Quotes About Historical

We probably have, right now, after the Civil Rights movement - and this was very unfortunate - the most glaring time of giving up on Africa, saying we're Americans. We are Americans. I'm not arguing that point. So are the Italians. So are the Germans. So are the Jews. We're Americans with an historical geography of origins outside of the United States as all people, maybe except the indigenous Americans who came here so long ago, who have generations of people whose historical origins are right here but whose initial historical origins are somewhere in Asia.

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.

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.

This general tendency to eliminate, by means of unverifiable speculations, the limits of the categories nature presents to us is the inheritance of biology from The Origin of Species. To establish the continuity required by theory, historical arguments are invoked, even though historical evidence is lacking. Thus are engendered those fragile towers of hypothesis based on hypothesis, where fact and fiction intermingle in an inextricable confusion.

I can honestly say that there are many forms of atheism that I find far more admirable than many forms of Christianity or of religion in general. But atheism that consists entirely in vacuous arguments afloat on oceans of historical ignorance, made turbulent by storms of strident self-righteousness, is as contemptible as any other form of dreary fundamentalism. And it is sometimes difficult, frankly, to be perfectly generous in one’s response to the sort of invective currently fashionable among the devoutly undevout, or to the sort of historical misrepresentations it typically involves.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

[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.

Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.

Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.

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.

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 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.

I've got nothing against records - I've spent my life making them - but they are a kind of historical blip.

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

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.

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.

One thing is certain: the humility of faith, if it is followed by the proper consequences-by the acceptance of the work and sacrifice demanded by our providential task-will do far more to launch us into the full current of historical reality than the pompous rationalizations of politicians who think they are somehow the directors and manipulators of history.

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

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.

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.

The People's Liberation Army is always a fighting force. Even after countrywide victory, our army will remain a fighting force during the historical period in which classes have not been abolished in our country and the imperialist system still exists in the world. On this point, there should be no misunderstanding or wavering.

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

It is wiser, I believe, to arrive at theory by way of evidence rather than the other way around.... It is more rewarding, in any case, to assemble the facts first and, in the process of arranging them in narrative form, to discover a theory or a historical generalization emerging of its own accord.

I always say 300 is a sci-fi movie as much as anything. It's like that could be another planet. It doesn't have to be earth necessarily. That's like when people get so wrapped up in the politics of 300 I always go, "By the way, that's a sci-fi movie. It's not really a historical film."

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.

"Tiger is a natural kind" and "Tiger is a historical particular" are incompatible with each other, and evolutionary biology provides a reason for favoring the latter over the former.

The butchering may continue as it will, it shall remain the historical guilt of the Western powers that they did not promptly provide the sharpest preventative measures against the continued attack-politics Germany undertook. Possibilities existed for this, but no measures were seized upon.

I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of.

The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.

Susanne Alleyn's Game of Patience is a well-crafted historical mystery, authentic in every detail. Wonderfully entertaining.

To me the Mahabharata is a profoundly religious book, largely allegorical, in a way meant to be a historical record.

In historic events, the so-called great men are labels giving names to events, and like labels they have but the smallest connection with the event itself. Every act of theirs, which appears to them an act of their own will, is in an historical sense involuntary and is related to the whole course of history and predestined from eternity.

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.

Biblical archaeology was developed early in this century in an effort to substantiate the authenticity of the Biblical account. It's by now generally recognized in Biblical scholarship that it has done the opposite. The Bible is not a historical text, and has only vague resemblances to what took place, as far as can be reconstructed. For example, whether Israel ever existed is not clear; if so, it was probably a small kingdom somewhere in the hills, apparently virtually unknown to the Egyptians.

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.

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.

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.

What religion a man shall have is a historical accident, quite as much as what language he shall speak.

The Genealogical Science is a wonderful account of how old-fashioned race science has come to be re-defined by resort to the most recent developments in genetics. But this book is not simply another story of the ideological uses to which science may be put. Nadia Abu El-Haj has provided the reader with a very detailed analysis of the historical entanglement between science and politics. Her study should be required reading for anyone interested in the sociology of science-and also for those dealing with Middle Eastern nationalisms. This is a work of outstanding value for scholarship.

As factual and thoughtful literature began to seep in, against the Nazis' will, and replace the reams of Nazi propaganda, I began to see the German Jew in his historical role, in his good as well as his bad light.

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.

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.

[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 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.

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.

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

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.

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.