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A distressed Brando told Malden he kept falling over. | ⵉⵏⵏⴰ ⴱⵔⴰⵏⴷⵓ ⵉ ⵎⴰⵍⴷⵏ ⵎⴰⵙ ⴷ ⵉⵙⵓⵍ ⴷⴰ ⵉⵟⵟⴰⵕ. |
Shortly before his death, he had apparently refused permission for tubes carrying oxygen to be inserted into his lungs, which, he was told, was the only way to prolong his life. | ⴷⴰⵜ ⵏ ⵜⵎⵜⵜⴰⵏⵜ ⵏⵏⵙ ⵙ ⵉⵎⵉⴽ, ⵓⵔ ⵉⵔⵉ ⴰⴷ ⵉⵙⴽⵛⵎ ⵉⵊⵄⴱⴰ ⵉⵜⵜⴰⵡⵉⵏ ⵓⴽⵙⵉⵊⵉⵏ ⵙ ⵜⵓⵔⵉⵏ ⵏⵏⵙ, ⵏⵏⴰ ⵙ ⴰⵙ ⵏⵏⴰⵏ ⵀⴰⵜ ⵜⴰⵎⴰⵎⴽⵜ ⵜⴰⵎⵢⵉⵡⵏⵜ ⴰⴼⴰⴷ ⵉⵖⵣⵉⴼ ⵓⵙⵎⵎⵓⴷ ⵏⵏⵙ. |
"In 1976, he told a French journalist, ""Homosexuality is so much in fashion, it no longer makes news." | "ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1976, ⵉⵏⵏⴰ ⴰⵙ ⵉ ⵢⴰⵏ ⵓⵏⵖⵎⴰⵙ ⴰⴼⵕⴰⵏⵙⵉⵙ, ""ⵉⴳⴰ ⵓⵣⵓⵏⵔⵉⵙ ⵎⵓⴹⴰ ⴽⵉⴳⴰⵏ, ⵓⵔ ⴷⴰ ⵉⵙⴽⴰⵔ ⵉⵏⵖⵎⵉⵙⵏ." |
He also claimed numerous other romances, although he did not discuss his marriages, his wives, or his children in his autobiography. | ⵢⵓⵡⵙ ⴰⵡⴷ ⴽⵉⴳⴰⵏ ⵏ ⵜⵕⵓⵎⴰⵏⵙⵉⵢⵉⵏ ⵢⴰⴹⵏ, ⵎⵇⵇⴰⵔ ⵓⵔ ⵉⵙⴰⵡⵍ ⵅⴼ ⵜⵡⵜⵎⵉⵏ ⵏⵏⵙ ⵏⵖⴷ ⵉⵛⵉⵔⵔⴰⵏ ⵏⵏⵙ ⴳ ⵜⵔⵉⴷⵉⵔⵜ ⵏⵏⵙ. |
Brando met actress Rita Moreno in 1954, and they began a love affair. | ⵉⵎⵍⴰⵍⴰ ⴱⵔⴰⵏⴷⵓ ⴷ ⵜⵎⵙⴷⵢⴰⵜ ⵔⵉⵜⴰ ⵎⵓⵔⵉⵏⵓ ⴰⵙⴳⴳⴰⵙ ⵏ 1954, ⵜⵙⵏⵜⵉ ⵉⵏⴳⵔⴰⵙⵏ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⵜⴰⵢⵔⵉ. |
Years after they broke up, Moreno played his love interest in the film The Night of the Following Day. | ⵉⵙⴳⴳⵯⴰⵙⵏ ⴹⴰⵕⵜ ⴱⵟⵟⵓ ⵏⵏⵙⵏ, ⵜⵓⵔⴰⵔ ⵎⵓⵔⵉⵏⵓ ⵅⴼ ⵜⴰⵢⵔⵉ ⵏⵏⵙ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵉⴹ ⵏ ⵡⴰⵙⵙ ⴷ ⵉⴷⴷⴰⵏ. |
She is said to have been the daughter of a Welsh steel worker of Irish descent, William O'Callaghan, who had been superintendent on the Indian State railways. | ⵉⵜⵜⵓⵏⴰ ⵎⴰⵙ ⴷ ⵜⴳⴰ ⵉⵍⵍⵉⵙ ⵏ ⵓⵎⵡⵓⵔⵉ ⴳ ⵡⵓⵣⵣⴰⵍ ⴰⵡⵉⵍⵥⵉⵢ ⵙⴳ ⵉⵥⵓⵕⴰⵏ ⵉⵕⵍⴰⵏⴷⵉⵢⵏ, ⵡⵉⵍⵢⴰⵎ ⵓⴽⴰⵍⴰⵊⴰⵏ, ⵏⵏⴰ ⵢⵓⵎⵥⵏ ⵉⴱⵔⴷⴰⵏ ⵏ ⵡⵓⵣⵣⴰⵍ ⴳ ⵍⵀⵉⵏⴷ. |
Brando and Kashfi had a son, Christian Brando, on May 11, 1958; they divorced in 1959. | ⵢⵓⵔⵓ ⴱⵔⴰⵏⴷⵓ ⴷ ⴽⴰⵛⴼⵉ ⵢⴰⵏ ⵓⵔⴱⴰ, ⴽⵔⵉⵙⵜⵢⴰⵏ ⴱⵔⴰⵏⴷⵓ, ⴳ 11 ⵎⴰⵢⵢⵓ 1958; ⵎⵕⵥⴰⵎⵏ ⴳ 1959. |
They had two children together: Miko Castaneda Brando (born 1961) and Rebecca Brando (born 1966). | ⵖⵓⵔⵙⵏ ⵙⵉⵏ ⵉⵛⵉⵔⵔⴰⵏ: ⵎⵉⴽⵓ ⴽⴰⵙⵜⴰⵏⵉⴷⴰ ⴱⵔⴰⵏⴷⵓ (ⵉⵍⵓⵍⵏ ⴳ 1961) ⴷ ⵔⵉⴱⵉⴽⴽⴰ ⴱⵔⴰⵏⴷⵓ (ⵉⵍⵓⵍⵏ ⴳ 1966). |
Because Teriipaia was a native French speaker, Brando became fluent in the language and gave numerous interviews in French. | ⵉⴷⴷⵖ ⵜⴳⴰ ⵜⵔⵉⴱⴰⵢⴰ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⴼⵕⴰⵏⵙⵉⵙⵜ ⵜⴰⵏⵙⵍⵉⵢⵜ, ⵢⴰⵖⵓⵍ ⴱⵔⴰⵏⴷⵓ ⵉⵙⵙⵏ ⴰⵙ ⵉⵙⵙⴽⵔ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵙⴰⵡⴰⵍⵏ ⵥⴰⵕⵙ. |
Brando and Teriipaia divorced in July 1972. | ⵉⵎⵢⴰⵕⵥⴰⵎ ⴱⵔⴰⵏⴷⵓ ⴷ ⵜⵉⵔⵉⴱⴰⵢⴰ ⴳ ⵢⵓⵍⵢⵓⵣ 1972. |
Brando had a long-term relationship with his housekeeper Maria Cristina Ruiz, with whom he had three children: Ninna Priscilla Brando (born May 13, 1989), Myles Jonathan Brando (born January 16, 1992), and Timothy Gahan Brando (born January 6, 1994). | ⵉⴷⴷⵓⴽⴽⵍ ⴱⴰⵏⴷⵓ ⵜⴰⵎⵙⵡⵓⴷⴷⵓⵜ ⵏ ⵜⴰⴷⴷⴰⵔⵜ ⵏⵏⵙ ⵎⴰⵔⵉⵢⴰ ⴽⵔⵉⵙⵜⵉⵏⴰ ⵕⵓⵢⵣ ⴽⵉⴳⴰⵏ ⵏⵜⵉⵣⵉ, ⵢⴰⵔⵓ ⴷⵉⴷⵙ ⴽⵕⴰⴹ ⵉⵛⵉⵔⵔⴰⵏ: ⵏⵉⵏⵏⴰ ⴱⵔⵉⵙⴽⵉⵍⵍⴰ ⴱⵔⴰⵏⴷⵓ (ⵉⵍⵓⵍⵏ ⴳ 13 ⵎⴰⵢⵢⵓ 1989), ⵎⵉⵍⵉⵙ ⵊⵓⵏⴰⵜⴰⵏ ⴱⵔⴰⵏⴷⵓ (ⵉⵍⵓⵍⵏ ⴳ 16 ⵉⵏⵏⴰⵢⵔ 1992), ⴷ ⵜⵉⵎⵓⵜⵉ ⴳⴰⵀⴰⵏ ⴱⵔⴰⵏⴷⵓ (ⵉⵍⵓⵍⵏ ⴳ 6 ⵉⵏⵏⴰⵢⵔ 1994). |
His numerous grandchildren also include Prudence Brando and Shane Brando, children of Miko C. Brando; the children of Rebecca Brando; and the three children of Teihotu Brando among others. | ⵙⴳ ⵡⴰⵢⵢⴰⵡⵏ ⵏⵏⵙ ⵉⴳⴳⵓⵜⵏ ⴱⵔⵓⴷⵏⵙ ⴱⵔⴰⵏⴷⵓ ⴷ ⵛⴰⵢⵏ ⴱⵔⴰⵏⴷⵓ, ⵉⵛⵉⵔⵔⴰⵏ ⵏ ⵎⵉⴽⵓ C. ⴱⵔⴰⵏⴷⵓ; ⵉⵛⵉⵔⵔⴰⵏ ⵏ ⵔⵉⴱⵉⴽⴰ ⴱⵔⴰⵏⴷⵓ; ⴷ ⴽⵕⴰⴹ ⵉⵛⵉⵔⵔⴰⵏ ⵜⵉⵀⵓⵜⵓ ⴱⵔⴰⵏⴷⵓ ⵙⴳ ⵡⵉⵢⴰⴹ. |
His behavior during the filming of Mutiny on the Bounty (1962) seemed to bolster his reputation as a difficult star. | ⵉⴳⴰ ⵓⵎⵙⴽⴰⵔ ⵏⵏⵙ ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵙⵡⵍⴼ ⵏⵓⴼⵉⵍⵎ ⵏ ⵎⵓⵏⵉⵜⵉ ⵓⵏ ⴷⵓ ⴱⵓⵏⵜⵉ (1962) ⴷⴰ ⵉⵜⵜⴰⵡⵙ ⵓⴷⴷⵓⵔ ⵏⵏⵙ ⴷ ⵉⵜⵔⵉ ⵉⵛⵇⵇⴰⵏ. |
Galella had followed Brando, who was accompanied by talk show host Dick Cavett, after a taping of The Dick Cavett Show in New York City. | ⴳⴰⵍⵉⵍⵍⴰ ⵜⴹⴼⴰⵕ ⴱⵔⴰⵏⴷⵓ, ⵏⵏⴰ ⵉⵙⵏⴱⴳⴰ ⵓⵖⴰⵡⴰⵙ ⵏ ⵓⵎⴰⵡⴰⵍ ⴷⵉⴽ ⴽⴰⴼⵉⵜⵜ, ⴹⴰⵕⵜ ⵓⵣⵎⵎⴻⵎ ⵏ ⵓⵖⴰⵡⴰⵙ ⵏ ⴷⵉⴽ ⴷⴰⴼⵉⵜⵜ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵉⵜⵉ. |
The filming of Mutiny on the Bounty affected Brando's life in a profound way, as he fell in love with Tahiti and its people. | ⴰⵙⵡⵍⴼ ⵏ ⵓⴼⵉⵍⵎ ⵎⵓⵏⵉⵜⵉ ⵓⵏ ⴷⵓ ⴱⵓⵏⵜⵉ ⵉⵟⵟⴰⵙ ⵜⵓⴷⵔⵜ ⵏ ⴱⵔⴰⵏⴷⵓ ⴽⵉⴳⴰⵏ, ⴰⵛⴽⵓ ⵉⴹⵕ ⴳ ⵜⴰⵢⵔⵉ ⵏ ⵜⴰⵀⵉⵜⵉ ⴷ ⴰⵢⵜ ⵓⵅⴰⵎ ⵏⵏⵙ. |
The 1983 hurricane destroyed many of the structures including his resort. | ⵜⵣⵍⵍⵄ ⵜⴰⵣⵣⵖⵔⴱⵍⵜ ⵏ 1983 ⴽⵉⴳⴰⵏ ⵏ ⵜⵓⵚⴽⵉⵡⵉⵏ ⵏⵏⴰ ⴳ ⵜⴰⵎⵓ ⵜⵙⴰⵖⵓⵍⵜ ⵏⵏⵙ. |
He was listed in the Federal Communications Commission (FCC) records as Martin Brandeaux to preserve his privacy. | ⵙⴽⵛⵎⵏ ⵜ ⴳ ⵡⴰⵔⵔⴰⵜⵏ ⵏ ⵜⵙⵇⵇⴰⵎⵓⵜ ⵏ ⵉⵎⵢⴰⵡⴰⴹⵏ ⵉⴼⵉⴷⵉⵔⴰⵍⵉⵢⵏ (FCC) ⵙ ⵢⵉⵙⵎ ⵏ ⵎⴰⵕⵜⴰⵏ ⴱⵔⴰⵏⴹⵓ ⴰⴷ ⵃⴹⵓⵏ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⵓⵙⵍⵉⴳⵜ. |
He attended some fundraisers for John F. Kennedy in the 1960 presidential election. | ⵉⵙⵏⴱⴳⴰ ⵉⵎⵙⵎⵓⵏⵏ ⵏ ⵉⴼⵕⵕⵓⵜⵏ ⵉ ⵊⵓⵏ F. ⴽⵉⵏⵉⴷⵉ ⴳ ⵜⴼⵔⵏⵉⵏ ⵜⵉⵙⵍⵡⴰⵢⵉⵏ ⵏ 1960. |
In autumn of 1967, Brando visited Helsinki, Finland at a charity party organized by UNICEF at the Helsinki City Theatre. | ⴳ ⵓⵎⵡⴰⵏ ⵏ ⵓⵙⴳⴳⵯⴰⵙ 1967, ⵉⴽⴽⴰ ⴱⵔⴰⵏⴷⵓ ⵀⵉⵍⵙⵉⵏⴽⵓⵉ, ⴼⵉⵏⵍⴰⵏⴷⴰ ⴳ ⵢⴰⵜ ⵜⴼⵓⴳⵍⴰ ⵏ ⵓⴼⵓⵍⴽⵉ ⵏⵏⴰ ⵜⵙⵙⵓⴷⵙ ⵍⵢⵓⵏⵉⵙⵙⵉⴼ ⴳ ⵓⵎⵣⴳⵓⵏ ⴳ ⵜⵎⴷⵉⵏⵜ ⵏ ⵀⵉⵍⵙⵉⵏⴽⵢ. |
He spoke in favor of children’s rights and development aid in developing countries. | ⵉⵙⴰⵡⵍ ⵅⴼ ⵉⵣⵔⴼⴰⵏ ⵏ ⵓⵔⴱⴰ ⴷ ⵜⵡⵉⵙⵉ ⵜⴰⵙⴳⵎⴰⵏⵜ ⴳ ⵜⵎⵓⵔⴰ ⵜⵉⵏⴳⵎⴰⵏⵉⵏ. |
"I felt I'd better go find out where it is; what it is to be black in this country; what this rage is all about,"" Brando said on the late-night ABC-TV talk show Joey Bishop Show." | ⵉⵏⵏⴰ ⴱⵔⴰⵏⴷⵓ ⴳ ⵓⵖⴰⵡⴰⵙ ⵏ ⵓⵎⵙⴰⵡⴰⵍ ⵊⵓⵡ ⴱⵉⵛⵓⴱ ⵛⵓⵡ ⵅⴼ ⵓⵙⴰⵔⵓ ABC-TV: "ⴼⵔⴽⵖ ⵎⴰⵙ ⴷ ⵢⵓⴼ ⴰⴷ ⴷⴷⵓⵖ ⴰⴷ ⵔⵣⵓⵖ ⵎⴰⵏⵉ ⴳ ⵉⵍⵍⴰ, ⵎⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵃⴱⵛⴰⵏ ⴳ ⵜⵎⵓⵔⵜ ⴰⴷ, ⵎⴰⵜⵜⴰ ⵣⵣⵄⴰⴼ ⴰⴷ ⴽⵓⵍⵍⵓ"". |
"It was one of the most incredible acts of courage I ever saw, and it meant a lot and did a lot.""" | "ⵜⴳⴰ ⵢⴰⵜ ⵙⴳ ⵜⵡⵓⵔⵉⵡⵉⵏ ⵜⵉⵣⵓⵍⴰⵏⵉⵏ ⵉⵥⵉⵍⵏ ⵏⵏⴰ ⵥⵕⵉⵖ ⴳ ⵜⵓⴷⵔⵜ ⵉⵏⵓ, ⵜⴳⴰ ⴽⵉⴳⴰⵏ ⵜⵙⵙⴽⵔ ⴽⵉⴳⴰⵏ.""" |
"In 1964 Brando was arrested at a ""fish-in"" held to protest a broken treaty that had promised Native Americans fishing rights in Puget Sound." | "ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1964, ⵉⵜⵜⵡⴰⵎⵥ ⴱⵔⴰⵏⴷⵓ ⴳ ""ⴼⵉⵛ-ⵉⵏ"" ⵅⴼ ⵉⵖⵓⵢⵢⴰⵏ ⵎⴳⴰⵍ ⵜⵎⵖⵓⵏⵜ ⵉⵎⵅⴰⵍⴰⴼⵏ ⵜⴽⴽⴰ ⵜⴽⴰ ⴰⵡⴰⵍ ⵉ ⵉⵎⵉⵔⵉⴽⴰⵏⵉⵢⵏ ⵉⵏⵚⵍⵉⵢⵏ ⴰⴷ ⴳⵎⵔⵏ ⴳ ⴱⵓⵊⵉⵜ ⵙⴰⵡⵏⴷ." |
"Brando ended his financial support for the group over his perception of its increasing radicalization, specifically a passage in a Panther pamphlet put out by Eldridge Cleaver advocating indiscriminate violence, ""for the Revolution.""" | "ⵉⵙⴱⴷⴷⴰ ⴱⵔⴰⵏⴷⵓ ⴰⵏⵏⴰⵍ ⵏⵏⵙ ⵉ ⵜⵔⴰⴱⴱⵓⵜ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⵖⵡⵡⵖ ⵏⵏⵙ, ⵙ ⵓⵥⵍⴰⵢ ⵢⴰⵜ ⵜⵙⴷⴷⴰⵔⵜ ⴳ ⵓⴷⵍⵉⵙ ⵏ ⵓⵖⵉⵍⴰⵙ ⵏⵏⴰ ⵉⵙⵙⵢⴼⵖ ⵉⵍⴷⵔⵉⴷⵊ ⴽⵍⵉⴼⵔ ⵏⵏⴰ ⴳ ⵉⵜⵜⴰⵡⵙ ⴰⴽⵕⴰⴹ ⴰⵔⴰⵎⵙⵙⵓⴷⵙ ""ⴰⴼⴰⴷ ⵜⵉⵍⵉ ⵜⴳⵔⴰⵡⵍⴰ.""" |
Sacheen Littlefeather represented him at the ceremony. | ⵉⵙⵙⵏⴽⴷ ⵜ ⵙⴰⵛⵏ ⵍⵉⵜⵜⵍⴼⴰⵢⴷⵔ ⴳ ⵢⴰⵜ ⵜⴼⵓⴳⵍⴰ. |
The event grabbed the attention of the US and the world media. | ⵢⵓⵡⵢ ⵓⵎⵣⵣⵓ ⴰⴷ ⴰⵙⵏⵖⵎⵙ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⵏ ⵓⵎⴰⴹⵍⴰⵏ. |
He was also an activist against apartheid. | ⵉⴳⴰ ⴰⵡⴷ ⴰⵎⵖⵏⴰⵙ ⵎⴳⴰⵍ ⴰⵟⵟⵉ ⴰⵎⵙⵙⵥⵓⵕⴰⵏ. |
He is listed by the American Film Institute as the fourth greatest male star whose screen debut occurred before or during 1950 (it occurred in 1950). | ⵉⵙⴽⵛⵎ ⵜ ⵓⵙⵉⴰⴳ ⵏ ⵓⴼⵉⵍⵎ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⴰⵛⴽⵓ ⵉⴳⴰ ⵉⵜⵔⵉ ⴰⵎⴰⵢ ⴰⵎⵓⴼⴰⵢ ⵡⵉⵙ ⴽⴽⵓⵥ ⴷ ⵉⴼⴼⵖⵏ ⴳ ⵓⵎⵉⵥⴰⵕ ⴷⴰⵜ ⴷ ⵉⵡⵏⴰⵏ ⵏ ⵓⵙⴳⴳⵯⴰⵙ 1950 (ⵉⵊⵕⴰⵏ ⴳ 1950). |
"Retrieved August 19, 2009.Encyclopedia Britannica describes him as ""the most celebrated of the method actors, and his slurred, mumbling delivery marked his rejection of classical dramatic training." | "ⵢⴰⵖⵓⵍ ⴷ ⴳ 19 ⵖⵓⵛⵜ 2009, ⵜⵙⵏⵓⵎⵎⵍⵜ ⵜⵥⴰⵢⵕⵜ ⵏ ⵜⵓⵙⵙⵏⵉⵡⵉⵏ ⵜⴰⴱⵕⵉⵟⴰⵏⵉⵢⵜ ""ⵉⵙ ⵉⵜⵜⵡⴰⵙⵙⴰⵏ ⴽⵉⴳⴰⵏ ⵉⵏⴳⵔ ⵉⵙⵎⴷⵢⴰⵜⵏ, ⴷ ⵡⴰⵡⴰⵍ ⵏⵏⵙ ⵉⵜⵜⵖⵎⵖⵉⵎⵏ ⴷ ⵜⴰⵎⴰⵜⴰⵔⵜ ⵏ ⵢⵉⴳⵢ ⵏⵏⵙ ⵉ ⵓⵙⵎⵓⵜⵜⴳ ⴳ ⵓⴷⵔⴰⵎⴰ ⴰⴽⵍⴰⵙⵉⴽⵉⵢ." |
He was a development from the gangster leader and the outlaw. | ⵉⴳⴰ ⴰⴱⵓⵖⵍⵓ ⵏ ⵓⵏⵎⵖⵓⵔ ⵏ ⵉⵇⵜⵜⴰⵄⵏ ⴷ ⵓⵏⴰⴼⵓⵖ ⵅⴼ ⵓⵣⵔⴼ. |
His portrayal of the gang leader Johnny Strabler in The Wild One has become an iconic image, used both as a symbol of rebelliousness and a fashion accessory that includes a Perfecto style motorcycle jacket, a tilted cap, jeans and sunglasses. | ⵢⴰⵖⵓⵍ ⵓⵙⵡⵍⴼ ⵏⵏⵙ ⵉ ⵓⵏⵎⵖⵓⵔ ⵏ ⵉⵇⵜⵜⴰⵄⵏ ⵊⵓⵏⵉⵙⵜⵔⴰⴱⵍⵉⵔ ⴳ ⴷⵓ ⵡⵉⵍⴷ ⵡⴰⵏ ⵉⴳⴰ ⵜⴰⵡⵍⴰⴼⵜ ⵜⴰⵙⵏⴼⵍⵓⵍⵜ, ⵉⵜⵜⵓⵙⵎⵔⴰⵙⵏ ⴳ ⵜⵎⴰⵜⴰⵔⵜ ⵏ ⵓⵖⵡⵡⵖ ⴷ ⵍⵄⵏⴰⵢⵜ ⵏ ⵜⵎⵍⵙⴰ ⴳ ⵜⵍⵍⴰ ⵜⴽⴱⵔⵜ ⵏ ⵓⵙⵓⴷⴼ ⴰⵏⴰⵡ ⵏ ⴱⵉⵔⴼⵉⴽⵜⵓ, ⴷ ⵜⴰⵛⴰⵛⵜ ⵉⴼⵔⵖⵏ, ⴷ ⵉⴽⵔⴱⴰⵢⵏ ⵏ ⵊⵉⵏⵙ ⴷ ⵜⵙⵎⴰⵇⵇⴰⵍⵉⵏ ⵏ ⵜⴰⴼⵓⴽⵜ. |
"The ""I coulda been a contender"" scene from On the Waterfront, according to the author of Brooklyn Boomer, Martin H. Levinson, is ""one of the most famous scenes in motion picture history, and the line itself has become part of America's cultural lexicon.""" | "ⴰⵎⵉⵥⴰⵕ ⵏ ""ⵖⵉⵢⵖ ⴰⴷ ⴳⵖ ⴰⵏⵎⵣⵉⵣⵡⵔ"" ⵙⴳ ⵡⴰⵜⵔⴼⵔⵓⵏⵜ, ⵏⵉⵍ ⵓⵎⵉⵔⴰⵢ ⵏ ⴱⵕⵓⵓⴽⵍⵉⵏ ⴱⵓⵓⵎⵔ, ⵎⴰⵔⵜⴰⵏ H. ⵍⵉⴼⵉⵏⵙⵓⵏ, ⵉⴳⴰ ⵢⴰⵏ ⵙⴳ ⵉⵎⵉⵥⴰⵕⵏ ⵉⵜⵜⵡⴰⵙⵙⵏⵏ ⴳ ⵓⵎⵣⵔⵓⵢ ⵏ ⵜⵡⵍⴰⴼⵉⵏ ⵉⵜⵜⵎⵓⵙⵙⵓⵏ, ⴷ ⵢⴰⵖⵓⵍ ⵓⴱⵔⵉⴷ ⴰⴷ ⵉⴳⴰ ⵙⴳ ⵓⵎⴰⵡⴰⵍ ⴰⴷⵍⵙⴰⵏ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ.""" |
"You have to make 'em believe that you are dying ... Try to think of the most intimate moment you've ever had in your life.""" | "ⵉⵅⵙⵙ ⴰⴷ ⵜⵏ ⵜⴰⴷⵊⴷ ⴰⴷ ⵉⵖⵉⵍⵏ ⵉⵙ ⴷⴰ ⵜⵜⵎⵜⴰⵜⴷ ... ⴰⵔⵎ ⴰⴷ ⵜⵙⵡⵉⵏⴳⵎⴷ ⴳ ⵜⵉⵣⵉ ⵏ ⵜⴰⵢⵔⵉ ⵏⵏⴰ ⵜⵣⵣⵔⵉⴷ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⴽ.""" |
In 1999 the American Film Institute ranked him eighth among its list of greatest male stars of the Golden Age of Hollywood. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1999 ⵉⵙⵜⵉ ⵜ ⵓⵙⵉⵏⴰⴳ ⵏ ⵓⴼⵉⵍⵎ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ ⴳ ⵜⵙⴽⵯⴼⵍⵜ ⵜⵉⵙ ⵜⴰⵎⵜ ⴳ ⵜⵍⴳⴰⵎⵜ ⵏⵏⵙ ⴷ ⵉⵜⵔⵉ ⴰⵎⴰⵢ ⴰⵎⵇⵇⵔⴰⵏ ⴳ ⵓⵣⵎⵣ ⵏ ⵡⵓⵔⵖ ⵏ ⵀⵓⵍⵉⵡⵓⴷ. |
He spent several years in vaudeville as a dancer and comedian, until he got his first major acting part in 1925. | ⵉⵣⵣⵔⵉ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⴳ ⴼⵓⴷⵉⴼⵉⵍ ⴷ ⴰⵎⵕⴽⴰⴹ ⴷ ⴰⵎⵚⴹⵚⴰⵢ,ⴰⵍⵍⵉⴳ ⵢⵓⵎⵥ ⵜⵉⵍⴰⵍⵜ ⵏⵏⵙ ⴰⴷⵙⵍⴰⵏⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1925. |
After rave reviews, Warner Bros. signed him for an initial $400-a-week, three-week contract; when the executives at the studio saw the first dailies for the film, Cagney's contract was immediately extended. | ⴹⴰⵕⵜ ⵉⵎⵉⵥⴰⵕⵏ ⵉⵎⵚⵚⴰⴱⵏ, ⵜⵙⵏⵢⴰ ⴰⵙ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵡⴰⵕⵏⵔ ⴱⵔⵓⴷⵔⵣ ⵜⴰⵎⵖⵓⵏⵜ ⵜⴰⵙⵏⵜⴰⵢⵜ ⵙ ⵡⴰⵜⵉⴳ ⵏ 400 ⴷⵓⵍⴰⵕ ⵉ ⵉⵎⴰⵍⴰⵙ, ⴳ ⵜⵉⵣⵉ ⵏ ⴽⵕⴰⴹ ⵉⵎⴰⵍⴰⵙⵏ; ⵍⵍⵉⴳ ⵥⵕⴰⵏ ⵉⵎⴰⵙⵙⴰⵢⵏ ⵉⵎⵙⴽⴰⵔⵏ ⴳ ⵓⵙⵜⵓⴷⵢⵓ ⴰⵖⵎⵉⵙ ⴰⵡⴰⵙⵙⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ ⵏ ⵓⴼⵉⵍⵎ, ⵙⵖⵣⵉⴼⵏ ⵜⴰⵎⵖⵓⵏⵜ ⴳ ⵡⴰⵏⵙⴰ. |
He was nominated a third time in 1955 for Love Me or Leave Me with Doris Day. | ⵉⵜⵜⵓⵙⵜⴰⵢ ⵜⵉⵙ ⴽⵕⴰⴹⵜ ⵜⵉⴽⴽⴰⵍ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1955 ⴳ ⵉⵔⵉⵢⵉ ⵏⵖⴷ ⴰⴷⵊⵉ ⴳ ⵡⴰⵙⵙ ⵏ ⴷⵓⵔⵉⵙ. |
Cagney walked out on Warner Bros. several times over the course of his career, each time returning on much improved personal and artistic terms. | ⵉⴼⴼⵖ ⴽⴰⴳⵏⵉ ⵙⴳ ⵡⴰⵔⵏⵔ ⴱⵕⵓⴷⵔⵣ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⴰⵍ ⵉⵡⵏⴰⵏ ⵏ ⵜⵡⵓⵔⵉ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ, ⴽⵓ ⵜⵉⴽⴽⵍⵜ ⴷⴰ ⴷ ⵉⵜⵜⵓⵖⵓⵍ ⵙ ⵜⴼⵉⴷⵉⵡⵉⵏ ⵜⵉⵏⵉⵎⴰⵏⵉⵏ ⴷ ⵜⵥⵓⵕⴰⵏⵉⵏ ⵉⵖⵓⴷⴰⵏ. |
He worked for an independent film company for a year while the suit was being settled, establishing his own production company, Cagney Productions, in 1942 before returning to Warner seven years later. | ⵉⵙⵡⵓⵔⴰ ⴰⵙⴳⴳⵯⴰⵙ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵉⵙⵜⵉⵏ ⵏ ⵉⴼⵉⵍⵎⵏ ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵙⵎⵙⴰⵙⴰ ⵏ ⵍⵅⴹⵉⵢⵜ, ⵉⵙⵙⴽⵔ ⵜⴰⵎⵙⵙⵓⵔⵜ ⵏ ⵓⵙⵙⵓⴼⵖ ⵏⵏⵙ, ⴽⴰⴳⵏⵉⵢ ⵉ ⵓⵙⵙⵓⴼⵖ, ⴳ ⵓⵙⴳⴳⴰⵙ ⵏ 1942 ⵓⵔ ⵜⴰ ⵢⴰⵖⵓⵍ ⵙ ⵡⴰⵕⵏⵔ ⴹⴰⵕⵜ ⵙⴰ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ. |
Cagney was the second of seven children, two of whom died within months of their births. | ⵜⴳⴰ ⴽⴰⴳⵏⵉⵢ ⵜⵉⵙ ⵙⵏⴰⵜ ⵙⴳ ⵙⴰ ⵏ ⵉⵛⵉⵔⵔⴰⵏ, ⵎⵎⵜⵏ ⵙⵉⵏ ⴳ ⴽⵔⴰ ⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵅⴼ ⵜⵍⴰⵍⵉⵜ ⵏⵏⵙⵏ. |
The family moved twice while he was still young, first to East 79th Street, and then to East 96th Street. | ⵜⵎⵎⵓⵜⵜⵉ ⵜⴰⵡⵊⴰ ⵙⵏⴰⵜ ⵜⵉⴽⴽⴰⵍ ⵍⵍⵉ ⴳ ⵉⵙⵓⵍ ⵉⵎⵥⵥⵉⵢ, ⵜⵉⵣⵡⵓⵔⵉ ⵙ ⵓⵏⵇⵇⴰⵔ ⵏ ⵜⵙⵓⴽⵜ 79, ⵙ ⵓⵏⵇⵇⴰⵔ ⵏ ⵜⵙⵓⴽⵜ 96. |
I feel sorry for the kid who has too cushy a time of it. | ⵉⵙⵙⵇⵏⴹⵉ ⵓⵔⴱⴰ ⵏⵏⴰ ⵖⵓⵔ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⵣⵉ ⵉⵡⵀⵏⵏ. |
He was a good street fighter, defending his older brother Harry, a medical student, when necessary. | ⵉⴳⴰ ⴰⵎⵏⵏⴰⵖ ⵉⵖⵓⴷⴰⵏ ⴳ ⵉⵙⵓⴽⵏ, ⴷⴰ ⵉⵜⵜⵔⴰⵔⴰ ⵅⴼ ⵓⵎⴰⵙ ⴰⵎⵇⵇⵔⴰⵏ ⵀⴰⵕⵉ, ⴰⵎⵣⵔⴰⵡ ⵏ ⵓⵙⴳⵏⴼ, ⴳ ⵓⵙⵓⵖⵏ. |
He became involved in amateur dramatics, starting as a scenery boy for a Chinese pantomime at Lenox Hill Neighborhood House (one of the first settlement houses in the nation) where his brother Harry performed and Florence James directed. | ⵉⴽⵛⵎ ⵙ ⴰⵎⵣⴳⵓⵏ ⴷ ⵢⴰⵏ ⵓⵎⵏⵣⵓ, ⵉⵙⵙⵏⵜⵉ ⵜⴰⵡⵓⵔⵉ ⵙ ⵓⵙⵙⵓⵏⵖ ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⴰⵚⵉⵏⵉⵢ ⴳ ⵍⵉⵏⵓⴽⵙ ⵀⵉⵍⵍ ⵏⵉⵖⴱⵓⵔⵀⵓⴷ ⵀⴰⵡⵙ (ⵢⴰⵜ ⵙⴳ ⵜⵉⴷⴷⴰⵔⵉⵏ ⵏ ⵜⵎⵔⵙⴰⵍ ⵜⵉⵎⵣⵡⵓⵔⴰ ⴳ ⵜⵎⵓⵔⵜ) ⵏⵏⴰ ⴳ ⵢⵓⵔⴰⵔ ⵓⴳⵎⴰⵙ ⵀⴰⵕⵉ ⴷ ⴼⵍⵓⵕⴰⵏⵙ ⵊⴰⵢⵎⵙ ⴰⵎⵙⵙⵓⴼⵖ. |
The show began Cagney's 10-year association with vaudeville and Broadway. | ⵉⵙⵙⵏⵜⵉ ⵓⵎⵉⵥⴰⵕ ⴰⵙⵎⵓⵏ ⵏ 10 ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ ⴽⴰⴳⵏⵉ ⴷ ⴼⵓⴷⴼⵉⵍ ⴷ ⴱⵔⵓⴷⵡⴰⵢ. |
Eventually, they borrowed some money and headed back to New York via Chicago and Milwaukee, enduring failure along the way when they attempted to make money on the stage. | ⴳ ⵜⴳⵉⵔⴰ, ⵕⴹⵍⵏ ⴽⵔⴰ ⵏ ⵉⴷⵔⵉⵎⵏ ⵓⵖⵓⵍⵏ ⵙ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵍⵉⵏ ⵛⵉⴽⴰⴳⵓ ⴷ ⵎⵉⵍⵡⵓⴽⵉ, ⵥⵥⵉⴹⵕⵏ ⵉ ⵓⵅⵙⵙⵓⵔ ⴳ ⵓⴱⵔⵉⴷ ⵍⵍⵉ ⴳ ⵔⴰⵏ ⴰⴷ ⴰⵡⵉⵏ ⵉⴷⵔⵉⵎⵏ ⵅⴼ ⵓⵎⵣⴳⵓⵏ. |
As with Pitter Patter, Cagney went to the audition with little confidence he would get the part. | ⵣⵓⵏⴷ ⴱⵉⵜⵜⵔ ⴱⴰⵜⵜⵔ, ⵜⴷⴷⴰ ⴽⴰⴳⵏⵉ ⵙ ⵢⵉⵔⵉⵎ ⵙ ⵜⵖⵍⵉⴼⵜ ⵜⴰⵎⵓⴷⵔⵓⵙⵜ ⵉⵙ ⵇⴰⴷ ⵜⴰⵡⵉ ⵜⴰⴼⵓⵍⵜ. |
This was a devastating turn of events for Cagney; apart from the logistical difficulties this presented—the couple's luggage was in the hold of the ship and they had given up their apartment. | ⵉⴳⴰ ⵓⵢⴰⴷ ⵢⴰⵏ ⵓⵙⵏⴼⵍ ⵉⵣⵍⵍⵄⵏ ⵜⵉⵎⵙⴰⵔⵉⵏ ⵖⵓⵔ ⴽⴰⴳⵏⵉ; ⵉⴳ ⵏⵜⵜⵓ ⵉⵎⵉⴽⵔⵉⵙⵏ ⵉⵍⵓⵊⵉⵙⵜⵉⴽⵏ ⵏⵏⴰ ⵉⴳⴰ ⵓⵢⴰⴷ—ⵉⵃⵔⵓⵢⵏ ⴷ ⵉⵎⴰⵙⵙⵏ ⵏ ⵉⵎⵢⵉⵡⵍⵏ ⵍⵍⴰⵏ ⴳ ⵓⴳⵯⵏⵙ ⵏ ⵓⵖⵕⵕⴰⴱⵓ ⵣⵔⵉⵏ ⵜⴰⴷⴷⴰⵔⵜ ⵏⵏⵙⵏ. |
"He made up his mind that he would get a job doing something else.""" | "ⵉⵖⵜⵙ ⵉⵙ ⵇⴰⴷ ⵢⴰⴼ ⵜⴰⵡⵓⵔⵉ ⴰⴼⴰⴷ ⵉⵙⵙⴽⴰⵔ ⴽⵔⴰ ⵢⴰⴹⵏ.""" |
Cagney also established a dance school for professionals, and then landed a part in the play Women Go On Forever, directed by John Cromwell, which ran for four months. | ⵜⵙⵙⴽⵔ ⴽⴰⴳⵏⵉ ⴰⵡⴷ ⵜⵉⵏⵎⵍ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⵏ ⵓⵕⴽⴰⴹ, ⵜⴰⵎⵥ ⵜⵉⵍⴰⵍⵜ ⴳ ⵜⵎⵣⴳⵓⵏⵜ ⵏ ⵜⴰⵎⵟⵟⵓⴹⵜ ⵉⴷⴷⴰⵏ ⴰⴱⴷⴰ, ⵏⵏⴰ ⴷ ⵉⵙⵙⵓⴼⵖ ⵊⵓⵏ ⴽⵔⵓⵎⵡⵉⵍ, ⵏⵏⴰ ⵉⵣⴷⵉⵏ ⵜⵉⵣⵉ ⵏ ⴽⴽⵓⵥ ⵏ ⵡⴰⵢⵢⵓⵔⵏ. |
The show received rave reviews and was followed by Grand Street Follies of 1929. | ⵢⵓⵡⵉ ⵓⵎⵉⵥⴰⵕ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⵙⵓⵜⵓⴳⵏ ⵉⵖⵓⴷⴰⵏ ⴹⴼⵓⵕⵏ ⵜ ⴳⵔⴰⵏⴷ ⵙⵜⵔⵉⵉⵜ ⴼⵓⵍⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1929. |
Retitled Sinners' Holiday, the film was released in 1930. | ⵉⵜⵜⵓⵙⵏⴼⵍ ⵢⵉⵙⵎ ⵏ ⵓⴼⵉⵍⵎ ⵙⵉⵏⵏⵉⵔ ⵀⵓⵍⴷⴰⵢ, ⵉⴼⴼⵖ ⵓⴼⵉⵍⵎ ⴳ 1930. |
However, the contract allowed Warners to drop him at the end of any 40-week period, effectively guaranteeing him only 40 weeks’ income at a time. | ⵉⵎⵉⵍ, ⵜⵓⴷⵊⴰ ⵜⵎⵖⵓⵏⵜ ⵡⴰⵕⵏⵔ ⴰⴷ ⵜ ⵜⵙⴹⵕ ⴳ ⵜⴳⵉⵔⴰ ⵏ ⴽⵓ ⵜⵉⵣⵉ 40 ⵏ ⵉⵎⴰⵍⴰⵙ, ⵙ ⵎⴰⵏ ⴰⵢⴰ ⴷⴰ ⴰⵙ ⴷ ⵉⵙⴽⵛⴰⵎ 40 ⵏ ⵉⵎⴰⵍⴰⵙⵙ ⴳ ⵢⴰⵜ ⵜⵉⴽⴽⵍⵜ. |
Due to the strong reviews he had received in his short film career, Cagney was cast as nice-guy Matt Doyle, opposite Edward Woods as Tom Powers. | ⵜⵜⵓⵙⵜⴰⵢ ⴽⴰⴳⵏⵉ ⴷ ⴰⵔⴳⴰⵣ ⵉⵥⵉⵍⵏ ⵎⴰⵜⵜ ⴷⵓⵢⵍ, ⴰⵛⴽⵓ ⵜⵜⵓⴼⴽⴰⵏ ⵖⵉⴼⵙ ⵉⵣⵣⵔⴰⵢⵏ ⵉⴷⵓⵙⵏ ⵉⵖⵓⴷⴰⵏ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⴳ ⵉⴼⵉⵍⵎⵏ ⵉⴳⵣⵣⴰⵍⵏ, ⵎⴳⴰⵍ ⵉⴷⵡⴰⵔⴷ ⵡⵓⴷⵣ ⴳ ⵜⵉⵍⴰⵍⵜ ⵏ ⵜⵓⵎ ⴱⴰⵡⵔⵣ. |
Producer Darryl Zanuck claimed he thought of it in a script conference; Wellman said the idea came to him when he saw the grapefruit on the table during the shoot; and writers Glasmon and Bright claimed it was based on the real life of gangster Hymie Weiss, who threw an omelette into his girlfriend's face. | ⵉⵏⵏⴰ ⵓⵎⵙⵙⵓⴼⵖ ⴷⴰⵔⵔⵉⵍ ⵣⴰⵏⵓⴽ ⴳ ⵢⴰⵏ ⵓⴳⵔⴰⵡ ⴰⵎⵉⵔⴰⵢ ⵎⴰⵙ ⴷ ⵉⵙⵡⵉⵏⴳⵎ ⴳ ⵜⵖⴰⵡⵙⴰ; ⵉⵏⵏⴰ ⵡⵉⵍⵍⵎⴰⵏ ⵎⴰⵙ ⴷ ⵜⴰⵡⵏⴳⵉⵎⵜ ⵜⴷⴷⴰ ⴰⵙⴷ ⵍⵍⵉ ⴳ ⵉⵥⵕⴰ ⴰⴱⴰⵏⵎⴱⵍⵓⵎⵓⵙ ⴰⴼⵍⵍⴰ ⵏ ⵜⴷⴰⴱⵓⵜ ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵙⵡⵍⴼ; ⴷ ⵏⵏⴰⵏ ⵉⵎⵉⵔⴰⵢⵏ ⴳⵍⴰⵙⵎⵄⵏ ⴷ ⴱⵔⴰⵢⵜ ⵉⵙ ⵉⵙⵏⵏⴷ ⵅⴼ ⵜⵓⴷⵔⵜ ⵜⴰⴷⴻⵜⵜⴰⵏⵜ ⵏ ⵉⵇⵟⵟⴰⵄⵏ ⵀⴰⵢⵎⵉ ⵡⴰⵢⵙ, ⵏⵏⴰ ⵉⴳⵔⵏ ⵜⴳⵍⴰⵢⵜ ⵉⵇⵍⴰⵏ ⵅⴼ ⵡⵓⴷⵎ ⵏ ⵜⵎⴷⴷⴰⴽⵍⵜ ⵏⵏⵙ. |
I never dreamed it would be shown in the movie. | ⵓⵔ ⴷⵊⵓⵏ ⵡⴰⵔⴳⵖ ⵉⵙ ⵇⴰⴷ ⵉⵜⵜⵓⴼⵙⴰⵔ ⴳ ⵓⴼⵉⵍⵎ. |
"He saw the film repeatedly just to see that scene, and was often shushed by angry patrons when his delighted laughter got too loud.""" | "ⵉⵥⵕⴰ ⴰⴼⵉⵍⵎ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⵍⵜ ⴰⴼⴰⴷ ⴷⴰⵢ ⵉⵥⵕ ⴰⵎⵉⵥⴰⵕ, ⴰⵔ ⵜ ⵙⴼⵙⵜⴰⵏ ⴽⵉⴳⴰⵏ ⵉⵎⴰⵡⴰⵣⵏ ⵉⵣⵄⴼⵏ ⵍⵍⵉⴳ ⵣⴰⵢⴷⵏⵜ ⵜⴰⴹⵚⵉⵡⵉⵏ ⵏⵏⵙ ⴽⵉⴳⴰⵏ.""" |
Warner Bros. was quick to team its two rising gangster stars—Edward G. Robinson and Cagney—for the 1931 film Smart Money. | ⵜⵙⴷⴷⵔⴼ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵡⴰⵕⵏⵔ ⴱⵕⵓⴷⵔⵣ ⴰⴷ ⵜⵙⵎⵓⵜⵜⴳ ⵢⴰⵜ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵙⵉⵏ ⵉⵜⵔⴰⵏ ⵏ ⵉⵇⵟⵟⴰⵄⵏ ⵏⵏⴰ ⴷ ⵢⵓⵍⵉⵏ—ⵉⴷⵡⴰⵔⴷ G. ⵕⵓⴱⵉⵏⵙⵓ ⴷ ⴽⴰⴳⵏⵉ—ⵅⴼ ⵓⴼⵉⵍⵎ ⵙⵎⴰⵕⵜ ⵎⵓⵏⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1931. |
As he completed filming, The Public Enemy was filling cinemas with all-night showings. | ⵍⵍⵉ ⴳ ⵉⵙⵎⴷ ⴰⵙⵡⵍⴼ, ⴷⵓ ⴱⵓⴱⵍⵉⴽ ⵉⵏⵎⵉ ⵉⵜⴽⵯⴰⵔ ⵉⴷ ⵙⵙⵉⵏⵉⵎⴰ ⵙ ⵉⵎⵉⵥⴰⵕⵏ ⵎⴰⵢⴷ ⵍⴰⵏ ⵢⵉⴹⴰⵏ. |
The studio heads also insisted that Cagney continue promoting their films, even ones he was not in, which he opposed. | ⵔⴰⵏ ⵏⵏⵉⴽ ⵉⵏⵎⵖⵓⵔⵏ ⵏ ⵉⴷ ⵓⵙⵜⵓⴷⵢⵓ ⴰⴷ ⵉⵙⵙⵓⴷⵓ ⴽⴰⴳⵏⵉ ⴳ ⵓⵙⵓⵙⵙⵏ ⵏ ⵉⴼⵉⵍⵎⵏ ⵏⵏⵙ, ⴰⵡⴷ ⵡⵉⵏⵏⴰ ⴳ ⵓⵔ ⵉⵍⵍⵉ, ⴰⵢⵏⵏⴰⵖ ⴰⵢⴷ ⵢⵓⴳⵉ. |
The success of The Public Enemy and Blonde Crazy forced Warner Bros.' hand. | ⴰⵎⵓⵔⵙ ⵏ ⴷⵓ ⴱⵓⴱⵍⵉⴽ ⵉⵏⵎⵉ ⴷ ⴱⵍⵓⵏⴷ ⴽⵔⴰⵢⵣⵉ ⵉⵣⵓⵛⵛⵍ ⵡⴰⵕⵏⵔ ⴱⵕⵓⴷⵔⵣ ⴰⴼⵓⵙ. |
The film was swiftly followed by The Crowd Roars and Winner Take All. | ⵉⵜⵜⵓⴹⴼⴰⵕ ⵓⴼⵉⵍⵎ ⴼⵉⵙⴰⵄ ⵙⴳ ⴷⵓ ⴽⵔⵓⵡⴷ ⵔⵓⴰⴷⵙ ⴷ ⵡⵉⵏⵏⵔ ⵜⴰⴽ ⴰⵍⵍ. |
Historians also debate the nature of history as an end in itself, as well as its usefulness to give perspective on the problems of the present. | ⵙⴳⴷⵍⵏ ⵉⵎⵔⵣⴰ ⴰⵡⴷ ⴰⵏⴰⵎⴽ ⵏ ⵓⵎⵣⵔⵓⵢ ⴷ ⴰⵡⵜⵜⴰⵙ, ⴷ ⵓⴱⵖⵓⵔ ⵏⵏⵙ ⴳ ⵜⵉⴽⴽⵉ ⵏ ⵜⴰⵏⵏⴰⵢⵜ ⵅⴼ ⵉⵎⵓⴽⵔⵉⵙⵏ ⵏ ⴷⵖⵉ. |
However, ancient cultural influences have helped spawn variant interpretations of the nature of history which have evolved over the centuries and continue to change today. | ⵎⵇⵇⴰⵔ, ⵀⴰⵜ ⵓⵡⵙⵏ ⵢⵉⴹⵉⵙⵏ ⵉⴷⵍⵙⴰⵏⵏ ⵉⵣⴰⵢⴽⵓⵜⵏ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵓⵙⵙⴼⵔⵓ ⵉⵎⵣⴰⵔⴰⵢⵏ ⵉ ⵓⵏⴰⵎⴽ ⵏ ⵓⵎⵣⵔⵓⵢ ⵏⵏⴰ ⵉⴱⵓⵖⵍⴰⵏ ⴳ ⵜⴰⵙⵓⵜⵉⵏ ⴷ ⵜⵙⵓⵍ ⴰⵔ ⵜⵜⵏⴼⴰⵍ ⴰⵙⵙⴰ. |
"Herodotus, a 5th-century BC Greek historian, is often considered the ""father of history"" in the Western tradition, although he has also been criticized as the ""father of lies""." | "ⵀⵉⵔⵓⴷⵓⵜ, ⴰⵎⵔⵣⵓ ⴰⵢⵓⵏⴰⵏⵉⵢ ⵙⴳ ⵜⴰⵙⵓⵜ 5 ⴷⴰⵜ ⵜⵍⴰⵍⵉⵜ ⵏ ⵄⵉⵙⴰ, ⵉⴳⴰ ⵙ ⵓⵎⴰⵜⴰ, ""ⴱⴰⴱⴰⵙ ⵏ ⵓⵎⵣⵔⵓⵢ"" ⴳ ⵜⵎⵢⵓⵔⵉⵏ ⵏ ⵓⵖⵍⴰⵢ, ⵎⵇⵇⴰⵔ ⵉⵜⵜⵓⵣⵖⴰⵏ ⴰⵡⴷ ⵏⵜⵜⴰ ⴳⵉⵏ ⵜ ⴷ ""ⴱⴰⴱⴰⵙ ⵏ ⵜⴽⵔⴽⴰⵙ""." |
"In Middle English, the meaning of history was ""story"" in general." | ⴳ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵏⴳⵍⵉⵣⵉⵢⵜ ⵏ ⵡⴰⵎⵎⴰⵙ, ⵉⵏⴰⵎⴽ ⵏ ⵓⵎⵣⵔⵓⵢ ⵉⴳⴰⵜ ""ⵜⵓⵍⵍⵉⵙⵜ"" ⵙ ⵓⵎⴰⵜⴰ. |
"In modern German, French, and most Germanic and Romance languages, which are solidly synthetic and highly inflected, the same word is still used to mean both ""history"" and ""story""." | ⴳ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵍⵎⴰⵏⵉⵢⵜ ⵜⴰⵜⵔⴰⵔⵜ, ⴷ ⵜⴼⵔⴰⵏⵙⵉⵙⵜ, ⴷ ⵓⵎⴰⵜⴰ ⴳ ⵜⵓⵜⵍⴰⵢⵉⵏ ⵜⵉⵊⵉⵔⵎⴰⵏⵉⵏ ⴷ ⵜⵕⵓⵎⴰⵏⵙⵉⵢⵢⵉⵏ, ⵜⵉⵏⵏⴰ ⵉⵜⵜⵡⴰⵙⴽⴰⵔⵏ ⵙ ⵜⴰⵖⴰⵔⵜ ⴰⵔ ⵜⵜⴹⵉⵚ ⴽⵉⴳⴰⵏ, ⵜⵙⵓⵍⵢⴰⵜ ⵜⴳⵓⵔⵉ ⴷⴰ ⵜⵜⵓⵙⵎⵔⴰⵙ ⴳ ⵓⵏⴰⵎⴽ ⵏ ""ⴰⵎⵣⵔⵓⵢ"" ⴷ ""ⵜⵓⵍⵍⵉⵙⵜ""." |
"In the words of Benedetto Croce, ""All history is contemporary history""." | "ⵏⵉⵍ ⵓⵡⵏⵏⵉ ⵏ ⴱⵉⵏⵉⴷⵉⵜⵜⵓ ⴽⵕⵓⵙ, ""ⴰⵎⵣⵔⵓⵢ ⴽⵓⵍⵍⵓ ⴷ ⴰⵎⵣⵔⵓⵢ ⴰⵜⵔⴰⵔ""." |
"Therefore, the constitution of the historian's archive is a result of circumscribing a more general archive by invalidating the usage of certain texts and documents (by falsifying their claims to represent the ""true past"")." | ⵙ ⵎⴰⵏⴰⵢⴰ, ⴰⵙⵙⴽⵔ ⵏ ⵜⵎⵃⴹⵉⵜ ⵏ ⵓⵎⵔⵣⵓ ⵉⴳⴰ ⵜⴰⵢⴰⴼⵓⵜ ⵏ ⵓⵙⵜⴰⵢ ⵏ ⵢⴰⵜ ⵜⵎⵃⴹⵉⵜ ⵜⴰⵎⴰⵜⴰⵢⵜ ⵙ ⵜⴱⵔⵉⴷⵜ ⵏ ⵓⵙⴱⴷⴷ ⵏ ⵓⵙⵎⵔⵙ ⵏ ⴽⵔⴰ ⵏ ⵉⴹⵕⵉⵚⵏ ⴷ ⵡⴰⵔⵔⴰⵜⵏ ( ⵙ ⵜⴱⵔⵉⴷⵜ ⵏ ⵓⵙⵏⴼⵍ ⵏ ⵉⵡⴰⵍⵉⵡⵏ ⵏⵏⵙⵏ ⴰⴷ ⵙⵙⵎⵔⵙⵏ ""ⴰⵎⵣⵔⵓⵢ ⵏ ⵜⵉⴷⵜⵜ"")." |
The study of history has sometimes been classified as part of the humanities and at other times as part of the social sciences. | ⵜⵜⵓⵙⵜⴰⵢ ⵜⵖⵓⵔⵉ ⵏ ⵓⵎⵣⵔⵓⵢ ⴽⵔⴰ ⵏ ⵜⵉⴽⴽⴰⵍ ⴷ ⵓⵇⵛⵓⵔ ⵏ ⵜⵓⵙⵙⵏⵉⵡⵉⵏ ⵜⵉⵏⴰⴼⴳⴰⵏⵉⵏ ⴷ ⵜⵉⵣⵉ ⵢⴰⴹⵏ ⴷ ⵓⵇⵛⵓⵔ ⴳ ⵜⵓⵙⵙⵏⵉⵡⵉⵏ ⵜⵉⵏⴰⵎⵓⵏⵉⵏ. |
In the 20th century, French historian Fernand Braudel revolutionized the study of history, by using such outside disciplines as economics, anthropology, and geography in the study of global history. | ⴳ ⵜⴰⵙⵓⵜ ⵜⵉⵙ 20, ⵉⵙⵙⴽⵔ ⵓⵎⵔⵣⵓ ⴰⴼⵔⴰⵏⵙⴰⵡⵉⵢ ⴼⵉⵔⵏⴰⵏⴷ ⴱⵔⵓⴷⵉⵍ ⵜⴰⴳⵔⴰⵡⵍⴰ ⴳ ⵜⵖⵓⵔⵉ ⵏ ⵓⵎⵣⵔⵓⵢ, ⵙ ⵓⵙⵎⵔⵙ ⵏ ⵜⵎⵥⵍⴰⵢⵉⵏ ⵙⴳ ⴱⵕⵕⴰ ⵣⵓⵏⴷ ⵜⴰⴷⵎⵙⴰ ⴷ ⵜⵓⵙⵙⵏⴰⴼⴳⴰⵏ ⴷ ⵜⵊⵉⴳⵔⴰⴼⵉⵢⵜ ⴳ ⵜⵖⵓⵔⵉ ⵏ ⵓⵎⵣⵔⵓⵢ. |
In general, the sources of historical knowledge can be separated into three categories: what is written, what is said, and what is physically preserved, and historians often consult all three. | ⵙ ⵓⵎⴰⵜⴰ, ⵉⵖⵢ ⴰⴷ ⵜⵜⵓⴱⴹⵓⵏ ⵉⵖⴱⵓⵍⴰ ⵏ ⵜⵓⵙⵙⵏⴰ ⵏ ⵓⵎⵣⵔⵓⵢ ⵙ ⴽⵕⴰⴹⵜ ⵜⵔⵓⴱⴱⴰ: ⵎⴰⵢⴷ ⵉⵜⵜⵡⴰⵔⴰⵏ, ⵎⴰⵢⴷ ⵉⵜⵜⵡⴰⵏⴰⵏ, ⴷ ⵓⵢⵏⵏⴰ ⵉⵜⵜⵓⵃⴹⴰⵏ ⵙ ⵜⴼⴳⴳⴰ, ⴷⴰ ⵜⵏ ⵜⵜⵛⴰⵡⴰⵕⵏ ⵉⵎⵔⵣⴰ ⴽⵉⴳⴰⵏ ⵙ ⴽⵕⴰⴹ. |
Archaeological finds rarely stand alone, with narrative sources complementing its discoveries. | ⵉⴷⵔⵓⵙ ⵎⴰⴳ ⵜⴱⴷⴷⴰⵏⵜ ⵜⵏⴰⵣⵓⴼⵉⵏ ⵜⵓⴷⵔⵣⴰⵏⵉⵏ ⵙ ⵉⵅⴼⴰⵡⵏ ⵏⵏⵙⵏⵜ, ⴰⵛⴽⵓ ⴷⴰ ⵙⵎⵎⴷⵏⵜ ⵉⵙⵓⴳⴰⵎ ⵉⵎⵉⵡⴰⵏⵏ. |
"For example, Mark Leone, the excavator and interpreter of historical Annapolis, Maryland, USA, has sought to understand the contradiction between textual documents idealizing ""liberty"" and the material record, demonstrating the possession of slaves and the inequalities of wealth made apparent by the study of the total historical environment." | "ⵙ ⵓⵎⴷⵢⴰ, ⵉⵔⴰ ⵎⴰⵕⴽ ⵍⵢⵓⵏ, ⴰⵎⵖⴰⵣ ⴷ ⵓⵎⵙⵙⵓⵖⵍ ⴰⵎⵣⵔⵓⵢⴰⵏ ⵏ ⴰⵏⴰⴱⵓⵍⵢⵓⵙ, ⵎⴰⵔⵉⵍⴰⵏⴷ, USA, ⴰⴷ ⵉⵔⵎⵙ ⴰⵎⵣⴰⵔⴰⵢ ⵉⵏⴳⵔ ⵡⴰⵔⵔⴰⵜⵏ ⵉⵎⵉⵔⴰⵢⵏ ⵏⵏⴰ ⵉⵜⵜⴰⴷⵊⴰⵏ ""ⵜⵉⴷⵜⵜ"" ⴷ ⵜⴰⵎⵙⵎⴰⴷⵜ ⴷ ⵓⵙⵓⵙⵔ ⴰⴽⵎⴰⵎ, ⵏⵏⴰ ⵉⵙⴱⴰⵢⴰⵏ ⴰⴹⴰⴼ ⵏ ⵉⵙⵎⵅⴰⵏ ⴷ ⵜⴰⵔⴰⵏⴳⴰⴷⴷⴰⵢⵜ ⴳ ⵜⵔⵓⵙⵉ, ⵎⴰⵏ ⴰⵢⴰ ⵉⵜⵜⵡⴰⵙⵙⴰⵏ ⵙⴳ ⵓⵣⵣⵔⴰⵢ ⵏ ⵜⵡⵏⵏⴰⴹⵜ ⵏ ⵓⵎⵣⵔⵓⵢ ⴳ ⵜⵙⴷⴰⵡⵉⵜ." |
It is possible for historians to concern themselves with both the very specific and the very general, although the modern trend has been toward specialization. | ⵉⵖⵢ ⴰⴷ ⵙⵡⵓⵔⵉⵏ ⵉⵎⵔⵣⴰ ⴳ ⵓⵎⵥⵍⴰⵢ ⴷ ⵓⵎⴰⵜⴰⵢ, ⵎⵇⵇⴰⵔ ⴷ ⴰⴱⵔⵉⴷ ⴰⵜⵔⴰⵔ ⵉⴷⴷⴰ ⵙ ⵜⵥⵍⴰⵢⵜ. |
Thirdly, it may refer to why history is produced: the philosophy of history. | ⵜⵉⵙⵙ ⴽⵕⴰⴹⵜ, ⵜⵖⵢ ⴰⴷ ⵜⵙⵏⵖⵜ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴼⴰⵔⵙ ⵏ ⵓⵎⵣⵔⵓⵢ: ⵜⴰⴼⵉⵍⵓⵙⵓⴼⵜ ⵏ ⵓⵎⵣⵔⵓⵢ. |
By whom was it produced (authorship)? | ⵏⵜⵜⴰ ⴰⵢⴷ ⵜⵜ ⵉⵙⴼⴰⵔⵙⵏ (ⴰⵙⵙⵓⴼⵖ)? |
What is the evidential value of its contents (credibility)? | ⵎⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵜⵉⴳ ⴰⵍⴰⵡⴰⵏ ⵏ ⵜⵓⵎⴰⵢⵉⵏ ⵏⵏⵙ (ⵜⵉⴷⵜⵜ)? |
The historical method comprises the techniques and guidelines by which historians use primary sources and other evidence to research and then to write history. | ⵜⴰⵎⴰⵎⴽⵜ ⵜⴰⵎⵣⵔⵓⵢⴰⵏⵜ ⴷⵉⴳⵙ ⵜⵉⵜⵉⵇⵏⵉⵢⵉⵏ ⴷ ⵓⵎⵍⴰⵏ ⵏⵏⴰ ⵙ ⵙⵎⵔⴰⵙⵏ ⵉⵎⵔⵣⴰ ⵉⵙⵓⴳⴰⵎ ⵉⵎⵣⵡⵓⵔⴰ ⴷ ⵡⴰⵏⵥⴰⵜⵏ ⵢⴰⴹⵏ ⵉ ⵓⵔⵣⵣⵓ ⴷ ⵜⵉⵔⵔⴰ ⵏ ⵓⵎⵣⵔⵓⵢ. |
Thucydides, unlike Herodotus, regarded history as being the product of the choices and actions of human beings, and looked at cause and effect, rather than as the result of divine intervention (though Herodotus was not wholly committed to this idea himself). | ⵎⴳⴰⵍ ⵀⵉⵔⵓⴷⵓⵜ, ⵉⴳⴰ ⵜⵓⵙⵉⴷⵉⴷⵉⵙ ⴰⵎⵣⵔⵓⵢ ⴷ ⵉⵙⵜⴰⵢⵏ ⵏ ⵓⵢⵏⵏⴰ ⵉⵎⵙⴽⴰⵔⵏ ⵏ ⵎⵉⴷⴷⵏ, ⴰⵔ ⵉⵥⵕⵕⴰ ⵜⴰⵎⵏⵜⵉⵍⴷ ⴷ ⵜⵢⴰⴼⵓⵜ, ⵎⴰⵛⵉ ⵜⴰⵢⴰⴼⵓⵜ ⵏ ⵜⵡⵓⵔⵉ ⵏ ⵕⴱⴱⵉ (ⵎⵇⵇⴰⵔ ⵓⵔ ⵉⵙⵓⵖⵉⵏ ⴽⵓⵍⵍⵓ ⵀⵉⵔⵓⴷⵓⵜ ⵙ ⵉⵅⴼ ⵏⵏⵙ ⵉ ⵜⴰⵏⵏⴰⵢⵜ ⴰⴷ). |
There were historical traditions and sophisticated use of historical method in ancient and medieval China. | ⴽⴽⴰⵏⵜ ⴷⵉⴳⵙ ⵜⵎⵢⵓⵔⵉⵏ ⵜⵉⵎⵣⵔⴰⵢⴰⵏⵉⵏ ⴷ ⵓⵙⵎⵔⵙ ⵉⴱⵓⵖⵍⴰⵏ ⵉ ⵓⵎⴰⵎⴽ ⴰⵎⵣⵔⵓⵢⴰⵏ ⴳ ⵚⵚⵉⵏ ⵜⴰⵣⴰⵢⴽⵓⵜ ⴷ ⵉⵣⵎⵣⵏ ⵉⵏⴰⵎⵎⴰⵙⵏ. |
Chinese historians of subsequent dynastic periods in China used his Shiji as the official format for historical texts, as well as for biographical literature. | ⵙⵎⵔⵙⵏ ⵉⵎⵔⵣⴰ ⵉⵚⵉⵏⵉⵢⵏ ⴳ ⵉⵣⵎⵣⵏ ⵏ ⵜⵙⵓⵜⵉⵡⵉⵏ ⴷ ⵉⴷⴷⴰⵏ ⴳ ⵚⵚⵉⵏ ⴰⴷⵍⵉⵙ ⵏⵏⵙ ⵛⵉⵊⵉ ⵣⵓⵏⴷ ⵜⴰⵙⵇⵇⵓⵍⵜ ⵜⴰⵎⴰⴷⴷⵓⴷⵜ ⵉ ⵉⴹⵕⵉⵚⵏ ⵉⵎⵣⵔⵓⵢⴰⵏⵏ, ⴰⵡⴷ ⵉ ⵜⵙⴽⵍⴰ ⵏ ⵜⵔⵉⴷⵔⵜ. |
Around 1800, German philosopher and historian Georg Wilhelm Friedrich Hegel brought philosophy and a more secular approach in historical study. | ⴰⵜⵜⴰⵢⵏ ⵏ ⵓⵙⴳⴳⵯⴰⵙ 1800, ⵉⵙⵙⵏⴽⴷ ⵓⴼⵉⵍⵓⵙⵓⴼ ⴰⵍⵎⴰⵏⵉⵢⵊⵓⵕⵊ ⵡⵉⵍⵀⵍⵎ ⴼⵔⵉⴷⵉⵔⵉⴽ ⵀⵉⴳⵍ ⵜⴰⴼⵉⵍⵓⵙⵓⴼⵜ ⴷ ⵢⴰⵏ ⵓⴱⵔⵉⴷ ⴰⵄⵉⵍⵎⴰⵏⵉⵢ ⵓⴳⴳⴰⵔ ⴳ ⵜⵖⵓⵔⵉ ⵏ ⵓⵎⵣⵔⵓⵢ. |
The originality of Ibn Khaldun was to claim that the cultural difference of another age must govern the evaluation of relevant historical material, to distinguish the principles according to which it might be possible to attempt the evaluation, and lastly, to feel the need for experience, in addition to rational principles, in order to assess a culture of the past. | ⵜⴰⵥⵖⵓⵕⵜ ⵏ ⴱⵏⵓ ⵅⴰⵍⴷⵓⵏ ⴰⵢⴷ ⵉⴼⴽⴰⵏ ⵎⴰⵙ ⴷ ⴰⵎⵣⴰⵔⴰⵢ ⴰⴷⵍⵙⴰⵏ ⴳ ⵢⴰⵏ ⵓⵣⵎⵣ ⵢⴰⴹⵏ ⵉⵅⵙⵙ ⴰⴷ ⵉⵏⵏⴱⴹ ⴳ ⵓⵙⵓⵜⴳ ⵏ ⵜⵎⵜⵜⴰ ⵏ ⵓⵎⵣⵔⵓⵢ ⵥⴰⵔⵙ ⵉⵣⴷⵉⵏ, ⴼⴰⴷ ⴰⴷ ⵜⵜⵓⵥⵍⴰⵢⵏ ⵉⵎⵏⵣⴰⵢ ⵅⴼ ⵉⵔⴰ ⴰⴷ ⵉⵜⵜⵓⵚⴽⵓ ⵓⵙⵉⵜⴳ, ⵙ ⵜⴳⵉⵔⴰ ⴰⴼⵔⴰⵢ ⵙ ⵡⴰⵙⵙⴰⵔ ⵏ ⵜⵎⵓⵣⴰⵢⵜ, ⴷ ⵉⵎⵏⵥⴰⵢ ⵉⵎⵏⵍⵍⵉⵜⵏ, ⴰⴼⴰⴷ ⵜⵜⵓⵙⵓⵜⴳ ⵜⴷⵍⵙⴰ ⵉⵣⵔⵉⵏ. |
"His historical method also laid the groundwork for the observation of the role of state, communication, propaganda and systematic bias in history,H. Mowlana (2001). """ | "ⴰⵡⴷ ⵜⴰⵎⴰⵎⴽⵜ ⵏⵏⵙ ⵜⴰⵎⵣⵔⵓⵢⴰⵏⵜ ⵜⵙⵔⵙ ⵜⴰⵙⵉⵍⴰ ⵏ ⵓⵃⵟⵟⵓ ⵏ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵡⴰⵏⴽ, ⴷ ⵉⵎⵢⴰⵡⴰⴹⵏ, ⴷ ⵓⵙⵏⵖⵎⵙ, ⴷ ⴰⵔⵜⵓⴷⵎⴰⵡⵉⵏ ⴳ ⵜⵎⴰⵎⴽⵜ ⵏ ⵓⵔⵣⵣⵓ,H. ⵎⵓⵡⵍⴰⵏⴰ (2001). """ |
"Dr. S.W. Akhtar (1997). """ | "ⴷⵓⴽⵜⵓⵔ S.W. ⴰⵅⵜⴰⵔ (1997). """ |
For Ranke, historical data should be collected carefully, examined objectively and put together with critical rigor. | ⵜⴰⵏⵏⴰⵢⵜ ⵏ ⵕⴰⵏⴽⵉ, ⵉⵍⴰⵇ ⴰⴷ ⵎⵓⵏⵏ ⵉⵏⵖⵎⵉⵙⵏ ⵉⵎⵣⵔⵓⵢⴰⵏⵏ ⵙ ⵓⵏⵀⵍⵍⴰ ⵜⵜⵓⴼⵙⵓⵏ ⵙ ⵓⵎⵙⵖⴰⵔⵓ ⵜⵜⵓⵙⵎⵓⵏⵏ ⵙ ⵓⵎⵏⵖⵓⴷ ⴰⵅⴰⵜⴰⵔ. |
In the 20th century, academic historians focused less on epic nationalistic narratives, which often tended to glorify the nation or great men, to more objective and complex analyses of social and intellectual forces. | ⴳ ⵜⵓⵙⵓⵜ ⵜⵉⵙⵙ 20, ⵓⴷⴷⴰⵏ ⵉⵎⵔⵣⴰ ⵉⴽⴰⴷⵉⵎⵉⵢⵏ ⵛⵡⵉⵢ ⵅⴼ ⵜⵓⵍⵍⵉⵙⵉⵏ ⵜⵉⵏⴰⵎⵓⵏⵉⵏ ⵜⵉⴹⴰⵍⵓⵚⵉⵏ, ⵏⵏⴰ ⵉⵜⴷⴷⵓⵏ ⵙ ⵜⵙⴳⴰ ⵏ ⵓⵙⵙⵉⴷⵔ ⵏ ⵓⴳⴷⵓⴷ ⵏⵖⴷ ⵉⵔⴳⴰⵣⵏ ⵉⵎⵇⵇⵔⴰⵏⵏ, ⴷⴷⵓⵏ ⵙ ⵉⵙⴼⵙⴰⵢⵏ ⵉⵎⵙⵖⴰⵔⵓⵜⵏ ⴽⵉⴳⴰⵏ ⴷ ⵉⵎⵎⵓⵔⴽⵙⵏ ⵉ ⵜⴰⴳⴳⴰⵍⵉⵏ ⵜⵉⵏⴰⵎⵓⵏⵉⵏ ⴷ ⵜⵡⵏⴳⵉⵎⵉⵏ. |
Many of the advocates of history as a social science were or are noted for their multi-disciplinary approach. | ⴰⵎⴰⵜⴰ ⴳ ⵡⵉⵏⵏⴰ ⵉⵜⴷⵓⵏ ⴷ ⵓⵎⵣⵔⵓⵢ ⴷ ⵜⵓⵙⵙⵏⴰ ⵜⴰⵏⴰⵎⵓⵏⵜ ⵜⵜⵡⴰⵙⵙⵏ ⵙ ⵜⵎⴰⵎⴽⵜ ⵏⵏⵙⵏ ⵎ ⴽⵉⴳⴰⵏ ⵏ ⵜⵥⵍⴰⵢⵉⵏ. |
So far only one theory of history came from the pen of a professional Historian. | ⴰⵔ ⴷⵖⵉ ⵜⴷⴷⴰⴷ ⵢⴰⵜ ⵜⵉⵥⵉⵕⵜ ⴷⴰⵢ ⴳ ⵓⵎⵣⵔⵓⵢ ⵙ ⵓⵖⴰⵏⵉⴱ ⵏ ⵓⵎⵔⵣⵓ ⴰⵣⵣⵓⵍⴰⵏ. |
Intellectual historians such as Herbert Butterfield, Ernst Nolte and George Mosse have argued for the significance of ideas in history. | ⵎⵙⴰⵡⴰⵍⵏ ⵉⵎⵔⵣⴰ ⵉⵎⵙⵡⵉⵏⴳⵎⵏ ⵣⵓⵏⴷ ⵀⴰⵔⴱⵔⵜ ⴱⵓⵜⵜⵔⴼⵉⵍⴷ, ⵉⵔⵏⵉⵙⵜ ⵏⵉⵍⵜ ⴷ ⵊⵓⵕⵊ ⵎⵓⵙⵙ ⵅⴼ ⵓⴱⵖⵓⵔ ⵏ ⵜⵡⵏⴳⵉⵎⵉⵏ ⴳ ⵓⵎⵣⵔⵓⵢ. |
Scholars such as Martin Broszat, Ian Kershaw and Detlev Peukert sought to examine what everyday life was like for ordinary people in 20th-century Germany, especially in the Nazi period. | ⵔⴰⵏ ⵉⵎⴰⵙⵙⴰⵏ ⵣⵓⵏⴷ ⵎⴰⵔⵜⵏ ⴱⵕⵓⵣⴰⵜ, ⵉⵢⴰⵏ ⴽⵉⵔⵛⵓ ⴷ ⴷⵉⵜⵍⵉⴼ ⴱⵓⴽⵔⵜ ⴰⴷ ⵖⵔⵏ ⵜⴰⵡⵉⵍⴰ ⵏ ⵜⵓⴷⵔⵜ ⵜⴰⴽⵓⵢⴰⵙⵜ ⵏ ⵎⵉⴷⴷⵏ ⵓⵏⵣⵉⵍⵏ ⴳ ⴰⵍⵎⴰⵏⵢⴰ ⴳ ⵜⵓⵙⵓⵜ ⵜⵉⵙⵙ 20, ⵙ ⵓⵥⵍⴰⵢ ⴳ ⵜⵉⵣⵉ ⵜⴰⵏⴰⵣⵉⵢⵜ. |
Feminist historians such as Joan Wallach Scott, Claudia Koonz, Natalie Zemon Davis, Sheila Rowbotham, Gisela Bock, Gerda Lerner, Elizabeth Fox-Genovese, and Lynn Hunt have argued for the importance of studying the experience of women in the past. | ⵎⵙⴰⵡⴰⵍⵏ ⵉⵎⵔⵣⴰ ⵉⵡⵜⵎⴰⵏⵏ ⵣⵓⵏⴷ ⵊⵓⵏ ⵡⴰⵍⵍⴰⵛ ⵙⴽⵓⵜⵜ, ⵛⵓⴷⵢⴰ ⴽⵓⵓⵏⵣ, ⵏⴰⵜⴰⵍⵉ ⵣⵎⵓⵎ ⴷⴰⴼⵉⵙ, ⵛⵉⵍⴰ ⵔⵓⵡⴱⵓⵜⵀⴰⵎ, ⴳⵉⵙⵍⴰ ⴱⵓⴽ, ⴳⵉⵔⴷⴰ ⵍⵉⵔⵏⵔ, ⵉⵍⵉⵣⴰⴱⵉⵜ ⴼⵓⴽⵙ-ⵊⵉⵏⵓⴼⵙ, ⴷ ⵍⵉⵏⵏ ⵀⵓⵏⵜ ⵅⴼ ⵓⴱⵖⵓⵔ ⵏ ⵜⵖⵓⵔⵉ ⵏ ⵉⵔⵉⵎ ⵏ ⵜⵓⵜⵎⵉⵏ ⴳ ⵓⵣⵎⵣ ⵉⵣⵔⵉⵏ. |
Another defence of history from post-modernist criticism was the Australian historian Keith Windschuttle's 1994 book, The Killing of History. | ⴰⵎⵣⴰⵖ ⵢⴰⴹⵏ ⵅⴼ ⵓⵎⵣⵔⵓⵢ ⵙⴳ ⵓⵣⵖⴰⵏ ⵏ ⴷⴰⵜ ⴰⵜⵔⴰⵔ ⵉⴳⴰ ⵜ ⵓⴷⵍⵉⵙ ⵏ ⵓⵎⵔⵣⵓ ⴰⵡⵙⵜⵔⴰⵍⵉⵢ ⴽⵉⵜ ⵡⵉⵏⴷⵛⵜⵜⵍⵙ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1994, ⵎⵏⵖⵉⵡⵜ ⵏ ⵓⵎⵣⵔⵓⵢ. |
Historical omissions can occur in many ways and can have a profound effect on historical records. | ⵖⵉⵏⵜ ⴰⴷ ⵉⵍⵉⵏⵜ ⵜⵓⵜⵜⵓⵜⵉⵏ ⵜⵉⵎⵣⵔⵓⵢⴰⵏⵉⵏ ⵙⴽⵉⴳⴰⵏ ⵏ ⵜⴱⵔⵉⴷⵉⵏ ⴷ ⵉⵖⵢ ⴰⴷ ⴰⵙⵏⵜ ⵢⵉⵍⵉ ⵢⵉⴹⵉⵚ ⵉⵄⵓⴱⵏ ⵅⴼ ⵡⴰⵔⵔⴰⵜⵏ ⵉⵎⵣⵔⵓⵢⴰⵏ. |
Ancient history: the study from the beginning of human history until the Early Middle Ages. | ⴰⵎⵣⵔⵓⵢ ⴰⵇⴱⵓⵔ: ⵜⴰⵖⵓⵔⵉ ⵙⴳ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵓⵎⵣⵔⵓⵢ ⵏ ⵓⴼⴳⴰⵏ ⴰⵔ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵉⵣⵎⵣⵏ ⵉⵏⴰⵎⵎⴰⵙⵏ. |
Comparative history: historical analysis of social and cultural entities not confined to national boundaries. | ⴰⵎⵣⵔⵓⵢ ⴰⵙⵎⵣⴰⵣⵣⴰⵍ: ⴰⵙⵙⴼⵙⵉ ⴰⵎⵣⵔⵓⵢⴰⵏ ⵉ ⵜⵔⵓⴱⴱⴰ ⵜⵉⵏⴰⵎⵓⵏⵉⵏ ⴷ ⵜⴷⵍⵙⴰⵏⵉⵏ ⵏⵏⴰ ⵓⵔ ⵉⵟⵟⵉⴼⵏ ⵖⴰⵙ ⵜⵉⵍⵉⵙⴰ ⵜⵉⵏⴰⵎⵓⵏⵉⵏ. |
Cultural history: the study of culture in the past. | ⴰⵎⵣⵔⵓⵢ ⴰⴷⵍⵙⴰⵏ: ⵜⴰⵖⵓⵔⵉ ⵏ ⵜⴷⵍⵙⴰ ⴳ ⵓⵣⵎⵣ ⵉⵣⵔⵉⵏ. |
Intellectual history: the study of ideas in the context of the cultures that produced them and their development over time. | ⴰⵎⵣⵔⵓⵢ ⴰⵡⵏⴳⵉⵎⵜⴰⵖⵓⵔⵉ ⵏ ⵜⵡⵏⴳⵉⵎⵉⵏ ⴳ ⵓⵎⵏⴰⴹ ⵏ ⵜⴷⵍⵙⴰⵜⵉⵏ ⵏⵏⴰ ⵜ ⵉⴼⴰⵔⵙⵏ ⴷ ⵓⴱⵓⵖⵍⵓ ⵏⵏⵙ ⴷ ⵜⵉⵣⵉ. |