Quotes About Historical

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.

The reason we've been growing at 1.8 percent for the last eight, ten years, which is way below the historical average, is in large part because of our tax code. It is important to us to get the biggest, broadest tax reduction, tax cuts, tax reform that we can possibly get because it's the only way we get back to 3 percent growth. That's what's driving all of this, how do you get the American economy back on that historical growth rate of 3 percent and out of these doldrums of 1.8, 1.9 that we had of the previous Barack Obama administration?

The study of the Life of Jesus has had a curious history. It set out in quest of the historical Jesus, believing that when it had found Him it could bring Him straight into our time as a Teacher and Saviour. ... But He does not stay; He passes by our time and returns to His own... He returned to His own time, not owing to the application of any historical ingenuity, but by the same inevitable necessity by which the liberated pendulum returns to its original position.

In my work, there's mechanism that is "real," which is formed from the historical concepts of the images that I'm working with. That doesn't fall completely into a cliché. There are elements about it that carry historical context and edges.

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.

Later, I went one step further, by putting in some invented "historical" bits [into the Lincoln in the Bardo]. And reading those alongside the actual historical bits was like looking into a sort of a painful mirror, because "my" parts were so show-offy at first. They stood out because they were so flamboyant.

Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.

I believe the example of the Zapatistas is a very relevant historical example. I would say it is one of the forms at the idea level, and through the work they have achieved, one of the most dignified historical examples that has happened in the history of the world.

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

Historical hypocrites have themselves carried out the very human rights abuses that they suddenly decide warrant intervention elsewhere.

I would argue that the truth of Easter does not depend on whether there was an empty tomb, or whether anything happened to the body of Jesus. ... I do not see the Christian tradition as exclusively true, or the Bible as the unique and infallible revelation of God. ... It makes no historical sense to say, 'Jesus was killed for the sins of the world.' ... I am one of those Christians who does not believe in the virgin birth, nor in the star of Bethlehem, nor in the journeys of the wisemen, nor in the shepherds coming to the manger, as facts of history.

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.

Mankind can live free in a society hemmed in by laws, but we have yet to find a historical example of mankind living free in lawless anarchy.

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.

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

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.

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

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.

It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.

If a source gives us material that is of political, diplomatic, ethical or historical significance that has not been published before and is comprised of official documents or recordings, then we will publish it.

"Tiger is a natural kind" and "Tiger is a historical particular" are incompatible with each other, and evolutionary biology provides a reason for favoring the latter over the former.

We British play an important role in Europe, even if we have a traditional and historical ambivalence towards the continent.

Susanne Alleyn's Game of Patience is a well-crafted historical mystery, authentic in every detail. Wonderfully entertaining.

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

To me, there's a huge difference between criticism and reviewing. I really love reading good criticism of television and film. To me, a critic is someone who analyzes a show, describes it, talks about the people in it, puts it in historical context of other shows like it, compares it and stuff, and then talks about the intent of the show and whether it failed or didn't.

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.

The only conclusion you can draw from the real historical movement is that by and large, in day-to-day life, what Lenin called trade union consciousness dominates the working class. I would call it elementary class consciousness of the working class.

The greatest historical events in the twentieth century - in fact, in all of human history - have been the overthrow of capitalism and establishment of societies run by and for the working class in the two great communist revolutions in Russia and China.

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 historical orthodox Christian faith is extremely wide and diverse.

I'm a huge historical fiction and non-fiction fan.

How does photography serve to legitimate and normalize existing power relationships? ... How is historical and social memory preserved, transformed, restricted and obliterated by photographs?

Whole great chunks of written history are of little value to the psychohistorian, while other vast areas which have been much neglected by historians - childhood history, content analysis of historical imagery, and so on - suddenly expand from the periphery to the center of the psychohistorian's conceptual world, simply because his or her own new questions require material nowhere to be found in history books.

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

That certain snobbery of certainly the Parisian - combined with a complete denial of your historical legacy, is just awful. That's a funny thing about France. Saul Bellow wrote somewhere that he saw right through the French. He lived there. He wrote The Adventures of Augie March in Paris, and there's no one better than him to say what's unbearable about the French.

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?

The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.

I don't separate my books into historical novels and the rest. To me, they're all made-up worlds, and both kinds are borne out of curiosity, some investigation into the past.

The great masquerade of evil has played havoc with all our ethical concepts. For evil to appear disguised as light, charity, historical necessity, or social justice is quite bewildering to anyone brought up on our traditional ethical concepts, while for the Christian who bases his life on the Bible, it merely confirms the fundamental wickedness of evil.

[T]he influence of the German school is most obvious in relation to the contract theory of the origin of the state and the idea of the function of the state. The theory that the state originates in an agreement between men was assailed by the German thinkers and the historical, organic, evolutionary idea substituted for it.

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

On what does the Christian argument for Immortality really rest? It stands upon the pedestal on which the theologian rests the whole of historical Christianity-the Resurrection of Jesus Christ.

I think that James Baldwin is, for sure, one of the most important American writer/thinkers of his time... not just African-American. He singled-handily revolutionized the political, artistic and historical discourses about America. He created his particular and original language.

It is, I believe, no exaggeration to say that all the historical information which has been collected in the Sanskrit language is less valuable than what may be found in the paltry abridgements used at preparatory schools in England.

Most people's historical perspective begins with the day of their birth.

Science is wonderful at destroying metaphysical answers, but incapable of providing substitute ones. Science takes away foundations without providing a replacement. Whether we want to be there or not, science has put us in the position of having to live without foundations. It was shocking when Nietzsche said this, but today it is commonplace; our historical position-and no end to it is in sight-is that of having to philosophise without 'foundations'.

What I am asserting is that in this particular epoch a conjunction of historical circumstances has led to the rise of an elite of power; that the men of the circles composing this elite, severally and collectively, now make such key decisions as are made; and that, given the enlargement and the centralization of the means of power now available, the decisions that they make and fail to make carry more consequences for more people than has ever been the case in the world history of mankind

America has entered one of its periods of historical madness, but this is the worst I can remember: worse than McCarthyism, worse than the Bay of Pigs and in the long term potentially more disastrous than the Vietnam War.