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A distressed Brando told Malden he kept falling over. | ⴱⵔⴰⵏⴷⵓ ⵙ-ⵉⵗⵛⴰⴷ ⵓⵍⵂ ⴰⵏⵏⴻⵙ ⵉⵏⵏⴰ ⵉⴻ ⵎⴰⵍⴷⴻⵏ ⵉⵜⵉⴷⵓ ⵂⴰⵔⴾⵓⴾ. |
Shortly before his death, he had apparently refused permission for tubes carrying oxygen to be inserted into his lungs, which, he was told, was the only way to prolong his life. | ⴷⴰⵜ ⵉⴱⴰ ⵏⴻⵙ, ⵓⵏⵋⴰⵉ ⵉⵂⵓⴾ ⴰⵏ ⵜⴰⴱⴰⵔⴰⵜ ⵏ-ⵉⴶⴶⵉ ⴰⵏ ⵎⴰⵏⴰⵜⴰⵏ ⵓⵉ ⵂⴰⴾⴾⴰⵏⴻⵏ ⴰⴷⵓ (ⵓⵏⴼⴰⴰⵙ) ⵉⴻ ⵜⴰⵔⵓⵜⴻⵏ, ⴼⴰⵍ-ⴰⵓⴻⵏ, ⵉⵜⴰⵓⴰⵏⵏ-ⴰⵙ, ⴰⵏⵜⴰ ⵗⴰⵙ ⴰⴷ ⴰⴷⴷoⴱⴻⵏ ⴰⵛⴰⵛⴶⵔⴰⵜ ⴰⵏ ⵜⴰⵎⵓⴷⵔⴻ ⵏⴻⵙ. |
"In 1976, he told a French journalist, ""Homosexuality is so much in fashion, it no longer makes news." | "ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1976, ⵉⵏⵏ ⴰⵉⴻ ⵣⵂⵓⵔⵏⴰⵍⵉⵙⵜ ⴰⵏ ⴼⵔⴰⵏⵙ : " ⴰⵏⵎⴰⵔ ⵏ-ⴰⴷⴷⵉⵏⴰⵜ ⵏ-ⴰⵓⵙⴰⴼ ⵉⵉⵉⴰⵏ ⴰⵋⵋⴰⵜ ⵂⵓⵍⵍⴰⵏ ⵂⴰⵔ ⴰⵎⴱ-ⴰⵙ ⴾⴰⵜⴰⴱⴰⵏ ⴼⴰⵍ-ⴰⵙ ⵣⵂⵓⵔⵏⴰⵍⵉⵙⵜⴰⵏ " |
He also claimed numerous other romances, although he did not discuss his marriages, his wives, or his children in his autobiography. | Iⵋⵋⴰ ⴷⴰⵗ ⴰⵙ ⵉⵙⵓⵂⴰⵗ ⴰⵋoⵜⵏⴻⵏ ⴰⵏⵜⴰ ⴰ ⵜⴰⵏ ⵉⵍⴰⵏ, ⴷⴰⵗ-ⴰⵙ ⵓⴰⵔ ⵉⵋⵋⴰ ⵎⴰⵋⵔⴰⴷ ⵏ-ⵉⴷⵓⴱⵓⵏⴰⵏ ⵏⴻⵙ, ⴰⵏ ⵜⵉⴷⴻⴷⴻⵏ ⵏⴻⵙ ⵎⴻⵗ ⵏ-ⴰⵔⴰⵜⴰⵏ ⵏⴻⵙ ⴷⴰⵗ ⴰⵓⴰ ⵉⴾⵜⴰⴱ ⴷⴰⵗ ⴰⵜⵜⴰⵔⴻⵆ ⵏⴻⵙ. |
Brando met actress Rita Moreno in 1954, and they began a love affair. | ⴱⵔⴰⵏⴷⵓ ⴰⵎⵓⵈⵈⴰⵙ ⴰⴷ ⵜⴰⵏƭ=ⴼⵓⴼ ⵜⴰⵏ ⵙⵉⵏⴻⵎⴰ ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵔⵉⵜⴰ ⵎⵓⵔⴻⵏⵓ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1954, ⵜⴰⵣⵣⴰⵔ ⴰⵙⵙⴰⵏⵜⴰⵏ ⴰⵏⵎⴰⵔ. |
Years after they broke up, Moreno played his love interest in the film The Night of the Following Day. | ⴻⵍⴰⵏ ⴷⴰⵔⴰⴼ ⴰⵏⴰⴱⴷ ⵏⴰⵙⴰⵏ, ⵔⵉⵜⴰ ⵎⵓⵔⴻⵏⵓ ⵜⴰⴶⴰⵛ ⴷⴰⵗ ⵙⵉⵏⴻⵎⴰ ⵓⴰⵏ ⴻⵂⴷ ⵓⴰⵏ ⴻⵛⴰⵍ-ⴻⵏ ⴻⴷⴰⴶⴶ ⴰⵏ ⵜⴻⵎⴰⵔⵂⵉⵜ ⴰⵏⵏⴻⵙ. |
She is said to have been the daughter of a Welsh steel worker of Irish descent, William O'Callaghan, who had been superintendent on the Indian State railways. | Iⵜⴰⵓⴰⵏⵏⴰ ⴰⴷ ⵜ-ⴰⵈⵈⴰⵍ ⴻⵍⵍⴻ-ⵙ ⵏ-ⴻⵎⴰⵛⵛⴰⵗⴰⵍ ⴶⴰⵍⵍoⵉⵙ ⴰⵏ ⵜⴰⵣⵓⵍⵉ ⵜⴰⵏ ⵜⴰⵙⵙⵓⵂⴻⵜ ⴰⴷ ⵉⵂⴰⵏ ⴰⵙ Iⵔⵍⴰⵏⴷ, ⵓⵉⵍⵍⵉⴰⵎ O'ⵛⴰⵍⵍⴰⴶⵂⴰⵏ, ⵙ-ⴰⵙ ⴾⴰⵍⴰ ⵉⵈⵈⴰⵍ ⴻⵎⴰⵏⴰⵣⵔⴰⴼ əⵏ ⵜⴰⴱⴰⵔⴰⵜ ⵜⴰⵏ ⵜⴰⵌⵓⵍⵉ ⴰⵏ ⵜⵔⵉⵏⵜⴰⵏ ⵏ-ⴰⴷⴷⴰⵓⵍⴰⵜ ⵏ-Iⵏⴷⴻ. |
Brando and Kashfi had a son, Christian Brando, on May 11, 1958; they divorced in 1959. | ⴱⵔⴰⵏⴷⵓ ⴰⴷ ⵆⴰⵙⵂⴼⵉ ⴰⵔⴶⴰⵓⴰⵏ ⴱⴰⵔⴰⵔ, ⵛⵂⵔⵉⵙⵜⵉⴰⵏ ⴱⵔⴰⵏⴷo, ⴻⵛⴰⵍ ⵓⴰⵏ 11 ⵎⴰⵉo ⴷⴰⵗ 1958 ; ⴰⵏⵎⴰⵣⴰⵉⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1959. |
They had two children together: Miko Castaneda Brando (born 1961) and Rebecca Brando (born 1966). | ⴻⵔⴶⴰⵓⴰⵏ ⴰⵙⵙⵉⵏ ⴰⵔⴰⵜⴰⵏ : ⴰⵉⴾⵓ ⵛⴰⵙⵜⴰⵏⴻⴷⴰ ⴱⵔⴰⵏⴷⵓ (ⵉⵓⴰⵏ ⴷⴰⵗ 1961) ⴰⴷ ⵔⴻⴱⴻⴾⴾⴰ ⴱⵔⴰⵏⴷⵓ (ⵜⴰⵓⵓⴰⵜ ⴷⴰⵗ 1966). |
Because Teriipaia was a native French speaker, Brando became fluent in the language and gave numerous interviews in French. | ⴻⴷ ⵟⴻⵔⵉⵉⴱⴰⵉⴰ ⵜⴰⵈⵈⴰⵍ ⵜⴰⵓⴰⵍⵜ ⴰⵏ ⵎⴰⵙ ⴰⵏ ⵜⴰⴼⵔⴰⵏⵙⵉⵜ, ⴱⵔⴰⵏⴷⵓ ⵉⵍⵎⴰⴷ ⵜⴰⵓⴰⵍⵜ ⵜⴻⵏ ⵉⴾⴼⴰ ⴷⴰⵗ-ⴰⵙ ⵉⵙⴰⵍⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ. |
Brando and Teriipaia divorced in July 1972. | ⴱⵔⴰⵏⴷo ⴰⴷ ⵟⴻⵔⵉⵉⴱⴰⵉⴰ ⴰⵏⵎⴰⵣⴰⵉⴰⵏ ⴷⴰⵗ 1972. |
Brando had a long-term relationship with his housekeeper Maria Cristina Ruiz, with whom he had three children: Ninna Priscilla Brando (born May 13, 1989), Myles Jonathan Brando (born January 16, 1992), and Timothy Gahan Brando (born January 6, 1994). | ⴱⵔⴰⵏⴷⵓ ⴰⵏⴰⵍⴾⴰⵎ ⵙ-ⴰⵍⵓⴰⵈ ⵛⴰⴶⵔⴻⵏ ⵉⴻ ⵜⴻⵎⴰⵛⵛⴰⵗⴰⵍⵜ ⴰⵏⵏⴻⵙ ⵛⵔⵉⵙⵜⵉⵏⴰ ⵔⵓⵉⵣ, ⵉⵙ ⵉⵋⵔⴰⵓⴰⵏ ⴾⴰⵔⴰɗ ⴰⵔⴰⵜⴰⵏ : ⵏⵉⵏⵏⴰ ⴱⵔⵉⵙⵛⵉⵍⵍⴰ ⴱⵔⴰⵏⴷo (ⵜⴻⵓⴰⵜ ⴻⵛⴰⵍ ⵓⴰⵏ 13 ⴷⴰⵗ ⵜⴰⵍⵍⵉⵜ ⵜⴰⵏ ⵎⴰⵉⴰ 1989), ⵎⵉⵍⴻⵙ ⵋoⵏⴰⵜⵂⴰⵏ ⴱⵔⴰⵏⴷⵓ (ⵉⵓⴰⵏ ⴻⵛⴰⵍ ⵓⴰⵏ 16 ⴷⴰⵗ ⵜⴰⵍⵍⵉⵜ ⵜⴰⵏ ⵣⵂⴰⵏⵓⴰⵔ 1992) ⴻⵜ ⵟⵉⵎⵓⵜⵂⵉ ⵗⴰⵂⴰⵏ ⴱⵔⴰⵏⴷⵓ (ⵉⵓⴰⵏ ⴻⵛⴰⵍ ⵓⴰⵏ 6 ⴷⴰⵗ ⵜⴰⵍⵍⵉⵜ ⵜⴰⵏ ⵣⵂⴰⵏⵓⴰⵔ 1994). |
His numerous grandchildren also include Prudence Brando and Shane Brando, children of Miko C. Brando; the children of Rebecca Brando; and the three children of Teihotu Brando among others. | ⴷⴰⵗ ⵉⵂⴰⵉⴰⵓⴰⵏ ⵏⴻⵙ ⵉ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵂⴰⵏⵜⴰⵏ ⴱⵔⵓⴷⴻⵏⵛⴻ ⴱⵔⴰⵏⴷo ⴰⴷ ⵔⵂⴰⵏⴻ ⴱⵔⴰⵏⴷⵓ, ⴱⵔⴰⵔⴰⵏ ⴰⵏ ⵎⵉⴾⵓ ⵛ. ⴱⵔⴰⵏⴷⵓ, ⴱⴰⵔⴰⵔⴰⵏ ⴻⵏ ⵔⴻⴱⴻⵛⵛⴰ ⵔⴰⴱⵏⴷⵓ ⴰⴷ ⴾⴰⵔⴰⴷ ⴰⵔⴰⵜⴰⵏ ⴰⵏ ⵟⴻⵉⵂⵓⵜⵓ ⴱⵔⴰⵏⴷⵓ, ⴷ-ⴰⵙⴰⵍ-ⴰⵓⴻⵏ. |
His behavior during the filming of Mutiny on the Bounty (1962) seemed to bolster his reputation as a difficult star. | ⴰⵙⴰⵓⴻ ⴰⵏ ⵜⴰⵍⴰ ⵏⴻⵙ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⵉⵋⵉ ⴰⵏ ⵙⵉⵏⴻⵎⴰ ⵎⵓⵜⵉⵏⵉ ⵓⵏ ⵜⵂⴻ ⴱⵓⵓⵏⵜⵉ (1962) ⵉⴾⴼⴻ ⴰⵌⵌⴰⵂⴰⴼ ⵏ-ⴻⵎⴰⵛⵛⴰⵗⴰⵍ ⴰⵌⵌⵓⵂⴻⵏ. |
Galella had followed Brando, who was accompanied by talk show host Dick Cavett, after a taping of The Dick Cavett Show in New York City. | ⵗⴰⵍⴻⵍⵍⴰ ⵉⴷⴰⵙⵜ ⴰⵙ ⵉⵍⴾⴰⵎ ⵉⴻ ⴱⵔⴰⵏⴷⵓ, ⵉ ⵂⵉⵏ ⴰⵌⵌoⴼⴰⴷ ⴻⵏⴰⵎⴻⵋⵔⴰⴷ ⴰⵏ ⵜⴰⵍⴾ-ⵙⵂⵓ ⴹⵉⵛⴾ ⵛⴰⴱⴻⵜⵜ, ⴷⴰⴼⴼⴰⵔ ⴰⴷⴰⴾⴰⵍ ⴰⵏ ⴹⵉⵛⴾ ⵛⴰⴱⴻⵜⵜ ⵔⵂⵓ ⴷⴰⵗ ⵏⴻⵓ ⵗⵓⵔⴾ. |
The filming of Mutiny on the Bounty affected Brando's life in a profound way, as he fell in love with Tahiti and its people. | Iⵋⵉ ⴰⵏ ⵙⵉⵏⴻⵎⴰ ⴰⵏ ⴷⴻⵙ ⵎⵓⵜⵉⵏⵙ ⴷⵓ ⴱⵓⴻⵏⵜⵉ ⴰⵙⵎⴰⵍⴰⵍⴰⵉ ⵂⵓⵍⵍⴰⵏ ⵜⴰⵍⵗⴰ ⴰⵏ ⴱⵔⴰⵏⴷⵓ, ⴼⴰⵍ-ⴰⵙ ⴰⵔⵂⴰ ⵂⵓⵍⵍⴰⵏ ⵜⴰⵂⵉⵜⵉ ⴰⴷ ⵜⴰⵓⵙⴻⵜ ⴰⵏⵏⴻⵙ. |
The 1983 hurricane destroyed many of the structures including his resort. | ⴰⴷⴷⵓ ⵓⴰ ⵎⴰⵈⵈⴰⵔⴰⵏ ⴰⵏ 1983 ⴰⵔⵌⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⴰⵋoⵜⵏⴻⵏ, ⴷⴰⵗ-ⴰⵙ ⵉⵂⴰ ⴻⴷⴰⴶⴶ ⵓⴰⵏ ⴰⴷⴷⴰⵍⴰⵏ. |
He was listed in the Federal Communications Commission (FCC) records as Martin Brandeaux to preserve his privacy. | ⴰⵜⵉⵓⴰⴾⵜⴰⴱ ⴷⴰⵗ ⴱⵓⴾⵓⵜⴰⵏ ⵓⵉⵏ ⵆⵓⵎⵉⵙⵓⵏ ⵏ-ⴰⴷⴷⴰⵓⴰⵍⴰⵜⴻⵏ ⵏ-ⵉⵂⵓⴾ ⵏ-ⵉⵙⴰⵍⴰⵏ( ⵛoⵎⵎⵉⵙⵙⵉoⵏ ⴼⴻⴷⴻⵔⴰⵍⴻ ⴷⴻⵙ ⵛoⵎⵎⵓⵏⵉⵛⴰⵜⵉⵏⵙ) (ⴼⵛⵛ) ⴼⴰⵍ ⵉⵙⴰⵎ ⴰⵏ ⵎⴰⵔⵜⵉⵏ ⴱⵔⴰⵏⴷⴻⴰⵓⵆ ⵉ-ⴰⴷ ⴰⴼⴼⴰⵔ ⵉⵎⴰⵏ ⵏⴻⵙ. |
He attended some fundraisers for John F. Kennedy in the 1960 presidential election. | Iⵋⴰⵂⴰ ⵉⴻ ⵓⵎⵎⴰⵗ ⵏ-ⴰⵌⵔⴻⴼ ⵉⴻ ⵋoⵂⵏ ⵂ. ⵆⴻⵏⵏⴻⴷⵉ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⵓⵎⵎⴰⵗ ⴰⵏ ⵜⵓⵎⴰⵙⵜ ⴰⵏ ⴼⵔⴻⵙⵉⴷⴰⵏ ⵏ-ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ1960. |
In autumn of 1967, Brando visited Helsinki, Finland at a charity party organized by UNICEF at the Helsinki City Theatre. | ⴷⴻⴰⵗ ⴻⵓⴻⵍⴰⵏ ⵓⴰⵏ ⴰⵓⴰⵜⴰⵉ 1967, ⴱⵔⴰⵏⴷo ⵉⴾⴾⴰ ⵂⴻⵍⵙⵉⵏⴾⵉ, ⴷⴰⵗ ⴼⵉⵏⵍⴰⵏⴷ, ⵉ-ⴰⴷ ⴰⵋⴰⵉⵂⵉ ⵉⴻⵜⴰⵗⵉⵎⵉⵜ ⵏ- ⵓⵎⵎⴰⵗ ⵏ-ⴰⵌⵔⴻⴼ ⵉⵋⴰ ⵓⵏⵉⵙⴻⴼ ⴷⴰⵗ ⴻⵂⴰⵏ ⵓⴰ ⵎⴰⵈⵈⴰⵔⴰⵏ ⵏ-ⴰⴷⴷⴰⵍ ⴰⵏHⴻⵍⵙⵉⵏⴾⵉ. |
He spoke in favor of children’s rights and development aid in developing countries. | Iⵋⴰ ⵎⴰⵋⵔⴰⴷ ⵏ-ⴰⵍⵆⴰⵈⵈⴰⵏ ⵏ-ⴰⵔⴰⵜⴰⵏ ⴰⴷ ⵜⵉⵍⴰⵍⵜ ⵏ-ⵉⴾⴰⵍⵍⴰⵏ ⵓⵉ ⴰⵂⴰⵏⴻⵏ ⴰⴱⴰⵔⴰ ⵏ-ⵉⴾⴾⵓⵉ ⴰⵙ-ⴷⴰⵜ. |
"I felt I'd better go find out where it is; what it is to be black in this country; what this rage is all about,"" Brando said on the late-night ABC-TV talk show Joey Bishop Show." | "Oⴼⵔⴰⵉⴰⵗ ⴰⵙ ⴰ ⵓⴼⴰⵏ ⴰⴷ ⴰⵙⴰⵗ ⴰⵓⴻⵏ ⴰⵏⵂⵉⵉⴰⵈ-ⵉ ⴰⵙ ⵜⵉⴼⴼⴰⵓⴻⵏ-ⵉⵏ ; ⴰⵓⴰ ⴰⵎⵓⵙ ⴰⴷ ⵉⵈⵈⴰⵍ ⴰⵓⴰⴷⴰⵎ ⵉⴾⴰⵓⴰⵍⴰⵏ ⴷⴰⵗ ⴰⴷⴷⴰⵓⵍⴰⵜ-ⵉ ; ⴰⵓⴰ ⴰⵎⵓⵙ ⴰⴷⴾⴰⵔ-ⵉ", ⴰ ⵉⵏⵏⴰ ⴱⵔⴰⵏⴷⵓ ⴷⴰⵗ ⵜⴰⵍⴾ-ⵙⵂⵓⵓ ⵓ ⵋⴻⵉ ⴱⵉⵙⵂⵓⴱ ⵔⵂⵓⴻ, ⴰⵜⵉⵓⴰⵙⴰⴾⵏⴰⵏ ⴷⴰⵗ ⵙⴰⵎⴷⵓ ⴰⵏ ⵜⴰⵗⵉⵎⵉⵜ ⴼⴰⵍ ⴰⴱⵙ-ⵟⴱ." |
"It was one of the most incredible acts of courage I ever saw, and it meant a lot and did a lot.""" | "ⴰⵎⵓⵙ ⴰⴾⵓⴼⴰⵔ ⵎⴰⵈⵈⴰⵔⴰⵏ ⴻⵙ ⴾⴰⵍⴰ ⵓⴰⵔ ⵜ-ⴰⵂⴻⵉⴰⵗ, ⴰⴷ ⵉⴾⴾⴰ ⵜⴰⵏⵏⴰ ⵏ-ⴰⵋⵋⴻⵏ ⴷ-ⵉⵋⵉ ⵏ-ⴰⵋⵋⴻⵏ.""" |
"In 1964 Brando was arrested at a ""fish-in"" held to protest a broken treaty that had promised Native Americans fishing rights in Puget Sound." | "ⴰⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1964, ⴱⵔⴰⵏⴷⵓ ⴰⵜⵓⴰⵔⵎⴰⵙ ⴷⴰⵗ ⴰⵍⵓⴰⵈⵈ ⴰⵏ ""ⴼⵉⵙⵂ-ⵉⵏ"" ⴰⵜⵉⵓⴰⵋⵋⴰⵏ ⴼⴰⵍⴰⴷ ⴰⵗⵛⴰⴷ ⴰⵍⴾⴰⴷ ⵉⴾⴼⴰⵏ ⵜⴰⴱⴰⵔⴰⵜ ⵉⴻ ⴰⵎⴻⵔⵉⵏⴷⵉⴻⵏⵜⴰⵏ ⵏ-ⵓⴾⴾⴰⵙ ⵏ-ⵉⵎⴰⵏⴰⵏ ⴷⴰⵗ ⴱⵓⴶⴻⵜ ⵙⵓⵏⴷ."" |
"Brando ended his financial support for the group over his perception of its increasing radicalization, specifically a passage in a Panther pamphlet put out by Eldridge Cleaver advocating indiscriminate violence, ""for the Revolution.""" | ⴱⵔⴰⵏⴷⵓ ⴰⵙⵙⴰⴱⴷⴰⴷ ⵜⴰⴷⵂⴰⵍⵜ ⴰⵏ ⵜⴰⵔⵜⵉⵜ ⴰⵏ ⴰⴷⴷⵉⵏⴰⵜ-ⴰⵙ ⵉⵙⵂⴰⴾⵜ ⴻⴷ ⴰⵙⵜⴰⵏⵏⴰⴰⵎ ⵓⴰⵔ ⴰⵏⵎⴰⵏⵏⴰⴾⴰⵏ ⴰⵙⴰⵙⵙⵉⴾⴰⵉ ⵓⴰ ⴰⵜⵓⴰⵜⴱⴰⵏ ⵋⴰⵣⵣⵓⵍⵏⴻⵏ ⴰⵍⵍⴰⵏⴻⵏ ⵜⴰⴾⵎⵓ ⴰⵙⵙⴰⴾⴰⵉ ⴻⵍⴷⵔⵉⴷⴶⴻ ⵛⵍⴰⴻⴰⴱⴻⵔ ⵉⵙⴰⵆⵏⴻⵏ ⴰ ⵓⴰⵔ-ⴻⵏ ⴰⵂⵓⵙⴾⴰⵜ ‘’ⵙⴰⵙⵙⴰⵎⵓⵜⴰⵉ ⵉⵜⵔⴰⴱⴰⵏ ‘’ⵉⵋⵋⴰⵏ ⴼⴰⵍ ⴾⴰⵍ ⴰⵙⵂⴰⵗⴰⵍⴰⵏ ⵓⵉ-ⵏ ⴰⵍⵆⴰⴾⵓⵎ ⵎⴻⵗ ⴼⴰⵍ ⴰⵓⴰⴷⴻⵎ ⵉⵉⵉⴰⵏ |
Sacheen Littlefeather represented him at the ceremony. | ⴰⵛⵂⴻⴻⵏ Lⵉⵜⵜⵍⴻⴼⴻⴰⵜⵂⴻⵔ ⵉⵋⵋⴰⵙⵂ ⴻⴷⴰⴶⴶ ⴰⵏⵏⴻⵙ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⴰⴷⴷⴰⵍ. |
The event grabbed the attention of the US and the world media. | ⴰ ⵓⴻⵏ ⴰⵜⵓⴰⵋⵋⴰⵏ ⴻⵔⵎⴰⵙ ⴰⵏⵏⵉⵉⴰⵜ ⵏ-ⵉⵎⵓⵋⵋⴰⵏ ⴰⵏ ⵉⵙⴰⵍⴰⵏ ⵓⵉ-ⵏ- ⴰⵎⴻⵔⵉⴰⴰⵉⵏ ⴰⴷ ⴾⴰⵍ ⴰⴷⴷⴰⵓⴰⵍⴰⵏ ⵓ-ⵉⵉⵉⴰⵜⵜⵏⴻⵏ. |
He was also an activist against apartheid. | ⴰⴱⴰⵍⵍⴰⵏ ⵂⴰⵔⵓⴰ ⴰⴷ ⴰⵣⴰⵎⴰⵍⴰⵉ ⵋⴻⵔ ⵜⴰⵎⴰⵜⵜⴰⵓⴻⵏ. |
He is listed by the American Film Institute as the fourth greatest male star whose screen debut occurred before or during 1950 (it occurred in 1950). | ⴻⵏ ⴰⵎⴻⵔⵉⴰⵏ ⴼⵉⵍⵎ Iⵏⵙⵜⵉⵜⵓⵜⴻ ⵉⵋⵋⴻ ⴷⴰⵗ ⴰⵏⵎⵉⵣⴰⵔ ⵓⴰ-ⵙ ⴰⴾⴾⵓⵣ ⴷⴰⵗ ⵎⴻⴷⴷⴰⵏ ⵓⵉ ⴰⵍⵍⴰⵏⴻⵏ ⵜⴰⵎⵗⴰⵔ ⴰⴷ-ⵉⵙⴰⵎ ⴰⵙⵙⴰⵏⵜⴰⵏⴻⵏ ⵉⵋⵋⵉ ⴰⵏ ⵙⴰⵏⴰⵎⴰⵜⴰⵏ ⴷⴰⵜ ⵎⴻⵗ ⴰⴰⵔⴰⵜ ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ 1950 (ⴰⵏⵜⴰ ⴰⵙⵙⴰⵏⵜⴰ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ). |
"Retrieved August 19, 2009.Encyclopedia Britannica describes him as ""the most celebrated of the method actors, and his slurred, mumbling delivery marked his rejection of classical dramatic training." | "ⵔⴻⵜⵔⵉⴻⴱⴻⴷ ⴰⵓⴶⵓⵙⵜ 19, 2009. ⴷⴰⵗ ⵎⴰⵍⵂⴰⵓ ⴾⴰⵍ ⴱⵔⵉⵜⴰⵏⵏⵉⴰ ⴰⵋⵋⴰⵏ ⵛⵓⵏⴷ ⴰⵓⴰⴷⴰⵎ ⵓⴰ oⴼⴼⴰⵏ ⴷⴰⵗ ⵜⴰⵋⵋⴰⵏⴻⵏ ⵙⴰⵏⴰⵎⴰⵜⴰⵏ ⵉⵍⴰ ⴰⵎⵎⴰⴾⴾⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ.” |
He was a development from the gangster leader and the outlaw. | Iⴶⵍⴰ ⵂⴰⵔ ⴻⵈⵈⴰⵍ ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴾⴰⵍ ⵎⵓⵋⵋⴰⵏ ⴰⵏ ⴻⵔⴾ ⵂⴰⵔⴰⵜ ⴷ-ⵉⴱⴰ-ⵏ ⵜⵓⴾⴰⵍⵜ ⴷⴰⵗ ⴰⵓⴰ ⵉⵂⴰⵏ ⴰⵛⴰⵔⴻⵗⴰ |
His portrayal of the gang leader Johnny Strabler in The Wild One has become an iconic image, used both as a symbol of rebelliousness and a fashion accessory that includes a Perfecto style motorcycle jacket, a tilted cap, jeans and sunglasses. | ⴷⴰⵗ ⴰⵙⵙⴰⴼⵂⴰⵎ ⴰⵏⵏⴻⵙⵙ ⴰⵏ ⵜⵓⵎⴰⵙⵜ ⵏ-ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴾⴰⵍ ⵎⵓⵋⵋⴰⵏ ⴰⵏ ⴻⵔⴾ ⵂⴰⵔⴰⵜ ⵋⵓⵂⵏⵏⵉ ⵙⵜⵔⴰⴱⵍⴻⵔ ⴷⴰⵗ ⵟⵂⴻ ⵓⵉⵍⴷ ⵓⵏ ⴻⵈⵈⴰⵍ ⵛⵓⵏⴷ ⴰⴼⴼⴰⵙⵓⴻⵔ ⴰⵙⵙⵉⵙⵏⴰⵏⴰⵏ, ⴰⵜⵜⵉⵓⴰⴷⴾⴰⵍⴰⵏ ⴰⵍⵓⴰⵈ ⵉⵉⵉⴰⵏ ⵛⵓⵏⴷ ⵜⴰⵎⴰⵜⴻⵔ ⴰⵏ ⵜⵓⵏⵋⵉⵜ ⴰⵙ ⵓⴰⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴰⴷ ⵉⵙⵓⵋ ⵓⵉ-ⴷ-ⴰⵛⵔⴰⵉⵏⴻⵏ ⴰⵎⵓⵙⵏⴻⵏ ⴻⵔⴰⵙⵓⴰⵉ ⵓⴰ-ⵏ ⵎⵓⵜⵓⵍⵜⴰⵏ ⵉⵋⵋⴰⵏ ⴷⴰⵗ ⴻⵍⴰⵎ, ⵜⴰⴾⵓⵎⴱⵓⵜ ⵜⴰⴼⵔⴰⵉⵗⴰⵜ ⵋⵉⵏ ⴰⴷ ⵜⵉⵎⴰⵏⵂⴰⵉⴻⵏ ⵜⵉⵏ ⵜⴰⴼⵓⴾⵜ |
"The ""I coulda been a contender"" scene from On the Waterfront, according to the author of Brooklyn Boomer, Martin H. Levinson, is ""one of the most famous scenes in motion picture history, and the line itself has become part of America's cultural lexicon.""" | ⴰⵓⴰ ‘’ⵉⵜⵜⵉⴾⵉⵉⴰⵎ ’’I ⵛⵓⵍⴷⴰ ⴱⴻⵏⵏ ⴰ ⵛⵓⵏⵜⴻⵏⴷⴻⵔ’’’’ ⴰⵎⵓⵙ ⵜⴰⵏⴼⵓⵙⵜ ⵓⴰⵜⴻⵔⴼⵔⵓⵏⵜ, ⴱⵔⵓⴾⵍⵉⵏ ⴱⵓⵎⴻⵔ, ⵎⴰⵔⵜⵉⵏ ⵂ. ⵍⴻⴱⵉⵏⵙⵓⵏ ⵎⴰⵈⵈⴰⵔⴰⵜ ⴷⴰⵗ ⵉⵙⴰⵍⴰⵏ ⴰⵏ ⵙⴰⵏⴰⵎⴰ ⴼⴰⵍ-ⴰⵙ ⴰⵙⵙⵓⴷⵎⴰⵔ ⵉ-ⴰⵓⴻⵏ ⴻⴷ ⴰⵎⵓⵙ ⴰⵎⴰⵔⴰ ⴰⵛⵔⵓⵜ ⴰⵏ ⵜⴰⵓⴰⵍⵜ ⴰⴷ ⴰⵙⵙⴰⵏⵗⴰⵜ ⴰⵏ ⴰⵎⴻⵔⵉⵛⴰⵉⵏ” |
"You have to make 'em believe that you are dying ... Try to think of the most intimate moment you've ever had in your life.""" | ⵍⵉⵣⴰⵎ ⴾⴰⵓⴰⵏ ⴰⴷ ⵓⵗⴰⵍⴰⵏ, ⵙⴰⴾⵏⴰⵎⵜⴰⵏ ⴰⵙ ⵛⵓⵏⴷ ⵜⴰⵎⴰⵜⵜⴰⵏⵜ ⴰ ⵜⴰⵋⵋⴰⵎ… ⴰⵔⴰⵎⵎⴰⵜ ⴰⵙⴰⵏⴰⵣⵋⵓⵎⵓ ⴷⴰⵗ ⴰⵓⴰⵈ ⴰⵏ ⵂⴰⵔⴰⵜ ⴾⴰⵓⴰⵏ ⴷ-ⴻⵈⵈⴰⵍⴰⵏ ⵜⴰⵋⵋⴰⵎ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻ ⵏⴰⵓⴰⵏ “” |
In 1999 the American Film Institute ranked him eighth among its list of greatest male stars of the Golden Age of Hollywood. | ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ 1999, ⴰⵎⴻⵔⵉⵛⴰⵏ ⴼⵉⵍⵎ Iⵏⵙⵜⵉⵜⵓⵜⴻ ⴷⴰⵗ ⴰⵎⵉⵉⵣⴰⵔ ⴰⵏ ⵎⴰⴷⴷⴻⵏ ⵓⵉ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⴰⵏⴰⴼⵔⴰⵏⵏⴻⵏ ⴷⴰⵗ ⵎⴻⵍⵗⴰⵓ ⴰⵏ ⴰⵛⴰⵗⴰⵍⴰⵏ ⵏⴰⵙⴰⵏ, ⴻⵈⵈⴰⵍ ⵓⴰ-ⵙ-ⴰⵜⴰⴰⵎ ⴰⵏ ⴻⵍⴰⵏ ⴰⵏ ⵂⵓⵍⵍⵉⵓⵓⴷ. |
He spent several years in vaudeville as a dancer and comedian, until he got his first major acting part in 1925. | Iⵋⵋⴰ ⴻⵍⴰⵏ ⴰⵋⵋooⵜⵏⴻⵏ ⴷⴰⵗ ⴱⴰⵓⴷⴻⴱⵉⵍⵍⴻ ⵙⵂⵓⵏⴷ ⴰⵎⴰⴷⵂⴰⵍ ⴷ-ⴻⵔⴻ ⵉⵙⴰⴷⵙⴻⵏ, ⵉⵋⵔⴰⵤ ⵉ-ⴰⴷⴷⵉⵏⴰⵜ ⴰⴷ ⴰⵋⵋⵉⵂⴰⵏ ⵉ-ⴰⵓⴰ ⵉⵜⵜⴰⵋ ⵂⴰⵔ ⴰⵏⵎⵉⵓⴷⴰ ⴰⴷ ⵜⵓⵎⴰⵙⵜ ⴰⵏ ⴻⵎⴰⵙⵂⴰⵗⴰⵍ ⵓⴰ , ⵎⴰⵈⵈⴰⵔⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ 1925. |
After rave reviews, Warner Bros. signed him for an initial $400-a-week, three-week contract; when the executives at the studio saw the first dailies for the film, Cagney's contract was immediately extended. | ⴷⴰⵔⴰⵜ ⵉⵎⴰⵋⵔⵉⴷⴰⵏ ⴼⴰⵍ-ⴰⵙ ⴰⵜⵜⵉⵓⴰⴰⵋⵋⴰⵏⴻⵏ ⴰⵎⵓⵙⵏⴻⵏ ⴰ- ⵜ-ⴰⵙⵙⵓⴾⴰⵜ ⴰⵙ ⴷⴰⵜ, ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ ⴰⵙⵓⴰⵋⵋⴰ ⴻⵙⵂⵓⴰⵍ ⴻⵏ ⴰⵎⵙⵂⴰⵗⴰⵍ ⵓ-ⴰⵣⵣⴰⵔⴰⵏ ⴰⵏ ⴾⴰⵔⴰⴷⴰⵜ ⴰⵙⵙⴰⵉⴰⵜⴻⵏ ⴰⵙ ⴰⵍⵈⵈⵉⵎ ⴰⵏⵏⴻⵙ ⵉⴾⴾⴰⵜ ⴰⴷ 400 ⴰⵏ ⴷⵓⵍⵍⴰⵔ ⴷⴰⵗ ⵂⴰⴾ ⴰⵙⵙⴰⵉⴰⵜ ;ⴰⵍⵓⴰⵈ ⵓⴰ-ⴷ- ⴰⵏⵂⴰⵉⴰⵏ ⵉⵎⵉⵣⴰⵔⴰⵏ ⵙⴰⵏⵜⵓ ⵏ-ⴰⵓⴰ ⴰⵙⵂⴰⵗⴰⵍ, ⵜⴰⵈⵈⴰⵏ ⴰⵏ ⴰⵎⵙⵂⴰⵗⴰⵍ ⴰⵏ ⵛⴰⴶⵏⴻⵉ ⴰⵓⵓⴰⴷ ⴰⵍⵓⴰⵈ ⵓⴻⵏ ⴷⴰⵗ. |
He was nominated a third time in 1955 for Love Me or Leave Me with Doris Day. | Iⵋⵋⴰ ⴰⵜⵓⴰⴼⵔⴰⵏ ⵓⴰ-ⵙ ⴾⴰⵔⴰⴰ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1955 ⵉⴻ ⵍⵓⴱⴻ ⵎⴻ ⵓⵔ ⵍⴻⴰⴱⴻ ⵎⴻ ⴰⴷ ⴱⵓⵔⵉⵙ ⴹⴰⵉ. |
Cagney walked out on Warner Bros. several times over the course of his career, each time returning on much improved personal and artistic terms. | ⵛⴰⴶⵏⴻⵉ ⵉⴼⵍⴰ ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ. ⴹⴰⵗ ⴰⵙⵂⴰⵗⴰⵍ ⴰⵏⵏⴻⵙ, ⵉⵋⵋⴰ-ⵙ-ⴰⴷ ⵓⵗⵍⴰⵓⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⴷ- ⵉⵎⴰⵏ ⴰⵏⵏⴻⵙ ⴷ-ⵉⵋⵋⵜⴰⵏ ⴰⵏ ⴰⵙⵂⴰⵗⴰⵍⴰⵏ ⵓⴼⴼⴰⵏⴻⵏ ⵓⵉ ⴰⵣⵣⴰⵔ ⵏⴻⵏ. |
He worked for an independent film company for a year while the suit was being settled, establishing his own production company, Cagney Productions, in 1942 before returning to Warner seven years later. | ⴰⵙⵂⴰⵗⴰⵍ ⴷⴰⵗ ⵜⴰⵔⵜⵉⵜ ⵜⴰⵏⵏⴻⵂⴰⴷⴰⵜ ⵉ-ⵉⵋⵋⵉ ⴰⵏ ⵙⴰⵏⴰⵎⴰⵜⴰⵏ ⵂⴰⵔ ⵉⴾⴾⵔⴰⵙⵂ ⴰⵓⴰⵜⴰⵉ ⴷⴰⵗ-ⵜⴰⵔⵜⵉⵜ ⵜⴰⵏⵏⴻⵂⴰⴷⴰⵜ ⵉ-ⵉⵋⵋⵉ ⴰⵏ ⵙⴰⵏⵏⴰⵎⴰⵜⴰⵏⴰ ⵂⴰⵔ ⵉⴾⴾⵔⴰⵙⵂ ⴰⵓⴰⵜⴰⵉ ⴷⴰⵗ-ⴰⵙ ⵉ-ⴰⴷ ⴰⵏⵂⴰⵉ ⴰⴰⵔⴰⵜ ⴰⵎⵎⵓⴾⴰⵏ ⴰⵏ ⴰⵙⵂⴰⵔⴻⵗⴰ, ⵜⴰⵣⵣⴰⵔ ⴰⵙⵗⴰⵉⵎⴰ ⵜⴰⵔⵜⵉⵜ ⴰⵏ ⵉⵎⴰⵏ ⴰⵏⵏⴻⵙ ⵜⴰⵏ ⴰⵎⵎⵓⴾⴰⵏ ⴰⵏ ⴰⵙⵂⴰⵗⴰⵍⴰⵏ ⴰⵏⵏⴻⵙ ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⴰⵎⵎⵓⴾⴰⵏ ⴰⵏ ⴰⵙⵂⴰⵗⴰⵍⴰⵏ ⴰⵏ ⵛⴰⴶⵏⴻⵉ ⴷⴰⵗ-ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ 1942 ⵜⴰⵣⵣⴰⵔ ⴰⴷ ⴻⵈⵈⴰⵍ ⵗⵓⵔ ⵓⴰⵔⵏⴻⵔ ⴰⵙⵙⴰ ⴻⵍⴰⵏ ⴰⴰⵔⴰⵜ ⴰⵓⴰ |
Cagney was the second of seven children, two of whom died within months of their births. | ⵛⴰⴶⵏⴻⵉ ⴰⵎⵎⵓⵙ ⴰⵔⴰ ⵓⴰ-ⵙ ⴰⵙⵙⴰⵏ ⴼⴰⵍ ⴰⵙⵙⴰ ⴷⴰⵗ ⴰⵔⴰⵜⴰⵏ ⴰⵙ ⴰⵙⵙⵉⵏ ⴷⴰⵗ ⵙⴰⵏ ⴰⵎⵎⵓⵏ ⴷⴰⵔⴰⵜ ⵜⵉⵓⵉⵜ ⵏⴰⵙⴰⵏ ⵙⵂⴰⵎⴰⴷ ⴰⴾⴾⵔⴰⵙⵂⴰⵏ ⵂⴰⵔⴰⵜ ⴰⵏ ⵓⵔⴰⵏ |
The family moved twice while he was still young, first to East 79th Street, and then to East 96th Street. | ⴰⵍⵗⴰⵉⴰⵍⴰⵏ ⴰⵋⵋⴰⵏ ⴰⵙⵙⵉⵏ ⵂⵉⵏⴰⵏ ⵂⴰⵔⵓⴰ ⵎⴰⴷⵔⴰⵉ ⴰⵙ ⵜⵉⵣⵣⴰⵔⴰⵜ ⴾⵓⵍ ⴰⵂⵓⵏⴰ ⴰⵙ ⴻⴰⵙⵜ 79ⵜⵂ ⴰⵂⵓⵏⴰ ⵂⴰⵔⵓⴰ ⴰⵙ ⴻⵙⵜ 96ⵜⵂ ⵙⵜⵔⴻⴻⵜ. |
I feel sorry for the kid who has too cushy a time of it. | ⵜⴰⵏⵏⴰⵈ-ⴰⵂⵉ ⵜⴰⵂⴰⵏⵉⵏⵜ ⴰⵏ ⴰⵔⴰⵜⴰⵏ ⴰⵋⵔⴰⵓⵏⴻⵏ ⵜⴰⵎⵓⴷⵔⴻ ⵜⴰⴾⴾⴰⵜ ⵜⴰⵗⵔⴰⵙⵜ. |
He was a good street fighter, defending his older brother Harry, a medical student, when necessary. | ⴻⵎⴰⴾⴾⴻⵏⴰⵙ ⵓⵍⴰⵗⴰⵏ ⴷⴰⵗ ⵜⴰⵙⵂⴰⵔⴻⵜ ⵉⵜⵉⴶⴰⵌ ⵓⴰⵏ ⴰⵎⴰⵈⵈⴰⵔ ⴰⵏⵏⴻⵙ ⵂⴰⵔⵔⵉ ⵉⵜⵜⴻⴰⵋⴰⵏ ⵜⴻⵗⴰⵔⴻ ⵜⴰ-ⵏ ⵍⴰⵆⵜⵓⵔⵜⴰⵏ ⴰⵍⵓⴰⵈ ⴰⴷ ⴰⵜⵜⵉⵓⴰⵔⵂⴰ ⴰ ⵓⴻⵏ. |
He became involved in amateur dramatics, starting as a scenery boy for a Chinese pantomime at Lenox Hill Neighborhood House (one of the first settlement houses in the nation) where his brother Harry performed and Florence James directed. | Iⵋⵋⴰⵙⵂ ⴰⵙⵂⴰⵗⴰⵍ ⵓⴰ-ⵏ ⵜⴻⵉⴰⵜⵔⴰⵜⴰⵏ ⵙⵂⵓⵏⴷ ⵜⵓⵎⴰⵙⵜ ⴰⵏ ⴻⵔⴻ ⵉⵜⴰⵋⵋⴰⵏ ⵉⵎⴰⵜⴻⴾⵓⴰⵉⵏ ⵙⵂⵓⵏⴷ ⵓⵉ-ⵏ ⵙⵂⵉⵏⵓⴰⵜⴰⵏ ⵗⵓⵔ ⴻⴷⴰⴶⴶ ⵓⴰ-ⵙ ⵉⵜⴰⵓⴰⵏⵏⴰ ⵍⴻⵏⵓⵆ ⵂⵉⵍⵍ ⵏⴻⵉⴶⵂⴱⵓⵔⵂⵓⴷ ⵂⵓⵙⴻ ⵉⵉⵉⴰⵏ ⴷⴰⵗ ⵉⵂⴰⵏⴰⵏ ⵓⵉ ⴰⵣⵣⴰⵔⵏⴻⵏ ⴰⵙⵉⴱⴰⵔⵔⴰⴾⵏⴻⵏ ⴷⴰⵗ ⴰⴷⴷⴰⵓⵍⴰⵜ ⴻⴷⴰⴶⴶ ⴷⴰⵗ ⵉⵏⴰⵌⵌⴰⵔ ⴰ ⵓⴰ-ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵂⴰⵔⵔⵉ ⴰⴷ ⴼⵍⵓⵔⴻⵏⵛⴻ ⵋⴰⵎⴻⵙ ⵉ-ⵜⴰⵉⵉⴰⵔⵜ ⵉ-ⴰⵓⴻⵏ |
The show began Cagney's 10-year association with vaudeville and Broadway. | ⴰⴷⴷⴰⵍ ⴻⵏ ⴰⵙⵂⴰⵙⵂⵓⴰⵍ ⵙⴰⵏⵜo ⴰⵏ ⵜⴰⵔⵜⵉⵜ ⴰⵏ ⵎⴰⵔⴰⵓ ⴻⵍⴰⵏ ⵋⴻⵔ ⵛⴰⴶⵏⴻⵉ ⴰⴷ ⴱⴰⵓⴷⴻⴱⵉⵍⵍⴻ ⴰⴷ ⴱⵔⵓⴰⴷⵓⴰⵉ. |
Eventually, they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage. | ⴷⴰⵔⴰⵜ ⴰ ⵓⴻⵏ ⴰⵙⵎⴰⵔⵓⴰⵙⴰⵏ ⴻⵣⵔⴰⴼ ⴰⵈⵈⴰⵍⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾ ⵙ-ⴰⵎⵎⴰⵔⴷⴻⵏ-ⴰⴷ ⵛⵂⵉⵛⴰⴶⵓ ⴻⴷ ⵎⵉⵍⵓⴰⵓⴾⴻ ⴰⵏⵎⴰⵏⵂⴰⵉⴰⵏ ⴷ-ⵉⴱⴰ –ⵏ-ⴰⵋⵋⴰⵔⴰⵓ ⴰⵏ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⵜⴰⴱⴰⵔⴰⵜ ⴰⵍⵓⴰⵈ ⵓⴰ –ⴷ ⵙⴰⵓⴰⵋⴻⵏ ⴰⴷⴷⴰⵍⴰⵏ. |
As with Pitter Patter, Cagney went to the audition with little confidence he would get the part. | ⵗⴰⵔ ⴱⵉⵜⵜⴻⵔ ⴱⴰⵜⵜⴻⵔ, ⵛⴰⴶⵏⴻⵉ ⵉⴾⴾⴰ ⴻⴷⴰⴶⴶ ⵓⴰⵏ ⴰⵙⴰⵙⵍⴰⵉⵏ- ⵉⵎⴰⵏ ⴰⵏⵏⴻⵙ ⴷⴰⵗ ⵉⴱⴰ-ⵏ ⴰⵋⵋⴻⵔ ⴰⵏ ⴰⵜⵜⴰⵎⴰ ⵏ-ⴰⵋⵋⴰⵔⴰⵓ ⴰⵏ ⴰⵙⵂ:ⴰⵗⴰⵍ-ⴰⵏ |
This was a devastating turn of events for Cagney; apart from the logistical difficulties this presented—the couple's luggage was in the hold of the ship and they had given up their apartment. | ⴰⵎⵓⵙ ⵉⴻ ⵛⴰⴶⵏⴻⵉ ⵜⴰⵎⵓⵜⴰⵉⵜ ⴻⵏ ⵛⴰⵗⵛⴰⴷⴰⵏ ⵜⵉⵎⵗⵓⵜⴰⵔ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵜⵉⵜⵓⴰⵏⵂⵉⵏⴰⵜ ⴼⴰⵍ ⴰⵙ Iⵍⵈⵍⴰⵏ ⵏⴰⵙⴰⵏ ⴰⵂⵂⴰⵏ ⵜⴰⵔⴰⴼⵜ ⵜⴰⵏ ⴰⵎⴰⵏ ⵓⵏⵋⴰⵉⴰⵏ ⴻⵙ ⵓⵗⴰⵍ ⴰⵏ ⵉⵂⴰⵏⴰⵏ ⵏⴰⵙⴰⵏ. |
"He made up his mind that he would get a job doing something else.""" | “Iⵋⵋⴰ ⴷⴰⵗ ⴻⵗⴰⴼ ⴰⵏⵏⴻⵙ ⴰⵙ ⴰⴷ ⴰⵋⵔⴰⵉ ⴰⵛⴰⵗⴰⵍ ⴰⵙ ⵉⵋⵋⵉ ⴰⵏ ⵂⴰⵔⴰⵜ ⵉⵉⵉⴰⵏ.”” |
Cagney also established a dance school for professionals, and then landed a part in the play Women Go On Forever, directed by John Cromwell, which ran for four months. | ⵛⴰⴶⵏⴻⵉ ⴰⵙⵙⴰⴾⵔⴰⵙ ⴻⴷⴰⴶⴶ ⴰⵏ ⵜⴻⵗⴰⵔⴻ ⵉⴻ ⴾⴰⵍ ⵎⵓⵙⵏⴰⵜ ⴰⵏ ⴷⴰⵍⵍⴰⵓⵍ ⴷⴰⵔⴰⵜ ⴰ ⵓⴻⵏ ⵉⵋⵋⵔⴰⵓ ⴰⵛⴰⵗⴰⵍ ⵗⵓⵔ ⵓⵓⵎⴻⵎ ⵗⵓ ⵓⵏ ⴼⵓⵔⴻⴱⴻⵔ ⵓⴰ ⵉⵙⵙⴰⴱⴷⴰⴷⴰⵏ ⴰⵓⴰ ⵉⴾⴾⴰⵏ ⴰⵜⵓⴰⵋ ⴰ ⵜⴰⵎⴰⵙⴰⵏ ⵋoⵂⵏ ⵛⵔⵓⵎⵓⴻⵍⵍ ⴰⵜⵓⴰⵛⴰⵗⴰⵍ ⴰ ⵓⴻⵏ ⵂⴰⵔ ⴰⵜⵓⴰⵋⵋⴰⵏ ⴰⴾⴾⴰⵌ ⵓⵔⴰⵏ. |
The show received rave reviews and was followed by Grand Street Follies of 1929. | ⴰⴷⴷⴰⵍ ⴻⵏ ⴰⵋⵋⴰⵏⵏⴻⵏ ⴰⴷⴷⵉⵏⴰⵜ ⴰⵓⴰ ⵂⵉⵏ ⴰⵋⵔⴰⵂⴰⵏ ⴼⴰⵍ ⵈⵙ ⴰⵜⵜⵉⵓⴰⴾⵉⴰⴷ ⵂⵓⵍⵍⴰⵏ ⴷⴰⵗ ⵙⵜⵔⴻⴻⵜ ⴼⵓⵍⵍⵉⴻ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ ⵏ 1929. |
Retitled Sinners' Holiday, the film was released in 1930. | Iⵓⴰⵔ ⵜ ⵉⵙⴰⵎ ⵓⴰ ⵏ ⵙⵉⵏⵏⴻⵔⵙ ⵂⵓⵍⵉⴷⴰⵉ ⵉⵣⵋⴰⵔ ⴰⴷ ⴼⵉⵍⵎ ⴻⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ ⵏ 1930. |
However, the contract allowed Warners to drop him at the end of any 40-week period, effectively guaranteeing him only 40 weeks’ income at a time. | ⴷⴰⵗ ⴰⵓⴰ ⴰⵙⴰⴱⴷⴰⴷⴰⵏ ⵜⴰⵔⴰⵓⵜ ⴰⵙ ⴰⵎⵛⴰⵗⴰⵍ ⴻⵏ ⵉⵋⵔⴰⵓ ⵉⴻ ⵓⴰⵔⵏⴻⵔⵙ ⵜⴰⵔⴰⴷⴰⵓⵜ ⴷⴰⵔ ⴰⵙ ⵗoⵔ ⵙⴰⵎⴷⴰ ⴰⵏ ⵂⴰⴾ 40 ⴰⵏ ⴰⵙⵙⴰⵉⴰⵜⴻⵏ ⴰⵙⵙⵉⴷⵎⴰⵏ ⴰ ⵓⴻⵏ ⴰⵓⴰ ⵙ ⴰⵏⵏⵉⵎⴰⵂⴰⵍ ⴰⴷ ⵜ ⴰⵋⵔⴰⵓ ⴷⴰⵗ 40 ⴰⵏ ⴰⵙⵙⴰⵉⴰⵜⴻⵏ |
Due to the strong reviews he had received in his short film career, Cagney was cast as nice-guy Matt Doyle, opposite Edward Woods as Tom Powers. | ⴼⴰⵍ ⵜⴰⵙⴰⴱⴰ ⵏ ⵉⵎⴰⵋⵔⵉⴷⴰⵏ ⵓⵍⴰⵗⵏⴻⵏ ⴰⵜⵓⴰⵋⴰⵏⴻⵏ ⴼⴰⵍ ⴰⵙ ⵉⵋⵔⴰⵓ ⴷⴰⵗ ⵜⴰⵎⴰⴷⵔⵉⵜ ⴰⵏ ⵜⴰⵈⵈⴰⵏ ⵋⴰⵣⴰⵍⴰⵜ ⴷⴰⵗ ⴰⵛⴰⵗⴰⵍ ⴰⵏ ⵙⴰⵏⵏⴰⵎⴰⵜⴰⵏ ⴰⵏⵏⵉⴼⵔⴰⵏⵏⴻⵏ ⵛⴰⴶⵏⴻⵉ ⵉ ⵉⵋⵋⵉ ⵏ ⴰⵓⴰ ⵜ ⵉⴷ ⴻⵈⵈⴰⵍⴰⵏ ⵛⵓⵏⴷ ⵙⴰⵔⵂⵓ ⴰⵏ ⵎⴰⵜⵜⴻ ⵓⵉⵍⴻ ⴷⴰⵜ ⴻⴷⵓⴰⵔ ⵓⵓⴷⵙ ⴷⴰⵗ ⴰⵛⴰⵗⴰⵍ ⴰⵏ ⵟⵓⵎ ⴱⵓⵓⴻⵔⵙ. |
Producer Darryl Zanuck claimed he thought of it in a script conference; Wellman said the idea came to him when he saw the grapefruit on the table during the shoot; and writers Glasmon and Bright claimed it was based on the real life of gangster Hymie Weiss, who threw an omelette into his girlfriend's face. | ⴻⴰⵔⵔⵉⵍ ⵌⴰⵏⵓⵛⴾ ⵓⴰ ⵉⴾⴾⴰⵏⴰⵏ ⴰⵓⴰ ⵎⴰⴷ ⴻⵏ ⴰⵜⵓⴰⵛⴰⵗⴻⵍ ⴰⵙⴷⴰⵜⴰⵜ ⴷⴰⵗ ⴰⵏⵏⴰⵣⵋⵓⵎ ⴰⵏ ⴰⵙⴰⵓⴰⵋ ⴰⵏ ⵜⴰⵗⵉⵎⵉⵜ ⴼⴰⵍ ⴰⵓⴰ ⴰⵜⵓⴰⵛⴰⵗⴰⵍⴰⵏ ⵓⴻⵍⵍⵎⴰⵏ ⵉⵏⵏⴰ ⵉⴾⵔⴰⵛ ⴰⵏⵏⴰⵣⵋⵓⵎ ⴰⵙ ⵉⵏⵂⴰⵉ ⴰⵍⵓⴰⵈ ⵓⴰ ⴷ ⴰⵛⴻⵗⴰⵍⴰⵏ ⵜⴻⵍⴰⵋⴰⵌⵜ ⵜⴰⵓⴰⵔⴰⵜ ⵜⴰⴱⴰⵍ ⴰⴷⴷⵉⵏⴰⵜ ⵓⵉ ⴰⵛⴻⵗⴰⵍⵏⴻⵏ ⵗⵍⴰⵙⵎⵓⵏ ⴰⴷ ⴱⵔⵉⴶⵂ ⴰⵙⴷⴰⵜⴻⵏ ⴰⵙ ⵓⴰⵔ ⵜ ⴰⵋⵋⴰ ⴰⵔ ⴼⴰⵍ ⴰⵓⴰ ⴷ ⴰⴷ ⵜⴰⵈⵈⴰⵍ ⴰⵙ ⵜⵉⴷⴰⵜ ⵜⴰⵎⵓⴷⵔⴻ ⵏ ⴰⵓⴰⴷⴰⵎ ⴰⵏ ⵜⵉⵎⴰⵛⴰⵍⴻⵏ ⴰⴱⵔⴰⵔⵏⴻⵏ ⵙ ⵉⵜⴰⵓⴰⵏⵏⴰ ⵂⵉⵎⵉⴻ ⵓⴻⵉⵙⵙ ⴰⵙ ⴾⴰⵍⴰ ⵉⵋⵋⴰⵔ ⵜⴰⵎⵉⴷⵉⵜ ⴰⵏⵏⴻⵙ ⴰⵙ ⵜⵉⴾⴰⴾⵉⵜⴻⵏ ⴷⴰⵗ ⵉⴷⴽⴰⵎ. |
I never dreamed it would be shown in the movie. | ⴾⴰⵍⴰ ⵓⴰⵔ ⴰⵣⵏⴰⵣⵋⴰⵎⴻⵗ ⴰⵙ ⴰ-ⵓⴻⵏ ⴰⴷ ⴰⵜⵓⴰⵙⴰⴾⴰⵏ ⴷⴰⵗ ⵙⴰⵏⴰⵎⴰ. |
"He saw the film repeatedly just to see that scene, and was often shushed by angry patrons when his delighted laughter got too loud.""" | Iⵋⵋⴰ ⵉⴾⴰⵉⴰⴷⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⵉ-ⴰⴾⴾⴰⵉⴰⴷ ⴰⵏⵏⴻⵙ ⵉ-ⴰⴷ ⴰⵏⵂⴰⵉ ⴻⴷⴰⴶⴶ ⴻⵏ ⵜⴰⵣⵣⴰⵔ ⵂⴰⵔⴾⵓⴾ ⵓⴰⵔ ⴰⵎⴰⵏⵏⴰⴾ ⴰⴷ ⵓⵉ ⴾⴰⵉⵉⴰⴷⵏⴻⵏ ⵉⵜⴰⵋⴰⵛ ⵜⴰⵏ ⴰⵍⵂⴰⵎ ⴰⵏ ⵜⴰⴷⴰⵌⵌⴰ ⵏⴻⵙ - ⵉ-ⵜ-ⴰⵙⵙⵓⵂⴻⵜ. |
Warner Bros. was quick to team its two rising gangster stars—Edward G. Robinson and Cagney—for the 1931 film Smart Money. | ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ ⴰⵔⵓⵔⴰⴷ ⵜⴰⵔⵜⵉⵜ ⴰⵏ ⴰⴷⴷⵉⵏⴰⵜ ⵓⵉ-ⵏ-ⴰⵙⵙⵉⵏ ⴰⵏ ⴻⵔⴾ ⵜⵉⵎⴰⵛⴰⵍⴻⵏ ⴰ-ⵜⴰⵏ ⴰⵎⵓⵙⴰⵏ: ⴻⴷⵓⴰⵔⴷ ⵗ ⵔⵓⴱⵉⵏⵙⵏⵏ ⴰⴷ ⵛⴰⴶⵏⴻⵉ ⵉ-ⵉⵋⵋⵉ ⴰⵏ ⵙⴰⵏⴰⵎⴰ ⵓⴰ-ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵙⵎⴰⵔⵜ ⵂⵓⵏⴻⵉ ⴰⵜⵓⴰⵋⵋⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ-ⵏ 1931. |
As he completed filming, The Public Enemy was filling cinemas with all-night showings. | ⵛⴰⵎⴰⴷ ⵉⵎⵉⴷⵓ ⴰⵎⵎⵓⴾⴰⵏ ⴰⵏⵏⴻⵙ, ⵟⵂⴻ ⴱⵓⴱⵍⵉⵛ ⴻⵏⴻⵔⴶⵉ, ⴷⴰⵗ ⴻⵂⴰⴷ-ⴰⵏ, ⵉⴷⴰⴶⴶⴰⵏ ⴾⵓⵍ ⵓⵉ ⴷⴰⵗ ⵜⴰⵋⵋⴰⵏ ⵙⴰⵏⴰⵎⴰⵜⴰⵏ. |
The studio heads also insisted that Cagney continue promoting their films, even ones he was not in, which he opposed. | ⵉⵎⵉⵣⵣⴰⵔⴰⵏ ⴰⵏ ⵉⴷⴰⴶⴶⴰⵏ ⵓⵉ-ⵏ-ⵏ ⴰⵙⴰⵗⴰⵍ ⴰⵙⴰⴱⴷⴰⴷⴰⵏ ⴰⵙ ⵜⴰⵂⴰⵙⵉⵍⵜ ⵛⴰⴶⵏⴻⵉ ⴰⵙ ⴰⵙⵙⵉⴰⴷ ⴰⵏ ⵜⴰⵏⴼⵓ ⴰⵏ ⴰⵙ ⴷⴰⵜ ⴰⵏ ⵜⵂⵉ |
The success of The Public Enemy and Blonde Crazy forced Warner Bros.' hand. | ⴱⵓⴱⵍⵉⵛ Eⵏⴻⵎⵉ ⴰⴷ ⴱⵍⵓⵏⴷⴻ Eⵔⴰⵏⵣⵉ ⴰⵛⴰⵛⴰⵍⴰⵏ ⴰⴼⴼⵓⵙ ⴰⵏ ⵌⵓⵔⵏⴻⵔ ⴱⵔⵓⵙ. |
The film was swiftly followed by The Crowd Roars and Winner Take All. | ⵜⵂⴻ ⵛⵔⵓⴷ ⵔⵓⴰⵔⵙ ⴰⴷ ⵓⵉⵏⵏⴻⵔ ⵟⴰⴾⴻ ⴰⵍⵍ, ⴻⴾⵉⴰⴷⴰⵏ ⴼⵉⵍⵎ- ⴰⵏ ⵛⵉⴾ. |
Historians also debate the nature of history as an end in itself, as well as its usefulness to give perspective on the problems of the present. | ⵟⵉⵏⴼⵓⵙⴻⵏ, ⴰⵎⵎⴰⴷⴰⵛ ⵂⵓⵍⵍⴻⵏ ⴼⴰⵍ ⴰⵎⵎⴰⴾ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵛⵓⵏⴷ- ⴰⵙ ⴰⵓⴰ ⴰⵜⵜⵉⵓⴰⵎⴰⵗⴰⵏ ⴾⵓⵍ, ⵓⴰⵔ- ⴰⵜⵓⴰⵓⴰⴷⵂⴰⴾ-ⴰⴷ ⵜⴰⵏⴼⵓ ⵏⴻⵙ ⵉ- ⴰⵙⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵙ ⴰⵎⵎⴰⴾ ⵓⴰ-ⵙ ⵎⴰⴷ ⴰⵜⵓⴰⴰⴼⵂⴰⵎ. |
However, ancient cultural influences have helped spawn variant interpretations of the nature of history which have evolved over the centuries and continue to change today. | ⵎⴰⵙⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ, ⴰⵋⵋⵓⵜⵏⴻⵏ ⴰⴷ ⴰⵜⵜⵉⵓⴰⴾⴰⵉⵏⴻⵏ ⵓⵔⴰⵓⴰⵏ ⴰⵎⵎⴰⴾⴾⴰⵏ ⴰⴱⴷⴰⵏⴻⵏ ⴰⵏ ⴻⵙⴰⵓⴰ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ, ⴰⵈⵈⴰⵍⴰⵏ ⵜⵉⵓⴰⴷⵜ ⴷⴰⵗ ⴻⵍⴰⵏ ⵜⵉⴾⴾⵉⴰⵏ ⴰⵙ ⴰⵎⵎⵓⵜⴰⵉ ⵂⴰⵔⵓⴰ ⴰⵛⴰⵍ-ⵉ. |
"Herodotus, a 5th-century BC Greek historian, is often considered the ""father of history"" in the Western tradition, although he has also been criticized as the ""father of lies""." | ”ⵂⵉⵔⴰⴷoⵜⴻ, ⴻⵎⴰⵋ ⴰⵏ ⵜⵉⵏⴼⵓⵙⵜ ⵂⵉⵏ oⴾⴾⴰⵉⵏⴻⵏ ⴷⴰⵗ ⴰⴷⴷⴰⵓⴰⵍ ⵓⴰⵏ ⴶⵔⴻⴻ ⴷⴰⵗ ⵜⴻⵎⴰⴷⴻ ⵜⴰ-ⵙⴷⴰⵜ J.ⵛ ⴰⵜⵜⵉⵓⴰⴷⴾⴰⵍ ⵛⵓⵏⴷ “”ⴰⵎⴰⵔⴰⵓ ⴰⵏ ⴱⴰⵂⵓ”” .” |
"In Middle English, the meaning of history was ""story"" in general." | ⴷⴰⵗ ⵜⴰⵓⴰⵍⵜ ⵜⴰⵏ ⴰⵏⴶⵍⴰⵉⵙ ⵂⵉⵏ ⵜⴰⵛⵎⴰⵜ ⵜⴰⵏⴼⵓⵙⵜ ⴰ ⵂⴰⵙ ⵉⵜⴰⵓⴰⵏⴻⵏ ”ⵙⵜⵓⵔⵉ.” |
"In modern German, French, and most Germanic and Romance languages, which are solidly synthetic and highly inflected, the same word is still used to mean both ""history"" and ""story""." | ⴷⴰⵗ ⴰⵍⵍⴻⵎⴰⵏⴶⵏⴻ ⵜⴰⵏ ⵓ-ⴰⵉⵏⴰⵉⴰⵏ ⵜⴰ ⴼⵔⴰⵏⵙⵉⵜ’ⴰⴷ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⴾⴰⵍ ⵜⴰⵓⴰⵍⴻⵏ ⵜ-ⵉⵏ ⴾⴰⵍ ⴶⴻⵔⵎⴰⵏⵉⴻ ⴰⴷⵔⵓⵎⴰⵏⴻⵙ, ⴰⴾⵏⴰⵏⴰⵜ ⵎⴻⵂⴰⵓ ⵂⵓⵍⵍⴻⵏ ⴰⵎⵓⵙⵜⴰⵏ ⴰⴷ ⴰⵏⵏⵉⴾⴰⴱⴻⵏ, ⵜⴰⴼⴻⵔⵜ- ⴻⵏ ⵉⵜⴰⵓⴰ-ⴰⵙ ⵂⴰⵔⵓⴰ”” ⵜⴰⵏⴼⵓⵙⵜ””ⴰⴷ”ⵉⵙⴰⵍⵏ””.” |
"In the words of Benedetto Croce, ""All history is contemporary history""." | ⴷⴰⵗ ⵜⴻⵏⵏⴰ ⴰⵏ ⴱⴻⵏⴻⴷⴻⵜⵜⵓ” ⵜⴰⵏⴼⵓⵙⵜ ⴾⵓⵍ ⵜ-ⴰⵎⵓⵙ ⵜⴰⵏⴼⵓⵙⵜ ⴰⵏ ⵉⵙⴰⵍⴰⵏ ⴰⵜⵜⵉⵓⴰⵋⴰⵏⴻⵏ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⵉⵉⵉⴰⵏ. |
"Therefore, the constitution of the historian's archive is a result of circumscribing a more general archive by invalidating the usage of certain texts and documents (by falsifying their claims to represent the ""true past"")." | ⴷⴰⵗ ⵉⵙⴰⵍⴰⵏ ⵓⵉ-ⴷ-ⴰⵈⵈⴰⵍⵏⴻⵏ ⴰⵙⴰⵎⴰⵙⴰⴷⵓ ⴼⴰⵍ ⵓⵉ ⴰⵜⵓⴰⵔⵏⴻⵏ ⴰⵏ ⴻⵎⴰⵋ ⴰⵏ ⵜⴰⵏⴼⵓⵙⴻⵏ ⴰⵎⵎⴰⵍⴰⵏⵜ ⵉⵙⴰⵍⴰⵏ ⵉⵉⵉⴰⴷ ⴷ-ⴰⵍⴾⴰⵜⵜⴰⴱⴰⵏ ( ⵙ-ⴰⵙⵙⴰⵎⵓⵜⴰⵉ ⴰⵏ ⴰⵓⴰ ⴰⴾⴾⵈⵏ ⴰⵙ ⴰⵙⴰⴾⴾⴰⵏ ⴰⵏ ⴰⵓⴰ ⴰⵜⵓⴰⵋⵋⴰⵏ ⴰⵙ ⵜⵉⴷⴰⵜ ; |
The study of history has sometimes been classified as part of the humanities and at other times as part of the social sciences. | ⴰⵂⴰⵏⴰⵉ ⴰⵏ ⴰⵎⵎⴰⴾ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⴰⵎⵓⵙ ⴰⵍⵓⴰⵈ ⵉⵉⵉⴰⵏ ⵂⴰⵔⴰⵜ ⴰⵜⵜⵉⵓⴰⴷⴾⴰⵍⴰⵏ ⴷⴰⵗ ⵓⵎⵎⴰⵗ ⴰⵏ ⵜⴰⵎⵓⵙⵏⴰⵓⴻⵏ ⴼⴰⵍ ⴰⴶⴶ-ⴰⴷⴷⴰⵎ ⵉⵋⵋⴰ ⴷⴰⵗ ⴼⴰⵍ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ. |
In the 20th century, French historian Fernand Braudel revolutionized the study of history, by using such outside disciplines as economics, anthropology, and geography in the study of global history. | ⴷⴰⴶⵂ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 2000,ⴼⴻⵔⵏⴰⵏⴷ ⴱⵔⴰⵓⴷⴻⵍ ⵉⵉⵉⴰⵏ ⴷⴰⴶⵂ ⴾⴻⵍ ⴰⵜⵜⴰⵔⴻⵆ ⵏ ⴼⵔⴰⵏⵛⴻ, ⴻⵓⴰⵉ ⵉⴷ ⵜⴰⵎⵓⵜⵜⴰⵉⵜ ⵏ ⵜⴻⴶⵂⴰⵔⴻ ⵜⴰⵏ ⴰⵜⵜⴰⵔⴻⵆ ⵙ ⵎⴰⵋⴰⵍ ⵜⴰⵏ ⵏ ⵙ ⴰⵋⵋⴰⵎⴰ ⵛⵂⵓⵏⴷ ⴰⵈⵜⵉⵙⴰⴷ, ⵜⴻⴶⵂⴰⵔⴻ ⵏ ⵎⵓⵙⵏⴰⵜ ⵏ ⴰⵓⴰⴷⵉⵎ ⴷ ⵋoⴶⵔⴰⴼⵉⴰ ⴷⴰⴶⵂ ⵜⴻⴶⵂⴰⵔⴻ ⵏ ⴰⵜⵜⴰⵔⴻⵆ ⵓⴰⵏ ⴰⵍⴶⵂⴰⵍⵉⵎ |
In general, the sources of historical knowledge can be separated into three categories: what is written, what is said, and what is physically preserved, and historians often consult all three. | ⴼⴰⵍ ⵜⵉⵓⵉⵜ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵎⵓⵙⵏⴰⵜ ⴰⵏⵏⴻⵙ ⵜ-ⴰⴷⴷⵓⴱⴰⵜ ⴰⴷ ⵜ-ⴰⵋⵋ ⵜⵉⵌⵓⵏⴰⵓⴻⵏ ⴾⴰⵔⴰⴷⴰⵜ: ⴰⵓⴰ ⴰⵜⵉⵓⴰⴾⵜⴰⴱⴰⵏ ⴰⵓⴰ ⴰⵜⵓⴰⵏⵏⴰⵏ ⴰⴷ ⴰⵓⴰ ⵉⵗⴰⵍⴰⵙⴰⵏ ⴾⴰⵍ ⵜⴰⵏⴼⵓⵙⴻⵏ ⴾⴰⵉⴰⴷⴰⵏ ⵜⴰⵏⴰⵜ ⴼⴰⵍ ⴾⴰⵔⴰⴷⴰⵜ . |
Archaeological finds rarely stand alone, with narrative sources complementing its discoveries. | ⴰⵋⴰⵔⴰⵓ ⴰⵏ ⴰⵙⴰⴼⵓⴾⴰⵔ ⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⴰⴼⴰⵔⵏⴻⵏ ⴰⵉ-ⵉⵍⵍⴰⵏ ⴰⴼⴷⴰⵏ ⴰⵏ ⴻⵍⴰⵏ ⴻⴶⴷⴰⵂⴰⵏ ⵉ-ⵉⵎⴰⵏ ⴼⴰⵍⵍ-ⴰⵙ ⴰⵙⵉⵓⴰⴷ ⴰ ⵜ-ⴰⵋⵋⴰⵏ ⵉⵙⴰⵍⴰⵏ ⴰⵏ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴷⴰⵜ ⴰⵓⴰ . |
"For example, Mark Leone, the excavator and interpreter of historical Annapolis, Maryland, USA, has sought to understand the contradiction between textual documents idealizing ""liberty"" and the material record, demonstrating the possession of slaves and the inequalities of wealth made apparent by the study of the total historical environment." | “ⴰⵍⵎⵉⵜⴰⵍ ⵉⵉⵉⴰⵏ ⵎⴰⵔⴾ ⵍⴻⵓⵏⴻ ⴰⵏⵏⵓⵎⴰⵗ ⴰⴷ ⴻⵏⴰⵙⴼⴰⵂⴰⵎ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰ-ⵏ ⴰⵏⵏⴰⴱⵓⵍⵉⵙ ⵎⴰⵔⵉⵍⴰⵏⴷ ⵓⵙⴰ ⵉⵎⵎⴰⵗ ⵉ-ⴰⴷ ⴰⴼⵂⴰⵎ ⴰⵓⴰ ⴰⵜⵉⵓⴰⴾⵜⴰⴱⴰⵏ ⴷⴰⵗ ⴰⵍⴾⴰⵜⵜⴰⴱⴰⵏ ⵓⵉ ⵙⴰⴾⵏⴰⵏⴻⵏ ⴰⵎⵎⴰⴾ ⴰⵏ ⴰⵋⵋⴰⵔⴰⵓ ⴰⵏ ⵉⵎⴰⵏ ⴰⵏⵏⴻⵙ ⴰⴷ ⵓⵎⴰⵗ ⴰⵏ ⵓⵉ ⴰⵜⵓⴰⵔⵏⴻⵏ ⴰⵎⵓⵙⵏⴻⵏ ⴰⵉ-ⵉⵙⴰⴾⵏⴻⵏ.” |
It is possible for historians to concern themselves with both the very specific and the very general, although the modern trend has been toward specialization. | ⵓⴷⴰⴼ ⴰⵏ ⴻⵛⵍⴰⵏ ⴰⴷ ⵉⴱⵈ-ⵉⴶⴷⴰⵂ ⴷⴰⵗ ⵜⴰⵏⴼo ⵜ-ⴰⵜⵜⵉⵓⴰⵋⴰⵜ ⴼⴰⵍ ⵓⵎⴰⵗ ⴰⵏ ⴰⵋⴰⵔⴰⵓ ⴰⵏ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ əⵋⵋⴰⵏⴻⵏ ⴼⴰⵍ ⴰⵛⴰⵗⴰⵍⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ. |
Thirdly, it may refer to why history is produced: the philosophy of history. | ⵓⴰ-ⵙ-ⴾⴰⵔⴰⴷ ⴰⴷⴷⵓⴱⴰⵜ ⵓⵎⵎⴰⵗ ⴰⵏ ⴰⵙⴰⴱⴰⴱ ⵓⴰ ⴼⴰⵍ ⵜ-ⴰⵜⵓⴰⵋⵋⴰ ⵜⴰⵏⴼⵓⵙⵜ : ⴻⵙⴰⵓⴻ ⵏⴻⵙ. |
By whom was it produced (authorship)? | (ⵎⵉ ⵜⴰⵜ ⵉⴾⴰⵜⴰⴱⴰⵏ)? |
What is the evidential value of its contents (credibility)? | ⴻⵏⴷⴻⴾ ⴰⵓⴰ ⵉⵙⵉⴷⵓⵜⴻⵏ ⴰⵙ-ⴰⵓⴰ-ⵜ-ⵉⵂⴰⵏ ⴰⵎⵓⵙ (ⵜⵉⴷⴰⵜ) ⴼⴰⵍ. |
The historical method comprises the techniques and guidelines by which historians use primary sources and other evidence to research and then to write history. | Eⵙⴰⵓⴻ ⵏ-ⴰⵙⴻⵏⴼⴰⵙ ⴰⵂⵂⴰⵏⴰⵜ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⴷ ⵂⴰⵔⴰⵜⴰⵏ ⴰⵎⵓⵙⵏⴻⵏ ⴰⵜⵉⵓⴰⵙⴰⴱⴷⴰⴷⴰⵏ ⵗⵓⵔ ⴾⴰⵍ ⴰⵙ ⴰⴷⴾⵓⵍ ⴰⵏ ⵙⴰⵏⵜⵓ ⵏⴰⵙⵏⴰⵜ ⵓ-ⴰⵣⵣⴰⵔⴰⵏ ⴷ-ⵓⵎⵎⴰⵗ ⴰⵏ ⵜⵉⵎⵜⴰⵔ ⵜⴰⵣⵣⴰⵔ ⴰ ⴷⴰⵗ ⵜⴰⵜⵜⴰⵓⴰⴾⵜⴰⴱ ⵜⴰⵏⴼⵓⵙⵜ . |
Thucydides, unlike Herodotus, regarded history as being the product of the choices and actions of human beings, and looked at cause and effect, rather than as the result of divine intervention (though Herodotus was not wholly committed to this idea himself). | ⵎⵉ ⵜⴰⵜ ⵉⴾⴰⵜⴰⴱⴰⵏ ⵓⴷⴰⴼ ⴰⵏ ⴻⵛⵍⴰⵏ ⴰⴷ ⵉⴱⵈ-ⵉⴶⴷⴰⵂ ⴷⴰⵗ ⵜⴰⵏⴼⵓ ⵜ-ⴰⵜⵜⵉⵓⴰⵋⴰⵜ ⴼⴰⵍ ⵓⵎⴰⵗ ⴰⵏ ⴰⵋⴰⵔⴰⵓ ⴰⵏ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⴰⵋⵋⴰⵏⴻⵏ ⴼⴰⵍ ⴰⵛⴰⵗⴰⵍⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ. |
There were historical traditions and sophisticated use of historical method in ancient and medieval China. | ⴰⵜⴻⵏ ⴰⵏ ⵜⴰⵏⴼⵓⵙⴻⵏ ⴻⵍⵍⴰⵏⴻⵏ ⴰⵙⴰⵏⵏⴰⴼⴰⵙ ⴰⵎⵎⵓⵜⴰⵉⴰⵏ ⵂⵓⵍⵍⴰⵏ ⴼⴰⵍ ⴰⵎⵎⴰⴾ ⵏⴰⵙⵏⴰⵜ ⴷⵈⵗ ⴰⴷⴷⴰⵓⴰⵍ ⵓⴰ-ⵏ ⵛⵂⵉⵏⴻ . |
Chinese historians of subsequent dynastic periods in China used his Shiji as the official format for historical texts, as well as for biographical literature. | ⵆⴰⵍ ⵜⴰⵏⴼⵓⵙⴻⵏ ⵓⵉ-ⵏ ⵛⵂⵉⵏoⵉⵙ ⴰⵏ ⵜⵉⵏⴰⵉⵉⵓⴻⵏ ⵜⵉ ⴰⵍⴾⴰⵎⵏⴻⵏ ⴷⴰⵗ ⵛⵂⵉⵏⴻ, ⴰⴷⴾⴰⵍⵏⴰⵜ ⴰⵓⴰ-ⵙ ⵉⵜⴰⵓⴰⵏⵏⴰ (ⵙⵂⵉⵋⵉ) ⵏⴻⵙ ⵛⵓⵏⴷ ⴰⵓⴰ ⴰⵜⵓⴰⵙⴰⴱⴷⴰⴷⴰⵏ ⴼⴰⵍ ⴻⵙⴰⵓⴻ ⵉ-ⵉⴾⴰⵜⴱⴰ ⵏ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⴻⴷ ⴰⵋⴰⵔⴰⵓ ⴰⵙ ⵜⴻⵗⴰⵔⴻ ⴰⵙ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴼⴰⵍⵍ-ⴰⵙⵏⴰⵜ. |
Around 1800, German philosopher and historian Georg Wilhelm Friedrich Hegel brought philosophy and a more secular approach in historical study. | ⵙ-ⵉⴱⵔⴻⵜ ⴰⵏ ⵉⵓⴰⵜⵉⴰⵏ ⵓⵉ-ⵏ 1800 , ⴰⵓⴰⴷⴰⵎ ⴰⵏ-ⵓ-ⴰⵏⵏⴰⵣⵋⵓⵎ ⵓⵈ-ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵗⴻⵓⵔⴶ ⵆⵓⵍⵂⴻⵍⵎ ⴼⵔⵉⴻⴷⵔⵉⵛⵂ ⵂⴻⴶⴻⵍ ⴰⵏ ⴰⴷⴷⴰⵓⴰⵍ ⵓⴰ-ⵏ ⴰⵍⵍⴻⵎⴰⴶⵏⴻ ⵏ-ⴰⵏⵏⴰⴾⵜⵉⴱ ⴰⵏ ⵜⴰⵏⴼⵓⵙⴻⵏ , ⵉⵋⵔⴰⵓ ⴰⵙ ⴰⴾⴰⵉⴰⴷ ⴰⵏ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴼⴰⵍ -ⴰⵙⵏⴰⵜ ⴷⴰⵗ ⵜⴻⵎⴻⴷⴻ -ⴰⵓⴰⵜⴰⵉ ⵂⵉⵏ-ⵜ-oⴾⴾⴰⵉⴰⵜ. |
The originality of Ibn Khaldun was to claim that the cultural difference of another age must govern the evaluation of relevant historical material, to distinguish the principles according to which it might be possible to attempt the evaluation, and lastly, to feel the need for experience, in addition to rational principles, in order to assess a culture of the past. | ⴷⴰⵗ ⵉⵙⴰⵍⴰⵏ ⴰⵏ ⴰⵙⴰⴷⴰⵜⵓ ⵏ- Iⴱⵏ ⵆⵂⴰⵍⴷⵓⵎ ⵓⵔⴷⴰ ⴰⵙ ⴰⵓⴰ ⴻⴱⵏ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏ ⵉⵉⵉⴰⵏ, ⵉⵍⵣⴰⵎ-ⵙ-ⴰ-ⴷ ⴰⵜⵓⴰⵆⵙⴰⴱ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴷⴰⵗ ⵉⵍⴰⵍⴰⵏ ⵓⵉ ⴰⵍⵍⴰⵏⴻⵏ ⴰⵍⴼⴰⵉⴷⴰ ⴰⴷ ⴰⵂⴰⵏⴰⵉ ⴰⵏ ⴰⵎⵎⴻⴾ ⴰⵏ ⵜⵉⵔⵎⵉⵜ -ⵏ-ⴻⴾⴻⵜ ⴻⵏⵏⴻⵙ, ⵜⴰⵣⵣⴰⵔ ⴰⴷ ⵜⴰⵜⵓⴰⵏⵂⴰⵉ ⵜⴰⵏⵓⴼⵍⴰⵉⵜ ⴰⴷ ⴷⴻⵔⵂⴰⵏ ⴰⵏ ⴰⵋⵋⴰⵔⴰⵓ ⴰⵏ ⵜⴰⵎⵓⵙⵏⴻ ⵉ-ⴰⴷ ⴰⵜⵓⴻⵋⵔⴻⵓ ⴰⵆⴰⵙⴰⴱ ⴰⵏ ⴰⵓⴰ-ⴷ-ⴰⵜⵓⴰⴾⴰⵉⴰⵏ. |
"His historical method also laid the groundwork for the observation of the role of state, communication, propaganda and systematic bias in history,H. Mowlana (2001). """ | “Eⵙⴰⵓⴻ ⵏⴻⵙ ⵓⴰ-ⵏ-ⵉⵋⵋⵉ ⴰⵏ ⵜⴻⵏⴼⵓⵙⴻⵏ, ⴰⵙⵉⵙⴰⵋⵔⴰⵓ-ⵜ- ⴰⵙ ⵓⵋⵔⴻⵂ ⵏ-ⴰⴷⴷⴰⵓⵍⴰⵜ ⴷⴰⵗ-ⴰⵛⴰⵗⴰⵍ ⴰⵏ ⴰ-ⵓⴻⵏ ⴰⴷ-ⴰⵏⵎⴰⴾⴼ ⴻⵏ ⵉⵙⴰⵍⴰⵏ, ⵜⴰⵔⴰⴷⴰⵓⵜ ⴰⵏ ⵉⵙⴰⵍⴰⵏ ⵉⵉⵉⴰⴰ ⴰⵜⵉⵓⴰⴷⴾⴰⵍⵏⴻⵏ ⴷⴰⵗ ⵜⴻⵏⴼⵓⵙⴻⵏ, ⵂ. ⵎⵓⵍⴰⵏⴰ (2001).""" |
"Dr. S.W. Akhtar (1997). """ | “ⴻⵓ.ⵙ.ⵓ.ⴰⴾⵂⵜⴰⵔ ( 1997).”””” |
For Ranke, historical data should be collected carefully, examined objectively and put together with critical rigor. | ⴼⴰⵍ ⴰⵓⴰ ⵉⵏⵏⴰ ⵔⴰⵏⴾⴻ, ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴷⴰⵗ ⵉⵙⴰⵍⴰⵏ ⵓⵉ-ⵏ ⵜⴰⵏⴼⵓⵙⴻⵏ, ⵉⵍⵣⴰⵎ ⴰⴷ ⴰⵎⵙⴰⴷⴻⵓⴰⵏ ⴰⵙ ⵙⴰⵔⵂⵓ, ⴰⵜⵓⴰⴾⵉⴰⴷ ⴰⵓⴰ ⵓⵜⴰⵙⴰⵏ, ⵜⴰⵣⵣⴰⵔ ⴰⵎⵙⴰⴷⴻⵓⴰⵏ ⴷⴰⵗ-ⴰⵙ -ⴰⵜⵉⵓⴷⴰⵍⵏ ⵂⵓⵍⵍⴰⵏ. |
In the 20th century, academic historians focused less on epic nationalistic narratives, which often tended to glorify the nation or great men, to more objective and complex analyses of social and intellectual forces. | ⵗⵓⵔ ⵜⴻⵎⴻⴷⴻ ⵜⴰ-ⵙ 20 ⵏ-ⴰⵓⴰⵜⴰⵉ,ⴾⴰⵍ ⵜⴰⵏⴼⵓⵙⴻⵏ ⴰⵏ ⵜⵉⵗⴰⵔ ⵜⵉ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⵓⴰⵔ-ⵂⵉⵏ ⴰⴾⵏⴻⵏ ⵓⵋⵔⴻⵂ ⵂⵓⵍⵍⴰⵏ ⴰⵏ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴼⴰⵍ-ⵉⵙⴰⵍⴰⵏ ⵓⵉ-ⴷ-ⴰⵈⵈⴰⵍⵏⴻⵏ ⵜⵉⵏⴼⵓⵙⴻⵏ, ⵉ-ⴰⵎⵓⵙⵏⴻⵏ ⵂⴰⵔⴰⵜ ⵉⵙⴰⵎⵗⴰⵔⴰⵏ ⴰⴷⴷⴰⵓⵍⴰⵜ ⴰⴷ ⴰⴷⴷⵉⵏⴰⵜ ⵓⵉ ⵎⴰⵈⵈⵓⵔⵏⴻⵏ ⵙ-ⵓⵏⴰⴷ ⴰⵙ ⴰⴾⴰⵉⴰⴷ ⴰⵏ ⴰⵎⵙⴰⵙⵙⵓⵂⵓ ⴰⵏ ⵜⴰⵎⵓⵙⵏⴰⵓⴻⵏ . |
Many of the advocates of history as a social science were or are noted for their multi-disciplinary approach. | Iⵎⴰⴶⴰⵌⴰⵏ ⴰⵋⵋⵓⵜⵏⴻⵏ ⴰⵏ ⵜⴻⵏⴼⵓⵙⴻⵏ ⴼⴰⵍ-ⴰⵓⴰ –ⴷ-ⴻⵈⵈⴰⵍⴰⵏ ⵜⵉⵎⴻⵜⵜⴰⵓⴻⵏ ⴰⴷ ⴰⵙⴰⵙⵙⴰⵋⵔⴰⵏ ⵏⴰⵙⵏⴰⵜ . |
So far only one theory of history came from the pen of a professional Historian. | ⵂⴰⵔ-ⴰⵛⴰⵍ-ⵉ-ⴷⴰⵗ, ⵜⵉⵏⴼⵓⵙⴻⵏ ⵜ-ⵉⴷ –ⴰⵈⵈⴰⵍⵏⴻⵏ ⵜⵉⵎⴻⵜⵜⴰⵓⴻⵏ, ⴰⴷ ⴰⵣⵋⴰⵔⵏⴰⵜ ⴻⵔⴻ ⵉⴾⵏⴰⵏ ⵜⴰⵎⵓⵙⵏⴻ ⵂⵓⵍⵍⴰⵏ. |
Intellectual historians such as Herbert Butterfield, Ernst Nolte and George Mosse have argued for the significance of ideas in history. | ⵆⴰⵍ ⵜⴰⵏⴼⵓⵙⴻⵏ ⵓⵉ ⴰⴾⵏⴰⵏⴻⵏ ⵜⴻⵗⴰⵔⴻ, ⵛⵓⵏⴷ ⵂⴻⵔⴱⴻⵔⵜ ⴱⵓⵜⵜⴻⵔⴼⵉⴻⵍⴷ, ⴻⵔⵏⵙⵜ ⵏⵓⵍⵜⴻ ⴰⴷ ⵗⴻⴰⵔⴶⴻ ⵎⵓⵙⵙⴻ ⴰⴾⵏⴰⵏ ⴰⵙⴰⴱⴷⴰⴷ ⴰⵏ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴷⴰⵗ ⵜⴰⵏⴼⵓⵙⵜ . |
Scholars such as Martin Broszat, Ian Kershaw and Detlev Peukert sought to examine what everyday life was like for ordinary people in 20th-century Germany, especially in the Nazi period. | ⴾⴰⵍ ⵜⴻⵏⴼⵓⵙⴻⵏ ⵛⵓⵏⴷ ⵎⴰⵔⵜⵉⵏ ⴱⵔⵓⵙⵣⴰⵜ, ⵍⴰⵏ ⵆⴻⵔⵛⵂⴰⵓ ⴰⴷ ⴹⴻⵜⵍⴻⴱ ⴱⴻⵓⴾⴻⵔⵜ ⴰⵎⵎⴰⵗⴰⵏ ⵉ-ⴰⴷ ⴰⵏⵂⴰⵉⴰⵏ ⴰⵓⴰ-ⵜ-ⴰⵎⵓⵙ ⵜⴰⵎⵓⴷⵔⴻ ⴻⵏ ⴰⴷⴷⵉⵏⴰⵜ ⵓⵉ-ⵏ ⴱⴰⵏⵏⴰⵏ ⴷⴰⵗ ⴰⴷⴷⴰⵓⴰⵍ ⵣⴰ-ⵏ-ⴰⵍⵍⴻⵎⴰⴶⵏⴻ ⴷⴰⵗ ⵂⴰⴾ ⴰⵛⴰⵍ ⵗⵓⵔ ⵜⴻⵎⴻⴷⴻ ⵏ-ⴰⵓⴰⵜⴰⵉ ⵜⴰ-ⵙ 20 ⴷⴰⵗ ⵉⵋⵋⵉ ⴰⵏ ⴰⵣⵣⴰⵎⴰⵏⴰⵏ ⴰⵔⵓⵏⴻⵏ. |
Feminist historians such as Joan Wallach Scott, Claudia Koonz, Natalie Zemon Davis, Sheila Rowbotham, Gisela Bock, Gerda Lerner, Elizabeth Fox-Genovese, and Lynn Hunt have argued for the importance of studying the experience of women in the past. | ⵙⴰⵜ ⵜⴰⵏⴼⵓⵙⴻⵏ ⴷⴰⵗ ⵜ-ⵉⵉⵉⴰⴰ, ⵛⵓⵏⴷ ⵋⵓⴰⵏ ⵓⴰⵍⵍⴰⵛⵂ ⵙⵛoⵜⵜ, ⵛⵍⴰⵓⴷⵉⴰ ⵆⵓⵏⵣ, ⵏⴰⵜⴰⵍⵉⴻ ⵌⴻⵎⵓⵏ ⴹⴰⴱⵉⵙ, ⵙⴻⵉⵍⴰ ⵔⵓⵓⴱⵜⵜⵂⴰⵎ, ⵗⵉⵙⴻⵍⴰ ⴱⴰⵛⴾ, ⵗⴻⵔⴷⴰ ⵍⴻⵔⵏⴻⵔ, ⵓⵍⵉⵣⴰⴱⴻⵜⵂ ⴼoⵆ-ⵗⴻⵏoⴱⴻⵙⴻ ⴻⴷ ⵍⵉⵏⵏ ⵂⵓⵏⵜ, ⴻⴷⵂⴰⵍⴰⵏ ⵂⵓⵍⵍⴰⵏ ⵜⴰⵏⴼo ⵜⴰ-ⵏ-ⵓⵎⵎⴰⵗ ⴰⵏ ⵜⴰⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵏ ⴷⴻⴷⴻⵏ ⴷⴰⵗ -ⴰⵓⴰ-ⴷ-ⴰⵜⵉⵓⴰⴾⴰⵉⴰⵏ. |
Another defence of history from post-modernist criticism was the Australian historian Keith Windschuttle's 1994 book, The Killing of History. | ⴰⵓⵙⵜⵔⴰⵍⵉⴻⵏ ⵉⵉⵉⴰⵏ ⴷⴰⵗ ⴰⵏ ⵜⴻⵏⴼⵓⵙⴻⵏ, ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵆⴻⵉⵜ ⵓⵉⵏⴷⵙⵛⵂⵓⵜⵜⵍⴻ,ⴰⵏⵜⴰ ⴷⴰⵗ ⵉⴷⵂⴰⵍ ⵂⵓⵍⵍⴰⵏ ⴰⵓⴰ ⴰⵏⵏⴰⴼⴰⵙⴰⵏ ⴼⴰⵍ ⵜⴰⵏⵏⴰⵓⴻⵏ ⵜ-ⵉⴷ-ⴰⵛⵔⴰⵉⵏⴻⵏ ⴷⴰⵗ ⴰⵍⴾⴰⵜⵜⴰⴱ ⴰⵏⵏⴻⵙ ⵓⴰ-ⵏ 1994 ⵙ-ⵉⵜⴰⵓⴰⵏⵏⴰ ⵟⵂⴻ ⵆⵉⵍⵍⵉⵏⴶ Oⴼ Hⵉⵙⵜⵓⵔⵉ. |
Historical omissions can occur in many ways and can have a profound effect on historical records. | ⴰⵓⴰ ⵂⵉ-ⵏ-ⴰⵜⵓⴰⵉⵉⴰⵏ ⴷⴰⵗ ⵜⴰⵏⴼⵓⵙⴻⵏ ,ⴰⴷⴷⵓⴱⴰⵜ ⴰⵜⵓⴻⴾⴾⴻⵏ ⴰⵙ ⴰⵎⵎⴰⴾⴰⵏ ⴰⵋⵋⵓⵖⵓⵜⵏⴻⵏ, ⴰⴷⴷⵓⴱⴰⵜ ⵂⴰⵔⵓⴰ ⴰⵋⵋⴰⵔⴰⵓ ⴰⵏ ⴻⵙⴰⵓⴻ ⵎⴰⵈⵈⴰⵔⴰⵏ ⴼⴰⵍ ⴰⵍⴾⴰⵜⵜⴰⴱⴰⵏ ⵓⵉ-ⵏ ⵜⴰⵏⴼⵓⵙⴻⵏ. |
Ancient history: the study from the beginning of human history until the Early Middle Ages. | ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵔⵓⵓⴰⵜ ⵟⴻⵗⴰⵔⴻ ⴰⵏ ⵙⴰⵏⵜⵓ ⴰⵏ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰ-ⵏ-ⴰⴷⴷⵓⵏⵉⴰ ⵂⴰⵔ ⵗⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⵈ-ⵙ ⵎⴰⵔⴰⵓ ⴰⴷ ⴰⴾⴾⵓⵌ. |
Comparative history: historical analysis of social and cultural entities not confined to national boundaries. | ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵎⵎⴻⵌⵍⴰⵉⴰⵜ : ⴰⴾⴰⵉⴰⴷ ⴰⵏ ⴰⴷ-ⴰⴾⴰⵉⴰⵏ ⴼⴰⵍ ⵜəⵏⴼⵓⵙⴻⵏ əⵋⵋⴰⵏⴻⵏ ⴼⴰⵍ ⵜⵉⵎⴰⵜⵜⴰⵓⴻⵏ ⴰⴷ ⴰⵓⴰ ⵉⵜⴰⵓⴰⵋⵋⴻⵏ ,ⴰⵎⵓⵙⴰⵏ ⴰⴷ ⴰⵜⵉⵓⴰⴶⴰⵌⴰⵏ ⵓⴰⵔ ⴻⵜ ⵈⵈⴻⵍ ⴰⵉ-ⵉⴱⴷⴰⴷⴰⵏ ⵗⴰⵙ ⵗⵓⵔ ⵉⵙⴰⵗⵍⴰⵉ ⴰⵏ ⴰⴷⴷⴰⵓⵍⴰⵜ . |
Cultural history: the study of culture in the past. | ⵜⴰⵏⴼⵓⵙⵜ ⴼⴰⵍ ⴰⵓⴰ-ⵜ-ⵉⵍⵍⴰⵏ ⴰⴷ ⴻⵈⵈⴰⵍⴰⵏ ⵜⵉⵎⴰⵜⵜⴰⵓⴻⵏ : ⵓⵎⵎⴰⵗ ⴰⵏ ⴰⵓⴰ ⴰⵜⵓⴰⵙⴰⴱⴷⴰⴷⴰⵏ ⴷⴰⵗ-ⴰⵙ . |
Intellectual history: the study of ideas in the context of the cultures that produced them and their development over time. | ⵜⴰⵏⴼⵓⵙⵜ ⴼⴰⵍ ⵎⵓⵙⵏⴰⵜ : ⴰⴾⴰⵓⴰⴷ ⴰⵏ ⵜⴰⵉⵉⴰⵜⵓⴻⵏ ⴻⴷ ⴰⵂⴰⵏⴰⵉ ⴰⵏ ⴰⵎⵎⴰⴾ ⵓⴰ-ⵙ-ⵜ-ⴰⵜⵓⴰⵋⵋⴰ ⵜⴰⵏⴼⵓⵙⵜ ⴷⴰⵗ ⴰⵓⴰ ⴷⴰⵗ-ⴰⵙ –ⵜ-ⵉⵍⵍⴰⵏ , ⵓⵉ ⵜⴰⵜ ⵋⴰⵏⴻⵏ ⴰⴷ ⴰⵎⵎⴰⴾ ⵓⵈ-ⵙ ⵜⴰⵓⵓⵉⴷ ⴷⴰⵗ ⴰⵣⵣⴰⵎⴰⵏⴰⵏ. |