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.

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

It is clear, from these considerations, that the three methods of classifying mankind-that according to physical characters, according to language, and according to culture-all reflect the historical development of races from different standpoints; and that the results of the three classifications are not comparable, because the historical facts do not affect the three classes of phenomena equally. A consideration of all these classes of facts is needed when we endeavour to reconstruct the early history of the races of mankind.

By the way, Howard Zinn's History of America is front and center at the gift shop of the New York Historical Society. The New York Historical Society is deluged with school kids on a daily basis.

The apostolic writings are of three kinds: historical, didactic, and prophetic.

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.

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

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.

In no country has the historical blackout been more intense and effective than in Great Britain. Here it has been ingeniously christened The Iron Curtain of Discreet Silence. Virtually nothing has been written to reveal the truth about British responsibility for the Second World War and its disastrous results.

In all the areas within which the spiritual life of humanity is at work, the historical epoch wherein fate has placed us is an epoch of stupendous happenings.

You can't write the same book twice. Though I've been in historical musical situations, I can't go back and do that again. And though I run into artistic crises, they keep my life interesting.

While I was pleasantly surprised by the relatively high number of jobs created in April, the fact is that job creation during this recovery period has significantly lagged both historical experience in recovery, and the projections of the Bush Administration.

The dogma of woman's complete historical subjection to men must be rated as one of the most fantastic myths ever created by the human mind.

Both Kant and Fichte thought of traditions of revealed religion as ways of symbolically (that is, with aesthetic emotional power) thinking about our moral condition. Both thought that religion would become more and not less powerful, emotionally and morally, if the claims of scriptures and religious teachings were taken symbolically rather than literally (whatever 'literally' might mean in the case of claims that are either nonsensical or outdated or historically unsupportable if taken as metaphysical or historical assertions).

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.

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

Artists have their existential questions as human beings, and they address these questions in their works. But they are also thinking in a broader sense when they participate in a social and political debate through their works. Often the most important voices of artists in the political and the social debate are focused on originality in their works. We can see this in historical pieces, like "Guernica" by Picasso. "Guernica" was an extremely important manifestation and critique against war, but it was important and powerful because it was also an incredibly original and powerful work of art.

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.

I'm less influenced by any of [Karl] Marx's ideas today than I've ever been in my life, and most significantly Marx's theory of historical materialism, which I think is virtually a debris of despotism.

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.

I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.

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.

I go into any movie that's historical fiction thinking, 'OK, I'm here to watch a work of art, something delivering a series of opinions, and if it's a good work of art, these opinions become so deeply embedded in complexity and richness that I won't even be bothered by the opinions. I'll make my own mind up.'

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

There is evidence for the deity of Jesus -- good, strong, historical , cumulative evidence; evidence to which an honest person can subscribe without committing intellectual suicide.

When you are starting away, leaving your more familiar fields, for a little adventure like a walk, you look at every object with a traveler's, or at least with historical, eyes; you pause on the first bridge, where an ordinary walk hardly commences, and begin to observe and moralize like a traveler. It is worth the while to see your native village thus sometimes, as if you were a traveler passing through it, commenting on your neighbors as strangers.

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.

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.

I think Stephen Crane too becomes trapped in a myth that poetry should be operating at a certain level, that there's the real world and the reflection of that real world. I don't exist in any of these historical periods. I exist in the period in which I'm writing the book. So I only attempt to frame this in a way that I myself relate to.

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.

I've managed to include only enough historical detail to give the "flavor" of the time period while keeping the characters and story focal.

However much an ideologue tries to bury [Lenin] beneath a proof by historical analysis, there is always this one man standing their on the plain of History and of our lives, in the eternal 'current situation.' He goes on talking, calmly or passionately. He goes on talking about something simple: his revolutionary practice, the practice of class struggle, about what makes it possible to act on history...not to demonstrate that revolutions are inevitable, but to make them in our unique present.

I think all in all, one thing a lot of plays seem to be saying is that we need to, as black Americans, to make a connection with our past in order to determine the kind of future we're going to have. In other words, we simply need to know who we are in relation to our historical presence in America.

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.

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?

For long, history was mainly political history, and historical narrative was confined to an account of the most important crises in political life, or to an account of wars and great generals.

The two basic maxims of the so-called historical criticism are the postulate of the common and the axiom of the ordinary. Postulate of the common: everything really great, good, and beautiful, is improbable, since it is extraordinary and therefore at least suspect. Axiom of the ordinary: our conditions and environment must have existed everywhere, for they are really so natural.

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.

During all the first part of the Middle Ages, no other people made as important a contribution to human progress as did the Arabs, if we take this term to mean all those whose mother-tongue was Arabic, and not merely those living in the Arabian peninsula. For centuries, Arabic was the language of learning, culture and intellectual progress for the whole of the civilized world with the exception of the Far East. From the IXth to the XIIth century there were more philosophical, medical, historical, religiuos, astronomical and geographical works written in Arabic than in any other human tongue.

For me, Dracula has always been associated with travel and beautiful historical places.

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.

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

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.

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.

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.

I read numerous books - loads in fact - and, as I always do when recording a historical project, immersed myself into the subject matter. I spent many hours at Henrys old homes, such as Hampton Court, and visiting the Tower of London. I read no other books during that period.