Zitat des Tages über Historisch / Historical:
Here's a news flash: scientists can be wrong. That's no big deal (unless the scientist is you), since research is self-correcting. Consequently, most errors by scientists become historical curiosities, with little long-term importance.
It's interesting that the treatment of historical events by art precedes the civilisation of people through democracy.
No, this customary aim of research by excavators is completely foreign to the historical work with which I am occupied... my sole and only aim is to be able to establish a historical fact, on which I disagree with some eminent historians and geographers.
Students of American glass must always keep in mind that the creations they collect are truly examples of our American culture... and thus have historical significance.
For me, Dracula has always been associated with travel and beautiful historical places.
Anti-Semitism has no historical, political and certainly no philosophical origins. Anti-Semitism is a disease.
I read numerous books - loads in fact - and, as I always do when recording a historical project, immersed myself into the subject matter. I spent many hours at Henry's old homes, such as Hampton Court, and visiting the Tower of London. I read no other books during that period.
Indian food has been huge in the UK forever and ever, but that's because it has a historical rooting. America, I think is really ripe for it. There's been so much interest in Indian culture.
Narcissism and the Confederate dead cannot be connected logically, or even historically; even were the connection an historical fact, they would not stand connected as art, for no one experiences raw history.
I like the stories with the historical themes.
My own being can be judged by the depths I reach in making these historical origins my own.
The dark shadow we seem to see in the distance is not really a mountain ahead, but the shadow of the mountain behind - a shadow from the past thrown forward into our future. It is a dark sludge of historical sectarianism. We can leave it behind us if we wish.
Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists.
I don't know if I felt successful, but I did feel a difference in my career, or in how people perceive me, or how people reacted on the street right after I did the Mexican version of 'Ugly Betty.' That show was a complete success, thank God. It broke historical ratings records in Mexico and also the U.S.
Familiar life, tending to sordidness, had been succeeded by remote life, generally idealized; historical detail had been brought in to teach readers who were being entertained.
The American obsession with 'Downton' amuses me slightly because it's such a fiction. I've always been questioned about my historical veracity, and 'Downton' just flies past, when it's completely made up.
It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.
I am in Boston right now, in fact, to do work at the New England Historical Genealogical Library, where I'm trying to finish up tracing my lineage back to the seventeenth century.
This time all the historical details and things were right. But I'd written it again in third person, and people found it dry. I decided to throw that one away.
I happened to happened to land in a time, in the middle '60s, that without knowing it, and without being told by the history of theater - which we now see from a historical point of view was an explosive time.
I've actually traveled quite a bit with various authors. Judith Miller and I toured the highlands in Scotland with Liz Curtis Higgs, and that was incredible fun. However, I love going with my husband, who - although he is not a writer per se, he is a historian and can give me a lot of insight on various historical locations.
Actually my first eight books were historical novels, but they were never published.
In the forty years of the people's republic, some of the worst historical traits were preserved in our people. These included even the common characteristics developed in the economic reality of the time of partitions in the 17th and 18th centuries.
Winston was a bit of a challenge, all right, from a lot of different perspectives. It wasn't just the culture or the class divide or the historical baggage - it was also the age difference. We had to see if I could be aged-up legitimately, without it becoming some sort of hokey acting challenge.
Marco Polo has been kind of buried under this cloud of rather banal historical dust, when the true story is so much more exciting.
There are three things I look for in a story - it has to be a thriller; I cannot see myself writing literary fiction or a saga! There has to be a historical connection; otherwise, the adrenalin will not flow. And I will try to bridge the gap between 'Rozabal' and 'Chanakya'.
I am not a fan of historical fiction that is sloppy in its research or is dishonest about the real history.
At the time when this famous historical battle was fought in Kosovo, the people were looking at the stars, expecting aid from them. Now, six centuries later, they are looking at the stars again, waiting to conquer them.
One of the things I like about doing historical films is drawing the line between now and then.
The Sixties are now considered a historical period, just like the Roman Empire.
Mr. Speaker, the fact of the matter is that the Ten Commandments are a historical document that contains moral, ethical, and legal truisms that any person of any religion or even an atheist can recognize and appreciate.
For Africa to me... is more than a glamorous fact. It is a historical truth. No man can know where he is going unless he knows exactly where he has been and exactly how he arrived at his present place.
To have united the purposes of an entire Nation, is the great historical achievement of the man in whose strong hands our President has placed the fate of our people.
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.
In all the areas within which the spiritual life of humanity is at work, the historical epoch wherein fate has placed us is an epoch of stupendous happenings.
Today, in American imperialism, the commodity has reached its most grandiose historical manifestation.
