Quotes About Twentieth-century

McMein's] portrait was enthusiastically approved, then unveiled with great ceremony in November of 1936... According the General Mills Historian James Gray, McMein gave Betty "a fine Nordic brow and shape of skull, a jaw of slightly Slavic resolution and features that might be claimed contentedly by various European groups - eyes, Irish; nose, classic Roman - the perfect composite of the twentieth-century American woman.

Under Arab rule, Palestine had always been a somnolent desert land that could have sustained no authentic twentieth-century Arab awakening. Palestine without Jews is a not a nation but a naqba.

No future historian of the United States will be able to use quotations from her twentieth-century poets in support of an imperial policy of conquest and slaughter.

As I've grown older, I have begun to marvel... at how much of my life I have spent among ghosts. These are no malevolent presences... Rather, they are such restless spirits as only the strange twentieth-century cocktail of celebrity, technology and collective memory could produce.

Eugenio Montale - born in Genoa in 1896, died in Milan, 1981 - is one of the twentieth-century Europeans who has spoken most meaningfully to American and British poets.

It had a quaint twentieth-century feel and made Nell oddly nostalgic for the days when dangerousness was a function of mass and bulk. The passives of that era were so fun to watch, with their big, stupid cars and big, stupid guns and big, stupid people.

Rather than being a cause of the late twentieth-century crisis, the Internet appears to have been a consequence of the breakdown of hierarchical power.

a better explanation may be the fundamental deterioration of standards in both legislation and governance that we see in nearly every democracy, regardless of their different twentieth-century histories

If twentieth-century literature failed Spurgeon anywhere, it failed to produce scholars interested in constructing three-dimensional portraits of the preacher, flaws and all.12 Warts can be as informative as dimples.

Among the great twentieth-century advances I cannot think of a better example than the first patent for a solid-state electronic device, granted to the German physicist Julius Edgar Lilienfeld first in Canada in 1925 and then in the US in 1926.

Whether overtly or not, all twentieth-century political theory has basically posed the same question: what is the relationship between the State, power and social classes?

There are shades of barbarism in twentieth-century Europe which would once have amazed the most barbarous of barbarians. At a time when the instruments of constructive change had outstripped anything previously known, Europeans acquiesced in a string of conflicts which destroyed more human beings than all past convulsions put together.

By contrast, a twentieth-century fluid dynamicist could hardly expect to advance knowledge in his field without first adopting a body of terminology and mathematical technique. In return, unconsciously, he would give up much freedom to question the foundations of his science.

Berlin is a sort of history book of twentieth-century violence, and every street corner brought a recollection of something I'd heard, seen, or read. We followed the road alongside the Landwehr Canal, which twists and turns through the heart of the city. Its oily water holds many dark secrets.

But now suddenly it occurs to me that by far the main protagonist of twentieth-century literature must be the chattering mind, which usually means the mind that can't make up its mind, the mind postponing action in indecision and, if we're lucky, poetry.

That philosophy, however demented, had roots, as we have seen, deep in German life. The blueprint may have seemed preposterous to most twentieth-century minds, even in Germany. But it too possessed a certain logic. It held forth a vision. It offered, though few saw this at the time, a continuation of German history. It pointed the way toward a glorious German destiny.

NUREMBERG, September 5 I'm beginning to comprehend, I think, some of the reasons for Hitler's astounding success. Borrowing a chapter from the Roman church, he is restoring pageantry and colour and mysticism to the drab lives of twentieth-century Germans.

They loved and reviled Hitler like no other twentieth-century politician.

Because it is written by a nineteenth-century American, and because of its closeness to the twentieth century, The Portrait of a Lady foregoes Victorian affirmations. The price it pays, however (together with several twentieth-century novels) is that it eventually leaves the reader, along with its heroine, 'en Vair' amid its self-reflections.

The phenomenon of music is given to us with the sole purpose of establishing an order in things, including, and particularly, the co-ordination between man [sic] and time." Igor Stravinsky, quoted in DeLone et. al. (Eds.) (1975). Aspects of Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice-Hall. ISBN 0130493465, Ch. 3. from Igor Stravinsky' Autobiography (1962). New York: W.W. Norton & Co., Inc., p. 54.

Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself.

In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.

The reparative turn, as applied to art, is in many ways a continuation of the orthopedic aesthetic, with the difference being that the twentieth-century model imagined the audience as numb, constricted, and in need of being awakened and freed (hence, an aesthetics of shock), whereas the twenty-first-century model presumes the audience to be damaged, in need of healing, aid, and protection (hence, an aesthetics of care).

The most consequential act of state ownership in the twentieth-century western world was not the nationalization of airlines or the nationalization of railways or the nationalization of health care, but the nationalization of the family.