Quotes About Historical

We probably have, right now, after the Civil Rights movement - and this was very unfortunate - the most glaring time of giving up on Africa, saying we're Americans. We are Americans. I'm not arguing that point. So are the Italians. So are the Germans. So are the Jews. We're Americans with an historical geography of origins outside of the United States as all people, maybe except the indigenous Americans who came here so long ago, who have generations of people whose historical origins are right here but whose initial historical origins are somewhere in Asia.

....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.

All knowledge that is about human society, and not about the natural world, is historical knowledge, and therefore rests upon judgment and interpretation. This is not to say that facts or data are nonexistent, but that facts get their importance from what is made of them in interpretation… for interpretations depend very much on who the interpreter is, who he or she is addressing, what his or her purpose is, at what historical moment the interpretation takes place.

I can honestly say that there are many forms of atheism that I find far more admirable than many forms of Christianity or of religion in general. But atheism that consists entirely in vacuous arguments afloat on oceans of historical ignorance, made turbulent by storms of strident self-righteousness, is as contemptible as any other form of dreary fundamentalism. And it is sometimes difficult, frankly, to be perfectly generous in one’s response to the sort of invective currently fashionable among the devoutly undevout, or to the sort of historical misrepresentations it typically involves.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

As much as I care about historical context - I'm very eager to read a really great historical account.

Through its imperialist system Britain brought about untold suffering of millions of people. And this is an historical fact. To be able to admit this would increase the respect, you know, which we have for British institutions.

In my own recent String Trio I attempt to superimpose two quite different sets of formal strategies, both of which, ultimately, refer back to historical precedent.

Darwin, Marx, and Freud meet. They may have understood other things, but the human soul, and in particular the soul of Culture-man, they did not understand. Systems like theirs are only historical curiosities to the 20th century, unless they happen to claim to be appropriate descriptions of Reality. Anyone who believes in these antiquated fantasies stamps himself as ludicrous, posthumous, ineffective, and superfluous. No leading men of the coming decades will be Darwinians, Marxians or Freudians.

I think that the reason that people are so up in arms about movies that have historical inaccuracies is because now that we've trashed our education institutions beyond repair, people fear that the only people are getting their histories is through the movies, so the elephant in the room is that no one wants to talk about why we're so passionately obsessed with accuracy.

I think the whole emphasis in England, in universities, on practical criticism (but not that so much as on historical criticism, knowing what period a line comes from) this is almost paralysing. In America, in University, we read - what? - T. S. Eliot, Dylan Thomas, Yeats, that is where we began. Shakespeare flaunted in the background. I'm not sure I agree with this, but I think that' for the young poet, the writing poet, it is not quite so frightening to go to university in America as it is in England, for these reasons.

I always wanted to do a movie that deals with America's horrific past with slavery, but the way I wanted to deal with it is - as opposed to doing it as a huge historical movie with a capital H - I thought it could be better if it was wrapped up in genre.

Most of my professional work has been in these areas - as a historical critic, as a literary critic. I've done very little in the history of interpretation [as Elie Wiesel has]. I've been interested in it, but I have not contributed to that field, really.

While I was pleasantly surprised by the relatively high number of jobs created in April, the fact is that job creation during this recovery period has significantly lagged both historical experience in recovery, and the projections of the Bush Administration.

A novel is not, after all, a historical document, but a way to travel through the human heart.

It seemed to me, in some way, especially when you're looking back at distant historical events, the "Truth" with a capital "T" is kind of the juxtaposition of all the many, many, many truths that seem true to people at the time.

The People's Liberation Army is always a fighting force. Even after countrywide victory, our army will remain a fighting force during the historical period in which classes have not been abolished in our country and the imperialist system still exists in the world. On this point, there should be no misunderstanding or wavering.

One of the things I enjoy most about writing historical romance is researching inspiring backgrounds and settings.

It is wiser, I believe, to arrive at theory by way of evidence rather than the other way around.... It is more rewarding, in any case, to assemble the facts first and, in the process of arranging them in narrative form, to discover a theory or a historical generalization emerging of its own accord.

Most romances aren't swept aside by big historical events. Most romances in the history of the world fall apart because of other, smaller happenings. History can sometimes be in the background, the thing which instead of rupturing your life merely irritates you by pressing itself now and then into the foreground.

At the time when this famous historical battle was fought in Kosovo, the people were looking at the stars, expecting aid from them. Now, six centuries later, they are looking at the stars again, waiting to conquer them.

Size will hurt returns. Look at Berkshire Hathaway - the last five things Warren has done have generated returns that are splendid by historical standards, but now give him $100 billion in assets and measure outcomes across all of it, it doesn't look so good. We can only buy big positions, and the only time we can get big positions is during a horrible period of decline or stasis. That really doesn't happen very often.

There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.

Genres have a history and impose a historical character upon the writer. What is interesting in the poem involves a certain kind of dramatization of the self that you don't have to engage in in the essay. In fact, the essay is a more social medium than the poem.

I think one of the great historical contributions of science is to weaken the hold of religion. That's a good thing.

Very strange bridges are used to make the passage from one state of things to another; we may lose sight of them in our surveys of general history, but their discovery is the glory of historical research. History is not the study of origins; rather it is the analysis of all the mediations by which the past was turned into our present.

We repeat today that we are with the establishment of a Palestinian state on any liberated part of Palestinian land that is agreed upon by the Palestinian people, without recognizing Israel or conceding any inch of historical Palestine.

We are now standing in the face of the greatest historical confrontation humanity has gone through. I do not think that wide circles of the American society or wide circles of the Christian community realize this fully. We are now facing the final confrontation between the Church and the anti-Church, of the Gospel versus the anti-Gospel.

The technologies which have had the most profound effects on human life are usually simple. A good example of a simple technology with profound historical consequences is hay. ... It was hay that allowed populations to grow and civilizations to flourish among the forests of Northern Europe. Hay moved the greatness of Rome to Paris and London, and later to Berlin and Moscow and New York.

"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.

When you are starting away, leaving your more familiar fields, for a little adventure like a walk, you look at every object with a traveler's, or at least with historical, eyes; you pause on the first bridge, where an ordinary walk hardly commences, and begin to observe and moralize like a traveler. It is worth the while to see your native village thus sometimes, as if you were a traveler passing through it, commenting on your neighbors as strangers.

Jesus as a concrete historical personality remains a stranger to our time, but His spirit, which lies hidden in His words, is known in simplicity, and its influence is direct.

Maya Jasanoff's Liberty's Exiles places the loyalist experience and the aftermath of the American Revolution in an entirely new light. Alongside the Spirit of 1776, Jasanoff gives us the Spirit of 1783, dedicated to remaking the mighty British Empire, and then offers a stunning reinterpretation of the Loyalists' complicated role in that remaking. Her meticulously researched and superbly written account is historical revision at its finest, and it affirms her place as one of the very finest historians of the rising generation.

Most people don't like to talk about violent historical death.

If there be a mind that, not perceiving in the narratives we have compared the fingermarks of tradition, and hence the legendary character of these evangelical anecdotes, still leans to the historical interpretation, whether natural or supernatural; that mind must be alike ignorant of the true character both of legend and of history, of the natural and the supernatural.

After working as a journalist I went to a writing program at Johns Hopkins. It was interesting because it was neither journalistic nor historical, but it emphasized writing style, and afterwards I was asked to write my first book.

If I have the same plan to go into the streets, find random strangers, use art-historical referent from their - from the specific location, to use decorative patterns from this location, that's a rule. That's a set of patterns that you can apply to all societies. But what gives rise or what comes out of each experiment is so radically different.

Instead of giving it [war] a rest I continued pursuing more research, talking to more people on the subject as if I was to please this aftermath of the book by knowledge that was more historical and psychological than literary and aesthetical.

I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.

Let's face a historical truth: we have never had a "free market", we have always had government intervention in the economy, and indeed that intervention has been welcomed by the captains of finance and industry. They had no quarrel with "big government" when it served their needs.

Historical novels, in particular, allow us to relive the past without the neatness of history, and with all the complexity of the present.

I'm sorry to say it has some historical analogs. It's kind of reminiscent of what happened in Germany in the late Weimar years.

I think I'm too lazy a writer to do something like historical fiction. You have to do so much research. I just write what I know.

In a public dialogue with Salman in London he [Edward Said] had once described the Palestinian plight as one where his people, expelled and dispossessed by Jewish victors, were in the unique historical position of being 'the victims of the victims': there was something quasi-Christian, I thought, in the apparent humility of that statement.

For me, Dracula has always been associated with travel and beautiful historical places.

What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.

Juliet is one of those rare novels that has it all: lush prose, tightly intertwined parallel narratives, intrigue, and historical detail all set against a backdrop of looming danger. Anne Fortier casts a new light on one of history's greatest stories of passion. I was swept away.

Mr. Speaker, the fact of the matter is that the Ten Commandments are a historical document that contains moral, ethical, and legal truisms that any person of any religion or even an atheist can recognize and appreciate.