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Introduction. Periodisation in a Global Context*
Section 1: CHRONOTYPOLOGIES – Questions of Space, Time, Class, Race and State
Making periodisation possible. The concept of the course of time (Zeitverlaufsvorstellung) in historical thinking
The Pitfalls of Terminology—Uncovering the Paradoxical Roots of Early Modern History in American Historiography
Temporalities, historical writing and the meaning of the revolution: an Eurasian view*
Periodisation as Dialectic in a Peasant Discourse from Late Colonial India
Historical Timeframes for Stateless Nations: Analyzing the Colonized Periodisation Paradox of Palestinian History
Section 2: CHRONOLOGICS – Contested ways of thinking Time
The Time of World History: Essaying Marshall G.S. Hodgson's Work on Islamicate Societies and Afro-Eurasian World History
Time and Its Others: Contesting Telos through a Sociospatial Analysis of Islamicate Chronotropes
Transnational Modernism and the Problem of Eurochronology
'Islamic Civilization' as a (Medieval) Problem: the Idea of Islamic Modernity in Islamwissenschaft
The Mythical Medieval: Periodisation, Historical Memory and the Imagination of the Indian Nation
Reframing Time to Save the Nation: The Jewish Historian as Cultural Trickster
Nationhood and its Imposing Power over Time and Chronology*
Conclusion: Region, Nation, World: Remarks on Scale and the Problem of Periodisation*
Section 1: CHRONOTYPOLOGIES - Questions of Space, Time, Class, Race and State
by Editorial Board · Published 11/10/2018 · Updated 07/11/2019
Justus Nipperdey
Some schemes of periodization and their respective terminologies seem to be rather straightforward—to those who use them, to those who uphold them, but also to those who criticize them. This certainly is the case with the master periodization of Western History: the division into Ancient, Medieval, and Modern History. This ordering of history is not only the most prominent periodization scheme in today's world, but also the most discussed, the best researched, and the most vigorously disproved. Many scholars have traced its origins either to the self-descriptions of living in a new age in the Italian Renaissance or to the exigencies of textbook production at the turn of the eighteenth century.[1] Even more have commented on its deficiencies or even absurdities and on the ideological underpinnings of the whole scheme.[2] The widespread awareness that the concept of modern history does not only pertain to mere chronology, but rather to ideas about the essence of what it means to be modern and thus, by default, what is not modern has led to a "hesitation on the part of contemporary historians over using labels like 'medieval,' 'modern,' and 'modernity'" as Dipesh Chakrabarty has observed.[3] Despite the notorious difficulty in actually defining the 'modern', historians seem to have a pretty clear notion of what is meant by it—or rather: what they think other historians mean or have meant by it when using the term. This tacit assumption, however, might not always be true.
In this paper I want to highlight the complexities behind what seems to be one of the basic operations of Western historiography from the eighteenth to the twentieth century and beyond: distinguishing medieval from modern and pre-modern from modern. I will argue that even inside the Western tradition, these operations were far from uniform and that they were strongly conditioned by the differences in national historiographical and intellectual culture. Furthermore, I will try to show how perplexing and counter-intuitive the terminology in periodization can be—even if it seems rather straightforward to later interpreters. To illuminate these points, I will analyse a case study: the hitherto overlooked emergence of early modern history as a distinct field of research in the United States in the first half of the twentieth century.
The field of early modern history is a particularly good example for studying the cultural determination of schemes of periodization and the variations inside the Western tradition. During the nineteenth and the twentieth centuries, two models existed side by side: the tripartite division into ancient, medieval, and modern history prevalent in the English-speaking world as well as in central and northern Europe; and the French tradition of dividing history into four parts, thus splitting modern history into histoire moderne and histoire contemporaine with the French Revolution as the dividing line. This scheme was adopted by Italian, Spanish and other romance-language historians. For a long time, the curious fact that French 'modern history' actually ended in 1789 was not remarked upon. When homogenization was attempted, however, the two traditions clashed. In 1964, the European Council commissioned a book on European history with the goal of denationalizing historiography. In the German version, the entry on contemporary history by the Belgian medievalist Emile Lousse (1905–1986) and the Italian modernist Mario Bendiscioli (1903–1998) started with the following definition: "In der traditionellen vierteiligen Aufgliederung der Geschichte bezeichnet der Ausdruck die 'Neueste Zeit' die Periode, die der Neuzeit folgt."[4] In English this would read as: "In the traditional quadripartite division of history the term 'contemporary times' (literally: newest time/era) denominates that period that follows the modern era (literally: new time/era)." While this assertion was obvious for French- and Italian-speaking historians, its translation into German or English rendered it almost incomprehensible, bordering on the absurd: neither had there ever been a traditional division of history into four parts in German- or English-language historiography, nor was there any notion that the Neuzeit or the modern era had ended and been followed by a new and different historical epoch. A translator more knowledgeable about recent developments in the field might have solved the linguistic and substantive conundrum by using the terms Frühe Neuzeit or early modern history. That the translator and the dictionary's editors did not use these terms clearly shows that they had not gained general currency in German historiography in the early 1960s.
The emergence of early modern history especially in German, British, and American historiography, is traditionally situated in the second half of the twentieth century.[5] The first two post-war decades are seen as a time of gestation, of isolated usage of the term and rare attempts at defining early modern as a historical period. The 1970s, then, serve as a pivotal decade initiating widespread usage, first book series such as the Cambridge Studies in Early Modern History (the first volume of the series was published in 1970), or, in Germany, chairs officially denominated for Geschichte der Frühen Neuzeit. In addition, a number of book titles from the 1970s were extremely influential for the perception of the label 'early modern' in the English-speaking world: Peter Burke's Economy and Society in Early Modern Europe (1972), his Popular Culture in Early Modern Europe (1978), and Natalie Zemon Davis' Society and Culture in Early Modern France (1975) linked the label both to the questions and methods of the French Annales School and to the emerging new cultural history. Thus, 'early modern' took on a meaning more or less uncoupled from its basic chronological content, i.e. denoting the time frame from around 1500 to around 1800. For many—especially in the United States—it became a battle cry against the Renaissance or rather, against the research agenda associated with the term Renaissance.[6]
Only after the turn of the millennium, did cultural historians begin to question their own term, now focusing on the presence of the word 'modern' in 'early modern' and what this actually signified.[7] This question had not bothered historians before, even though it lay hidden in plain sight. With some irony Peter Burke alluded to it already in 1978 in the introduction to his Popular Culture in Early Modern Europe: "The period with which this book is concerned runs from about 1500 to about 1800. In other words, it corresponds to what historians often call the 'early modern' period, even when they deny its modernity."[8] Since the late 1990s, the charge is made repeatedly, that 'early modern' not only meant modernity in disguise, but that the term and concept were specifically framed to refer to modernity.[9] This reading seemed to be underpinned by chronology: 'early modern' emerging almost in tandem with modernization theory and its impact on the writing of history. Even though the term and concept do not feature prominently among the major authorities of modernization theory proper, it is not hard to find it among historians from the 1960s onwards, who stressed the modern features of early modern Europe or even the early modern world.
In the following pages, I want to present a different chronology. I contend that 'early modern'—as a term and concept—was actually well established in the United States by 1950, that its real take-off can be located in the 1920s and 1930s and that its meaning at the time was akin to 'pre-modern' or 'not-modern' rather than being used to denote just an early phase of modernity. Some of the post-World War II comments about the modernity of the sixteenth, seventeenth, and eighteenth centuries have to be understood as a reaction to this view. This was only rarely acknowledged at the time. An exception was the 1972 textbook Early Modern Europe 1500/1789 that appeared in William McNeill's World Civilization Series. The author, historian of France John B. Wolf (1907–1996), had started his teaching career in 1934 and had thus experienced the historiographical developments of almost four decades: "Until 1945," he began his overview,
American texts customarily presented the history of early modern Europe as a dismal era of absolutism, marked by tyranny, social injustice, and senseless war fought for the personal glory or dynastic interests of princes. This was in nice contrast to the Renaissance, presented as a period of individualism, or the French Revolution, seen as the opening of modern times." His own book, in contrast, was "intended as an introduction to the three centuries after 1500, a period vital in the formation of institutions of Western society.[10]
When historical scholarship began at American universities in the nineteenth century, it was generally based on the classic tripartite division of history. In the practice of teaching history and of hiring academic historians, however, the main division was the one between Americanists, working on colonial and United States history, and Europeanists, working on European history, regardless of the period they were specialising in. Ideologically, the Teutonic Germ theory and, after its demise, the continuity of English constitutional history bound both camps together until the growth of the field of American history. The influence of Frederick Jackson Turner's frontier thesis severed the ties between them. At the turn of the century, ideas about historical continuity overrode epochal divisions among the Europeanists; furthermore, their small number at any given institution and the need for undergraduate survey courses led to strong overlaps between medievalists and modernists. Until World War I, the single general session on European history at the annual meeting of the American Historical Association indiscriminately featured papers on both periods.
This changed in the second decade of the twentieth century. The differentiation of medieval and modern history culminated in the founding of the journals Speculum (1926) on the medieval side and the Journal of Modern History (1929). The latter's scope was the whole modern period in a traditional sense: "the history of Europe and its expansion from the Renaissance to the close of the World War" as the first number declared. At that point, however, the meaning of modern history itself had already come under scrutiny. Was it just a random name for the time since 1500, or did modern indicate a specific affinity to the present, delineating a time of special significance for the contemporary world? And if so: when did it actually start?
The redefinition of modern history in American historiography can be largely attributed to the movement of New or Progressive History and its concept of presentism—that is seeing the sense of any engagement with history in understanding the present or even in helping to solve the problems of the present.[11] In 1907, James Harvey Robinson (1863–1936) and Charles Beard (1874–1948), both at Columbia University at the time, published a co-authored textbook titled The Development of Modern Europe. An Introduction to the Study of Current History. While it appeared five years before Robinson's famous New History,[12] which gave the movement one of its names, the joint textbook can be seen as its first major manifestation. The subtitle already gives away the clue. Not only does it merge modern and current history, it already hints at the Progressive Historians' conception of the utility of history (both in the sense of res gestae and historiography): fostering a better understanding of the current world. "It has been a common defect of our historical manuals," the authors start their own manual, "that, however satisfactorily they have dealt with more or less remote periods, they have ordinarily failed to connect the past with the present." Their solution was simple: "In preparing the volume in hand, the writers have consistently subordinated the past to the present. It has been their ever-conscious aim to enable the reader to catch up with his own times."[13]
What did this mean for the temporal scope of the history to be studied?
Obviously no special date can be fixed as the starting point of our story, for in some instances it will be necessary to go farther back than in others in seeking light on the present. … In general, however, Europe of to-day can be quite well understood if the wonderful achievements since the opening of the eighteenth century are properly grasped.[14]
The early eighteenth century seems to be a compromise between the two authors: while Beard saw the beginning of modernity mainly in the economic changes generated by the Industrial Revolution, the intellectual historian Robinson emphasized the scientific achievements of the seventeenth century.
At any rate, a number of differing timelines existed, even among the New Historians. What united them, was their common understanding of the momentous shift in world history that had occurred around or since 1800. They even tried to outdo each other in finding the most evocative illustrations for this. The maverick Harry Elmer Barnes (1889–1968) posited in 1924: "George Washington [would] be far more at home on an Egyptian estate in the days of Tut-ankh-amen than in Richmond, Virginia, today."[15] The great sceptic Carl Becker (1873–1945) used a similar image in his Modern History (1932):
If Socrates could have come to life in Paris in 1776, many things would have seemed strange to him; but he would not have had much trouble in making himself at home there. If Benjamin Franklin should enter Philadelphia today, with or without a loaf of bread under his arm, he would be less at home in his old home town after two hundred years than Socrates would have been in Paris after two thousand years.[16]
A year later Becker rephrased the thought in intellectually more challenging terms in his Heavenly City of the Eighteenth-century Philosophers—which was to become the most important American text on the Enlightenment for three decades and the main opponent of Peter Gay's project of resurrecting the value of the Enlightenment. "We are accustomed", Becker declared, "to think of the eighteenth century as essentially modern in its temper." After listing a number of commonly offered arguments for this view, he acknowledged: "All very true. And yet I think the Philosophes were nearer the Middle Ages, less emancipated from the preconceptions of medieval Christian thought, than they quite realized or we have commonly supposed."[17]
The gist of these quotations is obvious: from the first decade of the twentieth century onwards, American historians of Europe started to disavow the classic definition of modern history as our own era that had begun around 1500. Instead, they posited that the contemporary world had only come into being in any recognisable form much more recently, be it in the seventeenth century or the early or even late eighteenth century. The preceding history was relegated to an almost perennial pre-modernity encompassing the millennia from Tutankhamun or Socrates to the birth of modernity. Mirroring the zenith of Progressive History, this historiographic development reached its first height in the 1920s and the 1930s.
Incidentally, however, these were the same decades that witnessed the breakthrough of the terms 'early modern age,' 'early modern times' or 'early modern history'. While they had existed since the 1880s and had been used with increasing frequency since the turn of the century, it was not until the interwar years that they came to be widely employed in academic texts, in titles of articles, in university course descriptions, and even in professional job descriptions.[18] In certain instances, the very same people who argued for the relatively recent onset of modern times, used the term 'early modern' endemically in their writing. The most striking example is the aforementioned Harry Elmer Barnes, who is now either forgotten or only remembered for his role in revisionist history concerning the World Wars, eventually becoming the main intellectual sponsor of Holocaust denial in post-war America. Before 1940, however, he had been a major figure in American historiography publishing widely in journals and with prestigious publishing houses.[19] As a student of James Harvey Robinson at Columbia and a teacher at the newly formed New School for Social Research formed by Robinson and some of his colleagues when they walked out of Columbia, Barnes had taken the gospel of Progressive History to heart. In fact, he was the self-appointed attack-dog of Progressive History, taking the polemics against established history and for the inclusion of the social sciences in the 1920s and 1930s to such extremes that it even embarrassed most of his ideological allies.
Barnes was able to combine a fervent belief in the novelty of modern civilization with a concept of development in the preceding centuries: "the supplanting of medieval civilization by early modern culture and institutions between 1500 and 1800."[20] Always the deliberate iconoclast, however, Barnes disparaged the well-established narrative of the transforming nature of the Renaissance and the Reformation. Taking his cue from his teacher Robinson, he instead painted them as reactionary movements. The truly progressive development in early modern times could not be grasped without understanding the "overwhelming importance of the expansion of Europe" and the colonial reverberations on European civilization.[21] In this way, Barnes did create and fervently proclaimed the existence of an 'early modern period' that was a necessary step from medieval times to modernity—but unmistakably distinct from modernity proper. Other Progressive Historians interested in this period of European history were even less sanguine about the modern traits of early modern times. As an intellectual historian of Europe and as a prolific teacher of cohorts of Progressive Historians at Columbia, James Harvey Robinson's views on the subject carried most weight. The trained medievalist came to emphasise the retarding elements in the religious and institutional life of sixteenth and seventeenth century Europe. Only in the realm of science did he finally glimpse the emergence of a modern way from the late seventeenth century onwards. This argument was further pursued by Lynn Thorndike, his former student and quasi-successor at Columbia. Thorndike led the 'revolt of the medievalists' (W. K. Ferguson) in the history of science, purporting the long continuity of scientific development and vigorously refuting any claims of intellectual breakthrough in the Renaissance and Reformation periods.[22] In fact, the man who first used 'early modern' in a title in the American Historical Review spent most of his working life disproving the modernity of his chosen field of interest. His 1927 AHR-article began with the sobering observation:
the period that we have been too apt to glorify as an age of renaissance, of reformation, of discovery, was in many ways—for we must also remember the insane wars of religion and of ambitious monarchs—a time of setback, stagnation, distress, and abject misery. [23]
Surveying the views of the Progressive Historians in the 1920s and 1930s, it becomes obvious that there are two models. The first one asserts the continuity of European development, in institutions, in habits, in modes of thought—until the cataclysmic irruption of modernity that occurred at some point between the middle of the seventeenth and the end of the eighteenth century, depending on the historian's preferences. This, basically, is the concept that later came to be known as "Old Europe" (Dietrich Gerhard) or the "long Moyen Âge" (Jacques Le Goff).[24] The other model was based on the construction of an early modern period from the sixteenth to the eighteenth century, perceived as a necessary stepping stone to the genuine modern world. This, of course, is the model that has largely carried the day. Looking at the interwar period, however, it would be misleading to emphasise the disagreements between the exponents of both models and the competition between the two. Rather, they were united in proposing a totally new framing of modern history that was more akin to the French histoire contemporaine than traditional modern history/Neuzeit.
This affinity is mirrored in terminology: Historians of both persuasions would use 'early modern' to describe the sixteenth to eighteenth centuries, regardless of whether they believed them to be inherently pre-modern or at least in some ways proto-modern. Apparently, the almost innocuous word 'early' sufficed in categorically differentiating these centuries from the proper modern age. During the interwar years, this mode of shortening the modern age was specifically American; no comparable development took place in British or German historiography. It was, in fact, a result of the general American political and intellectual culture impacting on the nation's historiography. The general valorisation of industrial society and of democracy led the Progressive Historians to challenge the traditional view of modern history that still held firm in European countries in the early twentieth century.
As indicated at the start, the object of this paper is not merely to chart the periodization choices of American historians of Europe in the interwar period, but also to generate lessons from this case study about the terminology and the intricacies of historiographical periodization. In my view, four salient observations emerge from the example:
The first observation must be phrased as a warning: Beware of seemingly self-evident terminology. For many critics and interpreters of the label 'early modern', it seemed so obvious that it was coined in the context of modernization theory that they did not deem it necessary to support this claim by thoroughly examining the term's actual usage. Such an analysis would have uncovered the rich and varied early history of 'early modern'. The counter-intuitive realization that the historians who coined the term 'early modern' were actually convinced of the lack of modernity in these centuries and wanted to convey this reading, does not disprove any possible later association of 'early modern' and modernization. It does, however, contradict the assumption that this association is intrinsically attached to the term itself.
The second observation pertains to the question why these interwar historians chose to silently introduce a bland qualification of modern history, instead of generating a more definitive term. Apparently, the reason is the immense staying power of established chronological terminology, in this case 'modern history'. For many of the protagonists of this paper, it would have made sense to drop the label 'modern' altogether. They did not do it, nor did they ever consider it, neither in their publications nor, as far as we know, in their private correspondence. They were content with splitting off the 'early modern' from the 'modern' and did not ruminate about the residual meaning of the word they were using. Applying the established label and just qualifying it, made its propagation and professional communication much easier. The validity of this assumptions can be proven best by invoking the later unsuccessful attempts of introducing new periods that would have broken up the established ones. The aforementioned case of Old Europe, put forward by Dietrich Gerhard in Germany and the United States, testifies both to the sheer difficulty of establishing a new label and to the path-dependency of periodization schemes, once they are ingrained institutionally. Because of its seamless connection to established periodization, the label 'early modern' generated no antipathy. Its very vagueness and ostensive familiarity opened the field for everyone to use it as they pleased. So, from the 1930s onwards, the economic historian John U. Nef (1899–1988) would use the term consistently to stress the modernity of these centuries without ever commenting on the profound differences between his and e. g. Lynn Thorndike's understanding of the term.[25]
This example leads directly to the third observation: chronological terminology has—if it is not totally unambiguous—a remarkable capacity for reinterpretation. It can gradually change both the time frame it is supposed to delineate and its ideological underpinnings. This observation does beg the question whether a total detachment of a term from its semantic origin is actually possible. In the case of early modern history this is hotly debated between practicing historians who claim to be using 'early modern' without any residues of the term 'modern' and critics of the term who deem just that impossible. The historical evidence seems to suggest that historians are actually quite capable of using terms of periodization in idiosyncratic and therefore almost distorting ways.[26]
The fourth observation concerns cultural differences in periodization and the value in exploring them, on a global scale, but also inside the Western tradition. As any other historiographical operation, periodization choices reflect contemporary ideas, pre-occupations, or ideologies. Looking closely at the practice, therefore, offers a lens into these wider intellectual traits of societies. This circumstance has been put to use to analyse Western periodization as a whole, or to trace the chronological development of certain time-concepts—e. g. the Renaissance or the Enlightenment—in relation to the respective intellectual zeitgeist. Scarcely, however, have the subtle differences in periodization between the national historiographies of Europe and the Americas been used to understand their respective conceptions of past and present. The contrast between the contested nature of modern history in interwar American historiography and its hardly questioned prevalence in Europe reveals much more about these societies than the mundane business of splitting up time may suggest. Disentangling the multiple histories of periodization is not an instance of historiographical navel-gazing, but rather sheds light on the differing self-perceptions of national societies and their respective cultures of writing history.
[1] See Horst Günther, "Neuzeit, Mittelalter, Altertum," in Historisches Wörterbuch der Philosophie, vol. 6 (Darmstadt: Wiss. Buchgesellschaft, 1984): 782–794.
[2] See Kathleen Davis, Periodization and Sovereignty: How Ideas of Feudalism and Secularization Govern the Politics of Time (Philadelphia: University of Pennsylvania Press, 2008); Constantin Fasolt, "Hegel's Ghost: Europe, the Reformation, and the Middle Ages," Viator 39 (2008): 345–386.
[3] Dipesh Chakrabarty, "AHR Roundtable: The Muddle of Modernity," American Historical Review 116, no. 3 (2011): 663–675, 663.
[4] Mario Bendiscioli and Emile Lousse, "Neueste Zeit," in Grundbegriffe der Geschichte (Gütersloh: Bertelsmann, 1964): 267; they did, in fact, reflect on the terminological and conceptual problem of 'modern' in their contribution on "età moderna". See the Italian version Mario Bendiscioli and Emile Lousse, "Età moderna," Internationales Jahrbuch für Geschichtsunterricht 7 (1959/60): 254–262.
[5] See generally and critically Wolfgang Reinhard, "The Idea of Early Modern History," in Companion to Historiography, ed. Michael Bentley (London: Routledge, 2002), 281–292; Randolph Starn, "The Early Modern Muddle," Journal of Early Modern History 6 (2002): 296–307. For Germany Winfried Schulze, "'Von den großen Anfängen des neuen Welttheaters'. Entwicklung, neuere Ansätze und Aufgaben der Frühneuzeitforschung," Geschichte in Wissenschaft und Unterricht 44 (1993): 3–18; Thomas Maissen, "Seit wann und zu welchem Zweck gibt es die Frühe Neuzeit", in Neue Wege der Forschung. Antrittsvorlesungen am Historischen Seminar Heidelberg, 2000–2006, ed. Stefan Weinfurter (Heidelberg: Winter, 2009), 129–153. A much longer view is taken by Phil Withington, Society in Early Modern England. The Vernacular Origins of some Powerful Ideas (Cambridge: Polity 2010).
[6] See Starn, Early Modern Muddle (see note 5) and Leah S. Marcus, "Renaissance/Early Modern Studies," in Redrawing the Boundaries. The Transformation of English and American Literary Studies, ed. Stephen Greenblatt and Giles Gunn (New York: Modern Language Association of America, 1992), 41–63.
[7] James A. Parr, "A Modest Proposal: That We Use Alternatives to Borrowing (Renaissance, Baroque, Golden Age) and Leveling (Early Modern) in Periodization," Hispania 84 (2001): 406–416; Terence Cave, "Locating the Early Modern," Paragraph 29 (2006): 12–26; Moshe Sluhovsky, "Discernment of Difference, the Introspective Subject, and the Birth of Modernity," Journal of Medieval and Early Modern Studies 36 (2006): 169–199. For Germany see Arndt Brendecke, "Eine tiefe, frühe, neue Zeit. Anmerkungen zur hidden agenda der Frühneuzeitforschung," in Die Frühe Neuzeit. Revisionen einer Epoche, ed. Andreas Höfele, Jan-Dirk Müller, and Wulf Oesterreicher (Göttingen: de Gruyter, 2013), 29–45.
[8] Peter Burke, Popular Culture in Early Modern Europe (London: Smith 1978), Prologue.
[9] Starn, Early Modern Muddle (see note 5), 299; Sebastian Conrad, "Doppelte Marginalisierung. Plädoyer für eine transnationale Perspektive auf die deutsche Geschichte," Geschichte und Gesellschaft 28 (2002): 145–169, 149.
[10] John B. Wolf, Early Modern Europe 1500/1789 (Glenview/Ill.: Scott, Foresman, 1972), Preface.
[11] See Ernst Breisach, American Progressive History. An Experiment in Modernization (Chicago: Chicago University Press, 1993).
[12] James Harvey Robinson, The New History. Essays illustrating the modern historical outlook (New York: Macmillan, 1912).
[13] James Harvey Robinson and Charles A. Beard, The Development of Modern Europe. An Introduction to the Study of Current History (Boston: Ginn, 1908), iii.
[14] Harvey and Beard, Development (see note 13), 2, 3.
[15] Harry Elmer Barnes, "History and Social Intelligence," Journal of Social Forces 2 (1924): 121–164, 154–55.
[16] Carl Becker, Modern History. The Rise of a Democratic, Scientific, and Industrialised Civilization (New York: Silver, Burett, 1931), 3.
[17] Carl Becker, The Heavenly City of the Eighteenth-century Philosophers (New Haven: Yale University Press, 1932), 29.
[18] The instances of usage are actually so many to make a full itemization impossible. A few examples will suffice: Lynn Thorndike, "The Blight of Pestilence on Early Modern Civilization," American Historical Review 32 (1927): 455–474, and his "The Survival of Mediaeval Intellectual Interests into Early Modern Times," Speculum 2 (1927): 147–159 were the first articles with this title in major American historical journals. When Thorndike came back to Columbia in 1924 he immediately offered a course on "Intellectual History of Early Modern Times" (Isis 7 (1925): 109); in the same year R. Packard started a "Seminar in Early Modern History" at Smith College (Catalogue of Smith College, 1924–1915, 115). In 1933 Bernadotte Schmitt, Professor at Chicago and editor of the Journal of Modern History, complained to a colleague that "we have been searching for years for a man in the early modern field without much success". (Bernadotte Schmitt to Conyers Read, 31.01.1933, Univ. of Chicago Archive, Department of History Records 1910–1963, Box 5, F. 4.)
[19] See Justus D. Doenecke, "The New History and the New Sociology: Harry Elmer Barnes," Social Science 53 (1978): 67–77. Leonard Krieger, "European History in America," in John Higham, with Leonard Krieger and Felix Gilbert, History. The Development of Historical Studies in the United States (Englewood Cliffs: Prentice-Hall, 1965), 261, 271.
[20] Harry Elmer Barnes, "The Historical and Institutional Setting of the Second World War," Social Science 16 (1941): 230–236, 231.
[21] Harry Elmer Barnes, "Economic Science and Dynamic History," Journal of Social Forces 3 (1924): 37–56, 56.
[22] Lynn Thorndike, "Renaissance or Prenaissance," Journal of the History of Ideas 4 (1943): 65–74.
[23] Thorndike, Blight of Pestilence (see note 18), 455.
[24] Dietrich Gerhard, Old Europe. A Study of Continuity, 1000–1800 (New York: Academic Press, 1981); Jacques Le Goff, Un long Moyen Âge (Paris: Tallandier, 2004).
[25] See John U. Nef, The Rise of the British Coal Industry, 2 vols. (London: Routledge, 1932).
[26] See Justus Nipperdey, "Die Terminologie von Epochen. Überlegungen am Beispiel Frühe Neuzeit/early modern," Berichte zur Wissenschaftsgeschichte 38 (2015): 170–185.
This work is licensed under a Attribution-ShareAlike 4.0 International (CC BY-SA 4.0).
by Editorial Board · Published 29/03/2018 · Last modified 29/06/2020
Barbara Mittler says:
COMMMENT BY JUSTUS NIPPERDEY
"Ich habe versucht, an den von Kommentatoren angemerkten Stellen, die Argumentation deutlicher zu machen (den einen Satz am Schluss mit dem Vergleich USA-Europa habe ich trotz Nachfrage so gelassen. Die Gründe für den Unterschied sind nicht das Thema des Aufsatzes, dafür das Thema meiner ganzen Habilitation; das ließ sich schlecht in einen einzigen Extrasatz packen, (jetzt in der Fussnote, BM)).
Den provokativeren Teil im Schluss kündige ich jetzt in der Einleitung deutlicher an. Leider muss ich gestehen, dass ich die Rüsensche Typologie für meinen Fall nicht anwendbar fand, da es sich nur um Varianten, keinen 'genetischen' Typus handelt. BM: Vorschlag dies im Aufsatz zu erwähnen.
Dear Justus Nipperdey:
This is a very fine essay, which makes a lot of interesting theoretical points that are very pertinent to the book as a whole. I wonder whether the four points made in the conclusion could be hinted at as research questions or hypotheses at the beginning of the essay in order to make it even more provocative!
I also wonder to what extent it would be possible to reformulate some of the statements you make slightly, by engaging with the typology offered in the piece by Jörn Rüsen: are you not observing in the different periods and regions, "traditional", "exemplary" "genetic" and/or "critical" uses of "early modern" vs. "modern" as periodization terminology, perhaps?
(14) Other Progressive Historians interested in this period of European history were even less sanguine about the modern traits of early modern times. As an intellectual historian of Europe and as a prolific teacher of cohorts of Progressive Historians at Columbia, James Harvey Robinson's views on the subject carried most weight.
IT IS REALLY interesting what you are delivering here, a history of the time of gestation, but sometimes the reader is not given enough information about WHY people would be interested in the kinds of questions you are debating now?!
(15) It was, in fact, a result of the general American political and intellectual culture impacting on the nation's historiography. The general valorisation of industrial society and of democracy led the Progressive Historians to challenge the traditional view of modern history that still held firm in European countries in the early twentieth century. WHY WOULD THIS BE SO?
emstolberg says:
In section 5: "Since the late 1990s, the charge is made repeatedly, that 'early modern' not only meant modernity in disguise, but that the term and concept were specifically framed to refer to modernity." Has this a relation to the discourse of "post-modernity" of the 1990s?
In section 4: "For many—especially in the United States—it became a battle cry against the Renaissance or rather, against the research agenda associated with the term Renaissance": could you provide more detailed information on this aspect?
Next story 'Islamic Civilization' as a (Medieval) Problem: the Idea of Islamic Modernity in Islamwissenschaft
Previous story Introduction. Periodisation in a Global Context*
This academic blog shows the open peer review of the edited volume "Chronologics. Periodisation in a Global Context."
Huang Yongping: La Carte du Monde. This piece of art presents a globe that is peeled like an orange and pinned with dates of predicted natural disasters until 2046. Photo credits: Huang Yongping
Decolonize Intellectual History! An Agenda for the Capitalocene - JHI Blog on Periodisation as Dialectic in a Peasant Discourse from Late Colonial India
Barbara Mittler on Reframing Time to Save the Nation: The Jewish Historian as Cultural Trickster
Barbara Mittler on The Mythical Medieval: Periodisation, Historical Memory and the Imagination of the Indian Nation
Barbara Mittler on Transnational Modernism and the Problem of Eurochronology
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On Chronologics. Periodisation in a global context


Tomorrow's Legends - Ep 8 - S1E8 "Night of the Hawk"
It's time for a little Back to the Future with some drag racing, rock and roll, ice cream parlors and good ole creature feature scares!
Tomorrow's Legends - Ep 7 - S1E7 "Marooned"
As Rip Hunter struggles to find a lead on Vandal Savage, the Waverider receives a distress signal from another time master. The team suspects IT'S A TRAP! But Rip insists they go to Captain Baxter's rescue to recover a time drive and update Gideon's software.


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Nechí River
(Redirected from Nechi River)
Nechí River is a river of northwestern Colombia. It flows into the Cauca River. Nechí River rises in the municipality of Yarumal, and serves as a boundary between the municipalities of Antioquia, Campamento, Angostura, Anorí, Yarumal, Valdivia, Tarazá, Cáceres, Zaragoza, El Bagre, Caucasia and Nechí. Significant gold deposits have been found in the area.
EtymologyEdit
Nechí in the Yamesí language takes its name from Ne which means "gold", and Chi which means "river". This is because there are significant mineral reserves in the area, including gold.[1][2]
The river is about 7 degrees north of the equator.[3] The Porce River, is a south tributary of the Nechi.[4] Angostura is a municipality situated where the Nechi river breaks through the Andes.[5] The weather is torrid and the humidity very high, even in the dry season when the temperature ranges between 24 and 35 °C (75 and 95 °F).[3]
Mining properties of the area lie in an oval basin surrounded by crystalline rocks. This basin has been cut through by the Nechi river, which separates the properties. Within this basin are flat tables of gravel deposits whose edges form terraces. The bedrock of each of these gravel benches is clay, either red or blue according to exposure, in which are included beds of peat or brown coal. Each of these gravel benches is a re-concentration of the bench above it, and represents a former stationary level of the river. California Hill is a remnant of the upper bench. Below this was a lower bench whose bedrock stood above water-level. These two benches have been nearly removed by erosion and ancient workings. The third bench, partly submerged, forms the greater portion of the higher dredging ground. The fourth bench is that being dredged now and is nearly submerged. The outer and higher bench gravel is on the clay which lies directly upon the rim rock, but toward the centre of the basin, where there are lower layers of gravel, is assumed to be bedrock. The gold here is of fairly uniform sized thin flakes. There is very little black sand.[6]
MiningEdit
Dredging began on the Nechí sometime before 1900. Several companies originally operated dredges on the Nechi, but these were gradually taken over by Pato Consolidated Gold Dredging, Ltd., a Canadian company, which was one of the largest placer mining concerns in the world at the time. By 1964, 67 percent of Pato's stock was owned by the International Mining Corp with seven Pato dredges operating on the Nechí downstream from Zaragoza.[7]
The Mapuri tract on the Nechi River, a few miles below Zaragoza, was exploited by the Colombia Gold Mines Corporation.[8] One publication in 1909 reported, "The district of Zaragosa, on the Nechi River, paid to the Spanish Crown the sum of $1200000 in gold, this district having produced in nineteen years of Spanish occupation the sum of $6000000 in gold."[9] Platinum was saved by dredges on Nechi River in 1922.[10] In November 1986, a terrorist group bombed a dredge in the river, forcing the temporary cessation to gold production in the area.[11]
Navigation of the river is extremely hazardous. Steamers have been known to become wedged against a rock ledge by rough currents when the river is flooded.[12]
ArchaeologyEdit
The Field Museum of Natural History in Chicago was the recipient of a rare collection of gold ornaments, excavated from the basin of the Nechi River in 1918. The donor was the Wrigley Company. Miners who excavated the treasure turned it over to an agent of the company in Colombia. Wrigley, a member of the Board of Trustees, turned it over to the museum. The collection consists of breast-plates, aprons, elaborate earrings, bells and neck, laces, all in pure gold, forming the most valuable collection in the world of art of Colombia's ancient dwellers.[13] In 1996, 29 archaeological sites, including Brisas Palagua, La Suiza, La Primavera, San Juan Bedout, Barcelona, El Amparo, Cano Regla, Palestina, Montenegro, and Tucuman, were found between the Nechí and Magdalena Rivers. Plano-convex scrapers and a projectile point were excavated.[14]
The indigenous population are chiefly Black and Mulatto. Due to a process of population sifting into darker and lighter groups, the lowland mining areas around the Nechi River demonstrate a significantly blacker population than the highland areas.[15] Most of the population is very poor. Their diet consists chiefly of river fish, rice, beans, plantains, meat and a great abundance of panela.[3]
List of rivers of Colombia
^ Engineering and mining journal. Western and Company. 1915. Retrieved 7 June 2011.
^ Ericksen, George Edward; Pinochet, María Teresa Cañas; Reinemund, John Adam (1990). Geology of the Andes and its relation to hydrocarbon and mineral resources. Published by Circum-Pacific Council for Energy and Mineral Resources. ISBN 978-0-933687-12-7. Retrieved 7 June 2011.
^ a b c American Medical Association; HighWire Press (1920). JAMA.: The Journal of the American Medical Association (Now in the public domain. ed.). American Medical Association. pp. 1768–. Retrieved 9 June 2011.
^ Swiggett, Glen Levin (1917). Proceedings of the second Pan American scientific congress: Washington, U. S. A., Monday, December 27, 1915 to Saturday, January 8, 1916 (Now in the public domain. ed.). Govt. print. off. pp. 226–. Retrieved 9 June 2011.
^ The Black Hills Engineer (Now in the public domain. ed.). 1914. pp. 14–. Retrieved 9 June 2011.
^ Mining and scientific press (Now in the public domain. ed.). Dewey Pub. Co. 1915. Retrieved 7 June 2011.
^ Geological Survey (U.S.) (1969). U.S. Geological Survey professional paper. G.P.O. p. 63. Retrieved 9 June 2011.
^ The School of Mines quarterly. Columbia University. 1914. Retrieved 7 June 2011.
^ United States. Bureau of Manufactures (1909). Monthly consular and trade reports. G.P.O. Retrieved 7 June 2011.
^ Mineral resources of the United States / Department of the Interior, United States Geological Survey (Now in the public domain. ed.). 1922. pp. 16–. Retrieved 9 June 2011.
^ Terrorist Group Profiles. DIANE Publishing. 1 August 1989. pp. 99–. ISBN 978-1-56806-864-0. Retrieved 9 June 2011.
^ Bruette, William A. (1910). Forest and stream (Now in the public domain. ed.). Forest and Stream Publishing Company. pp. 170–. Retrieved 9 June 2011.
^ The Jewelers' circular (Now in the public domain. ed.). Jewelers' Circular Co. 1919. pp. 49–. Retrieved 9 June 2011.
^ López., Carlos Eduardo (March 2008). Landscape Development and the Evidence for Early Human Occupatipon in the Inter-Andean Tropical Lowlands of the Magdalena River, Colombia. Syllaba Press. pp. 66–. ISBN 978-958-44-1657-5. Retrieved 9 June 2011.
^ Wade, Peter (1 August 1995). Blackness and race mixture: the dynamics of racial identity in Colombia. JHU Press. pp. 76–. ISBN 978-0-8018-5251-0. Retrieved 9 June 2011.
Coordinates: 7°24′45″N 74°55′35″W / 7.4125°N 74.9263°W / 7.4125; -74.9263
Retrieved from "https://en.wikipedia.org/w/index.php?title=Nechí_River&oldid=828368533"

redpajama_set_name: RedPajamaCommonCrawl


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I Putu Gede Juni Antara (born 7 June 1995), simply known as Putu Gede, is an Indonesian professional footballer who plays as a right-back for Bhayangkara. He is also a Second Police Brigadier in the Indonesian National Police.

Club career

Persebaya ISL
On 11 November 2014, Putu Gede signed a four-year contract with Persebaya ISL. He made his debut on 5 April 2015 as starting line-up, which ended 1–0 victory against Mitra Kukar at Gelora Bung Tomo Stadium.

Personal life
Putu Gede Juni Antara is the only son of Balinese parents and is a practicing Hindu. He is considered very sociable and friendly by his teammates with multiple social media accounts.

International career
He made his international debut for senior team on 21 March 2017, against Myanmar.

Career statistics

Club

International

Honours

Club
Bhayangkara
 Liga 1: 2017

International
Indonesia U-17
 HKFA International Youth Invitation: 2012
Indonesia U-19
 HKFA International Youth Invitation: 2013
 AFF U-19 Youth Championship: 2013
Indonesia U-23
 Southeast Asian Games  Bronze medal: 2017
Indonesia
 Aceh World Solidarity Cup runner-up: 2017

References

External links

Indonesian footballers
1995 births
Living people
Balinese people
Indonesian Hindus
Indonesia youth international footballers
Indonesia international footballers
Liga 1 (Indonesia) players
Bhayangkara F.C. players
People from Gianyar Regency
Sportspeople from Bali
Association football fullbacks
Southeast Asian Games bronze medalists for Indonesia
Southeast Asian Games medalists in football
Footballers at the 2018 Asian Games
Competitors at the 2017 Southeast Asian Games
Asian Games competitors for Indonesia

redpajama_set_name: RedPajamaWikipedia


text:
HomeBMFCKaren Jonas - "Butter" Official Music Video
Karen Jonas – "Butter" Official Music Video http://www.HankTV.com – Karen Jonas – "Butter" – Like this video? Come see thousands more at the Net's largest, uncensored, completely d.i.y. music video site, HankTV.com! We've got News, Games, Contests and the stuff that we can't show on YouTube! Free! Uncensored! Retarded! HankTV.com! *** iTunes: https://itunes.apple.com/us/album/butter/1372224145 Amazon: https://www.amazon.com/Butter-Karen-Jonas/dp/B07C5GZH4Y BanCamp: https://karenjonasmusic.bandcamp.com Karen Jonas – "Butter" Official […]
Karen Jonas – "Butter" Official Music Video
Karen Jonas
http://www.HankTV.com – Karen Jonas – "Butter" – Like this video? Come see thousands more at the Net's largest, uncensored, completely d.i.y. music video site, HankTV.com! We've got News, Games, Contests and the stuff that we can't show on YouTube!
Free! Uncensored! Retarded! HankTV.com!
iTunes: https://itunes.apple.com/us/album/butter/1372224145
Amazon: https://www.amazon.com/Butter-Karen-Jonas/dp/B07C5GZH4Y
BanCamp: https://karenjonasmusic.bandcamp.com
Artist city, country: Fredericksburg, Virginia, U.S.A.
Artist Biography: With three albums under her belt, four kids at home, and a touring schedule of 150+ shows per year, Karen Jonas doesn't have time for any fillers. "Whether I'm finishing up a gig at midnight or getting pounced on by my kids at 6:30 a.m., I usually feel like my life is a circus," she says. "So I started writing songs about my circus." She shines a light on the triumphs and challenges of that busy life with her newest release, Butter.
As rich as its name suggests, "Butter" mixes the textured twang of Jonas's folk and country roots — a sound she explored fully on her previous album, 2016's country songs — with the diverse influences of ragtime, blues, jazz, and barroom soul. It's her broadest, boldest album to date, with songs that anchor themselves in southern storytelling and Jonas's smooth, unforced croon. Written and recorded in her hometown of Fredericksburg, Virginia, Butter is a retro-minded album for the modern age — the sound of a songwriter celebrating her circumstances.
Butter was tracked at Wally Cleaver's Recording Studio, within a five-minute drive of Karen's home. She'd head over to the studio after putting her kids to bed. Tim Bray, her guitarist and musical partner for nearly half a decade, joined her for those nighttime recording sessions, as did a number of other musicians who laced Butter's ten songs with pedal steel, B3 organ, upright piano, layers of guitar, and vintage-sounding, seven-piece horn arrangements.
As the album came together, each song took on a life of its own. The title track is a late-night, big-band jazz number, while "My Sweet Arsonist" is a woozy, slow- burning love ballad. "Gospel of the Road" and "Yellow Brick Road" both nod to Tom Petty's influence, thanks to ringing guitars and heartland rock & roll melodies. "Dance With Me" slows down its tempo to a swinging waltz, while the Beatles-esque "Mr. Wonka" speeds it back up to a surreal circus's pace. Together, Butter's songs explore one woman's story to the tune of a full range of American roots music.
There's perhaps no better summary of the album's peppy punch than its flagship song, "Butter," which kicks off with honking trumpets, swooning vocals, and slyly witty lyrics. The song tells the story of a hardworking mother who's a killer cook and a first-rate parent. She's sexy, ambitious, composed, and sipping straight whiskey just before 5 o'clock.
Stop on by for dinner and try it, don't you wanna? / You're gonna love her / Mama cooks with butter
"Butter" is Karen Jonas's finest combination of melody and message to date, stripped free of artificial ingredients and fillers. This is "Butter" — smooth one minute, decadent the next, and fulfilling throughout.
Director Name: Ryan Poe
Artist Website: http://www.karenjonasmusic.com
Facebook: https://www.facebook.com/karenjonasmusic
Twitter: http://twitter.com/karenjonasmusic
BandCamp: https://karenjonasmusic.bandcamp.com
Instagram: http://www.instagram.com/karenjonasmusic
Song Lyrics: "Butter"
Mama cooks with butter
of course she does sugar
soft and warm right on the counter
She looks like Grace Kelly
she tastes like Betty Crocker
you know the real thing
don't give me no Country Crock or margarine
Dinner rolls on the table
cookies in the cupboard
Mama drinks straight whiskey
of course she does baby
standing in the kitchen at 4:53
She keeps up with the Joneses
she reads good housekeeping
she's the real thing
though she makes a fine manhattan or a martini
She is ambitious
she believes in efficiency
She feels like Elizabeth Taylor
when she slips off her big diamond ring
Mama's here to listen when you wanna talk
but when she feeds you boy you know you better eat
she still likes her shag carpets and wood paneling
She turns on Dean Martin
she turns on Frank Sinatra
Stop on by for dinner
try it don't you wanna
you're gonna love her
Weesp – "Black Sails" Zeppelin Records – A BlankTV Feature!
Mingawash – "Pornographique" M&O Music – Official Music Video
Meka Nism – "Trailblazer" Official Music Video
Poison Ivvy – "I Never Believed" Crazy Love Records
Black Of Night – "Speak Your Words" Official Music Video
Sexy Pretty Things – "Roller Coaster" Official Music Video
Traverse – "The More Miles, The Less Troubles" Brassneck Records
In Thousand Lakes – "True North" Official Lyric Video
She Is Not Katherina
The Cutthroat Brothers
Amnèsia
The Barren Marys
Kyle Johnson


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Todd Howard: 10 takeaways from Bethesda's studio director at Gamelab
Dean Takahashi@deantak	 June 28, 2018 5:35 AM
Todd Howard, director of Bethesda Game Studios.
Todd Howard has been working at Bethesda Game Studios for 25 years, and at the recent Electronic Entertainment Expo (E3), fans hung on his every word as he described what was coming up at the Bethesda Game Studios division he directs.
In the wake of Bethesda's announcements at E3, Howard gave a talk at the Gamelab event in Barcelona, in a fireside chat with Game Awards founder Geoff Keighley. He also did an interview with GamesBeat, and I've culled some short tidbits from both of those talks for this story.
In Spain, Howard had fans listening closely as he talked about his upcoming games, like the recently announced Fallout 76, Starfield, The Elder Scrolls VI — and the ones from his past such as the hugely popular Fallout 4, The Elder Scrolls V: Skyrim, and Fallout Shelter.
Later on, I'll have a longer take on his talk at the Gamelab, where Howard won the Industry Legend Award.
Above: The Elder Scrolls VI.
Image Credit: Bethesda
He has played Westworld, the mobile game, from Warner Bros. Interactive Entertainment. Bethesda's parent company Bethesda Softworks (owned by ZeniMax Media) has sued Warner Bros. and Behaviour Interactive for allegedly copying Howard's game Fallout Shelter, a mobile game that came out in 2015 and has generated more downloads than any other of Howard's games put together. "I had to play it for legal reasons, to form an opinion," he said. He didn't say what that opinion was. Warner Bros. has denied ripping off Fallout Shelter.
Howard is excited about the spread of games. "The main thing that excites me is that games are successful everywhere now," he said. "Now it's successful everywhere and that's really important for the health of the industry.
Automated storytelling is something he has explored in games. "Emergent narrative? We tried some of it but haven't had great success. The technology for radiant stories in Skyrim is phenomenal. We tried and pared it back."
Howard doesn't like to play it safe. "The idea is to keep being ambitious. … Playing it safe is the worst way to do things. [The Elder Scrolls III:] Morrowind was hard. It was our first time on console. If it didn't do well, the company was probably out of business. [The Elder Scrolls IV:] Oblivion was really difficult. We really pushed the tech. I liked that line in the movie Shakespeare in Love: How is this going to work out? I don't know, but it always does."
Graphics are outstanding now, but that's almost a given now in many games. "Visually, things are looking so good. Now it's how reactive is the world. There is very little you can't do in a game. You just can't do it all. You spend time doing, 'Can I do this, can I do this, can I do this?' We can do anything. We just can't do everything."
Above: Starfield is Bethesda's first new game IP in years.
Image Credit: GamesBeat
He's a programmer, but he hasn't coded since 2006. "I used to really dig in," he said. "Now I spend more time in meetings discussing a game."
Bethesda's creative team thought about Starfield, the new science fiction game that Howard announced at E3, for at least 10 years. After Fallout 4 shipped, the team started working on it full time. It is the first ground-up franchise that Howard has worked on at Bethesda, where he has worked for the past 25 years. "We go back and reinterpret and replay old games," he said. "The difference with Starfield is there is no one to go back to. The ideas were all over the map. I enjoy "plus one" sequels as a player. I don't enjoy making them."
He watches a lot of games on video streams, when he doesn't have time to play. But he still plays games like Fortnite, for research.
Howard isn't interested in doing a book or a movie. "I loved playing Ultima. Getting my computer in college and playing Wing Commander. I hear a lot from our fans and they are the same way. Games are where i want to be."
Virtual reality still gets him excited. "I'm a little more VR than AR (augmented reality," he said. "We did Fallout and Skyrim in VR. We're just about to enter the second generation of VR. Historically, the third generation is where it starts to become popular."
Disclosure: The organizers of Gamelab paid my way to Barcelona. Our coverage remains objective.


The KPA is an all-volunteer group composed of Koreatown community members. It has developed one of LA's first grassroots, coordinated rapid response programs, which prepares everyday people to support each other in cases of an ICE appearance.
Clara is a dedicated worker leader at KIWA. She has participated in all of our committees, from Arte del Corazon to Escuelita Verde. She was unanimously elected by our membership to to join our Executive Board in December of 2017.
Angela is a second generation Korean American born and raised in Los Angeles. She is a Zen meditation teacher, mediator in civil rights cases, and co-creator of the Mirror Project. The Project works to uncover California's shared story on health, healing, and wellness.


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One of America's preeminent cartoonists, Mike Peters was born and raised in St. Louis. After graduating from CBC High, he earned a fine arts degree at Washington University in 1965. By 1972 his editorial cartoons were syndicated nationally; in 1981 they won him a Pulitzer Prize. In 1984 he launched the zany, enormously popular comic strip Mother Goose & Grimm, eventually published in more than 800 newspapers worldwide. The recipient of virtually every major honor in his profession, Peters has published over 40 collections of his work. Imbued with both a charming, boyish sense of humor and a satirist's ready wit, the cartoons of Mike Peters are equally at home on the comic and editorial pages.


text:
Chris Gayle comments cause uncomfortable Big Bash interview with Mel McLaughlin
Big Bash
By Matt Bungard and Adam Morton
Updated January 5, 2016 — 9.33am first published January 4, 2016 — 10.25pm
Gayle turns up as Renegades crush Hurricanes
LATEST: 'Pass' at Mel McLachlan was a joke
West Indian cricket star Chris Gayle has drawn sharp criticism after making a pass at Network Ten journalist Mel McLaughlin during a post-innings interview.
Gayle, 36, had just been dismissed for a quickfire 41 off 15 balls in the Melbourne Renegades' comfortable win over the Hobart Hurricanes, but the live interview quickly steered away from cricket, with the opening batsman asking McLaughlin if she wanted to come out for a drink with him, before quickly adding "don't blush baby".
"I wanted to come and have an interview with you as well, that's the reason why I'm here," he began. "Just to see your eyes for the first time. It's nice."
As McLaughlin began appearing visibly uncomfortable, Gayle continued: "So hopefully we can win this game and we can have a drink after. Don't blush, baby."
Chris Gayle's behaviour during his interview with Mel McLaughlin was swiftly condemned but he excused it as a joke. Credit:Twitter: @stevesmithffx
McLaughlin seemed bemused at the proposition, before tersely responding "I'm not blushing" as Gayle awkwardly laughed the comment off.
There were audible sniggers from the commentary booth as the interview was happening.
The presenter brushed the incident off and attempted to steer the conversation back to the match, and a potential hamstring injury for Gayle.
Network Ten came under fire online for a tweet from its Ten Sport account that described Gayle's come-on as "smooth". It deleted the tweet after being criticised. The secretary of Victoria's Trades Hall Council accused the network of joking about workplace harassment.
Former England captain and Ten commentator Andrew Flintoff was also not impressed.
Big Bash League chief Anthony Everard said Gayle's comments were "disrespectful and simply inappropriate".
"We'll certainly be talking to him and the Renegades about it. This league is all about its appeal to kids, families and females," he said.
Renegades chief executive Stuart Coventry agreed. "We'll certainly be talking to him in association with Cricket Australia about it," he said. "There's just no place for that sort of behaviour."
So hopefully we can win this game and we can have a drink after. Don't blush, baby.
Channel Ten head of sport David Barham told News Corp the network was "deeply offended".
"We will be seeking an apology," he said.
"It was totally inappropriate behaviour. Mel's a working journalist doing a job."
Renegades captain Aaron Finch said Gayle had apologised to McLaughlin. "As an organisation, we don't condone it," he said.
Channel Ten commentator Mark Howard backed the manner in which McLaughlin's handled the situation, labelling Gayle's actions inappropriate.
"It must be pointed out that Mel is a wonderful, professional, informed sports broadcaster and a valued member of Network Ten and on reflection, I don't think that's appropriate for what's required in that format," he said after the awkward interview.
"Chris is an entertainer and he's a joker, but I think he probably went a bit too far there. I hope we don't see any of it again, and Mel will be back for her next interview, prepared and ready to go as she always is."
But overnight Gayle, a Fairfax Media columnist, retweeted a post from media personality Piers Morgan attacking the attention people were paying to his comments.
It was not Gayle's first negative interaction with a female journalist - ESPNCricinfo writer Raf Nicholson wrote in 2014 that Gayle responded with a lewd remark to a female reporter who asked him about the pitch conditions before a day's play.
Canberra Times journalist Fleta Page also tweeted that she had experienced Gayle's advances before an interview.
There were sections of fans online who brushed off the exchange between Gayle and McLaughin as cheeky banter, but the majority of people were not amused.


Kan Ito was born in Fukuoka in 1971 into a family in the pottery making business. After completing a program at the Osaka University of Art, he apprenticed with the renowned potter Yamada Hikaru in Kyoto. He later returned to the family business in Fukuoka where he worked until establishing his own kiln in Kanagawa in 2006. He currently lives and works in Okayama.
Care: Handwash only. Not suitable for use in microwave ovens.


NewTek Discussions > Other Products > VT-VT > VT - General Support > Major vt4 problem help!
View Full Version : Major vt4 problem help!
we plugged 5 cameras in the system and when i switch, some of the cameras' signal doesn't show up on the computer..
the signal is definetely coming through because it looks alright in the monitors..
hope you understand what i mean!
Make sure you've got the proper setting for the camera in question. Usually, when the system opens, there are four of a particular input type and you must right click and change the input type. Hope that's what you mean.
We have had the same problem with our system, check and make sure the daughter card is seated in securely. We spent hours till I check this and of course that was the problem. We are using 4 camera's at football games along with a web radio broadcast live on our VT 3 system works great just don't try to key in cg's. Memory loss problem. We do that in post.
Do not use CG Player. Instead, load your CG pages into a DDR and display, or key them from there. Then, the problem of displaying them will be gone as well.


A feel-good, compelling Spanish story of a fashion house in Madrid in the late 50's, which is scene to money, fashion, drama, entanglements, love, jealousies, plots, counter-plots involving its owners, customers and residential employees.
In the 1940's Spain, a Marquess and a Minister live a forbidden love.
In the Spanish city of Melilla, Morocco, during the Rif War of the 1920s, Spanish volunteer nurses with no experience adapt to their new lives.
Five police members - a SOG member, a TEDAX member, an public guard, a trooper and a thief in disguise - are assembled together as a secret team by the government to accomplish the most difficult missions.


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Q: How do I get my websites clip-path shape to not affect the rest of the website? I started making a website and wanted to make a unique shape to go behind my logo and navigation bar. To do this I used clip-path code in my CSS which is new to me and my first time trying this. I am unable to get it to work though as there is either a big gap in between the nav bar and the text on the page if I use relative positioning or it will all be crammed at the top and be layered on top of each other if I use absolute positioning.
I cannot figure out how to get the effect I want. I left it with relative positioning at the moment as it is the closest I could get. Any help would be much appreciated.

body {
  z-index: 1;
  display: block;
  min-width: 44em;
  max-width: 60em;
  margin: 0 auto;
  font-family: 'Times New Roman', Times, serif Arial, Helvetica, sans-serif;
  background-color: rgb(76, 119, 175);
}

/*my logos code */

#logo {
  z-index: 1;
  position: relative;
  margin-top: 20px;
  margin-left: 10px;
}

/*the purple shapes code */

#purpleL {
  z-index: 0;
  position: relative;
  width: 961px;
  height: 80px;
  background-size: cover;
  background-color: rgba(64, 19, 85, 0.952);
  clip-path: polygon(100% 0, 100% 27%, 41% 28%, 0 47%, 0 0);
}

h2 {
  text-align: center;
}

.navbar {
  z-index: 1;
  color: rgb(119, 206, 201);
  text-align: left;
  padding: 0.25em;
  padding-left: 1em;
  float: left;
  width: 7em;
  top: 0px;
}

.navbar ul {
  margin: 0;
  padding: 0;
  position: relative;
  top: 2em;
}

.navbar li {
  list-style-type: none;
  padding: 0.25em;
  margin: 0.25em 0;
  position: relative;
  background-color: darkcyan;
}

#name {
  text-align: center;
}

.nav a {
  text-decoration: none;
}

nav a:link {
  color: black;
}

nav a:visited {
  color: purple;
}

nav a:hover {
  color: white;
}

nav a:active {
  color: blue;
}

/*my solid grey background to go behind everything */

#solid {
  z-index: -1;
  background-color: grey;
}

 Home

 acnh calander

 about me

 art portfolio

 contact

 Home

 Hello! My name is Christie Mattern and I am the creator of this website. I jsut wanted to start by saying thank you for checking out my website! I coded everything myself as well as created all the art for it. On here I have included an about me page
    for anyone looking to hire me, a contact page incase someone needs to get ahold of me. This could be becuase there is an issue with the website, about a job offer or because something changed with animal crossing and the calander needs adjusted.

I also included a page for my art portfolio, I am a freelance artist and my art can be found there. I also designed a calander for the bigs and fish in the new Animal Crossing New Horizons game. I didn't like a lot of the apps and the wikis were not
    great. I am wanting to turn this into a full app and am in the process of doing so. For the time being though it is available here and may or may not stay here after the app is done.

 Again, thank you for checking out my website and I hope you like what you see!

Christie Mattern ∻ Fort Wayne, Indiana ∻ isfsf

redpajama_set_name: RedPajamaStackExchange


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Yu Darvish scheduled to make MLB debut on April 9
By Drew SilvaMar 29, 2012, 10:25 PM EDT
As noted by Richard Durrett of ESPN Dallas, right-hander Yu Darvish is scheduled to make his first MLB start on April 9 at home against the Mariners.
The Rangers revealed their season-opening rotation on Thursday, pegging Colby Lewis for Opening Day (April 6) against the White Sox. He will be followed by Derek Holland and Matt Harrison in that three-game series vs. Chicago before Darvish kicks things off against Seattle. Neftali Feliz will go fifth.
Darvish agreed to a six-year, $60 million contract in January after the Rangers paid a $51,703,411 posting fee to the Nippon Ham Fighters for his exclusive negotiating rights. The 6-foot-5 hurler posted a 1.44 ERA and 276/36 K/BB ratio in 232 innings last season in Japan. He has a 3.00 ERA, 1.44 WHIP and 10/7 K/BB ratio in nine Cactus League innings this spring.
Tags: Colby Lewis, Derek Holland, Matt Harrison, Neftali Feliz, Texas Rangers, Yu Darvish


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Help AsiaNews
North Asia
South West Asia
SAUDI ARABIA - INDIA
Ten months in jail and 300 lashes for Christian prisoner O'Connor
Indian Christian in prison for seven months charged with evangelisation sentenced only for "selling alcohol". Indian Christian activist writes to Saudi monarch asking for his compatriot's release.
Riyadh (AsiaNews) – On October 20, a Saudi court in Deerah near Riyadh sentenced Brian Savio O'Connor, a Indian Christian resident in Saudi Arabia, to ten months in prison and 300 lashes for selling "alcoholic beverages", this according to Middle East Concern (MEC), an organisation dedicated to the fate of Christians in the Middle East that has been monitoring the case of the Protestant man from the south-eastern Indian state of Karnataka.
Mr O'Connor has been incarcerated in Olaya prison since March 25 after the Muttawa, the Saudi religious police, abducted him from home and tortured for 24 hours in a mosque.
He was later charged with preaching Christianity, selling alcohol, drug use and possession of pornographic videos. He has always denied the charges, but has acknowledged leading Bible studies in his home for expatriate Christians after the authorities published information in the local press whereby non-Muslims could practice their religion at home. In practice, religious freedom does not exist in the country except for Muslims and any religious activity outside Islam is considered a felony.
In his October 20 court hearing, the judges found him guilty of selling alcohol but did not mention any of the other charges: drug use, evangelisation and, after September 15, possession of pornographic videos.
After reading the sentence, the court asked Mr O'Connor if he accepted this decision. He declined thus appealing the decision. He was warned that under Saudi law the higher court would most likely increase the sentence if it, too, found him guilty.
During the hearing Brian asked why the religious police who arrested him were not present as had been announced at the previous hearing. He was told that they had given their statement at a private hearing.
According to the MEC and Mr O'Connor's family, the Muttawa did a good job at trumpeting up the alcohol charges. He was found in possession of banknotes—whose serial number the Muttawa had taken down—that had been used by an agent paid by the police to purchase the alcohol.
MEC sources claim that the O'Connor file has now moved to the "Departure" section of Olaya prison indicating that he might be expelled from the country after Ramadan.
Following the Court's decision, Indian activist John Dayal wrote an appeal to Saudi King Fahd bin Abdulaziz al-Saud asking him to "give clemency to O'Connor" and urge the Saudi government to "release this Indian citizen who has already suffered much".
"We are sure," Mr Dayal said in the letter, that "we will not be disappointed in this appeal for mercy and justice in the name of universal brotherhood, human dignity and the friendly relations between the two countries, India and Saudi Arabia."
John Dayal is the President of the All India Catholic Union (which represent India's 16 million Catholics) and the Secretary General of the All India Christian Council, one of India's major ecumenical Christian organisations. AsiaNews and other Catholic websites (see www.stranocristiano.it) have followed the O'Connor case and promoted an awareness campaign on his behalf.
In the letter to the Saudi king, Dayal states that O'Connor's "employers have declared that the allegations against their employee are not valid" even though it is accepted that he is a practicing Christian.
According to Dayal, Mr O'Connor's arrest, his experience in jail and now his sentence have caused "deep concern" amongst Indian Christians. "Brian," Dayal wrote, "has no criminal record at home or abroad, and has been arrested, we feel, just for his religious convictions." (LF)
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The Netherlands is a very small country and there are not many famous Dutch people whose fame has made it across the borders of the little frog country. But there are famous people from The Netherlands who have earned status abroad. Most taxi drivers in any part of the world will shout out the name 'Johan Cruijf' when they hear you are from Holland. This legendary football player and coach has put The Netherlands on the map, together with Van Gogh, actor Rutger Hauer and dj Tiesto.
Here are 10 famous Dutch people you might have heard of.
Johan Cruijff, one of the best football players in the world.
Johan Cruijff is considered one of the best of all time football players in the world. Johan Cruijff was born in 1947 in Amsterdam. He played for the Amsterdam football club Ajax when Ajax had its best years in history, winning many national and international competitions.
Ajax played a special tactics that became famous all of the world: Total football, meaning any players can take over the role of any other player in a team. In Spanish it's referred to as Mechanica Naranja (try to say this to any taxi driver in any part of South America or Spain).
In 1974 Cruijff headed the most legendary match Holland has ever played. It was the finales of the World Championship against West-Germany. Holland lost. It was a traumatic experience that is still felt every time Holland play Germany.
Later on, Cruijff became a famous football trainer, putting together the famous Dream Team of FC Barcelona. In The Netherlands (and also in Spain), Johan Cruijff is also known for his one-liners. His self-invented expressions are profound and totally useless at the same time.
Other famous Dutch football players are Marco van Basten and Ruud Gullit. They starred in the famous team of 1988, when Holland became European Champion in West-Germany. Van Basten's goal against the Sovjet-Union during the finals is one of the most memorable ever.
Often pronounced without the hard Dutch 'g'-sound, which makes it hard for foreigners to ask Dutch people in the streets of Amsterdam where the Van Gogh Museum is. Vincent van Gogh was a painter from the south of The Netherlands, not far from the Belgian border.
During his life Vincent van Gogh hardly sold any paintings and was not famous at all. His fame started to grow only after his death, making him up to this day one of Hollands' most famous painters.
Other famous Dutch painters include Rembrandt van Rijn (known as just 'Rembrandt'), who worked and lived in Amsterdam almost his whole life and Johannes Vermeer from the Dutch city of Delft. Both Rembrandt and Vermeer lived in the 17th century Holland, a prosperous time we call the Golden Age.
Willem-Alexander is the eldest of 3 sons of Beatrix, who was Queen of the Netherlands from 1980 till 2013. When Queen Beatrix retired, Willem-Alexander became King of The Netherlands. Willem-Alexander (and the monarchy) was not very popular in The Netherlands until he married the beautiful and intelligent Argentine Máxima, thereby turning the entire country monarchy-friendly.
He is also know Prins Pils, which refers to his love of beer. But he is also famously sporty, skating the Elfstedentocht and (former) member of the international Olympic Committee.
Maxima, Queen of The Netherlands is the daughter of Jorge Zorreguieta, who was part of the government during the military dictatorship of Jorge Videla in Argentina. Her father was not therefore not invited to the marriage ceremony.
Rutger Hauer in Blade Runner.
Rutger Hauer is a Dutch actor born in 1944 who moved to Hollywood to pursue an successful International career. You might have seen him in Nighthawks, Blade Runner, Blind Fury, Flesh & Blood or Escape from Sobibor. In Holland, Rutger Hauer has made a lasting impression with the film Turks Fruit (Turkish Delight), after the book by Dutch writer Jan Wolkers, where he plays a bohemian artist in 70s Amsterdam.
In The Netherlands Rutger Hauer became famous when he played Floris in 1969, a television series by Paul Verhoeven. Paul Verhoeven later became very big in Hollywood, directing films like RoboCop (1987), Total Recall (1990) en Basic Instinct (1992) .
How long the names of Tiësto and Armin van Buuren and, recently DJ Hardwell will stay famous, time can only tell. Fact is The Netherlands has produced some very famous dj's in the last 10 years.
Tiësto was the first name to spread around the world. Behind the world wide brand is Tijs Verwest from Breda.
In the nineties Tiesto quickly became a popular trance dj, playing at parties all over the world and making record amounts of money (250.000 dollar per gig) behind the decks. Armin van Buuren, another trance dj, started the road to fame and fortune in 2001 with the radio show A State of Trance. The latest rising star is the young (born 1988) DJ Hardwell, Robbert van de Corput. He makes mostly dance and house music and has his own radio show Hardwell On Air at Dutch Radio 538. DJ Mag named Hardwell best dj of the world in 2013 and 2014.
Dutch politician Geert Wilders often travels abroad to criticize Islam and ends up in the international newspapers as the object of protests and controversy. Wilders started his own party Partij voor de Vrijheid (Freedom Party) in 2004 and running it practically on his own. The overly blonde man from the South of The Netherlands receives many treats.
The treats are not to be taken lightly. In 2002 Dutch populist politician Pim Fortuyn was shot dead. His party, the new LPF, was about to make a big winning in the forthcoming elections. Pim Fortuyn was killed by an extreme animal activist outside a radio station.
U2 cover by famous Dutch photographer Anton Corbijn.
Anton Corbijn is a Dutch photographer most well know for his portraits of famous people, mostly in music. Among them are: Simple Minds, Bob Dylan, Tom Waits, David Bowie,Miles Davis, Joy Division, Björk, Captain Beefheart, Robert De Niro, New Order, Stephen Hawking, Luciano Pavarotti and Clint Eastwood.
Corbijn also designed many record covers, for U2 (The Joshua Tree en Achtung Baby), Green Day, Depeche Mode, Nick Cave, Metallica, Therapy?, The Rolling Stones, REM and the Bee Gees.
He also directed music videos for U2, Metallica, Roxette, The Killers, Joy Division, Depeche Mode, Front 242, Coldplay, Johnny Cash en Arcade Fire. For his music video Heart-Shaped Box of Nirvana from 1994 he won an MTV Award. Lastly, he also directed films: The American (with George Clooney), A most wanted man, Life and Home. Corbijn has also made several succesful movies. Another famous Dutch photographer is Erwin Olaf.
John de Mol might not be a famous name, but the influence of him on the world of reality television is huge, as he was the creator of the first Big Brother television series. In 1999 the first Big Brother series was aired in The Netherlands.
In Big Brother 12 people were locked up in a special building with camera's everywhere. Every now and then one of the people was nominated by the other participants to leave the house. It caused quite a stir and a big media hype. Since 2000 Big Brother is produced and aired in at least 58 different countries.
Rem Koolhaas is a is a famous Dutch architect. In 1975 he founded the Office for Metropolitan Art (OMA) in London. His creations stand out and Koolhaas plays a big role in the international debate about urban architecture.
Examples of his work are Parc de la Villette, Paris (1982), Kunsthal in Rotterdam (1992), embassy of The Netherlands in Berlin, Seattle Central Library Seattle, Beverly Hills Prada , Second Stage Theatre in New York and Central China Television Headquarters Building in Beijing, China. In 2008, Time named Rem Koolhaas in their top 100 of The World's Most Influential People.
The reason Dutch people dress on national occasions in orange is this man: Willem van Oranje (William of Orange). Willem van Oranje is known as the founding father and hero of The Netherlands. Willem van Oranje, also known as William I, Prince of Orange or William the Silent (Willem de Zwijger) made his fame when he led the Dutch uprising against the rule of the Spanish Habsburg, which led to the 80-year war (1568–1648).
William of Orange, first of the Dutch Orange monarchy.
William of Orange was a wealthy nobleman born in the House of Nassau (Germany) and a proponent of freedom of religion for all people. Declared an outlaw by the Spanish king in 1580, he was assassinated by Balthasar Gerardts in Delft in 1584.
In 1677, William II married his cousin Mary Stuart, the daughter of the future king James II of England. In 1688, William threw his Catholic father-in-law from the thrones of England, Scotland and Ireland and him and his wife were crowned the King and Queen of England. William III died childless after a riding accident on March 8, 1702, leaving the main male line of the House of Orange extinct, and leaving Scotland, England and Ireland to his sister-in-law Queen Anne.
Willem-Alexander, present King of The Netherlands is a decedent of William of Orange through the female line. Though William III did not have any children, there are conspiracy theories that say otherwise. The national anthem of The Netherlands, the Wilhelmus, was originally a propaganda song for William of Orange. That makes William of Orange the most famous of all famous Dutch people.


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Reviews + Partnerships
Oceania + Pacific
City Personalities
Snapshot Interviews
My Academy
My Writing Process: Where I am and where I'd like to be
You might have noticed it's been rather quiet on the blog for the last two months. No worries. All is well. Recently got back from Cyprus. Working on a handful of assignments. Been taking on less assignments but higher paying ones in an effort to be more efficient with my freelancing energies. I'm still behind on editing photos from the Balkans while gearing up for upcoming trips to Mauritius, the Seychelles, and the UAE soon.
Plus a few personal changes too. All good. Yet as a writer, these have been some of my quietest months. I've been offline a lot more than usual. I've read and re-read pieces of fiction I've written during various stages of my life. I've read novels. Watched more period movies and historical shows. Listened to more music.
But I've struggled to put pen to paper. Or rather, keystrokes to keyboard.
My journal from the Balkans is filled with stories yet I haven't started crafting and outlining them. I can't wait to tell you Dalida's unbelievable story from Sarajevo yet it's already been eight months since she shared it with me.
Last week, travel journalist, photographer, and friend Ellen Barone, invited me to participate in a "blog hop" where writers share their views of the writing life. You can read Ellen's writing process over on her blog, The Internal Traveler.
So this blog hop about writing was timely.
Next week, three writers I respect and admire— Lily Girma, Leigh Shulman, and Roni Faida —will publish their responses to the following four questions on their respective blogs as part of this continuous blog chain of writers.
Below are thoughts on my writing process, where I currently am, and where I'd like to be.
1) What am I writing now?
I wrote a lot of fiction during my teenage years, but when I was 13-14, I wrote one particular novel. One with themes and characters that were way too complex for my teenage mind to comprehend and properly articulate. Yet I believed in the power of that story I was weaving together in the only way my brain could at that time.
I've started rewriting that novel as an adult.
It's a trilogy that spans three generations but not necessarily in sequential order. It's a simple story with a handful of characters yet their relationships are complex, deep, and complicated.
On the freelancing front, I'm working on some service pieces that deal with food, cruising, Stockholm's archipelago, interior design, and migration for various clients.
2) How does my work differ from others of its genre?
My background plays a subconscious role in a lot of my work. Strong traditions and a solid culture. Vibrant and bold colors. A heightened sense of drama. Short punchy sentences. Tension between the words.
Not necessarily in my non-narrative travel articles that are mostly service pieces heavily edited beyond recognition. But in my narrative writing. And finding the right outlets for my narrative writing has been challenging. That's why I always submit them to competitions like Travelers' Tales Solas Awards.
One of the reasons why I love DH Lawrence isn't necessarily because of the content and subject matter of his books but the way he laced words and built that heightened sense of drama within his prose. He could easily dedicate 4-5 pages describing the tension between two people sitting on opposite sides of the room – one knitting, the other reading – not talking to each other.
That's raw talent and his style inspires me a lot.
Everyone I know seems to be writing a book or two these days, and I need to move from that stage of saying "Am I ready to actually pen a travel memoir or book?" to saying "Why not? You have a heck of a lot to share!"
I have a lot to share because I have an innate curiosity about different cultures and have a unique background. This curiosity lets me seek out all the spoken and unspoken rules that govern whatever society I find myself within. Be it in Nigeria, The US, Sweden, or the many other countries I've spent time in. It's that innate curiosity that allows me to respect various cultures and easily adapt without losing my sense of self.
I bring this respect and intrinsic curiosity to my work.
3)Why do I write what I do?
For me, writing has been a way of pushing against invisible boundaries. Pushing against what people expect me to be doing, and just putting down words that came intuitively. Even within my fiction. My characters don't always have to look and sound like me. If anything, it was a challenge to see how well I could decipher someone else culturally and nail their line of reasoning. Again, challenging and pushing myself beyond what I only know.
As I've already explained above, my love of culture and tradition makes me seek out those untold stories that are often overlooked or classified as downright boring. There is light in every corner if we look deep enough. One of the most touching compliments I've received as a photographer is that I know how to make the most boring scene seem interesting. A huge compliment and a trait I hope to carry into my writing.
As for my non-narrative travel writing pieces, those pay the bills. Until I build something more self-sustaining and revenue-generating with minimal daily effort, those non-narratives will be on my plate for awhile.
4) How does my writing process work?
I work extremely well under pressure and on tight deadlines and I think this adds the tension and heightened sense of drama to my work as well.
I don't need to go to a quiet reflective place to pen words but rather, they seem to flow when I've got music on. Music seems to transport me out of the process so I'm on the outside looking in, most times objectively writing in a flow that shows and not just tells a story.
As a writer, I'm not where I'd like to be yet. It's going to be a lifelong journey of growth and exploration of angles, subjects, and themes.
Though I am grateful to say that I have found my voice. So it's about time to add the next chapter to that novel I'm writing…
There you have it. A small glimpse into my writing mind. Meet my fellow "blog hop" writers…
About Ellen Barone
An accomplished independent writer-photographer specializing in global travel, Ellen Barone has journeyed to six continents in search of compelling travel tales and evocative images. Her photographs have appeared in National Geographic Adventure, Outside, Condé Nast Traveler, Islands, The Los Angeles Times Sunday Travel Section, and Spa, to name a few.. She provides custom travel writing and digital media to travel companies, editorial publications, online outlets and destination-based special advertising sections.
In addition, she's cofounder and publisher of the award-winning group travel blog,YourLifeIsATrip.com, a gifted teacher, photo tour leader, radio host and author of several online columns offering advice and information for travelers.
About Lebawit Lily Girma
Lebawit Lily Girma has contributed writing and photography to CNN Travel, New York Magazine, AFAR, American Way, Travel Channel, BBC Travel, and others. She's the new author of Moon Belize for Moon Travel Guides, and is completing a second title, Moon Belize Cayes.
A serial expat, Lily's lived and studied on three continents, including Africa–from her native Ethiopia to Cote d'Ivoire––and Europe, and is fluent in four languages.
A former attorney who ditched the office for the road in 2009, she favors all things culture and adventure, and escapes Washington DC's winters every year. Lily also runs her award-winning travel and photography blog, Sunshine and Stilettos.
About Leigh Shulman
Leigh Shulman has been writing as long as she can remember. She graduated Barnard with a degree in Literature & Writing then moved onto an MA in Creative Writing & Education from City College of NY.She has worked with writers of all ages and levels of experience, covering many disciplines from fiction writing to biology and business.
In addition, she designed websites for MTV and produced their online Choose Or Lose election coverage. She edited and researched for Elsevier science journals, MTV Online, Barnard College and worked individually with professional writers and artists.
She has been blogging and using social media to find readers, writing opportunities and develop collaborations since 2007, including three years as the Matador Network's Life section editor. She runs The Writer's Process, an online community where you share blog, business, fiction and nonfiction writing as you learn to incorporate your voice into social media and personal branding
About Roni Faida
Originally from Los Angeles, having lived in France and Spain and now calling Charlotte home, Roni Faida (pronounced fie-e-da) is a former tour guide and a trilingual travel expert who is now traveling for fun and sharing her adventures and advice with you.
She runs a wonderful blog, The Travel Guru, where she shares articles, tips, and resources related to travel in her conversational "chatting over lunch" style of writing.
She's fluent in three languages – English, French, and Spanish.
Photos above were shot in Sarajevo. View more images in my Bosnia & Herzegovina image bank.
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