A Quote by Max Horkheimer
The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.
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All observers not laboring under hallucinations of the senses are agreed, or can be made to agree, about facts of sensible experience, through evidence toward which the intellect is merely passive, and over which the individual will and character have no control.
If there be a mind that, not perceiving in the narratives we have compared the fingermarks of tradition, and hence the legendary character of these evangelical anecdotes, still leans to the historical interpretation, whether natural or supernatural; that mind must be alike ignorant of the true character both of legend and of history, of the natural and the supernatural.
The beginning of human knowledge is through the senses, and the fiction writer begins where the human perception begins. He appeals through the senses, and you cannot appeal through the senses with abstractions.
Imagination is the organ through which the soul within us recognizes a soul without us; the spiritual eye by which the mind perceives and converses with the spiritualities of nature under her material forms; which tends to exalt even the senses into soul by discerning a soul in the objects of sense.
A writer often wants to change a reader’s perception about the world, which is a political act. But we have to work through character, so helping the reader to feel close to fictional characters is the gate through which we have to usher the reader.
All knowledge that is about human society, and not about the natural world, is historical knowledge, and therefore rests upon judgment and interpretation. This is not to say that facts or data are nonexistent, but that facts get their importance from what is made of them in interpretation… for interpretations depend very much on who the interpreter is, who he or she is addressing, what his or her purpose is, at what historical moment the interpretation takes place.
Character is the sum of one's good habits (virtues) and bad habits (vices). These habits mark us and affect the ways in which we respond to life's events and challenges. Our character is our profile of habits and dispositions to act in certain ways.
I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
Memory is therefore, neither Perception nor Conception, but a state or affection of one of these, conditioned by lapse of time. As already observed, there is no such thing as memory of the present while present, for the present is object only of perception, and the future, of expectation, but the object of memory is the past. All memory, therefore, implies a time elapsed; consequently only those animals which perceive time remember, and the organ whereby they perceive time is also that whereby they remember.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
Miracles have no claim whatever to the character of historical facts and are wholly invalid as evidence of any revelation.
The doctrine called Philosophical Necessity is simply this: that, given the motives which are present to an individual's mind, and given likewise the character and disposition of the individual, the manner in which he will act might be unerringly inferred: that if we knew the person thoroughly, and knew all the inducements which are acting upon him, we could foretell his conduct with as much certainty as we can predict any physical event.
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
Nature never rhymes her children, nor makes two men alike. When we see a great man, we fancy a resemblance to some historical person, and predict the sequel of his character and fortune, a result which he is sure to disappoint. None will ever solve the problem of his character according to our prejudice, but only in his high unprecedented way.
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