Quotes About Historical

In Jefferson's mind great historical leaps forward were almost always the product of a purging, which freed societies from the accumulated debris of the past and thereby allowed the previously obstructed natural forces to flow forward into the future. Simplicity and austerity, not equality or individualism, were the messages of his inaugural march. It was a minimalist statement about a purging of excess and a recovery of essence.

In his numerous historical and Scriptural works Bauer rejects all supernatural religion, and represents Christianity as a natural product of the mingling of the Stoic and Alexandrian philosophies...

cognition allows us to understand its dimensions. In simpler terms, we collect information from the past and the future, combine it with what we have in a temporary historical reference (or what we call memory), and our minds then tell us where and when we are. Being psychic is simply being more sensitive to the sea around us. It's simply a method that allows for additional sense of being.

When Belloc said that the Protestant Reformation was the shipwreck of Christendom, he was simply stating a historical fact, but it was controversial because history is political.

The fascination emanating as usual from the historical material itself prevailed over any desire of practical or moral application and, needless to say, preceded any afterthought.

Those who like to interpret historical facts symbolically may recognize in this the spirit of a specifically "modern" conception of the world which permits the subject to assert itself against the object as something independent and equal; whereas classical antiquity did not as yet permit the explicit formulation of this contrast; and whereas the Middle Ages believed the subject as well as the object to be submerged in a higher unity.

Anders gestel, Ian: Wat is die afsnypunt van historiese skuld? Uit hoe ver terug mag ons die wandade van voorgeslagte byroep om die huidige geslag mee te blameer? "Ek

If historical mysticism is, in the last instance, theological, then mysticism today, a mysticism of the unhuman, would have to be, in the last instance, climatological. It is a kind of mysticism that can only be expressed in the dust of this planet.

My artistic decision to cast my mother's objects into bronze moves beyond the notions of memorializing her. I've been fascinated for some time with the idea of monumentality and what it means to memorialize. Both of these notions are relevant historically, artistically, and culturally.

I've read the 'Public Enemies' script and, no, it's not 100 percent historically accurate. But it's by far the closest thing to fact Hollywood has attempted, and for that, I am both excited and quietly relieved.

I do my best to build a strong factual foundation for each of my novels and rely upon my author's notes to keep my conscience clear.

In writing my historical novels, I have to rely upon my imagination to a great extent. I think of it as 'filling in the blanks.' Medieval chroniclers could be callously indifferent to the needs of future novelists. But I think there is a great difference between filling in the blanks and distorting known facts.

An early remedy for malaria called for tossing the sufferer, Br'er Rabbit-style, into a prickly bush; in his hasty retreat, went the thinking, he might leave the fever behind. Orally-administered cobwebs were also deemed effective.

The Renaissance is studded by the names of the artists and architects, with their creations recorded as great historical events.

Fencing is a funny sport. Competitive fencing is not really very applicable to the stage world unless you're fighting with a rapier during the Renaissance, you know?

I have always made an effort to render every detail of my reality with the greatest accuracy; but I have never paid attention to whether my presentation of historical facts was an exact one.

For decades, the Congress party has used its power to make Nehru appear as a giant, rendering all other political personalities small before him.

I probably owe my political dismay to New Labour, but also my growing sense that the satirical shape of human affairs is international and historical, not glued to the tawdry ambitions of a team of politicians who represent nothing but themselves.

We view the protection of Jewish life as a mission. We have a historical responsibility, and this is our duty as a republic.

To play this iconic character from this historically wonderful series of books - who wouldn't take that opportunity and be happy about it? I'm happy to be Hodor forever.

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.

If I am playing a historical character, I try to watch the person in newsreels and read about them, but I will not imitate them.

It's something I'd find rather distracting in a historical piece, looking at characters that have obviously just gotten off their Ab Blaster. You see a piece set in the 1300s or the 1800s, and you've got characters who have perfect abs and are incredibly well-groomed, not a hair out of place, and it just doesn't make sense.

We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.