Quotes About Historical

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.

[Sacrifice of Isaac] is a major theme of the so-called Elohist [one authorial strand in the Pentateuch]. It is marked by all of his linguistic characteristics, and so on. We cannot determine what is historical and what isn't. As literary critics, we would understand the importance of this for understanding life, destiny. But the historical question must be left with a question mark.

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

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.

With the historical fictions, I was already doing so much research, and so much of the stories was anchored by historical truth that the move to nonfiction didn't feel all that dramatic - just another half-step to the right.

The historical religions have the tendency to become ends in themselves, and, as it were, to put themselves in God's place, and, in fact, there is nothing that is so apt to obscure God's face as a religion.

I like mythology - anything historical.

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.

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.

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.

The historical weight of gender inequality has tended to concentrate women in lower-paid jobs with fewer benefits, at the same time made them primarily responsible for care giving.

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.

Each time the dharma moved into a different civilization or historical period, it faced a twofold challenge: to maintain its integrity as an internally coherent tradition, and to express its vision in a way that responded to the needs of the new situation.

In some places you can find an extreme blackness used as a descriptive. I also take into account historical realities that some of this range in color is the legacy of white supremacy.

The natural/supernatural distinction itself, and the near-equation of 'supernatural' with 'superstition', are scarecrows that Enlightenment thought has erected in its fields to frighten away anyone following the historical argument where it leads. It is high time the birds learned to take no notice.

The higher American patriotism, on the other hand, combines loyalty to historical tradition and precedent with the imaginative projection of an ideal national Promise.

I accept the historical challenge, and with that, I accept the essentially Christian position that God always has more light to break out of his holy Word.

Historical refutation as the definitive refutation.- In former times, one sought to prove that there is no God - today one indicates how the belief that there is a God arose and how this belief acquired its weight and importance: a counter-proof that there is no God thereby becomes superfluous.- When in former times one had refuted the 'proofs of the existence of God' put forward, there always remained the doubt whether better proofs might not be adduced than those just refuted: in those days atheists did not know how to make a clean sweep.

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.

As a citizen of the post-historical variety, I am in continual mourning and prepared for worse.

That the apostolic office is temporary, is a plain historical fact.

Hypostatized into a ritual pattern, Marxian theory becomes ideology. But its content and function distinguish it from classical forms of ideology; it is not false consciousness, but a rather consciousness of falsehood, a falsehood which is corrected in the context of the higher truth represented by the objective historical interest.

What worries some people about consumption (and I confess at the outset to be one of these ambivalent creatures, fat but troubled in paradise) is that the affluent, technologically advanced West seems more and more focused not on consuming to live but living to consume. The problem with consumption, and the consumer capitalism that has pushed it to feverish historical extremes, is that it has become so all-consuming.

When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.

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

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.

Because of their historical theory of the "alienation of labor" (that the worker must become less and less in control of the work of his hands) the Marxist parties never fought for the man-worthy job itself.

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.

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.

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.

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

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.

I soon found I could not talk about that in a vacuum without understanding the historical, cultural, political context, and giving it some legacy and some roots, and so then it just started to have tentacles that just spread out in all these places, and already a vicious project became pretty overwhelming in scope, and so it was a lot of diligent, day-to-day fighting with the footage, trying to get it down to a place where it was manageable and emotional.

What dazzles us in Stacy Schiff's Cleopatra are not the alluring mythologies about the evasive queen, but the astonishing if rare historical facts that Schiff has meticulously and lovingly excavated. Schiff offers not just Cleopatra's story but the story of an amazing era, one that has vanished but still affects us, questioning the way we look at myth, history, and ourselves.

We're at a historical juncture: A growing number of people are declaring what has been achieved over the past decades in Europe to be wrong. They want to return to the nation-state. Sometimes there is even a blood and soil rhetoric that for me is starkly reminiscent of the interwar years of the past century, whose demons we are still all too familiar with.

In questions of law or of fact conscience is very often confounded with opinion. No man's conscience can tell him the rights of another man; they must be known by rational investigation or historical inquiry.

No one can take Jesus away from me.... There's no doubt there was a historical figure of tremendous importance, with enormous notions. Such as peace.

I had serious training of painting styles from different historical periods... But to have all this training is not enough to be an artist. You have to add a new page to history; otherwise you are not making a contribution. But making history is not easy.

When a scholar of the old culture vows no longer to have anything to do with men who believe in progress, he is right. For the old culture has its greatness and goodness behind it, and an historical education forces one to admit that it can never again be fresh.

The 'inquests' which resulted in the compilation of the Domesday Book made a vivid and unfavorable impression on the country. A similar effect was produced by the inquests of 1166 and 1170, before alluded to. Even to this day, the word 'inquisitorial' bears the burden of historical unpopularity.

Given the ambiguity of religious texts and teachings, the mixed historical record, and the empirical evidence, it would be foolhardy to assert that religious faith necessarily upholds democratic values.

Death confronts us not unlike the historical battle scene that hangs on the wall of the classroom. It is our task to obscure or quite obliterate the picture by our deeds while we are still in this world.

All truly historical peoples have an idea they must realize, and when they have sufficiently exploited it at home, they export it, in a certain way, by war; they make it tour the world.

There is no need for historical research. The war didn't take place a thousand years ago. Over a million Iranians served at one time or another in the war fronts and most of them are living ordinary lives today and are available for interviews. These stories are largely unknown in Iran and when I tell them to my friends or students they usually laugh.

Nature never rhymes her children, nor makes two men alike. When we see a great man, we fancy a resemblance to some historical person, and predict the sequel of his character and fortune, a result which he is sure to disappoint. None will ever solve the problem of his character according to our prejudice, but only in his high unprecedented way.

I do want to write about social/cultural/historical context. I'm interested in relationships, in character, but within a specific social context. Which is kind of a political thing, I admit that. But it's what I'm interested in, and it's how I believe human behavior is legible.

The absence from the Dead Sea Scrolls of historical texts proper should not surprise us. Neither in the inter-Testamental period, nor in earlier biblical times, was the recording of history as we understand it a strong point among the Jews.

Perhaps our Irish friends should not so completely turn their backs on their historical dishes, no matter how many jokes they might have to endure.