Quotes About Historical

Whether I like it or not, most of my images of what various historical periods feel, smell, or sound like were acquired well before I set foot in any history class. They came from Margaret Mitchell, from Anya Seton, from M.M. Kaye, and a host of other authors, in their crackly plastic library bindings. Whether historians acknowledge it or not, scholarly history’s illegitimate cousin, the historical novel, plays a profound role in shaping widely held conceptions of historical realities.

I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.

Historical! Must it be historical to catch your attention? Even though historicity, like notoriety, denotes nothing more than thatsomething has occurred.

Since many people have been asking me to elaborate on why I think "Inglourious Basterds" is akin to Holocaust denial, I'll try to explain what I mean as succinctly as possible, by paraphrasing Roland Barthes: anything that makes Fascism unreal is wrong. For me, "Inglourious Basterds" makes the Holocaust harder, not easier to grasp -- as a historical reality, I mean, not as a movie convention. Insofar as it becomes a movie convention, it loses its historical reality.

This general tendency to eliminate, by means of unverifiable speculations, the limits of the categories nature presents to us is the inheritance of biology from The Origin of Species. To establish the continuity required by theory, historical arguments are invoked, even though historical evidence is lacking. Thus are engendered those fragile towers of hypothesis based on hypothesis, where fact and fiction intermingle in an inextricable confusion.

Our knowledge of the historical worth of certain religious doctrines increases our respect for them, but does not invalidate our proposal that they should cease to be put forward as the reasons for the precepts of civilization. On the contrary! Those historical residues have helped us to view religious teachings, as it were, as neurotic relics, and we may now argue that the time has probably come, as it does in an analytic treatment, for replacing the effects of repression by the results of the rational operation of the intellect.

it is not the inferiority of women that has caused their historical insignificance; it is rather their historical insignificance that has doomed them to inferiority.

Paul's lack of concern with the historical Jesus is not due, as some have argued, to his emphasis on Christological rather than historical concerns. It is due to the simple fact that Paul had no idea who the living Jesus was, nor did he care.

Bourgeois class domination is undoubtedly an historical necessity, but, so too, the rising of the working class against it. Capital is an historical necessity, but, so too, its grave digger, the socialist proletariat.

As much as I love historical fiction, my problem with historical fiction is that you always know what's going to happen.

Accuracy is paramount in every detail of a work of history. Here's my rule: Ask yourself, 'Did this thing happen?' If the answer is yes, then it's historical. Then ask, 'Did this thing happen precisely this way?' If the answer is yes, then it's history; if the answer is no, not precisely this way, then it's historical drama.

For we cannot adequately understand 'man' as an isolated biological creature, as a bundle of reflexes or a set of instincts, as an 'intelligible field' or a system in and of itself. Whatever else he may be, man is a social and an historical actor who must be understood, if at all, in close and intricate interplay with social and historical structures

Natalie Bakopoulos has that rare gift, the ability to imagine a traumatic historical event in the form of individual lives and ordinary details. The Green Shore is compelling, personal, and full of quietly real moments.

My Rama, the Rama of our prayers, is not the historical Rama, the son of Dasharatha, the king of Ayodhya.

The art in photography is literary art before it is anything else: its triumphs and monuments are historical, anecdotal, reportorial, observational before they are purely pictorial... The photograph has to tell a story if it is to work as art.

If you think about Don Quixote, Don Quixote is this guy who wants to live as if he was in a medieval chivalric romance, when actually he lives in sixteenth-century Spain, which is already going through secularization, industrialization, modernization. He goes out to kill a giant, and instead he collides with this huge windmill and injures himself and also damages the windmill. I think that's a metaphor for the collisions we all have over time, as our ideas of ourselves get out of synch with the historical moment.

Everybody needs a fan, and the support and the encouragement. We're human beings; that is an essential part of the equation. When that fan is not there and when you're in a situation that triggers you on a historical level, you behave impulsively. You can destroy years worth of work professionally, personally, in a moment of being triggered by that.

One cannot, without reflection, make some into bearers of goodness and others into miscreants, judging them by relative positive or negative criteria. These, like everything else, change according to historical circumstances, the character of a society, the time and subjective points of view.

In India there was a sense of time that does not tick with modern clocks, just as there is a knowledge that is not gained through science and empirical experiments. In the modern West knowledge is of objective, finite particulars in historical time. India recognizes that kind of useful information: it calls it "lower knowledge." Higher knowledge (paravidya) proceeds differently, or rather it doesn't proceed at all but enters history full-blown on the morning of a new creation.

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.

There is a need for educators, young people, artists and other cultural workers to develop an educative politics in which people can address the historical, structural and ideological conditions at the core of the violence being waged by the corporate and repressive state and to make clear that government under the dictatorship of market sovereignty and power is no longer responsive to the most basic needs of young people - or most people for that matter.

If all the evidence is weighed carefully and fairly, it is indeed justifiable, according to the canons of historical research, to conclude that the sepulcher of Joseph of Arimathea, in which Jesus was buried, was actually empty on the morning of the first Easter. And no shred of evidence has yet been discovered in literary sources, epigraphy, or archaeology that would disprove this statement.

This trial cannot be separated from the process of the historical struggle in Palestine that continues today between the Zionist Movement and the Palestinian people, a struggle that centers on Palestinian land, history, civilization, culture and identityAs for your judicial apparatus, which is where this court comes from: it is one of the instruments of the occupation whose function is to give the cover of legal legitimacy to the crimes of the occupation, in addition to consecrating its systems and allowing the imposition of these systems on our people through force.

Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.

I've always loved writing emotionally rich, character-driven novels that explore the way people fall in love and deal with life's triumphs and tragedies. I enjoy writing the contemporary and historical books equally, though perhaps 'enjoy' is the wrong word.

I'm pleased to say that it [ a paper on the history of Attica] got much recognition with a 99 grade. It was shown to the Attica Historical Society, who enthusiastically responded to it and read it at one of their annual meetings resulting in an article in the local newspaper about this excellent paper being presented. As I now look back at it, I think of that as being really my first book and did indicate that I did have interest in research.

Research can be a big clunker. It's difficult to know how you can make the historical light.

The Mexican people are increasingly middle class, and Mexico has substantially become a middle-class society. This is true despite the significant poverty, and the class and geographic inequality that have deep historical roots.

I regard this conclusion as coming in the same sort of category, of historical probability so high as to be virtually certain, as the death of Augustus in AD 14 or the fall of Jerusalem in AD 70

For historical currents do not irresistibly propel themselves and everyone in their path. No matter what their broader structural or ideological roots, they both carry along and are carried along by people, who are not merely passengers of history, but pilots as well.

I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.

When we were covering the 2008 campaign I told my young African American colleagues that despite the historical significance of victory, Barack Obama was going to break their hearts. They didn't want to hear that, and they refused to believe it. Eighteen months later they started dropping by one by one to say, sadly: "He broke our hearts." A couple of them even wept.

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.

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.

One of the many troubles of growing older is that it gets progressively harder to find a famous historical figure who hadn't yet amounted to anything by the time he was your age.

The importance of the End of time is as ... a psychological event ... When you have seen the radiance of eternity through all the forms of time ... and it is the function of art to make that visible to you ... then you have really have ended life in the world as it is lived by those who only think only in the historical, concretizing terms. This is the function of mythology.

I have Tom Ford, Gucci, Saint Laurent, McQueen, and odd pieces that Ive just acquired because I happened to have come across them and felt they have some historical resonance.

According to Marx, socialism is the first stage of communism and it covers a very long historical period in which we must practise the principle "to each according to his work" and combine the interests of the state, the collective and the individual, for only thus can we arouse people's enthusiasm for labour and develop socialist production.

Stocks are a safe bet, but only if you stay invested long enough to ride out the . that squares with the facts, and with the historical record

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.

I work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.

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.

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.

Puerto Rico is an island separated by an ocean, a language, a culture. All of that put it in a position where it's like, "What happens in Vegas stays in Vegas," but what happened in Puerto Rico never happened at all. It's not like there was a decades-long conspiracy. It's just the aggregation of all these historical forces made it difficult for this information to exist in one place.

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.

The alienation effect in German epic theater is achieved not only through the actors, but also through music (chorus and song) andsets (transparencies, film strips, etc.). Its main purpose is to place the staged events in their historical context.

A good legible label is usually worth, for information, a ton of significant attitude and expression in a historical picture.