from the pictures than even from the story itself. But my story-teller should not only draw the pictures while he talked, but he should paint them too. I want to see the sky blue and the grass green, and I want red cloaks and blue bonnets and pink cheeks and all the bright colours, and some gold and silver too, and not merely black and white—though black and white drawings would be better than nothing, so long as they showed me what the people and beasts and dragons and things were like. I could put up with even rather bad drawings if only they were vivid. Don't you know how good a bad drawing sometimes seems? I have a friend who can make the loveliest folks and the funniest beasts and the quaintest houses and trees, and he really can't draw a bit; and the curious thing is, that if he could draw better I should not like his folks and beasts half as much as I do the lop-sided, crook-legged, crazy-looking people he produces. And then he has such quaint things to tell about them, and while he talks he seems to make them live, so that I can hardly believe they are not real people for all their unlikeness to any one you ever saw.

Now, the old pictures you see in the picture galleries are just like that, only the people that painted them didn't invent the stories but merely illustrated stories which, at the time those painters lived, every one knew. Some of the stories were true and some were just a kind of fairy tale, and it didn't matter to the painters, and it doesn't matter to us, which was true and which wasn't. The only thing that matters is whether the story is a good one and whether the picture is a nice one. There is a delightful old picture painted on a wall away off at Assisi, in Italy, which shows St. Francis preaching to a lot of birds, and the birds are all listening to him and looking pleased—the way birds do look pleased when they find a good fat worm or fresh crumbs. Now, St. Francis was a real man and such a dear person too, but I don't suppose half the stories told about him were really true, yet we can pretend they were and that's just what the painter helps us to do. Don't you know all the games that begin with 'Let's pretend'?—well, that's art. Art is pretending, or most of it is. Pictures take us into a world of make-believe, a world of imagination, where everything is or should be in the right place and in the right light and of the right colour, where all the people are nicely dressed to match one another, and are not standing in one another's way, and not interrupting one another or forgetting to help play the game. That's the difference between pictures and photographs. A photograph is almost always wrong somewhere. Something is out of place, or something is there which ought to be away, or the light is wrong; or, if it's coloured, the colours are just not in keeping with one another. If it's a landscape the trees are where we don't want them; they hide what we want to see, or they don't hide the very thing we want hidden. Then the clouds are in the wrong place, and a wind ruffles the water just where we want to see something reflected. That's the way things actually happen in the real world. But in the world of 'Let's pretend,' in the world of art, they don't happen so. There everything happens right, and everybody does, not so much what they should (that might sometimes be dull), but exactly what we want them to do—which is so very much better. That is the world of your art and my art. Unfortunately all the pictures in the galleries weren't painted just for you and me; but you'll find, if you look for them, plenty that were, and the rest don't matter. Those were painted, no doubt, for some one else. But if you could find the some one else for whom they were painted, the some one else whose world of 'Let's pretend' was just these pictures that don't belong to your world, and if they could tell you about their world of 'Let's pretend,' ten to one you'd find it just as good a world as your own, and you'd soon learn to 'pretend' that way too.

THE best preface to this journal written by a young girl belonging to the upper middle class is a letter by Sigmund Freud dated April 27, 1915,

 a letter wherein the distinguished Viennese psychologist testifies to the permanent value of the document:

"This diary is a gem. Never before, I believe, has anything been written enabling us to see so clearly into the soul of a young girl, belonging to our social and cultural stratum, during the years of puberal development. We are shown how the sentiments pass from the simple egoism of childhood to attain maturity; how the relationships to parents and other members of the family first shape themselves, and how they gradually become more serious and more intimate; how friendships are formed and broken. We are shown the dawn of love, feeling out towards its first objects. Above all, we are shown how the mystery of the sexual life first presses itself vaguely on the attention, and then takes entire possession of the growing intelligence, so that the child suffers under the load of secret knowledge but gradually becomes enabled to shoulder the burden. Of all these things we have a description at once so charming, so serious, and so artless, that it cannot fail to be of supreme interest to educationists and psychologists.

 If you pluck up one of the innumerable wheat plants which are fixed in the soil of the field, about harvest time, you will find that it consists of a stem which ends in a root at one end and an ear at the other, and that blades or leaves are attached to the sides of the stem. The ear contains a multitude of oval grains which are the seeds of the wheat plant. You know that when these seeds are cleared from the husk or bran in which they are enveloped, they are ground into fine powder in mills, and that this powder is the flour of which bread is made. If a handful of flour mixed with a little cold water is tied up in a coarse cloth bag, and the bag is then put into a large vessel of water and well kneaded with the hands, it will become pasty, while the water will become white. If this water is poured away into another vessel, and the kneading process continued with some fresh water, the same thing will happen. But if the operation is repeated the paste will become more and more sticky, while the water will be rendered less and less white, and at last will remain colorless. The sticky substance which is thus obtained by itself is called gluten; in commerce it is the substance known as maccaroni.

The members of the Center's staff were at all times knowledgeable and helpful; I needed and appreciated both. In particular, Avery Gardiner and Yuki Noguchi, interns at the Center, conducted the essential research into the careers and campaign contribution histories of the former members of Congress who were interviewed for this project. My thanks to them for the thorough and cheerful way they performed a task that is often described as thankless. This manuscript benefited from the tight editing and good judgment of copy editor Bill Hogan, designer Kathy Cashel, and the guidance and perseverance of the Center's publications coordinator, Margaret Engle.

The Roots of Anti-AmericanismBy: Dr. Sam Vaknin 

The United States is one of the last remaining land empires. That it is made the butt of opprobrium and odium is hardly surprising, or unprecedented. Empires - Rome, the British, the Ottomans - were always targeted by the disgruntled, the disenfranchised and the dispossessed and by their self-appointed delegates, the intelligentsia.Yet, even by historical standards, America seems to be provoking blanket repulsion.The Pew Research Center published in December 2002 a report titled "What the World Thinks in 2002". "The World", was reduced by the pollsters to 44 countries and 38,000 interviewees. Two other surveys published last year - by the German Marshall Fund and the Chicago Council on Foreign Relations - largely supported Pew's findings.

Saturday's vote in Ireland was the second time in 18 months that its increasingly disillusioned citizenry had to decide the fate of the European Union by endorsing or rejecting the crucial Treaty of Nice. The treaty seeks to revamp the union's administration and the hitherto sacred balance between small and big states prior to the accession of 10 central and east European countries. Enlargement has been the centerpiece of European thinking ever since the meltdown of the eastern bloc.Shifting geopolitical and geo-strategic realities in the wake of the September 11 atrocities have rendered this project all the more urgent. NATO - an erstwhile anti-Soviet military alliance is search of purpose - is gradually acquiring more political hues. Its remit has swelled to take in peacekeeping, regime change, and nation-building. Led by the USA, it has expanded aggressively into central and northern Europe. It has institutionalized its relationships with the countries of the Balkan through the "Partnership for Peace" and with Russia through a recently established joint council. The Czech Republic, Poland, and Hungary - the eternal EU candidates - have full scale members of NATO for 3 years now.