What I found was when I started my first study, and then in subsequent studies, is here you have people under some kind of duress, or I chose to study them because they represented some kind of historical event, as it impacted on them or as they helped to create it.
There are certain historical figures of such importance that we need to know everything about them, which is why books about Napoleon, Lincoln, Julius Caesar, Joan of Arc, Queen Elizabeth I, and the great religious founders continue to proliferate; these lives require constant reevaluation and interpretation.
The critical principle demanded an examination, for instance, of the contribution of different periods, thus to some extent embarking on historical linguistics.
I love historical fiction because there's a literal truth, and there's an emotional truth, and what the fiction writer tries to create is that emotional truth.
In the 1970s, as historians became enchanted with microhistories, economists were expanding the reach of their discipline. Nations, states and cities began to plan for the future by consulting with economists whose prognostications were shaped by investment cycles rather than historical ones.
The metropolis reveals itself as one of those great historical formations in which opposing streams which enclose life unfold, as well as join one another with equal right.
I think - since I was about 7 years old - that was when I was first introduced to the comics called 'Amar Chitra Katha' that are published in India. They're not about a superhero, but they encompass all the stories of India, the folklore, the mythology, everything. But most of these stories are about Indian historical figures.
Europe is a much more complex historical, cultural, and geographical concept than is envisaged in the reduced approach by the European Union.
I didn't need to write historical epics, no, or science fiction, though I read a lot of science fiction as a kid and rather liked it. But I didn't have the mentality.
I've done all these historical epics and chivalrous roles, but there's an odder, quirkier side to me that nobody knows about.
The twentieth century may well find historical status as the epoch in which man began to study himself as a scientific phenomenon.
Military leaders, many of whom were students of counterinsurgency, recognized the dangers of an incremental escalation and the historical lesson that 'trailing' an insurgency typically condemned counterinsurgents to failure.
The success of 'Rome' was in making the history accessible and giving viewers everyman characters through which they can connect to historical figures. It stops the story from being too remote.
There is a vulgar incredulity, which in historical matters, as well as in those of religion, finds it easier to doubt than to examine.
Fable is more historical than fact, because fact tells us about one man and fable tells us about a million men.
I know the world of opera so intimately: historical sweep, sharply defined characters, not too rational an explanation of what's going on. It's a feast.
Without the knowledge of music, it would be very hard to write film music. There are so many films, and each one has a different historical background and everything.
I love going to flea markets especially when I am traveling, because I love seeing the stuff of other cultures, handicrafts and things with historical content.
I hated historical novels with fluttering cloaks.
Redistributing tokens is a balancing act. In most cases, forks probably want to keep ownership for users constant so users have at least the same incentives to use the new fork as the historical one.
