Quotes About Historical

My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.

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

[Albert] Camus always insisted that historical criteria and historical reasoning were not the only things to take into account, and that they weren't all powerful, that history could always be wrong about man. Today, this is how we are starting to think.

I find it exciting to get any historical material from the ground. As you know, I love to put ancient Israel and its literature into their ancient contexts. And to rebuild - that is, to me, a very exciting historical task.

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.

This is an important point about symbols: they do not refer to historical events; they refer through historical events to spiritual or psychological principles and powers that are of yesterday, today, and tomorrow, and that are everywhere.

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.

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

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.

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.

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

Clothes make the body both mysterious and historical.

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.

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.

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.

Who does not know that the first law of historical writing is the truth.

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.

Our yearning for democracy is accompanied by a no less profound yearning for peace. And the media also faced the task of historical engineering to establish this required truth. We therefore have phenomena called 'peace missions' and the 'peace process'. These are terms that apply to whatever the United States happens to be doing or advocating at some moment... in short, 'War is Peace'.

When we look at these historical women and what they've gone through, it's shocking to recognize some of our own experiences in theirs. When you look at someone like Ada Lovelace who is the first computer programmer, during her lifetime doctors said that was really sick because she was trying to use a masculine kind of brain that she didn't have. Today, her legacy of being the first programmer is stil disputed.

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

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

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

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.

While I was drawn to the Renaissance, my first (unpublished) novels took place in modern times. When the subject of alchemy started creeping into my stories, an astute mentor observed that the bits about alchemy might fit better in another time frame. When I finally decided to weave the pieces about the medieval science into historical settings, a successful novel began to emerge. (And I dusted off that art history book, and put it to use once again.)

Consensual paranoia - the pathology of the normal person who is a member of a war-justifying society - forms the template from which all the images of the enemy are created. By studying the logic of paranoia, we can see why certain archetypes of the enemy must necessarily recur, no matter what the historical circumstances.

I do think that the Josianic return to the archaic form of the Passover is appropriate and, indeed, historical. Josiah does go back to a different, earlier tradition, the time of a central sanctuary in which the law code was read. But then there were accretions to the Book of Deuteronomy.

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.

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.

After further introductions were made, we settled in the family room. Yes, the living room would have been nicer, but I wanted comfortable surroundings while plotting to murder one famed historical figure with another one. ~Cat

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.

Bertrand Russell said, 'Electricity is not a thing like St. Paul's Cathedral; it is a way in which things behave.' And it's not 'they' who say, but Walter Benjamin who said, 'Things are only mannequins and even the great world-historical events are only costumes beneath which they exchange glances with nothingness, with the base and the banal.' In September, 1940, Benjamin died under ambiguous circumstances in the French-Spanish border town of Portbou, while attempting to flee the Nazis.

[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 suspect people would be in for a real shock if they knew the depths of his [Obama's] historical ignorance.

There is no self-knowledge except historical self-knowledge. No one knows what he is if he doesn't know what his contemporaries are.

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.

I don't write fantasy; I write historical novels about an imaginary place.

The sense of historical continuity, and a feeling for philosophical rectitude cannot, however, be compromised.

When I was younger, I used to be very impatient with anyone who wasn't doing overtly political work. I've since come to feel that some writers have an appetite or a need for the political, for political discourse, for historical political subjects.

With their own record of killing 12 million American Indians and supporting slavery for four decades after the British abolished it, Americans wish to project their historical guilt on to someone else.

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.

Today, in American imperialism, the commodity has reached its most grandiose historical manifestation.

There is not a single contemporary historical mention of Jesus, not by Romans or by Jews, not by believers or by unbelievers, during his entire lifetime. This does not disprove his existence, but it certainly casts great doubt on the historicity of a man who was supposedly widely known to have made a great impact on the world. Someone should have noticed.

What sort of power is it that really and truly renders the deity present? Human beings automatically think of God as someone who possesses and wields power. Jesus forces people to consider whether that deeply rooted conviction is true or not. In historical terms it is readily apparent that power, left to its own inertial tendencies, tends to be oppressive in fact. So it cannot be the ultimate meditation of God, though human beings might tend to think so

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.

Students of American glass must always keep in mind that the creations they collect are truly examples of our American culture... and thus have historical significance.

There is an angel within the monkey struggling to get free, and this is what the historical crisis is all about.