“Our task is to prevent the present generation, torn asunder by its conflicts, from becoming perverted and from perverting new generations.”

Ideology and Utopia (1929)

Book III, sec. 40
History of Rome

Moyers on Democracy (2008), Introduction, p. 2
Context: Terms like "liberty" and "individual freedom" invoked by generations of Americans who battled to widen the 1787 promise to "promote the general welfare" have been perverted to create a government primarily dedicated to the state and the political class that runs it. Yes, Virginia, there is a class war and ordinary people are losing it.

Inaugural Address (2003)

Harvard Graduation Speech (2017)

"Here Is New York," Holiday (1948); reprinted in Here is New York (1949)
Context: The subtlest change in New York is something people don't speak much about but that is in everyone's mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimation of mortality is part of New York now: in the sounds of jets overhead, in the black headlines of the latest edition.
All dwellers in cities must dwell with the stubborn fact of annihilation; in New York the fact is somewhat more concentrated because of the concentration of the city itself and because, of all targets, New York has a certain clear priority. In the mind of whatever perverted dreamer who might loose the lightning, New York must hold a steady, irresistible charm.

Eine neue wissenschaftliche Wahrheit pflegt sich nicht in der Weise durchzusetzen, daß ihre Gegner überzeugt werden und sich als belehrt erklären, sondern vielmehr dadurch, daß ihre Gegner allmählich aussterben und daß die heranwachsende Generation von vornherein mit der Wahrheit vertraut gemacht ist. … Eine neue große wissenschaftliche Idee pflegt sich nicht in der Weise durchzusetzen, daß ihre Gegner allmählich überzeugt und bekehrt werden — daß aus einem Saulus ein Paulus wird, ist eine große Seltenheit —, sondern vielmehr in der Weise, dass die Gegner allmählich aussterben und daß die heranwachsende Generation von vornherein mit der Idee vertraut gemacht wird. Auch hier heißt es wieder: Wer die Jugend hat, der hat die Zukunft.
Wissenschaftliche Selbstbiographie. Mit einem Bildnis und der von Max von Laue gehaltenen Traueransprache. Johann Ambrosius Barth Verlag (Leipzig 1948), p. 22, in Scientific Autobiography and Other Papers, (1949), as translated by F. Gaynor, pp. 33–34, 97 (as cited in T. S. Kuhn, The Structure of Scientific Revolutions). Translation revised by Eric Weinberger.

The Magic of Images: Word and Picture in a Media Age (2004)
Context: As a classroom teacher for over thirty years, I have become increasingly concerned about evidence of, if not cultural decline, then cultural dissipation since the 1960s, a decade that seemed to hold such heady promise of artistic and intellectual innovation. Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space. The new generation, raised on TV and the personal computer but deprived of a solid primary education, has become unmoored from the mother ship of culture. Technology, like Kubrick's rogue computer, Hal, is the companionable servant turned ruthless master. The ironically self-referential or overtly politicized and jargon-ridden paradigms of higher education, far from helping the young to cope or develop, have worsened their vertigo and free fall. Today's students require not subversion of rationalist assumptions -- the childhood legacy of intellectuals born in Europe between the two World Wars -- but the most basic introduction to structure and chronology. With out that, they are riding the tail of a comet in a media starscape of explosive but evanescent images.

1940 - 1948, Intimate Banalities' (1941)