Quotes About Historical

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?

So we've done science songs. We've done historical songs. A lot of people would like us to do more historical songs. Our history record would probably be like the people's history of the United States, set to music.

[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.

The functional language is a radically anti-historical language: operational rationality has little room and little use for historical reason.

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.

With a historical novel you know that liberties are being taken. Since Walter Scott, we know that poetic license, dramatic license, that events been conflated and that liberties have been taken, characters ditto, dates rearranged. But people don't seem to understand that movies are fictions, they are dramatizations, at least historical movies, and we should accord the moviemakers some of the same understanding and latitude. When you go to a movie you know it's a dramatization and not history.

Historical romance is still very strong in the market. Writers of historical romance are making the bestselling lists on a regular basis and careers are growing. However, since there is much more variety in romance today, the total sales of historicals might be down from their peak. The talk of the market softening is a reflection of this, and of the fact that one does not see big growth in this area of the market.

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.

Religious ideas and practices take root not because they are promoted by forceful theologians, nor because they can be shown to have a sound historical or rational basis, but because they are found in practice to give the faithful a sense of sacred transcendence.

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

The history of nations, in the sense in which I use the word, is often best studied in works not professedly historical.

Usually when I go to a place for the first time, unless there's something historical or spectacular that nature has to offer, the first thing I like to do is see what's on the minds of the people.

Tradition, in its essence, is something simultaneously meta-historical and dynamic: it is an overall ordering force in the service of principles that have the chrism of a superior legitimacy (we may even call them 'principles from above').

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.

The world I grew up in had both a literal and mythological quality. We were on the borders of several worlds - the larger black world bordered us on one side. More distantly, there was the larger white world. We interacted with some, but not others. If you think of it as an internal geography, it is a land, a contested space with these very charged historical, cultural, and emotional borders.

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.

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.

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.

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

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

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.

When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.

The line-by-line, sequential, continuous form of the printed page slowly began to lose its resonance as a metaphor of how knowledge was to be acquired and how the world was to be understood. "Knowing" the facts took on a new meaning, for it did not imply that one understood implications, background, or connections. Telegraphic discourse permitted no time for historical perspectives and gave no priority to the qualitative. To the telegraph, intelligence meant knowing of lots of things, not knowing about them.

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

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

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.

[My wife] liked to collect old encyclopedias from second-hand bookstores, and at one point we had eight of them. When I wrote my first historical novel---back in 1980, before I was online---I used them often as a research tool. For instance, I learned that the Bastille was either 90 feet high or 100 feet or 120 feet. This led me to formulate Wilson's 22nd Law: 'Certitude belongs exclusively to those who only look in one encyclopedia.'

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.

How does a country deal with the fact that some of its most revered historical figures had certain moral values and political views virtually identical to Nazis?

One belief, more than any other, is responsible for the slaughter of individuals on the alter of the great historical ideas - justice or progress or happiness of future generations... or emancipation of a nation or race or class... this is the belief that somewhere... there is a final solution.

However, while we should certainly celebrate the demise of overt official racism, we must also critically examine where we are at this historical moment, recognize the many challenges ahead and reaffirm our commitment to making Brown v. Board a reality.

Racial discrimination in elections in Texas is no mere historical artifact. To the contrary, Texas has been found in violation of the Voting Rights Act in every redistricting cycle from and after 1970.

Many of America's historical cornbreads were staple breads for people who didn't have many other options.

Whatever else may be thought of the evidence from early Jewish and Gentile writers it does at least establish, for those who refuse the witness of Christian writings, the historical character of Jesus Himself.

You can't play history and you can't play historical characters. You just have to reduce it to the ordinary.

Hegel remarks somewhere that all great, world-historical facts and personages occur, as it were, twice. He has forgotten to add: the first time as tragedy, the second as farce.

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.

If we don't have historical consciousness we can't really understand problems in all their dimensions, and if we can't understand problems than we can't find solutions.

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.

1975 is as much a historical document as 1803.

I have always made an effort to render every detail of my reality with the greatest accuracy; but I have never paid attention to whether my presentation of historical facts was an exact one.

Another important historical factor is the fact that this already very simple religion was further simplified and purified by the early philosophers of ancient China. Our first great philosopher was a founder of naturalism; and our second great philosopher was an agnostic.

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.

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.

The great thing about really heightened historical dramas is that they can convey much larger themes.

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