Quotes About Historical

'Believing' cannot tip the scales in making a historical judgement about whether something really happened. I can choose to believe that George Washington threw a silver dollar across the Rappahannock, but my believing that he did it has nothing to do with whether or not he really did do it. So also with the story of Jesus walking on water: Believing that he did it has nothing to do with whether he really did do it. 'Belief' cannot be the basis for historical conclusions; it has no direct relevance.

Historical fiction is not history. You're blending real events and actual historical personages with characters of your own creation.

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.

Grape juice at the communion table symbolizes the historical impotence of Christ’s blood, Christ’s gospel, Christ’s church, and Christ’s expanding kingdom. Grape juice stays ‘bottled up’, confined to the historical skins of Palestine.

[T]he visibility of styles is itself a product of historical consciousness. ... The very notion of "style" needs to be approached historically. Awareness of style as a problematic and isolable element in a work of art has emerged in the audience for art only at certain historical moments - as a front behind which other issues, ultimately ethical and political, are being debated.

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.

My obsessions stay the same - historical memory and historical erasure. I am particularly interested in the Americas and how a history that is rooted in colonialism, the language and iconography of empire, disenfranchisement, the enslavement of peoples, and the way that people were sectioned off because of blood.

Even if people tell me they have historical proof [that it is not historical], that doesn't really bother me.

If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.

Those who take to guns could do so due to deprivation, suppression, or historical legacy. The Afghans have lived through violence for centuries, by the Mughals, the Russians, their own people, so they have always had to fight for freedom... we cannot take away the context. But they legitimised it by using jihad, a religious sanction, so they could be seen as mujahids, fighting for Allah. And you cannot say there is nothing concrete.

Modern man has lost any sense of God's nearness, but Christianity teaches that God reveals himself through every single thing he has ever brought into being, whether a created object or historical event.

Clothes make the body both mysterious and historical.

The idea of taking what people call the 'entertainment culture' as a focus of study, including historical perspective, is not a bad idea.

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

I've always loved writing emotionally rich, character-driven novels that explore the way people fall in love and deal with life's triumphs and tragedies. I enjoy writing the contemporary and historical books equally, though perhaps 'enjoy' is the wrong word.

The recently ended twentieth century was characterized by a level of human rights violations unparalleled in all of human history. In his book Death by Government, Rudolph Rummel estimates some 170 million government-caused deaths in the twentieth century. The historical evidence appears to indicate that, rather than protecting life, liberty, and the pursuit of happiness of their citizens, governments must be considered the greatest threat to human security.

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.

You get into theological education and you're busy marking papers and getting into administration in raising funds and doing all the things that are part of life, but here we were talking about important theological, historical, gospel related, biblically centered things hour after hour after hour.

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.

For me archaeology is not a source of illustrations for written texts, but an independent source of historical information, with no less value and importance, sometimes more importance, that the written sources.

There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.

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.

The historical development of the work of anthropologists seems to single out clearly a domain of knowledge that heretofore has not been treated by any other science

Is there a gender gap in the music industry? It is true that there are more professional male music creators than female. For some reason, it's taking a lot longer in music than in literature and the visual arts to reach equilibrium. It was almost acceptable by the 19th century for female writers to be published, yet it's only in the last couple of decades, since about 1980, that historical female composers have really emerged.

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.

In non-fiction you have to stay true to historical events, be they personal or national .

The tea party saved the Republican Party. In a broad sense, the tea party rescued it from being the fat, unhappy, querulous creature it had become, a party that didn't remember anymore why it existed, or what its historical purpose was. The tea party, with its energy and earnestness, restored the GOP to itself.

Historical sense and poetic sense should not, in the end, be contradictory, for if poetry is the little myth we make, history is the big myth we live, and in our living, constantly remake.

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.

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.

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.

Historical novels, in particular, allow us to relive the past without the neatness of history, and with all the complexity of the present.

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.

I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it.

I accept the resurrection of Easter Sunday not as an invention of the community of disciples, but as a historical event.

I accept the resurrection of Easter Sunday not as an invention of the community of disciples, but as a historical event. If the resurrection of Jesus from the dead on that Easter Sunday were a public event which had been made known...not only to the 530 Jewish witnesses but to the entire population, all Jews would have become followers of Jesus.

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

Every atom you possess has almost certainly passed through several stars and been part of millions of organisms on its way to becoming you. We are each so atomically numberous and so vigorously recycled at death that a significant number of our atoms-up to a billion for each of us, it has been suggested-probably once belonged to Shakespeare. A billion more each came from Buddha and Genghis Khan and Beethoven, and any other historical figure you care to name.

I don't think I have ever created an entire fiction piece or followed a historical piece and made that into a sermon.

The initiative of the Five Year Plan and of the accelerated collectivization belongs entirely to the Left Opposition, in uninterrupted and sharp struggles with the Stalinists. Not having the possibility of occupying myself here with long historical researches, I will limit myself to a single illustration. The Dnieprostroy is considered with right as the highest achievement of Soviet industrialization. Yet [Joseph] Stalin and his followers ([Clim] Voroshilov and others) a few months before the beginning of the work were decided opponents of the Dnieprostroy plan.

It's not just what Christian fiction lacks I appreciate - it's what it offers. The variety is vast: contemporary, historical, suspense, mysteries, adventure, young adult, romance, fantasy, science fiction.

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.

For me, it's always difficult when a historical film claims to depict or represent a reality that none of us can know, that is always different. It's always the case. We never know what happened then.

I have found on Alpha that those from an essentially enlightened background feel at home with the parts of the course which appeal to the mind, but often have difficulty in experiencing the Holy Spirit. Others coming from the New Age movement find that rational and historical explanations leave them cold, but at the weekend away they are on more familiar territory in experiencing the Holy Spirit

And all times are one time, and all those dead in the past never lived before our definition gives them life, and out of the shadow their eyes implore us. That is what all of us historical researchers believe. And we love truth.

When I think about what really matters, it's not looking at art that has made the most difference or has been most shaping of the poetry; it's simply living as completely in the world as a politically alert creature, as someone who is both stuck in and also trying to view the historical moment. Folded into all of that, of course, whatever you see in your life.

Does the end justify the means? That is possible. But what will justify the end? To that question, which historical thought leaves pending, rebellion replies: the means.

In general, I think my freedom of invention is not limited when I use historical characters.