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" "As individuals and as a nation, we now suffer from social narcissism. The beloved Echo of our ancestors, the virgin America, has been abandoned. We have now fallen in love with our own image, with images of our making, which turn out to be images of ourselves.
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.
Biography information from Wikiquote
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Plato's Academy, formally organized as a religious guild, had the aura of a great spirit reaching out to all listeners. But Aristotle's legacy was a body of knowledge, marking the path of modern learning-accumulating the facts of the world and human experience with an explanation of causes. Aristotle's legacy, then, was not the power of a charismatic personality of grand poetic gifts, but rather the accumulation of a lifetime of scholarly observation. And before Aristotle's writings were recovered by Andronicus, there were centuries of opportunity for his ideas to be distorted. Plato's was an unbroken tradition, Aristotle's was a series of renaissances.
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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.