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Simon Schama
HarperCollins £30
Simon Schama is an historian who - in the grand tradition - annoys other practitioners while entertaining a public; but he is also a far more formidable intellectual operator than this implies. His scholarly reputation was made by a great book on the golden age of Dutch culture, and his popular appeal assured by a Carlylean panorama of the French Revolution. He has earned the freedom to do what pleases him, and is the pay-off.
Schama tackles the pathetic fallacy of landscape, exploring how cognition creates "nature" and how human societies invest their surroundings with self-referencing significance, often through artistic sleight-of- hand. The structure is thematic. Three main sections deal with forests, rivers and mountains, their cultural interpretation, artistic treatment and mythological significance. The illustrations are breathtaking, running through the text like footnotes as well as blazing in full colour plates; the intellectual command is masterful, the range of reference astonishing, the speculative generosity never less than engaging. The subject has - in its constituent parts - been intensively prospected by scholars; Schama omniverously invades their territories and on one level his book is a brilliant synthesis, as he himself emphasises in the text as well as the footnotes. But original research is skilfully blended in, on matters as diverse as the Nazi campaign to capture the Codex Aesinas of Tacitus's Germania, the sculptor of Mount Rushmore and the ideas of the 18th-century savant Joel Barlow. More importantly, the blend of themes and ideas is all Schama's own and must be saluted as such: even at the expense of wishing, like Melbourne with Macaulay, that one could be as cocksure about anything as he is about everything.
His argument, in the end, is optimistic: "environmentalism" (which is nothing new, as he demonstrates) presupposes our possession of the wilderness and is itself a kind of fallacy, but a creative one. And the two-way traffic with natural environment, which has characterised social development, has contributed to cultural memory in a manner that enhances the sum of human experience: even if it has been put, on occasion, to pretty suspect political uses. Continuity of metaphor is at the centre.
The best, and most bravura, section is on Wood - perhaps because it is closely related to the construction of national identity, a subject on which Schama is never less than brilliant. The origin of Lithuanian forests are projected forward to the Nazi cult of trees; Robin Hood and the Merrie Greenwood counter- culture relates to the actual state of the medieval forest economy; John Evelyn's Silva, hunting in Stuart England, and the history of landscape gardening; American redwoods are revealed as the correlative of heroic nationalism, and Yosemite as a protestant Paradise. Schama's particular interests are given full rein, notably on the connections between Nazi totalitarianism and environmentalism: the iconoclastic artist Anselm Kiefer provides a reference point, related both to Tacitus and Caspar David Friedrich (with the history of the bison as an unexpected leitmotif). In this as in other sections a gallery of eccentric individuals troops in and out: Julius von Brincken, high priest of the bison cult, Joseph Ernst von Bandel, monumental sculptor of Second Reich kitsch, Claude Franois Denecourt, "The Man Who Invented Hiking," and assorted unspeakable American nature poets.
The morality of wood figures large: foreign timber in English ships was held to breed worm and rot, and the German idea of the vibrant forest posited against arid Latin masonry is related to European national struggles long before Romanticism as well as after it. In a brilliant closing image the Holzweg, or forest trail, leads to the witch's cottage. Nor is this all. It is impossible to enumerate all the good things in this book, but attention should be drawn to the dazzling treatment of Turner and the Thames, the analysis of universalist ideas behind Aby Warburg's cultural history, James Hall and the origins of Gothic, the fluvial of the Nile, and the iconography of Bernini's foundations.
All this involves risks. A landscape is, as Schama shows, more than a landscape. But he moves on so enthusiastically to anthropomorphism, diet historiography and Jewishness, that one wonders where the frame stops. In the section on water, it is for some time unclear what obelisks have to do with the subject: then, with the transport of Cleopatra's Needle by barge to England and its erection by the Thames, he delivers the theme beautifully. A section towards the end, on snakes and gardens, similarly demands applause. As the borders expand, ideas crowd in on the reader as well as on Schama. One wants to call in absentees, like Ernest Thomson Seton, forgotten laureate of wolves and racoons, marketing the American wilderness-myth in the age of industrialisation; or add instances of emblematic landscapes magically repelling the invader (wintry Russia, boggy Ireland, the White Cliffs of Dover). If this book does nothing else it makes you think, and what sounds through it is the voice of a wonderful teacher.
And like all wonderful teachers, he can drive you mad: often through his own merciless enthusiasm. Other books are constantly "devasting," "stunning," "beautiful," "gripping." The adjectives pile up in stereo: "brilliant, taunting birds and shrieking, crested monkeys dart about immeasurably high branches"; even the youthful Schama's girlfriends are "crisply shirtwaisted."
Personality cameos are fired at the reader like powder-shot. And the author, his ancestors, his father, his children are constantly dragged in to pose against the wilderness like the Schama Family Robinson ("What was this thing my family seemed to have about forests?") It is easy to gripe, and in doing so to lose sight of the way Schama is trying to demonstrate the inherited patterns of response lying beneath our present-day comprehension of woods, parks and wildernesses. In his eyes, his own experience stands for Everyman.
This raises large questions. One is the issue of boundaries: where does this kind of Jungian history stop? Stirring up the great pool of common memory can set off ripples of fascinating interaction; but it can sometimes start a stream which follows the personal preoccupations of the magus rather than creating convincing patterns of connection. And what comes through overall is personality, bringing us back to the question of the kind of historian we are dealing with; and how he is dealing with us. Schama's preoccupation with autobiography and landscape harks back not only to Wordsworth, Ruskin and Proust but for that matter to HG Wells and his novel The Bulpington of Blup; his encomia on the Thames and his ventures into historical reconstruction summon up GK Chesterton ("A blare of brass by the edge of the Bidassoa, so loud it shook the water, too loud for the gaunt old King of Spain, whose eyes were rheumy and myopic but whose hearing was still acute. Not loud enough for the strapping young King of France. . ."); his account of the doomed Fouquet showing the fountains of Vaux to his sovereign is straight out of Dumas. It is not coincidence that Macaulay comes to mind, as does the ingenious pattern- making of his underestimated contemporary, Buckle.
For what Schama has done is to take the late 20th-century historian's preoccupations with mentality, identity, mythic construction, cultural implication, and to process them through the brilliantly-coloured magic- lantern style of the classic 19th-century populists, bursting with sentimental exuberance. Like them, he will be accused of haute-vulgarisation; like them he will cheerfully survive his critics - and so will his audience.
- More about:
- Cults & Sects
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Their contribution paved the way for an 82-69 win over Arkansas in front of 8,322 fans that pushed the Bulldogs to 11-5 overall and 2-1 in the SEC. Georgia, which has a week off before facing SEC East leader Tennessee on Saturday, improved to 10-0 at home.
"It kind of put our guards at ease a little," center Dave Bliss said of the addition of an inside presence. "When we have a post attack, I think we're pretty good offensively. When (defenses) are respecting that we will throw it into the post, they will be honest more. I thought we did a good job of sharing the ball and playing like a team, and that really helped feed our offense."
When the Bulldogs' post play began to draw attention, shooting guard and leading scorer Billy Humphrey took over, tying his career high with 24 points on 6-of-10 shooting.
"Billy has been playing real good for us, and he especially threw it in there to me, and I was able to score, and when that happens you get confidence in your outside shot," Bliss said.
Coming into Saturday's game, Georgia was getting 24 percent of its points from its forwards and centers. That group had 35 percent against the Razorbacks, including 50 percent in the first half.
Fifteen of Georgia's first 18 points came from Bliss and forwards Jeremy Price, Chris Barnes and Albert Jackson. That group also contributed 14 rebounds and eight blocked shots for the game.
"We really moved the ball well as a team and made extra plays," Felton said. "I thought that had the most to say about having a good offensive rhythm the rest of the game. We got really, really quality looks all around because we moved it."
The Bulldogs shot 50.9 percent from the floor, their best percentage in conference play this year. They led 34-27 at halftime and stayed at least six points ahead throughout the second half, leading by as many as 19.
Price had 14 points and five rebounds, and point guard Sundiata Gaines had 14 points and four assists, which moved him to fourth all-time in career assists at Georgia with 404.
Arkansas, which was led by Charles Thomas' 14 points, solidified its spot as the worst 3-point shooting team in the SEC, missing 9-of-11. The Razorbacks fell to 13-5 overall and 1-2 in the league.
"I thought Georgia played outstanding," Arkansas head coach John Pelphrey said. "We didn't play very well."

subset: commoncrawl


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Q: (A question on Andy Brodell)
Scott Chandler: I don't know, you get in those games he flips a switch or something. You don't get to see the run after the catch in practice as much. You can't say enough about the way he played today.
Q: I know you've been asked this already, but can you take us through the play?
Chandler: I go in motion, and I come across. The play took a little longer than usual, because we were going on a silent count because it was loud. The ref said that I hopped up when I was waiting there. When I did, I put myself on the line of scrimmage, covered myself up. I haven't seen it on tape, but he said that he was sure he was right. He said, "It's kind of ticky tack, but I have to call it." I was like, "Oh, come on." It's not a call you see a lot, it wasn't really definitive that I went down and got in a 3-point stance on the line. I didn't line up with the ref like you usually do, but you can't do anything about it now. You just have to live with it.
Q: Was that a turning point in the game?
Chandler: Yeah. Instead of being up 21-3, we ended up with the interception when the guy made a great play, they go down and score, it's 14-10 at half. It's a big swing, 14 point swing right there.
Q: As seniors, now that it's all over for you guys, it didn't end how you want it, but what do you take from this season?
Chandler: It's one of those life lessons that you go through. You take what happens to you, learn from it, and move on. I think that the way we prepared for this bowl game, that was the way we need to prepare for every game. It's disappointing, but like I said, you've got to learn from it.
Q: Despite the outcome, you guys played a clean game. Not a lot of mental mistakes, not an inordinate amount of penalties, how good is it go out with a relatively clean game, with great effort, that kind of stuff.
Chandler: It really doesn't feel that great right now because we lost, but we did fight hard. I know that we prepared hard. I know we worked extremely hard this past month. I'm proud of the guys, I'm proud to be a Hawkeye.


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fuel problem or ignition...??
my 1997 TJ SE has started dying all of a sudden out of the blue. then once it dies it will start back up immediately. i have been doing some research and found out that the fuel filter is in the gas tank. she has not been missing or anything of that nature. seems like it was getting progressively worse last night(died 5-6 times in 3 miles). As of today i havent had any problems(30 mile commute). From what i have found online, if it was the filter then it would sputter when i would try to accelerate. this is not the case! I have noticed that since i bought her back in september that it takes a bit longer than normal to turnover(especially when cold). i tried today turning the key on but not cranking and waiting 3 sec. this helped start but not sure since i have only tried this once. I would really like to find out what is up with her.
Could it be the fuel filter..? Can i only change the Fuel filter and if so how hard is getting the tank off? I have heard that it isnt the fuel pump because those either are working or not. I dont think this is anything electrical. I wish i had a pressure gage to find out of well the pump is working( i am not even sure where to hook the guage up to the fuel line to diagnose this problem)
Save yourself the headache.
I'm a mechanic, and it sounds like a fuel delivery problem to me. I would suggest just takin it to a garage you trust and having the fuel pump and filter done. Just get it over with. Youll probly never have to deal with it again.
Spend the money, it's a good investment anyway.
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In honor of the 150th anniversary of the Battle of Gettysburg (July 1-3, 1863), the library rehung a plaque honoring Abraham Lincoln. The plaque was dedicated in 1935 by the Sons of Union Veterans and it was the first of its kind in Michigan. It hung in the Main Library near the Circulation Desk. A second plaque commemorating Lincoln hung in the Pantlind Hotel. The bronze plaque was removed during building renovations in 2000 and stored in the library's archives. This summer we rehung the plaque in the Ryerson lobby to mark the 150th anniversary of the Battle of Gettysburg. Stop by and see this beautiful piece.
July 31, 2013 | Comments Off on In Rememberance of Gettysburg
In Rememberance of Gettysburg
Tags: battle of gettysburg, lincoln
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Kukla's Korner Hockey
Tavares fined for slash
by George Malik on 11/26/11 at 05:13 AM ET
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Per the NHL, justice didn't take Black Friday off:
NEW YORK (Nov. 25, 2011) – New York Islanders forward John Tavares has been fined $2,500, the maximum allowed under the Collective Bargaining Agreement, for slashing New Jersey forward Zach Parise in NHL Game No. 314 Friday afternoon on Long Island, the National Hockey League's Department of Player Safety announced today.
The incident occurred at 3:51 of the second period. No penalty was assessed on the play.
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- 1left to grow; not cut short The uncut grass came up to her waist.
- 2(of a book, movie, etc.) left in its complete form; without any parts removed; not censored the original uncut version
- 3(of a precious stone) not shaped by cutting uncut diamonds
- 4not cut into separate pieces an uncut loaf of bread
Check pronunciation: uncut


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Ekk Albela 2016 , Ekk Albela 2016 Torrent , Ekk Albela 2016 Full Torrent Download , Ekk Albela 2016 Download Torrent Free, Download Ekk Albela 2016 Hindi Full Movie utorrent, Download Ekk Albela 2016 Full Hindi HD 720p Movie Torrent, Download Ekk Albela 2016 Tamil Dubbed Movie Full HD Torrent, Ekk Albela 2016 Full Download HD DVD 720p
Ekk Albela is a 2016 Indian Marathi language Biopic film, directed by Shekhar Sartandel and produced by Dr Monish Babre under the Kimaya Motion Pictures banner and presented by Manglmurti Films.The movie is biopic on the life of legendary actor Bhagwan Abaji Palav popularly known as Bhagwan Dada [2] The film is scheduled for release on 24th June 2016 and will be the first ever Marathi film simultaneously released in India and UK. It will also be released globally.
The film stars Mangesh Desai in lead role as Bhagwan Dada and Vidya Balan in cameo role as Geeta Bali. The supporting cast features Vidhyadhar Joshi, Prasad Pandit, Swapnil Rajshekhar, Vighnesh Joshi, Shekhar Phadke, Shriram Kolhatkar and Arun Bhadsavle
Ek Albela is the untold story of Bhagwan Abaji Palav, popularly known as Bhagwan Dada or Master Bhagwan, the first dancing super star of Indian Cinema. The movie features award winning versatile actors Mangesh Desai as Bhagwan Dada and Vidya Balan as Geeta Bali.
|Directed by
|Shekhar Sartandel
|Produced by
|Dr Monish Babre
|Written by
|Shekhar Sartandel , Amol Shetge
|Mangesh Desai , Vidhyadhar Joshi , Vidya Balan
Release dates
24 June 2016


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On many levels this is out of my purview. However, in the early '60's I was an officer in what was then called the Chemical Corps. I spent the first year of my service running a chemical combat support platoon primarily stationed in Fort Ord, California. Then, clearly, I saluted somebody wrong, and spent two summers in the desert and the winter in between in Alaska and some other places testing various Chemical, Nuclear and Biological weapons delivery systems. All of these were bad weapons. I am not sure there is such a thing as a good weapon.
The Chemical Weapons Convention banning the use of chemical weapons (not biological) and calling for destruction of existing weapons went into force in 1997 after the initial discussions on the ban began in 1968. Syria is not a signatory to the Convention.
I am not sure what a limited strike does to deal with this problem other than having, for sure, unintended consequences. Also, are we simply saying that if conventional weapons had been used to kill 1400+ would we not care? As I said, Chemical weapons are bad, and with a very few exceptions, the world agrees.
As opposed to more death and destruction as a retaliatory punishment, wouldn't it make sense to use this time while Congress debates to present the fully documented case to the world, garner universal support against the use, universally demand an apology and recompense from Syria to the families affected, and a promise not to use such weapons ever again? What is really in the interest of all in this instance? It is hard to believe that this was at the direction of Assad because of the stupidity of the action. If so, there needs to be the full mea culpa. However, if this was an attack generated and ordered within the military ranks, blame can be directed and action taken.
One cannot bring back the lives lost, nor for that matter the 100,000 lives previously lost. However, why not turn this action into a reason for reaching a political solution as opposed to a continuation of the bloodshed using whatever weapons are available or provided. It is in some ways an opening for the Assad regime. More military action involving more participants will not have a good outcome. This approach will surely sound naíve and wimpy to some. It is one person's viewpoint. The killing by whatever means needs to stop.