"Religions played an increasingly dominant role in Toynbee's view as he grew older and advanced with his "Study of History." "The principal cause of war in our world today." he wrote on Apirl 9, 1935, in the Manchester Guardian, "is the idolatrous worship which is paid by human beings to nations and communities of states. This tribe-worship is the oldest religion of mankind, and it has only been overcome in so far as human beings have been genuinely converted to Christianity or one of the other higher religions....The spirit of man abhors a spiritual vacuum....People will sacrifice themselves for the 'Third Reich' ir wgatever tge Ersatz-Gotzen may be, till they learn again to sacrifice themselves for the Kingdom of God." After 1937, Toynbee flirted with Catholicism and he came to believe that the meaning of history would be revealed only in the slow and painful clarification of the relation between God and man."
American historian (1914–2004)
Daniel J. Boorstin (1 October 1914 – 28 February 2004) was an American historian, professor, attorney, and author. He served as the director of the Smithsonian’s National Museum of American History in 1969-1973 and was the Librarian of Congress from 1975 to 1987. His book trilogy, The Americans: The Colonial Experience, The National Experience, and The Democratic Experience received the Bancroft Prize, the Pulitzer Prize, and the Francis Parkman Prize. In 1989, the Medal for Distinguished Contribution to American Letters was bestowed upon him.
From: Wikiquote (CC BY-SA 4.0)
Native Name:
Daniel Joseph Boorstin
Alternative Names:
Daniel Boorstin
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The American citizen thus lives in a world where fantasy is more real than reality, where the image has more dignity than its original. We hardly dare face our bewilderment, because our ambiguous experience is so pleasantly iridescent, and the solace of belief in contrived reality is so thoroughly real. We have become eager accessories to the great hoaxes of the age. These are the hoaxes we play on ourselves.
"Toynbee offers his own explanation of how and why societies survive and prosper. It is the leadership of "creative minorities" that keeps societies alive and flourishing. But when the "creative" minority becomes a "dominant" minority, imposing its will by force and oppression, then poletariats (internal and external) are created and the society disintegrates. Though fervent and profuse with the data of his "English empiricism," Toynbee still developed his own mystique to replace "destiny." The real progress of a civilization consists in what Toynbee calls "etherialization"-"an overcoming of material obstacles which releases the energy of the society to make responses to challenges which henceforth are internal rather than external, spiritual rather than material.
In the age of pseudo‑events it is less the artificial simplification than the artificial complication of experience that confuses us. Whenever in the public mind a pseudo‑event competes for attention with a spontaneous event in the same field, the pseudo‑event will tend to dominate. What happens on television will overshadow what happens off television.
MY hero is Man the Discoverer. The world we now view from the literate West — the vistas of time, the land and the seas, the heavenly bodies and our own bodies, the plants and animals, history and human societies past and present — had to be opened for us by countless Columbuses. In the deep recesses of the past, they remain anonymous. As we come closer to the present they emerge into the light of history, a cast of characters as varied as human nature. Discoveries become episodes of biography, unpredictable as the new worlds the discoverers opened to us. The obstacles to discovery — the illusions of knowledge — are also part of our story. Only against the forgotten backdrop of the received common sense and myths of their
When photography appeared in the nineteenth century, it offered a new challenge to the mullahs’ theological acrobatics. Muslims wishing to be photographed remembered the Hadiths against pictorial representation. They were glad to be told that since photographs were made by God Himself through the agency of His Sun they were not under the ban of the paintings by presumptuous human artists. Yet in much of the Muslim world, photographs remained under the Prophet’s ban. A Muslim photographer in Delphi, who had spent many years successfully photographing people in groups, in an onrush of conscience finally destroyed all his plates.
"For Rosseau, then, education would have to be a way not of instilling the ideals of civilization but rather of liberating the young from civilization and its evils.
Much of the program he described in his didactic novel Emile is what he calls "negative education," an antidote and inoculation against the pervasive evils of civilization. It has come to be called "The Child's Charter"-a basis for modern child psychology. And it would be the prospectus and statement of principles for "progressive education" in the United States, led by John Dewey (1859-1952), who conceived it as a way of bringing democracy into the classroom (The School and Society, 1899; Democracy and Education, 1916). The movement attended tot he child's physical and emotional as well as his intellectual development, favored "learning by doing," and encouraged experimental and independent thinking. The teacher, then, aimed not at instilling a body of knowledge but at developing the pupil's own skill at learning from experience."
Most remarkable was the burst of creative energy that had brought forth these paintings in the first place, a flowering of visual art among the Palaeolithic hunting peoples. Because it happened in prehistory, we are inclined to charge it to the “normal” development of cultures, and so rob it of its mystery and surprise. We are told to see here a predictable stage of cultural anthropology. Or was it an unaccountable efflorescence of Man the Creator — none the less unaccountable because the artists remain anonymous? Discovery of Altamira was momentous for our grasp of the history of the arts, showing us that man’s creations do not necessarily improve with his tools, or with the passage of time.
These creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story — a story of infinite addition. We must find order in the random flexings of the imagination.
"When in our schools the study of "current events" (that is, of what is reported in the newspapers) displaces the facts of history, it is inevitable that the standard of knowledge propagated by newspapers and magazines and television networks themselves (that is, whether one is "up on" what is reported in the newspapers, magazines, and television) overshadows all others. When to be informed is to knowledgeable about pseudo-events, the line between knowledge and ignorance is blurred as never before."