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.

In 'Labor Day Hurricane, 1935,' Douglas Trevor vividly recreates a historical event. While that is the only story in A THIN TEAR IN THE FABRIC OF SPACE in the historical past, many of the other stories juxtapose fact-both historical and scientific-with narration to an engaging effect, one that distinguishes the voice of this new writer.

If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.

Problems come and go over time, and to understand why is a difficult historical task. If one wanted to find the origin of a problem, historical research and close attention to texts is what is needed, not unconstrained speculation about the 'pictures' that philosophers must be in the grip of.

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

Nothing's new since Genesis. And so everybody in their life thinks history began when they were born. Most people's historical perspective happened when they were born in the sense that nothing has ever been this bad. "We've never gone before this before," and of course we have. Things have been worse in many ways in the country.

The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.

I have a multivolume history of the world from the 19th century that begins with Noah's flood as though it's as historical a fact as the rise and fall of Rome.

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.

True reflection presents me to myself not as idle and inaccessible subjectivity, but as identical with my presence in the world and to others, as I am now realizing it: I am all that I see, I am an intersubjective field, not despite my body and historical situation, but, on the contrary, by being this body and this situation, and through them, all the rest.

Fiction has consisted either of placing imaginary characters in a true story, which is the Iliad, or of presenting the story of an individual as having a general historical value, which is the Odyssey.

The recently ended twentieth century was characterized by a level of human rights violations unparalleled in all of human history. In his book Death by Government, Rudolph Rummel estimates some 170 million government-caused deaths in the twentieth century. The historical evidence appears to indicate that, rather than protecting life, liberty, and the pursuit of happiness of their citizens, governments must be considered the greatest threat to human security.

Skepticism is an important historical tool. It is the starting point of all revision of hitherto accepted history.

I am not someone who believes I am going to find a historical scoop.

Art may not have the power to change the course of history, but it can provide a perspective on historical events that needs to be heard, even if it's seldom heeded. After all the temporary influences that once directed the course of history have vanished, great art survives and continues to speak to each generation.

One way to explain the complexity and unpredictability of historical systems, despite their ultimate determinacy, is to note that long chains of causation may separate final effects from ultimate causes lying outside the domain of that field of science.

Communist regimes were not some unfortunate aberration, some historical deviation from a socialist ideal. They were the ultimate expression, unconstrained by democratic and electoral pressures, of what socialism is all about. ... In short, the state [is] everything and the individual nothing.

Historical research to this day remains unorganized, and the historian is expected to make his own instruments or do without them; and so with wooden ploughs we continue to draw lonely furrows, most successfully when we strike sand.

All historical experience demonstrates the following: Our earth cannot be changed unless in the not too distant future an alteration in the consciousness of individuals is achieved.

In historic events, the so-called great men are labels giving names to events, and like labels they have but the smallest connection with the event itself. Every act of theirs, which appears to them an act of their own will, is in an historical sense involuntary and is related to the whole course of history and predestined from eternity.

Is there a gender gap in the music industry? It is true that there are more professional male music creators than female. For some reason, it's taking a lot longer in music than in literature and the visual arts to reach equilibrium. It was almost acceptable by the 19th century for female writers to be published, yet it's only in the last couple of decades, since about 1980, that historical female composers have really emerged.

Art of course survives on the walls of private dwellings and corporate offices, but it 'dies' in the sense of losing its public, community-gathering, world-historical significance.

I like the stories with the historical themes.

In the course of writing one historical book or another, it has happened that I could hardly restrain myself from simply copying entire documents. Indeed, I sometimes sank down among the documents and said to myself, I can't improve on these.

In non-fiction you have to stay true to historical events, be they personal or national .

I like storytelling movies and more than that I like historical movies; and I think someday I'll definitely make a movie about the past 50 years history.

I hated historical novels with fluttering cloaks.

My mother converted when I was 16. She was the driving force behind religion in our family. So, I'm sure I was heavily influenced by that. But, I also was, and still am, convinced by the Catholic churches historical claims to represent the continuity with the early Church that other forms of Western Christianity lack.

My historical reading of the situation is that these great monolithic empires developed, Rome, Turkey, and so forth, and they always break down when enough people, and it's always the young, the creative, and minority groups drop out and go back to a tribal form.

Our understanding of early Christian beginnings is usually monolithic. It is much determined by the Acts of the Apostles, which pictures a straightforward development from the primitive community in Jerusalem founded on Pentecost to the world-wide mission of Paul climaxing with his arrival in Rome, the political centre of the Greco-Roman world. The Pauline epistles are understood not so much as historical sources reflecting a much more multifaceted early Christian situation fraught with tensions but as theological treatises expounding and defending the doctrine of justification by faith.

As for the historical inspirations I drew on in writing The Snow Queen, I suppose I would call them more cross-cultural inspirations, though they frequently involve past societies as well as present day ones.

I enjoy thinking myself into other times and places. I don't like some of the conventions of the 'historical novel', but I think there's a way of doing it that has a lot of merit.

Most people can't tell now who wrote what. I like that blurring of identities within the band. because it becomes a unified thing that can't be related to other forms of historical poetry

I don't want to overvalue Donald Trump as some historical rupture, and to admit that I do think Trump is an indication of a fairly profound change. But the change started a while ago, and it has taken a while to appear. Global capital, particularly western capital, has been in decline since the late 60s and early 70s. The softness appeared in the 60s, the profit rate fell off the table in 1972 - 73, and there have been very uneven recoveries. This has been an ongoing weakening of the productive economy of accumulation at a global scale, of capital's capacity to expand.

In the first few pages, Kundera discusses several abstract historical figures: Robespierre, Nietzsche, Hitler. For Eunice's sake, I wanted him to get to the plot, to introduce actual "living" characters - I recalled this was a love story - and to leave the world of ideas behind. Here we were, two people lying in bed, Eunice's worried head propped on my collarbone, and I wanted us to feel something in common. I wanted this complex language, this surge of intellect, to be processed into love. Isn't that how they used to do it a century ago, people reading poetry to one another?

1975 is as much a historical document as 1803.

All men and women are born, live, suffer and die; what distinguishes us one from another is our dreams, whether they be dreams about worldly or unworldly things, and what we do to make them come about... We do not choose to be born. We do not choose our parents. We do not choose our historical epoch, the country of our birth, or the immediate circumstances of our upbringing. We do not, most of us, choose to die; nor do we choose the time and conditions of our death. But within this realm of choicelessness, we do choose how we live.

I have always regarded historical fiction and fantasy as sisters under the skin, two genres separated at birth.

If you read Exodus 15 carefully, it describes a storm at sea. This is the old Yahwistic source. In the retelling of the story in the later Priestly source, it is more miraculous: The water stands up on either side like a wall. There are walls of water standing up. As you move back in time, oddly enough, the story becomes more historical.

Critics often point to historical issues such as slavery, upon which many Christians did act inconsistently, in an effort to invalidate Christian participation in contemporary social issues.

Citizens often think of a state's interests in terms of the promotion of ideals such as democracy, a particular way of life, or other values which they endorse or see as part of their historical continuity and identity. In this domain as in others values are not fixed, and so a state's interests are dynamic and in a constant state of negotiation and construction.

Unquestionably, our contemporary world of music is far richer, in a sense, than earlier periods, due to the historical and geographical extensions of culture to which I have referred.

Bryce Zabel and I went down the road of revising the Kennedy historical record together on the NBC seriesDark Skies. This time instead of giving new meaning to the established JFK chronology, hes created a brand new one altogether.Surrounded by Enemiesis an exhilarating ride, full of twists and turns that never were, but surely could have been.

I don't know, except that the only simple answer, I think, is that SCLC [Southern Christian Leadership Conference] had never really developed an organizing technique. I've always characterized the difference in saying that they went in for mobilization. And, to be honest, in terms of the historical facts, their mobilization usually was predicated upon some effort at organizing by someone else. And, at this stage, it was largely SNCC.

I have found on Alpha that those from an essentially enlightened background feel at home with the parts of the course which appeal to the mind, but often have difficulty in experiencing the Holy Spirit. Others coming from the New Age movement find that rational and historical explanations leave them cold, but at the weekend away they are on more familiar territory in experiencing the Holy Spirit

It's really the story of a young woman, or two women, growing up in Naples in a poor neighborhood. The way that they get out of it - or don't get out of it - that's part of it. But it's also the story of the mid-20th century in Italy so it's really like a social, historical and personal novel. I think that even though I didn't live in Italy in those years, it did cover that same type of generational upbringing that someone like me might've had in America.

This problem [of historical opportunities] compounds itself by limiting the number of people in the pipeline to attain the experience to do larger movies or get jobs so they can familiarize themselves with a studio head and get the opportunity to deliver and impress - or maybe direct a smaller movie. It will take a considerable amount of time to rectify. It's very difficult because it starts at the top.

Culture is the name for what people are interested in, their thoughts, their models, the books they read and the speeches they hear, their table-talk, gossip, controversies, historical sense and scientific training, the values they appreciate, the quality of life they admire. All communities have a culture. It is the climate of their civilization.