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Daniel Raiskin, music director of the Winnipeg Symphony Orchestra, discusses his life – from his boyhood in Soviet Russia to his coming to Winnipeg and his admiration for the Jewish community here

Daniel Raiskin

By BERNIE BELLAN Daniel Raiskin has been the music director of the Winnipeg Symphony Orchestra since 2018. This paper has been remiss not to have interviewed Raiskin until now, although to be fair to ourselves, he is an extremely busy fellow,

 so finding a time when he could sit down and talk about his career, what life was like growing up in a Jewish family in Soviet Russia, and how he feels about spending a good part of his time in Winnipeg, was not easily arranged.

But then Covid-19 suddenly took over everyone’s lives – no matter who they are or where they live and, without much planning required, we were able to arrange to speak with Raiskin from his Amsterdam home.
At the outset of our conversation, which was conducted via WhatsAapp on Friday, April 3, Raiskin explained he’s “lived in Amsterdam for 30 years.” While he travels the world serving as guest conductor for many different orchestras, he “shares his time between Winnipeg and Amsterdam. My home is both in Amsterdam and Winnipeg,” he said.
I asked him, since he’s lived in The Netherlands for so many years whether he holds Dutch citizenship? Raiskin answered that he’s been a Dutch citizen for 26 years, although he still “has a Russian passport, too.”

At the present time Raiskin is also resigned, like the rest of us, to remaining in his Amsterdam home with his wife and two children (a son, 21, and a daughter, 16) for the foreseeable future..
“I was actually caught here between two projects – both of which were in Winnipeg,” Raiskin explained. “I was supposed to return to Winnipeg to spend 10 days there, but then things began to get really cloudy and we decided it doesn’t make any sense for me to fly into Winnipeg and get stuck there without my family, so I decided to stay here.”
We discussed how The Netherlands had taken a relatively hands-off approach to the Coronavirus to begin with, but as the danger has become more apparent, the liberal attitudes that most Dutch have in being uncomfortable with seeing their liberties restricted have begun to dissipate.
“People here are used to going to parks and to the seaside, but I’m afraid that on Monday (April 6) the lockdown is going to be announced,” Raiskin observed (on April 3).

Before we began to talk about Raiskin’s musical career, I said to him that I wanted “to take him back to his childhood in St. Petersburg.” I remarked to him that when I was a student in Israel (a very long time ago – 1974-75 to be exact). I became friends with a girl from St. Petersburg, who bragged to me that people from St. Petersburg were so much more sophisticated than Israelis, also that St. Petersburg had “the best ice cream in the world.”
I asked Raiskin whether the part about the ice cream was true.
“Yes, that ‘s very true,” he responded – “at least judging from my kids’ reaction any time we go to St. Petersburg, they say ‘this is really the best tasting ice cream.’ “

I wondered whether Raiskin was a musical prodigy as a child.
“I was not a prodigy at all,” he said. “I took up the violin when I was six – and I didn’t ‘take it up’. I was given it. It’s an old joke that with the wave of Russian Jewish immigration to Israel every second Russian landing in Israel at Ben Gurion Airport had a violin in his or her hands. Those that did not were piano players.”

“I was born into a Jewish family where music played a very important role,” Raiskin explained.
“My father is one of the foremost Russian musicologists (who is also a now retired physicist, Raiskin noted). One of the first sounds I heard when I was born was my brother (who tragically died at a the age of 34) practising his cello. By the time I was six – I like to joke my mother was so tired of carrying my brother’s cello around, she opted for something smaller for me: a violin.”
By the way, both Rasikin’s parents are alive and still living in St. Petersburg, he told me. His father’s first love was always music, Raiskin noted, but as part of the generation that grew up in the Soviet Union following World War II, it was unrealistic for anyone to make a career of music, he explained.
“He was teaching physics at a university in St. Petersburg when he was 35, but he graduated from a music conservatory when he was 40. That goes to show how important music was to him,” Raiskin observed.
“My mother stopped working a year ago (when she was 82),” Raiskin said. “She was a mathematician and a software programmer.”

I asked Raiskin whether his “parents ever endured any discrimination because they were Jewish that you can speak of? ” I added that “I didn’t want to seem naive by asking the question (since anyone who was following the fight of “refuseniks” in Russia attempting to leave Russia at the time that Raiskin was growing up would have known that anti-Semitism was rampant in that country.
” We lived in a country with a great rate of anti-Semitism,’ Raiskin answered. “My parents and my brother and me and friends all around us were all subject to state-sponsored anti-Semitism. At some point my family had also made the decision to leave (Russia), but it was too late. The Afghanistan war had broken out and everything was hermetically sealed. We got stuck.”

At that point I said to Raiskin that I wanted to talk about what it was like growing up as a young Jewish boy in Russia at that time – and how much love of music was inculcated into his and his peers’ lives.
“It was like – any given picture of Chagall has a violin in it,” Raiskin observed. “It’s part of the Jewish heritage and DNA; this whole ‘3,000 years of endurance’. Music was one of the things that kept us from getting alienated.”
At the same time though, Raiskin said that “music was not something that I particularly wanted to do. I wanted to play football and ice hockey with my mates outside. As a kid you don’t want to spend hours practising and doing scales for hours, looking out the window of your seventh-floor apartment while other kids are playing outside. I wanted to be more like them.”
“It’s very often a mistake to think that it’s the child who makes the decision at age six or seven to become a musician. Some kids are so incredibly gifted they show a unique talent at such a young age, there’s nothing else they want to do. I definitely don’t want to give the impression that I was one of those kids. I was pretty much normal and not very well behaved; I was pretty naughty.
“It was only later that I developed a real taste for music – and worked hard to become something.”

To that point we hadn’t discussed Raiskin’s particular musical interests. I noted that I had read in various articles and interviews that his favourite composer was Gustav Mahler (who was also Jewish, by the way). I wondered when Raiskin first became interested in Mahler’s music?
“You know, in fact, Mahler was not a composer whose music was very often played in my years in the Soviet Union,” Raiskin explained. “The performances of Mahler were always a great event,” but it was only one or two of his symphonies that were ever played, he noted.
“It was only with the collapse of the Soviet Union and the first Western orchestras that started to come on European tours that we really started to hear Mahler played. I’ll never forget the first time I heard Mahler’s Seventh Symphony played by the Pittsburgh Symphony…I think this was when it really hit me hard. This is the moment that I said to myself: ‘I’m going to conduct this once’…and I did, on many occasions…I try to conduct his music as often as I can.”

We skipped ahead to Raiskin’s first time coming to Winnipeg which, he said, was in 2015, as guest conductor of the Winnipeg Symphony Orchestra. There were two more appearances as guest conductor of the WSO in 2017 before Raiskin was appointed as music director in 2018.
“It was a lengthy process,” he said, “but I am, in fact, already looking back on five years of being associated with Winnipeg. It’s not like it started in 2018.”
Raiskin also observed that “no matter how successful a relationship a music director has with an orchestra – it’s never a relationship for life. It’s just the nature of the profession. It’s a marriage for a time…It’s not the conductors who play the music; it’s the orchestras. It’s about 67 musicians who play. It’s very important – the mandate we get from the musicians …and at a certain point it’s time for the conductor to go.”
However, Raiskin wanted to make clear that this is not something he is thinking about now. With his second season cut short due to the COVID-19 pandemic, he said that, |“more than ever our relationship and interdependency is being tested and I am confident we’ll get out if the crisis, whenever this might be, stronger than ever.“

 

Raiskin explained that, while he is contractually obligated to conduct the WSO for 12 weeks during the year, it is hugely important for any conductor to get out on the road as much as possible. He used the following analogy to illustrate his point: “A hockey player cannot perform at the highest level of his ability if he just plays home games. It’s also important how you perform outside.”

I noted at the outset of this article that, although Daniel Raiskin has been music director of the WSO for two years now, we still hadn’t interviewed him which, given that we’re a Jewish newspaper and he’s Jewish, is something that we should have done much earlier. But, since he’s now had time to get to know Winnipeg – and its Jewish community, much better, I asked him what his impression of our community was?
“I’m sure you’ve met Gail Asper,” I said (tongue in cheek; how could the music director of the WSO not have met one of the foremost supporters of the WSO – and arts in general in this city?)
“Yes, of course,” came Raiskin’s reply, “and many other people, like Laurel Malkin, and Michel Kay and Glenna Kay. You know, Winnipeg became a place where being Jewish for me suddenly started to matter in a very personal and positive way. Growing up in the Soviet Union was definitely not. I was once expelled from a music conservatory for visiting a synagogue – for the first time, just out of curiosity.
“And when you’re in a very cosmopolitan city like Amsterdam, with a very tragic history of Dutch Jews – one needs to acknowledge that there were 150,000 Dutch Jews before the Second World War, and only 15,000 survived – so, for me, connecting to the Jewish community here…like the first Rosh Hashanah dinner I ever attended was…in Winnipeg! Because some friends just took me and my wife and said: ‘Come’. I really feel that it matters in a very positive way that I’m Jewish and I can connect to many people in Winnipeg and many in our audiences are Jewish.”
“I feel more Jewish than ever since coming to Winnipeg,” Raiskin suggested. “Jewish music is so important to me. One of the first things I recorded as a musician – as an instrumentalist, was a complete edition of music for viola and piano by Ernst Bloch, the foremost Jewish composer.”

At the end of our interview we discussed the devastating effect that the current crisis is having on people’s lives – in so many ways. Raiskin said that he was still fully involved in planning for the coming season of the WSO – and for the season after that as well.
In terms of assessing people’s hunger for music, he had this to say: “I think there will be a sense of growing hunger…our souls and our spirits are being so hollowed, there will be a growing need to fill in this gap – and this is where we can step in.”
Raiskin closed our interview with this observation: “I feel: today, more than ever, people feel how important arts and culture are to them. We suddenly realize that we use art to communicate with each other!“

 

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CAD Performance in 2025: Key Factors Behind Its Recovery

The CAD is clawing back lost ground. Discover what pushed the loonie down in 2024, what’s lifting it in 2025, and why its future still hangs in the balance.

2024 was a strange year for the loonie. If you are an active currency trader, a quick look at a CAD/USD price chart would have you nodding in agreement. Yes, the year started off strong, but as the months rolled by, it was obvious that something was wrong, especially as we neared the end of Q3. The reason for the downtrend was clear. Most people agreed that it was the tariff threats from Washington, rate cuts at home, and a volatile global economy that were being reflected in the currency markets. And for a while, the CAD was stuck in that losing streak, with some experts even suggesting that there was still more to come.

As the new year rolled around, it didn’t seem like anything had changed. But by mid-2025, quiet shifts had turned into a noticeable recovery, with the loonie gaining back significant ground against the greenback. So, in this piece, we’ll break down what really dragged the Canadian dollar lower in 2024, what’s fueling its recovery this year, and whether this rebound is going to hold steady.

Understanding What Happened in 2024

At the start of the year (2024), one U.S. dollar traded for about 1.35 CAD, which translates to one Canadian dollar being valued at roughly 74 cents U.S. It wasn’t anything special at the time, especially after the levels of inflation and volatility of 2023. Still, economists noted that these were the few key factors that kept the loonie afloat early in the year:

  • The price of oil made a comeback. Crude prices firmed up early in the year, supporting Canada’s export earnings and adding a tailwind to the currency.
  • Employment figures were solid. Job growth held up, and steady wage gains helped offset the pressure of higher borrowing costs.
  • The BoC held a steady interest rate. After an aggressive round of rate hikes in 2023, policymakers looked ready to pause and let the economy cool gradually.

All of these factors were thought to have helped build confidence in the Canadian economy and by mid-2024, the loonie had edged up toward 76-77 cents U.S.

Late-Year Turbulence

Not a lot of people saw it, but as Q2 2024 unfolded, the CAD started to look unattractive to currency market investors. How? Well, it started when the Bank of Canada (BoC) started to signal its intention to cut interest rates. It gave its clearest sign to this on April 10, 2024 when the bank highlighted that inflation was slowing down and it was leaving the door open for rate cuts. This announcement changed market expectations almost overnight.

Eventually, the first cut came on June 5, 2024. The BoC lowered its benchmark rate by 25 basis points from 5% to 4.75%, becoming the first major G7 central bank to start easing.

From there, the pace picked up with rates being reduced four more times. The market’s reactions to these cuts were immediate. And any currency trader with a reliable forex trading app saw each one unfold live. The CAD began to lose altitude as the yield gap with the U.S. widened. With lower returns on Canadian assets, investors favored the greenback. Adding to the pressure, the Trump campaign’s 25% tariff threat in September ignited the fears of a trade war. Which led to traders quickly pricing in potential hits to exports and investment, sending sentiment lower.

The 2025 Comeback

The CAD started 2025 trading at around 67 cents U.S., with some days even seeing it flirt with the 66-cent mark. So, it was a common assumption in the currency traders’ community that 2024 might repeat itself. But something was different this time. Every day, the loonie was quietly clawing back much of the ground it lost during the previous year’s slump.

So, what was different this time? Well, experts believe the panic that gripped both retail and institutional traders through late 2024 began to fade. As positive economic data started to filter in, confidence slowly returned alongside a few key drivers. By midyear, analysts were already talking about a turnaround rather than just a recovery attempt. The CAD was trading in the 72-73-cent U.S. range, up solidly from its January lows, and here’s its current rate.

Major Factors Behind the CAD’s Recovery

So, what helped the CAD? Well, there were a few clear factors that came together to turn sentiment around and put the loonie back on steadier footing.

  1. U.S. Dollar Weakness

A softer U.S. dollar was one of the clearest tailwinds for the CAD in 2025. The weakening of the USD started occurring when investors started to pull back from U.S. assets as political tension, fiscal worries, and softer economic data piled up.

What drove it?

  • Trade and political uncertainty: Tariff moves and Washington infighting rattled investor confidence.
  • Fiscal strain: Deficit concerns eroded trust in U.S. financial stability.
  • Fed policy shifts: With the Federal Reserve showing interest in cutting rates (and actually doing so on September 16), the yield advantage that once favored the dollar began to fade.

As investors reduced exposure to U.S. assets, capital rotated into other major currencies. The CAD, being liquid and commodity-linked, was one of the key beneficiaries, strengthening almost by default as the greenback lost ground.

  1. Diverging Monetary Policy

Monetary policy divergence became another major driver. The Bank of Canada held its policy rate steady near 2.75% through Q2 2025 before cutting in September, signaling confidence that inflation was cooling without stalling growth. Meanwhile, the U.S. Federal Reserve began easing monetary policy with its first rate cut in September 2025, responding to slowing growth and softer inflation. This divergence in pace and tone helped support the Canadian dollar’s rebound.

This narrowing interest rate gap mattered. And with Canada offering relatively higher yields, foreign investors found the loonie more attractive, especially compared to the softening U.S. dollar. For traders, the CAD started to look like a better carry trade than it had in over a year.

  1. Easing Tariff Fears

Another major psychological lift came from the fading of tariff risks. In the first half of 2025, Trump’s proposed 25% tariffs on Canadian goods lost traction as political attention shifted elsewhere. While some concerns still lingered, the immediate threat of a trade shock began to ease. Cross-border trade flows regained a bit of momentum, and markets started to price in a smoother path for Canadian exports. That renewed confidence played a key role in supporting the loonie’s recovery.

Can the Loonie Hold Its Ground?

As 2025 moves forward, the consensus among analysts is cautious but constructive. Most expect the Canadian dollar to trade in the 1.33-1.36 range against the U.S. dollar, a level that points to stability. The worst of 2024’s volatility seems to be behind it, but the loonie’s next moves will still depend on how the global story unfolds.

A Currency That Refused to Stay Down

The past two years have been anything but smooth for the CAD, but this move has proven one thing: resilience runs deep. After weathering policy shifts, tariff scares, and market pessimism, the loonie has managed to rebuild its footing in 2025. Its recovery hasn’t been dramatic. It was grounded in solid fundamentals and steady confidence. For traders, that’s a reminder that sentiment can turn just as fast as it fades.

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Statistical Volatility Models in Slot Mechanics: Extended Expert Analysis Informed by Pistolo Casino

Analytical reviews of slot volatility often reference ecosystems similar to those found at Pistolo casino. Within the gambling research community, volatility is understood not as a marketing attribute, but as a technical framework that shapes how digital slot systems distribute outcomes over time. Expanding on earlier overviews, this extended analysis examines the deeper mathematical logic behind volatility classes, as well as their implications for long-term behavioural modelling.

Volatility as a Mathematical Architecture

Slot volatility is commonly divided into high-, medium-, and low-risk models, yet this simplified categorisation hides the structural complexity underneath. Developers configure several layers of probability weighting, which include:

  1. Event Density Layers – Each slot contains multiple weighted segments representing minor, medium, and rare outcomes.
  2. Return Frequency Curves – These curves dictate how the distribution of payouts drifts around the long-term equilibrium.
  3. Reel Weighting Matrices – Symbol appearance probability is shaped not only by frequency but also by conditional dependencies within each reel strip.

Research drawing on examples parallel to Pistolo casino shows that modern slots increasingly use modular probability blocks, making outcome variance more flexible and more precisely adjustable during development.

Behavioural Interpretation of Volatility Signals

From a player analytics perspective, volatility modelling helps identify how different user groups respond to varying risk structures. High-volatility mechanics frequently attract users who seek extended tension cycles and the possibility of occasional strong outcomes, while low-volatility systems are associated with steady-state gameplay and longer average session times.

Analysts also examine “volatility fatigue,” a concept describing the moment when prolonged dry cycles reduce engagement. By tracking these patterns, researchers can map how changes in event spacing affect decision-making, bet sizing, and persistence.

Simulation Methodology for Evaluating Volatility Accuracy

Technical audits rely heavily on large-scale simulations—sometimes exceeding fifty million iterations — to verify that the modelled volatility aligns with theoretical expectations. Key indicators include:

  • Hit rate stability across long sequences
  • Distribution symmetry, ensuring outcomes do not drift into accidental bias
  • Deviation corridors, which define acceptable ranges for short-term anomalies
  • Return-to-player convergence, showing whether the model equilibrates over time

When discrepancies appear, developers may adjust symbol weighting, probability intervals, or feature-trigger frequency until the system reaches internal balance consistent with regulatory and mathematical demands.

Volatility’s Role in Market Diversity

Volatility modelling helps explain the substantial variety between slot titles. Instead of relying solely on themes or graphics, modern game design differentiates titles by emotional rhythm and progression speed. This technical approach has led to more deliberate pacing structures where reward cycles, anticipation building, and event clustering are calibrated through mathematical systems rather than subjective intuition.

Conclusion

Volatility remains one of the most precise and data-driven components of slot design. Its study provides insight into outcome diversity, behavioural responses, and long-term predictability. Research frameworks referencing platforms comparable to Pistolo Casino highlight how volatility models shape modern gambling environments through measurable probability engineering and large-scale simulation.

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Bias in America’s Colleges Produced Modern Anti-Zionism

By HENRY SREBRNIK Jon A. Shields, Yuval Avnur, and Stephanie Muravchik, professors at the Claremont Colleges in California, have just completed a study, “Closed Classrooms? An Analysis of College Syllabi on Contentious Issues,” published July 10, 2025, that draws on a database of millions of college syllabi to explore how professors teach three of the most contentious topics: racial bias in the criminal justice system, the Israel-Palestine conflict, and the ethics of abortion. 

They used a unique database of college syllabi collected by the “Open Syllabus Project” (OSP). The OSP has amassed millions of syllabi from around the world primarily by scraping them from university websites. They date as far back as 2008, though a majority are from the last ten years. Most of the data comes from universities in the United States, Britain, Canada, and Australia.

“Since all these issues sharply divide scholars, we wanted to know whether students were expected to read a wide or narrow range of perspectives on them. We wondered how well professors are introducing students to the moral and political controversies that divide intellectuals and roil our democracy. Not well, as it turns out.” 

In the summary of their findings, “Professors Need to Diversify What They Teach,” they report that they found a total lack of ideological diversity. “Across each issue we found that the academic norm is to shield students from some of our most important disagreements.”

Teaching of Israel and Palestine is, perhaps no surprise, totally lopsided, and we’ve seen the consequences since October 7, 2023. Staunchly anti-Zionist texts — those that question the moral legitimacy of the Israeli state — are commonly assigned. Rashid Khalidi, the retired professor of Modern Arab Studies at Columbia, is the most popular author on this topic in the database. A Palestinian American and adviser to the Palestine Liberation Organization delegation in the 1990s, Khalidi places the blame on Israel for failing to resolve the conflict and sees the country’s existence as a consequence of  settler-colonialism.

The problem is not the teaching of Khalidi itself, as some on the American right might insist. To the contrary, it is important for students to encounter voices like Khalidi’s. The problem is who he is usually taught with. Generally, Khalidi is taught with other critics of Israel, such as Charles D. Smith, Ilan Pappé, and James Gelvin.

Not only is Khalidi’s work rarely assigned alongside prominent critics, those critics seem to hardly get taught at all. They include Israel: A Concise History of a Nation Reborn by Daniel Gordis, a professor at Shalem College in Israel. Gordis’s book appears only 22 times in the syllabus database. Another example is the work of Efraim Karsh, a prominent historian. His widely cited classic, Fabricating Israeli History, appears just 24 times.

For most students, though, any exposure to the conflict begins and ends with Edward Said’s Orientalism, first published in 1978. Said is the intellectual godfather of so many of today’s scholars of the Middle East, thanks in no small part to this classic book. Said was a Palestinian-American academic, literary critic, and political activist from a prominent Christian family. Educated at Princeton and Harvard Universities, two of America’s most distinguished centres of higher learning, he taught at Columbia University, another Ivy League institution, until his death in 2003.

Said was no crude antisemite. His writings were aimed at academics and intellectuals and he has, in my opinion, done more damage to the Jewish people than anyone else after 1945. Said claimed to be the first scholar to “culturally and politically” identify “wholeheartedly with the Arabs.” But he was also a political activist for the Palestinian movement opposing the existence of Israel.

Said warned PLO leader Yasir Arafat that if the conflict remained local, they’d lose. Join “the universal political struggle against colonialism and imperialism,” with the Palestinians as freedom fighters paralleling “Vietnam, Algeria, Cuba, and black Africa,” he advised.

(In this he was not the first, though. Fayez Sayegh, a Syrian intellectual who departed for the United States and completed his Ph.D. at Georgetown University in 1949, preceded him. Also an academic, his 1965 monograph Zionist Colonialism in Palestine stands as the first intellectual articulation of Zionism as a settler colonial enterprise, arguing that the analytical frameworks applied to Vietnam and Algeria apply equally to Palestine. The treatise situated Zionism within European colonialism while presenting it as uniquely pernicious.)

Israel’s post–Six-Day War territorial expansion helped Said frame Israel as “an occupying power” in a 1979 manifesto titled The Question of Palestine. Alleging racial discrimination as the key motive was a means of transforming the “Zionist settler in Palestine” into an analogue of “white settlers in Africa.” That charge gained traction in a post-Sixties universe of civil rights, anti-imperialism, anti-colonialism, and Western self-abnegation. The work sought to turn the tables on the prevailing American understanding of Israel: It is not, in fact, an outpost of liberal democracy or refuge from antisemitism, but an instrument of white supremacy.

Orientalism popularized a framework through which today’s advocates on behalf of Palestinians understand their struggle against the state of Israel and the West generally. Said casts the Western world as the villains of history and peoples of the East as its noble victims.

The essence of the book, Said concluded, is the “ineradicable distinction between Western superiority and Oriental inferiority.” It falsely affirms “an absolute and systematic difference between the West, which is rational, developed, humane, superior, and the Orient, which is aberrant, undeveloped, inferior.”

So it was impossible to take Zionism seriously as one among the myriad nationalist movements that emerged in the nineteenth century, much less to see Israel itself as a land of refugees or the ancestral homeland of Jews. And, indeed, Said’s Orientalism singles out Israel for special rebuke, suggesting that the state could be justified only if one accepted the xenophobic ideology at the core of Western civilization. Israel’s defenders, particularly those who lament the lack of democracy in the Middle East and fault Arabs for their militancy, represent the “culmination of Orientalism.” 

Said is widely acknowledged as the godfather of the emerging field of postcolonial studies, and his views have profoundly shaped the study of the Middle East. Said also inspired – and in some cases directly mentored – a generation of anti-Zionist U.S. scholars whose dominance in the academic study of the area is unquestionable today.

The political left that emerged trained itself to read every conflict as the aftershock of colonialism. The ideological narrative of oppression and resistance allowed even the jihadist to become a post-colonial rebel.

It’s hard to overstate the academic influence of Orientalism.  The authors note that “As of this writing, it has been cited nearly 90 thousand times. It is also the 16th most assigned text in the OSP database, appearing in nearly 16 thousand courses. Orientalism is among the most popular books assigned in the United States, showing up in nearly 4,000 courses in the syllabus database. Said’s work appears in 6,732 courses in U.S. colleges and universities.

But although it was a major source of controversy, both then and now, it is rarely assigned with any of the critics Said sparred with, like Bernard Lewis, Ian Buruma, or Samuel Huntington. Instead, it’s most often taught with books by fellow luminaries of the postmodern left, such as Frantz Fanon and Judith Butler.

All these ideas are now embedded into diversity, equity, and inclusion identity politics, and “humanitarian” outrage over supposed Israeli “settler-colonialism,” “genocide,” and “apartheid.” 

The ground for the massive pro-Hamas college and university encampments, and attacks on Jewish students, was prepared decades ago. The long march of progressives through American institutions over the past decades has taken its toll on society.

Henry Srebrnik is a professor of political science at the University of Prince Edward Island.

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