Quotes About Historical

....the popular music of Jamaica, the music of the people, is an essentially experiential music, not merely in the sense that the people experience the music, but also in the sense that the music is true to the historical experience, that the music reflects the historical experience. It is the spiritual expression of the historical experience of the Afro-Jamaican.

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.

The Bible is an ancient text from an ancient context. We live thousands of miles and thousands of years away from that context, which also represents different cultures. Archaeology is a modern means of revealing both the lost record of the ancient world, and the historical and social world of the Bible. While the purpose of archaeology is not to prove the historicity of the people and events recorded in Scripture, it can help immeasurably to confirm the historical reality and accuracy of the Bible and to demonstrate that faith has a factual foundation.

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.

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.

Darwin, Marx, and Freud meet. They may have understood other things, but the human soul, and in particular the soul of Culture-man, they did not understand. Systems like theirs are only historical curiosities to the 20th century, unless they happen to claim to be appropriate descriptions of Reality. Anyone who believes in these antiquated fantasies stamps himself as ludicrous, posthumous, ineffective, and superfluous. No leading men of the coming decades will be Darwinians, Marxians or Freudians.

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

If the 'Principle of Relativity' in an extreme sense establishes itself, it seems as if even Time would become discontinuous and be supplied in atoms, as money is doled out in pence or centimes instead of continuously;-in which case our customary existence will turn out to be no more really continuous than the events on a kinematograph screen;-while that great agent of continuity, the Ether of Space, will be relegated to the museum of historical curiosities.

The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.

Why vampires? You write centuries-long family sagas—why not write historical epics without any hint of the supernatural?" "Well, that would be boring, wouldn't it?" "Yeah, God only knows what Tolstoy was thinking.

Historical explanation is not identical with moral judgment.

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.

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.

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 world I grew up in had both a literal and mythological quality. We were on the borders of several worlds - the larger black world bordered us on one side. More distantly, there was the larger white world. We interacted with some, but not others. If you think of it as an internal geography, it is a land, a contested space with these very charged historical, cultural, and emotional borders.

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

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.

I've worked a lot of historical stuff back in Sweden and there's always conflict with horses. I get a bit paranoid when I'm on them, and they can sense that and they get a bit paranoid. It ends up in this bad spiral where I don't want to be on them, and they don't want me on their backs.

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.

History has its truth, and so has legend. Legendary truth is of another nature than historical truth. Legendary truth is invention whose result is reality. Furthermore, history and legend have the same goal; to depict eternal man beneath momentary man.

The things shamans deal with are extremely practical. They break down parameters of normal historical reality. Magical passes are just one aspect of that.

American soldiers [are] going into the homes of Iraqis in the dead of night, terrorizing kids and children, you know, women, breaking sort of the customs of the ñ of ñ the historical customs, religious customs.

"Natural" man is always there, under the changeable historical man. We call him and he comes-a little sleepy, benumbed, without his lost form of instinctive hunter, but, after all, still alive. Natural man is first prehistoric man-the hunter.

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 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.

Art of course survives on the walls of private dwellings and corporate offices, but it 'dies' in the sense of losing its public, community-gathering, world-historical significance.

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.

The Bible was written two thousand years ago. The world is a different place now. Stories that had meaning then are meaningless now. Beliefs that might have been valid then are invalid now. Those books should be looked at in the same way we look at anything of that age with interest with an acknowledgement of the historical importance but they should not be thought of as anything that has any value.

I hated historical novels with fluttering cloaks.

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.

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.

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.

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.)

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.

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

I sometimes wish taste wasn't ever an issue, and the sounds of instruments or synths could be judged solely on their colour and timbre. Judged by what it did to your ears, rather than what its historical use reminds you of.

I think I'm too lazy a writer to do something like historical fiction. You have to do so much research. I just write what I know.

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.

If the religious spirit be ever mentioned in any historical narration, we are sure to meet afterwards with a detail of the miseries which attend it. And no period of time can be happier or more prosperous, than those in which it is never regarded or heard of.

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.

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.

Stupidity is sometimes the greatest of historical forces.

Fascinating, often hilarious, always devastatingly truthful, The Inconvenient Indian is destined to become a classic of historical narrative. For those who wish to better understand Native peoples, it is a must read. For those who don't wish to understand, it is even more so.

The corniest movie ever made about the white man's need to lose his identity and assuage racial, political, sexual and historical guilt.

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

Historical fiction of course is particularly research-heavy. The details of everyday life are there to trip you up. Things that we take for granted, indeed, hardly think about, can lead to tremendous mistakes.

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!