Quotes About Historical

I wouldn't mind meeting some of the people I've attempted to portray from the olden, olden days. They probably would all have really terrible skin and horrible bad breath, and I'd have to give them an Altoid.

'Temeraire' is a terrific meld of two genres that I particularly love - fantasy and historical epic.

Terrorism cannot be isolated from its political, historical, and even social context.

When it comes to terrorism, governments seem to suffer from a collective amnesia. All of our historical experience tells us that there can be no purely military solution to a political problem, and yet every time we confront a new terrorist group, we begin by insisting we will never talk to them.

I think that England made a very big, historical mistake to allow itself to become the kind of terrorist capital of the world.

It is a historical fact that President Bush pushed this nation into a war that had little to do with apprehending terrorists. We did not seek an impeachment of President Bush because, as an executive, he had his authority.

Because the New Testament provides the primary historical source for information on the resurrection, many critics during the 19th century attacked the reliability of these biblical documents.

There is no justifiable prediction about how the hypothesis will hold up in the future; its degree of corroboration simply is a historical statement describing how severely the hypothesis has been tested in the past.

For professionals who use massage in their work, and especially for developing their leadership, historical literacy is imperative.

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.

Philosophize: you are a mistress, part of a great hysterical you mean historical tradition.

If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.

Few, if any, other founding fathers opposed slavery more consistently or toiled harder to eradicate it than Hamilton—a fact that belies the historical stereotype that he cared only for the rich and privileged.

Yet, in a settler society that has not come to terms with its past, whatever historical trauma was entailed in settling the land affects the assumptions and behavior of living generations at any given time, including immigrants and the children of recent immigrants.

On the first Monday of the month of April, 1625, the market town of Meung, in which the author of ROMANCE OF THE ROSE was born

In that story I gathered up the historical and psychological threads of the life my ancestors lived, and in the writing of it I felt joy and strength and my own continuity. I had that wonderful feeling writers get sometimes, not very often, of being with a great many people, ancient spirits, all very happy to see me consulting and acknowledging them, and eager to let me know, through the joy of their presence, that, indeed, I am not alone.

Cush of Ezekiel's day sat far more northwest than the Ethiopia of today.

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.

A mirror does not develop because an historical pageant passes in front of it. It only develops when it gets a fresh coat of quicksilver—in other words, when it acquires new sensitiveness; and the novel's success lies in its own sensitiveness, not in the success of its subject matter.

The epistles attribute no teachings, no miracles, no appointment of apostles, no biographical details to the Christ Jesus they talk about. They focus entirely on the believer's relationship to the heavenly Son and on his redeeming sacrificial death and rising. The latter are never placed in an historical earthly setting.

The artist tries to show reason in experience and appearance – and lyric is the daily appearance, the commonplace dress, of reason. It shows us the rational. It makes the epic pattern human. It's the footprint on the pathway. In the epic-lyric the individual and particular are no longer isolated but are placed in a historical, social, human pattern. That's why there's a political way of cutting bread or wearing shoes.

The sensing and responding level of perception precedes minds, historically speaking, and is also present in minded organisms now.

Film Club is a necessity in any big university, as it provides a platform and a forum where you can exchange ideas, critique and appreciate historical, classics and contemporary films.

When I was seven years old, I fell in love with a series published by Bobbs-Merrill called 'The Childhood of Famous Americans.' In it, historical figures like Clara Barton, Nancy Hanks, Elias Howe, Patrick Henry, and dozens more came to life for me as children.