Conflicts In The Crucible Quotes

Whereas literalists and fundamentalists tend to choose one pole of any dilemma or opposition, whereas modern political parties and religious groups tend towards demonizing each other, the creative individual must be born again and again in the crucible created by the tension between opposing instincts, conflicted feelings, and contrasting ideas.

10 fundamental lessons of history: 1. We do not learn from history. 2. Science and technology do not make us immune to the laws of history. 3. Freedom is not a universal value. 4. Power is the universal value. 5. The Middle East is the crucible of conflict and the graveyard of empires. 6. The United States shares the destinies of the great democracies, the republics, and the superpowers of the past. 7. Along with the lust for power, religion and spirituality are the most profound motivators in human history. 8. Great nations rise and fall because of human decisions made by individual leaders. 9. The statesman is distinguished from a mere politician by four qualities: a bedrock of principles, a moral compass, a vision, and the ability to create a consensus to achieve that vision. 10. Throughout its history, the United States has charted a unique role in history.

Mature spiritual leadership is forged in the crucible of difficult conversations, the pressure of conflicted relationships, the pain of setbacks, and dark nights of the soul.

Ultimately, the character of the region [the Middle East] will be decided in the crucible of Shia revival and the Sunni response to it.

manuals and curricular materials, has historically been edited to portray Mormons at their best and the world at its worst. Episodes and actions that reflect poorly on the Mormon people (like the Mountain Meadows Massacre) or create awkward questions (like Joseph Smith’s plural marriages) were largely omitted or downplayed. Coming out of a legacy of bitter conflict, persecution, expulsion, and martyrdom, early Mormon historians felt no compunction about portraying the Mormon past as a black-and-white struggle between God’s covenant people and gentile oppressors. The trauma and unrequited murder of Joseph and Hyrum in particular lingered long not just in collective but in personal memory. A friend of the Smith family described the scene in the Mansion House when the bodies of the two victims of the mob were laid out following their return to Nauvoo: “I shall not attempt to discribe the scene that we have passed through. God forbid that I should ever witness another like unto it. I saw the lifeless corpses of our beloved brethren when they were brought to their almost distracted families. Yea I witnessed their tears, and groans, which was p80-1

The conflict, Marat/Sade (which should really be Marx/Sade, except that the ingenious Mr. Weiss was not quite ingenious enough to devise a historical conjunction between uncle Karl and the Marquis), is the conflict between anarchy and tyranny. Sade, not Marat or Marx, is the true revolutionary, for he aims at a world outside the crucible of punishment-and-submission, while they aim at a new world still within that crucible.

In facing up to the knotty problem so early in the conflict, Marshall began to reveal why he would prove the one really indispensable American military leader of the Second World War.

Perhaps we would be able to understand the founding of the United States differently, I thought, if we explained it not only in terms of political conflict within the Anglo-American community or the working out of Revolutionary ideals, but as a consequence of the forty-year-long effort to subject the Ohio Country, and with it the rest of the Transappalachian west, to imperial control.

There are many faces to the horrors of war-- decimation, mutilation, barbarity, and, of course, death itself. But one of the most savage and dehumanizing consequences of armed conflict is the prison system that springs up to house enemy combatants--and ordinary citizens too. These hellish camps encapsulate the lowest depths of human depravity; ruled by violence and degeneracy, political prisoners are forced to endure unthinkable conditions and unchecked cruelty--all without any chance of reprieve. Uta Christensen's latest novel, Caught: Surviving the Turbulent River of Life, chronicles this appalling consequence of war, weaving a narrative of atrocity that, despite its artful inventions and complex characters, is so starkly based on grim realities... that one cannot help but shudder. Caught tells the story of Janos, a young German boy kidnapped by the Nazis during WWII--and forced into a Russian prison camp. There, Janos must survive against all odds, fighting off starvation and death at every turn as the years march on... and he becomes a man. It is, in fact, within the hardships of this very crucible, that Janos thrives, overcoming the frailties and ignobilities of existence to discover friendship, compassion, and love--making him into the apotheosis of an upstanding, self-reliant citizen: a true model to all his fellow countrymen. Told in flashbacks, Caught: Surviving the Turbulent River of Life explores the intricate nature of suffering and memory, delving into the complexities of how the past--even the most vicious episodes--informs the present... and the very nature of the self. Uta Christensen, with striking prose and a poetic sensibility, brings the darker chapters of history to life in such a way that one is instantly captivated by a concurrent horror and pity, a sense of tragedy, but too a catharsis in overcoming, in human resilience and beauty itself. A truly breathtaking novel, Caught is a tour de force of literary perfection; poignant, unremitting, and painfully real, this book is essential reading for all those willing to face hard truths--and grow from them.

The war between the centrifuge of knowledge and the centripetal pull of power remains the prime conflict in all economies. Reconciling the two impulses is a new economics, an economics that puts free will and the innovating entrepreneur not on the periphery but at the center of the system. It is an economics of surprise that distributes power as it extends knowledge. It is an economics of disequilibrium and disruption that tests its inventions in the crucible of a competitive marketplace. It is an economics that accords with the constantly surprising fluctuations of our lives.

Only a handful of iconoclasts guessed that airplanes and submarines would rewrite all the rules of naval warfare, that by the late 1930s battleships would be worse than useless (because of the money and manpower they diverted), and that Mahan’s three dogmas were sinking rapidly into obsolescence. The First World War revealed glimpses of the future. The German U-boats proved that submarines could menace seaborne supply lines. The war in Europe hinted at the possibilities of airpower, and by the end of the war the British had demonstrated that airplanes could take off from and land on ships. Jutland, the largest naval battle of the conflict, neither bore out Mahan’s doctrines nor completely refuted them. But none of the lessons of the First World War could break the power of the battleship cult, whose acolytes dominated the ranks of all the world’s major navies until the opening salvos of the next war.

• Battle The final conflict that decides the goal. Regardless of who wins, the audience learns which values and ideas are superior. • Final Action Against Opponent The hero may make one last action—moral or immoral—against the opponent just before or during the battle. • Moral Self-Revelation The crucible of the battle produces a self-revelation in the hero. The hero realizes that he has been wrong about himself and wrong toward others and realizes how to act properly toward others. Because the audience identifies with this character, the self-revelation drives the theme home with great power. • Moral Decision The hero chooses between two courses of action, thus proving his moral self-revelation. • Thematic Revelation In great storytelling, the theme achieves its greatest impact on the audience at the thematic revelation. The thematic revelation is not limited to the hero. Instead, it is an insight the audience has about how people in general should act and live in the world. This insight breaks the bounds of these particular characters and affects the audience where they live. With a thematic revelation, the audience sees the “total design” of the story, the full ramifications of what it means, on a much greater scale than just a few characters.