The historical approach to understanding of scientific fact is what differentiates the scholar in science from the mere experimenter.
In general, I think my freedom of invention is not limited when I use historical characters.
Oral history interviews allow us to document and chronicle people's stories; stories that might otherwise not be included in the historical record.
In the American Jewish community, there is little willingness to face the fact that the Palestinian Arabs have suffered a monstrous historical injustice . . . Until this is recognized, discussion of the Middle East crisis cannot even begin.
Once a price move exceeds its median historical age, any method you use to analyze the market, whether it be fundamental or technical, is likely to be far more accurate. For example, if a chartist interprets a particular pattern as a top formation, but the market is only up 10% from the last low, the odds are high that the projection will be incorrect. However, if the market is up 25% to 30%, then the same type of formation should be given a great deal more weight.
The assassination at Sarajevo was certainly the crucial precedent of the European war that its conspirators had sought, but was not the historical cause ... The assassination acted as a lever, prying the various powers into predictable paths.
Above all, documentary must reflect the problems and realities of the present. It cannot regret the past; it is dangerous to prophesy the future. It can, and does, draw on the past in its use of existing heritages but it only does so to give point to a modern argument. In no sense is documentary a historical reconstruction and attempts to make it so are destined to failure. Rather it is contemporary fact and event expressed in relation to human associations.
Hitler's historical hero had always been Frederick the Great. [Later], under Goebbels' prompting ... Napoleon emerged ... as his model. .... Frederick the Great was a man who knew when to stop [and] Napoleon did not.
Our understanding of early Christian beginnings is usually monolithic. It is much determined by the Acts of the Apostles, which pictures a straightforward development from the primitive community in Jerusalem founded on Pentecost to the world-wide mission of Paul climaxing with his arrival in Rome, the political centre of the Greco-Roman world. The Pauline epistles are understood not so much as historical sources reflecting a much more multifaceted early Christian situation fraught with tensions but as theological treatises expounding and defending the doctrine of justification by faith.
Tattooing is historical, cultural and a great form of art but it should always be safe for both the client and the tattoo practitioner.
Journalism is not easy. It's the first rough draft. I don't think you need to wait around until you have the definitive thing. You record what's there; don't delude yourself that this is the ultimate historical view.
I accept the historical challenge, and with that, I accept the essentially Christian position that God always has more light to break out of his holy Word.
So-called racial characteristics are not really racial at all but are due to the historical experiences of the communities in question.
"Hard" science fiction probes alternative possible futures by means of reasoned extrapolations in much the same way that good historical fiction reconstructs the probable past. Even far-out fantasy can present a significant test of human values exposed to a new environment. Deriving its most cogent ideas from the tension between permanence and change, science fiction combines the diversions of novelty with its pertinent kind of realism.
U.S. domestic drug policy does not carry out its stated goals, and policymakers are well aware of that. If it isn't about reducing substance abuse, what is it about? It is reasonably clear, both from current actions and the historical record, that substances tend to be criminalized when they are associated with the so-called dangerous classes, that the criminalization of certain substances is a technique of social control.
The recalcitrant forces in the historical drama have a power and persistence beyond our reckoning.
The great masquerade of evil has played havoc with all our ethical concepts. For evil to appear disguised as light, charity, historical necessity, or social justice is quite bewildering to anyone brought up on our traditional ethical concepts, while for the Christian who bases his life on the Bible, it merely confirms the fundamental wickedness of evil.
The historical data support one conclusion with unusual force: To invest with success, you must be a long-term investor.
The capitalist system was termed "capitalism" not by a friend of the system, but by an individual who considered it to be the worst of all historical systems, the greatest evil that had ever befallen mankind. That man was Karl Marx.
No one can take Jesus away from me.... There's no doubt there was a historical figure of tremendous importance, with enormous notions. Such as peace.
Success is not a function of individual talent. It's the steady accumulation of advantages. It's bound up in so many other broader circumstantial, environmental, historical, and cultural factors.
It is the historical mind, rather than the scientific (in the physicist's sense), that destroyed the mythical orientation of European culture; the historian, not the mathematician, introduced the "higher criticism," the standard of actual fact. It is he who is the real apostle of the realistic age.
One trouble with growing old is that it gets progressively tougher to find a famous historical figure, who didn't amount to much when he was your age.
The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.
When you read a history or biography you are entitled to imagine that it is as accurate as the authors can make it. That research has gone into it and we say "This is a history of the civil war, this is a biography of Lincoln" whatever. But you don't make any such supposition when you say "This is a historical novel."
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