Sentences with phrase «writer of historical»

David is not only an excellent writer of historical fiction and several self - publishing how - to books, he's a watchdog when it comes to the shenanigans of the publishing industry.

Some limit what they read, steering clear of their own genre — a writer of historical romance might read true crime; an -LSB-...]

Juliet Marillier is a full - time writer of historical fantasy for adults and young adults.

As both a reader and writer of historical fiction, I'll enjoy catching up and discovering some new names and books.

Jennifer is a research scientist turned writer of historical fiction.

I don't mean in quantity: like any writer of historical fiction, I go by the principle of digging up a hundred times more than I will actually use on the page.

She's an acclaimed writer of historical fiction and her works are so well - researched and her characters so interestingly flawed that you'd swear you were in 1205 along with the hero of this story as he returns from a Crusade in Constantinople.

Harry Gill, a moderately successful writer of historical fiction, has been awarded the annual Watercress - Armstrong Fellowship - a «living memorial» to the poet, Margaret Rose Hurndell.

To me, Paula McLain is a gold standard writer of historical fiction.

Filled with wonderful detail and moments of unexpected humor, Waters» latest novel solidifies her reputation as a world - class writer of historical fiction.

From Bernard Cornwell, the New York Times bestselling author whom the Washington Post calls «perhaps the greatest writer of historical adventure novels today,» comes a saga of blood, rage, fidelity, and betrayal that brings to center stage King Alfred the Great, one of the most crucial (but oft - forgotten) figures in English history.

But I am both Kate Noble, writer of historical romances, and Kate Rorick, writer of television dramas — currently indulging my magical adventure fantasies on «The Librarians» on TNT.

As a writer of historical fantasy, I follow and RT new and old photos, especially of Britain and Europe.

My questions are, what constitutes authority and influence for the writer of a historical biography, where the many themes of the story are unified only because of her involvement in them?

Benjamin's talent as a writer of historical fiction shines as she unravels Vinnie's autobiography, for there are few, if any, moments that stand out as unrealistic or fictionalized.

We're intrigued by the next release coming from Melanie Benjamin, one of the best writers of historical fiction based on real people working today.

Short - listed for the Man Booker Prize three times, Sarah Waters has earned a reputation as one of our greatest writers of historical fiction, and here she has delivered again.

by Ruth Harris Writers of historical fiction, whether Regency, Middle Ages, Victorian use the markers of the era — clothes, furniture, manners, leaders, resisters, war, peace, prosperity, recession — to create character, conflict, and plot.

Not exact matches

There were also bank statements, reserve estimates by an independent American geologist and historical records of dividends paid out to shareholders — which would have been improbable if, as the letter writer claimed, the company's mine in China was losing money.

The proclivity of the Jews for finance, trade, and exchange has been frequently noticed by Jewish writers and the concentration of Jews in the cities is a present as well as an historical fact.

I dare the writer to wear a cross and go walk in the streets of Cairo, Iraq, Nigeria, Sudan, Saudi Arabia, India, Pakistan, China, Morocco, Pakistan... The claims of the writer are ridiculous and contradictory to historical evidence.

ABSOLUTELY NO historical evidence such a person existed, even and especially among contemporary spiritual writers who you'd think would have at least heard of the rabble - rousing Nazarene.

The various metaphors from nature, on the other hand — organism, process, body, ground of being — tend to rule out full explication of the historical dimension as it is attested by the biblical writers.

The Biblical writers did not pretend they were giving a complete history; instead they constantly refer us to other sources for full historical details, sources such as «The Annals of the Kings of Judah» (or Israel).

One service that the historical approach to the Bible can render is to make us aware of the questions that lay before the writers, so that we understand their answers before we apply them to our own problems.

During the Revolution, writers and preachers turned to the historical books of the Hebrew Bible to fill out ancient Roman analyses of political corruption.

We approach the Bible along with historical context and information, as well as literary understandings of the text and its writers.

One thing I look to in affirming the historical existence of figures of the ancient past is to look to the New Testament wherein many of the ancient figures and episodes are affirmed by Jesus and various sacred writers.

During the nineteenth century, a number of writers tried to write historical biographies of Jesus, which, as we have seen, was not the purpose of the evangelists.

Again and again such thoughtful writers as Alasdair MacIntyre and Robert Bellah tell us that moral rectitude, fundamental truthfulness, and all of the other virtues and skills that make us human depend upon society: upon our having a lifelong place within a social order and contemplating the historical «narrative» that defines the social order.

I was accustomed to writers who treated the distinction as a useful bit of historical, sociological or religious description.

The writer, Garry Wills, offers a catalog of the various forms taken by American distrust of government since the late 18th century, and ventures to debunk the historical myths that have sustained them.

The writers insisted that God's Word is about something and what it is most immediately about is a historical event: the life, death, and resurrection of Jesus and the inbreaking of the kingdom he inaugurates.

Above it all is the picture of Runciman the tease, the inventor of his own image, the deliberate player of parts, the disengaged audience to his own choreography, but also the man of letters, a consummate stylist who used historical events to explore ideas about people and the world, a writer of epics and romances.

And yet, my contention is that they are not accorded the same courtesy of other historical writers.

Given that the show's producers seem so keenly aware of the historical context around it (the first storyline is catalysed by the sinking of the Titanic, while women's suffrage and the social issues around the Great War are explored in depth), it seems strange that writer Julian Fellowes should ignore the historical accuracy of the place of faith.

The same writer says on page 38: «Jesus is the supreme disclosure which opens my eyes to God in the present, and while remaining a man who lived in a particular historical situation, he will always be the unique focus of my perception of and response to God.»

We do find in current discussion various positive statements as to the historical reliability of factual material in the Gospels, not only on the part of writers from whom such might be anticipated, but also from among the Bultmannian group itself.

This is really a discussion of sanity vs insanity; or reality vs supernatural hogwash, or truthfulness vs religious delusions, or fact vs fiction, or logic vs religious magic, or brainwashing vs thinking for one's self, or historical facts vs myth writers.

Theologians who come to Scripture must overcome the gap that separates their world from that of the Biblical writers - a gap that involves language, thought - forms, cultural practices, and historical situations.

This does not, of course, sum up the classical ideal of historical writing; there were writers who viewed their task forensically, and many who looked to history either for exempla or for light on their own troubled times.

Hence the pathetic, personal interpretation, so appealing to a number of modern writers, is really quite out of touch with historical probability, and often verges close upon the abyss of sentimentality.

The interpreter has to look for that meaning which a biblical writer intended and expressed in his particular circumstances, and in his historical and cultural context, by means of such literary genres as were in use at his time, To understand correctly what a biblical writer intended to assert, due attention is needed both to the customary and characteristic ways of feeling, speaking and storytelling which were current in his time, and to the social conventions of the period.

Willett, the more active writer, applied new scientific and historical methods to the study of the Bible and challenged traditional notions of biblical authority.

The sins of imperialism stain the British as well as the French, and if there is a lacuna in my historical fiction, it is the absence of a novel dealing with the kind of cruelties that have been exposed by writers such as William Dalrymple (The Last Mughal) and Ferdinand Mount (The Tears of the Rajas).

But as both texts make clear, all writers currently adopting the brand name «Holocaust revisionism» defy or corrupt the recognized canons of historiographic investigation and truth; they distort and manipulate the historical record to create usable falsehoods that can advance the agenda of «an extreme right - wing that sees itself as heir to Nazism and dreams of its rehabilitation» (Vidal - Naquet).

One has already been stated that we must get all the historical and literary light we can on the passage to decide what it meant to the original writer, why he said it, whether it expresses permanent truth or only a passing phase of his or his people's experience.

Debates and argues about the historical reliability of the Gospels would have surprised the Gospel writers.

The original meaning of the text — that is, the intention of the writer in the historical, cultural context of the writing — is disregarded by dispensationalists.

One wishes that present - day Bible students would take Josephus more seriously — and also that writers who discuss the relations of Judaism and Christianity, or «the Jewish question» as a social - historical problem, would read and reread that profoundly tragic history until its full meaning sinks deeply into their minds.