
„It is not the literal past, the 'facts' of history, that shape us, but images of the past embodied in language.“
— Brian Friel Irish dramatist, author and theatre director 1929 - 2015
"The Great Ennui".
In Bluebeard's Castle (1971)
— Brian Friel Irish dramatist, author and theatre director 1929 - 2015
— T.S. Eliot, книга Four Quartets
Tradition and the Individual Talent (1919)
Источник: Four Quartets
Контексте: The historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.
— Walter Benjamin German literary critic, philosopher and social critic (1892-1940) 1892 - 1940
Источник: (1940), II
— Slavoj Žižek, книга The Sublime Object of Ideology
58
The Sublime Object of Ideology (1989)
— Paulo Coelho, книга Aleph
Aleph (2011)
— Morris West Australian writer 1916 - 1999
Marius Melville in Ch. 17
Cassidy (1986)
— Raymond Williams philosopher 1921 - 1988
1975
— Jacob Bronowski Polish-born British mathematician 1908 - 1974
"The Reach of Imagination" (1967)
— Rollo May US psychiatrist 1909 - 1994
Источник: Man’s Search for Himself (1953), p. 220
— Jane Roberts American Writer 1929 - 1984
Источник: The Nature of Personal Reality (1974), p. 355: session 654: April 9, 1973
— Pablo Picasso Spanish painter, sculptor, printmaker, ceramicist, and stage designer 1881 - 1973
Paris 1923
As quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 311
Quotes, 1920's
— Tom Baker English actor 1934
— Pierre Corneille, Cinna
L'exemple souvent n'est qu'un miroir trompeur;
Et l'ordre du destin qui gêne nos pensées
N'est pas toujours écrit dans les choses passées.
Auguste, act II, scene i.
Cinna (1641)
— Boris Yeltsin 1st President of Russia and Chairman of the Supreme Soviet of the RSFSR 1931 - 2007
Speech at a Berlin ceremony to end the Russian military presence in Germany (1 September 1994)
1990s
— George Kubler American art historian 1912 - 1996
Источник: The Shape of Time, 1982, p. 33; as cited in Lee (2001, p. 58)
— Samuel Taylor Coleridge English poet, literary critic and philosopher 1772 - 1834
2 June 1824
Table Talk (1821–1834)
— Alex Haley African American biographer, screenwriter, and novelist 1921 - 1992
As quoted in Traits of a Healthy Family (1985) by Dolores Curran, p. 199.
Контексте: The family is our refuge and our springboard; nourished on it, we can advance to new horizons. In every conceivable manner, the family is link to our past, bridge to our future.
— Simone de Beauvoir, книга The Ethics of Ambiguity
Pt. III : The Positive Aspect of Ambiguity http://www.marxists.org/reference/subject/ethics/de-beauvoir/ambiguity/ch03.htm#s2, Ch. 1 : The Aesthetic Attitude
The Ethics of Ambiguity (1947)
Контексте: We must not confuse the present with the past. With regard to the past, no further action is possible. There have been war, plague, scandal, and treason, and there is no way of our preventing their having taken place; the executioner became an executioner and the victim underwent his fate as a victim without us; all that we can do is to reveal it, to integrate it into the human heritage, to raise it to the dignity of the aesthetic existence which bears within itself its finality; but first this history had to occur: it occurred as scandal, revolt, crime, or sacrifice, and we were able to try to save it only because it first offered us a form. Today must also exist before being confirmed in its existence: its destination in such a way that everything about it already seemed justified and that there was no more of it to reject, then there would also be nothing to say about it, for no form would take shape in it; it is revealed only through rejection, desire, hate and love. In order for the artist to have a world to express he must first be situated in this world, oppressed or oppressing, resigned or rebellious, a man among men. But at the heart of his existence he finds the exigency which is common to all men; he must first will freedom within himself and universally; he must try to conquer it: in the light of this project situations are graded and reasons for acting are made manifest.
— John H. Disher American aeronautical engineer and NASA manager 1921 - 1988
"Skylab Lessons Learned" (22 September 1975) at NASA Office of Logic Design http://klabs.org/richcontent/Misc_Content/AGC_And_History/Skylab/Skylab_Disher.htm