Travelogues The Greatest Traveler Of His Time 1892 1952

Wanderlust Burton Holmes, the man who brought the world home It was the Belle Époque, a time before air travel or radio, at the brink of a revolution in photography and filmmaking, when Burton Holmes (1870-1958) began a lifelong journey to bring the world home. From the grand boulevards of Paris to China's Great Wall, from the construction of the Panama Canal to the 1906 eruption of Mount Vesuvius, Holmes delighted in finding "the beautiful way around the world" and made a career of sharing his stories, colorful photographs, and films with audiences across America. He coined the term "travelogue" in 1904 to advertise his unique performance and thrilled audiences with two-hour sets of stories timed to projections of multihued, hand-painted glass-lantern slides and some of the first "moving pictures." Paris, Peking, Delhi, Dubrovnik, Moscow, Manila, Jakarta, Jerusalem: Burton Holmes was there. He visited every continent and nearly every country on the planet, shooting over 30,000 photographs and nearly 500,000 feet of film. This book represents the best of the Holmes archive, brimming with brilliant color photographs. A rare window onto the world of 100 years ago, it is also the ultimate inspiration to strike out on a travel adventure of your own. Text in English, French, and German

This book, written by Burton Holmes, is a collection of travelogues that provide a glimpse into some of the world's most fascinating destinations. Holmes provides vivid descriptions of his travels through Egypt, Southern Italy, and Switzerland, including details on the culture, history, and people of each place. This book is a must-read for anyone with a wanderlust spirit. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Representing the best of the Holmes archive and brimming with brilliant color photographs, this rare window on the world of 100 years ago will transport readers to a time that has all but evaporated.

This is a book by and about Frank O. Etheridge, an African-American musician from an age of cultural explosion. The decade after World War II saw the coming-of-age of marginalized cultures, and in North America a new voice emerged among peoples of African descent. Etheridge performed in a period when some of the greatest cultural producers of the African-American heritage assumed center-stage. From Shanghai to Singapore; from India to Africa and beyond, Frank Etheridge left us a detailed record of his travels in his unpublished manuscript. The book contains his views, insights, and international itinerary during the 1920s. His book is an important volume in the annals of African-American history, not just for its content, but for what it means and symbolizes. Its readers will journey with him, see through his eyes, understand race and racial prejudice as lived in ordinary skin, and sample culture. Some of Etheridge’s reflections and personal biases will seem like unpleasant contradictions from the way we think about racial prejudice today. However, these jarring moments of dissonance are rich learning opportunities that will connect us to his times, while unraveling a greater understanding of ourselves in our current moment. This manuscript, published for the first time, will be accompanied by editorial commentary written by Professor Ben Vinson III, and will be of great interest to students and scholars of African American history.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Burton Holmes Travelogues: Into Morocco. Fez. The Moorish Empire; Volume 1 Of Burton Holmes Travelogues; Burton Holmes Burton Holmes McClure, 1908 Travel; Essays & Travelogues; Travel / Essays & Travelogues; Travel / Maps & Road Atlases; Voyages and travels

Hal Hays McClure always wanted adventure, and he found it the first time he left home; He was jailed on suspicion of spying for Nazi Germany- Texas of all places. After his Air Force service, he became a newspaper reporter and editor and then a foreign correspondent and bureau chief for the Associated Press before turning to shooting and producing independent Travel-Adventure films. His adventurous life has whisked him from the sound stages of Hollywood and the streets of Manhattan to the battlefields of the Middle East and the jungles of Asia. He has shot a dozen Travel-Adventure films, including the Story Book England, the Magic of Malaysia and the Echo of Hoofbeats-the Story of the Pony Express.

This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of “documentary” between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis.