Quotes About Historical

I have rarely read a more wonderful book than To Win Her Favor by Tamera Alexander. Rich with historical detail and fully developed characters, this novel held me spellbound until the last page. If you read one historical novel this year, make it To Win Her Favor. It will linger with you long after the last page.

Like sex, poverty and power, suicide may always be with us. But like them again, the actual form is takes is essentially time-specific and culture-bound, not only in the past but in the present too. The people who took their lives, the paths which led them to that end, and the experience of dying in this way were deeply influenced by specific historical circumstances. Only by making a greater effort at historical understanding can this most secret house of death be made to yield up more of its confidences.

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

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.

My Rama, the Rama of our prayers, is not the historical Rama, the son of Dasharatha, the king of Ayodhya.

A large part of academic community is unthinkingly self-involved, producing reams of sterile writing - often consuming unbelievable amounts of public funds - and serving as an instruction manual for how to chase away readers and ignore historical insights.

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.

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.

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.

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.

I always wanted to do a movie that deals with America's horrific past with slavery, but the way I wanted to deal with it is - as opposed to doing it as a huge historical movie with a capital H - I thought it could be better if it was wrapped up in genre.

On the basis of biological, sociological, and historical knowledge, we should recognize that the individual self is subject to death or decay, but the sum total of individual achievement, for better or worse, lives on in the immortality of The Larger.

Nothing genuinely historical was ever lost in this country. For this reason we have two ruling parties: villains and fools.

If all the evidence is weighed carefully and fairly, it is indeed justifiable, according to the canons of historical research, to conclude that the sepulcher of Joseph of Arimathea, in which Jesus was buried, was actually empty on the morning of the first Easter. And no shred of evidence has yet been discovered in literary sources, epigraphy, or archaeology that would disprove this statement.

It seemed to me, in some way, especially when you're looking back at distant historical events, the "Truth" with a capital "T" is kind of the juxtaposition of all the many, many, many truths that seem true to people at the time.

The cardinal responsibility of leadership is to identify the dominant contradiction at each point of the historical process and to work out a central line to resolve it.

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.

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.

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.

Since history has no properly scientific value, its only purpose is educative. And if historians neglect to educate the public, if they fail to interest it intelligently in the past, then all their historical learning is valueless except in so far as it educates themselves.

The only conclusion you can draw from the real historical movement is that by and large, in day-to-day life, what Lenin called trade union consciousness dominates the working class. I would call it elementary class consciousness of the working class.

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.

The ruthless economic exploitation and political oppression of the peasants by the landlord class forced them into numerous uprisings against its rule.... It was the class struggles of the peasants, the peasant uprisings and peasant wars that constituted the real motive force of historical development in Chinese feudal society.

Until we start attacking the root of the historical problems of discrimination against Indians, and those Indians begin in these stereotypes, that Indians are less civilized than us, they're less able to exercise self-governing functions. Until we get to the roots of those problems, we're not going to change legislation. We're not going to change the hearts and minds of the Supreme Court.

The historical record suggests that the transition to to a new hegemon has always been attended by what I have elsewhere called hegemonic war.

I hated historical novels with fluttering cloaks.

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.

How does photography serve to legitimate and normalize existing power relationships? ... How is historical and social memory preserved, transformed, restricted and obliterated by photographs?

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

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.

A good legible label is usually worth, for information, a ton of significant attitude and expression in a historical picture.

I'm sorry to say it has some historical analogs. It's kind of reminiscent of what happened in Germany in the late Weimar years.

Muslims naturally saw Christendom as their arch rival. One point that is really important to bear in mind, particularly in addressing an American audience, and that is that the Islamic world has a very strong sense of history. In the Muslim world, history is important and their knowledge of history is not always accurate but is very detailed. There is a strong historical sense in the Muslim world, a feeling for the history of Islam from the time of the Prophet until the present day.

Okay, NATO expanded to East Berlin and East Germany. Under [Bill] Clinton NATO expanded further, to the former Russian satellites. In 2008 NATO formally made an offer to Ukraine to join NATO. That's unbelievable. I mean, Ukraine is the geopolitical heartland of Russian concern, quite aside from historical connections, population and so on.

[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.

What I've learned from my gurus is that when you hear music, you hear a person, or you hear people, and you hear everything about them in those moments. They reveal themselves in ways that cannot be revealed any other way, and it contains historical truths because of that. To me, that is the most important thing. It shouldn't be a footnote, or the last chapter. It should be the complete thesis about a book on listening.

All men and women are born, live, suffer and die; what distinguishes us one from another is our dreams, whether they be dreams about worldly or unworldly things, and what we do to make them come about... We do not choose to be born. We do not choose our parents. We do not choose our historical epoch, the country of our birth, or the immediate circumstances of our upbringing. We do not, most of us, choose to die; nor do we choose the time and conditions of our death. But within this realm of choicelessness, we do choose how we live.

I have learned two lessons in my life: first, there are no sufficient literary, psychological, or historical answers to human tragedy, only moral ones. Second, just as despair can come to one another only from other human beings, hope, too, can be given to one only by other human beings.

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

What dazzles us in Stacy Schiff's Cleopatra are not the alluring mythologies about the evasive queen, but the astonishing if rare historical facts that Schiff has meticulously and lovingly excavated. Schiff offers not just Cleopatra's story but the story of an amazing era, one that has vanished but still affects us, questioning the way we look at myth, history, and ourselves.

In these days the invention of printing, and the diffusion of knowledge, render historical calumnies a little less dangerous: truth will always prevail in the long run, but how slow its progress!

Before we can build a stable civilization worthy of humanity as a whole, it is necessary that each historical civilization should become conscious of its limitations and it's unworthiness to become the ideal civilization of the world.

No language is justly studied merely as an aid to other purposes. It will in fact better serve other purposes, philological or historical, when it is studied for love, for itself.

Every time some new huckster of angst-ridden metaphor is appointed by Art Forum, the congregation genuflects, stroking the catalog like a handful of Rosary beads, and starts spreading that old gospel according to Hyperbole. No questions asked... And thus the bill of goods is sold, all along the line. An art historical snake, swallowing its own tale.

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.

Given the ambiguity of religious texts and teachings, the mixed historical record, and the empirical evidence, it would be foolhardy to assert that religious faith necessarily upholds democratic values.

Now, I actually have to a degree, a responsibility to ensure that it doesn't happen again.' I felt pride. When you're up there [in the noose] it does give you pause but I'm no stranger to degradation and dehumanization. I felt a lot of pride to be a part of showing something like this because a lot of people don't know and haven't been exposed to these types of historical experiences until they see it depicted on our show [Underground].

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