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And Complicated Grief is a text that announces, from the start, in its citation of influence, dense intertextuality and hybridity, a failure of some apparent or usual protections, and a need to re-examine "identity" in the light of an acknowledgement of our entanglements and interdependence.
I have a hard time isolating what it is in myself that makes me so fascinated with the theme of identity, because I came from a normal upper middle-class family. And yet, as I look back at my books, the uses of power, issues of identity, they have - it's recurrent. It happens again and again.
With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.
As it unfolded, the structure of the story began to remind me of one of those Russian dolls that contain innumerable ever-smaller dolls within. Step by step the narrative split into a thousand stories, as if it had entered a gallery of mirrors, its identity fragmented into endless reflections.
The woman who thinks she can choose femininity, can toy with it like the social drinker toys with wine - well, she's asking for it, asking to be undone, devoured, asking to spend her life perpetrating a new fraud, manufacturing a new fake identity, only this time it's her equality that's fake.
Everybody is on a lifelong journey toward trying to live more deeply. There is nobody who can say, "Well, I've got that one checked off my to-do list." We have to be honest with ourselves about where we are on this journey and about the difficulty of living in our own identities and integrity.
I was not a very popular kid in high school, and I had this idea that the way that I dressed would change how liked I was. It was that kind of Pygmalion story. I think, ultimately that's probably why I became interested in fashion, its transformative power, and how it can change your identity.
It seems to me that Canadian sensibility has been profoundly disturbed, not so much by our famous problem of identity, important as that is, as by a series of paradoxes in what confronts that identity. It is less perplexed by the question "Who am I?" than by some such riddle as "Where is here?
It is obviously no secret that I earn a lot of money. But it is also no secret that I give most of it away. I don't live a luxurious life. I drive a small second-hand Fiat. I don't have to worry about money, which is itself a privilege. But I never had any anxiety that I would lose my identity.
We can't walk where we want to walk or be who we want to be or dress the way we want to dress or go anywhere any time of day. I am talking about the freedom that comes with just knowing that you're okay, and that you have value and you have identity, and you don't have to keep proving yourself.
You still have only one self and one identity. However, self, identity and personality are not things, they are not objects, and they certainly are not rigid. Instead, they are biological processes built within the brain from numerous interactive components, step by step, over a period of time.
I was sure we would never see the adoption of the Euro. Countries giving up their currencies for a common tender was, it seemed to me, completely out of tune with currency being a carrier of people's cultural identity, celebrating national heroes and events, as it had been for hundreds of years.
Our identity was bestowed upon us by God and when humanity rebelled against God, we were divorced from the source of our identity. In this vacuum, work can wrongfully become the source of our identity wreaking havoc on our lives and work. Work was never meant to carry the weight of our identity.
Intersectionality is an analytic sensibility, a way of thinking about identity and its relationship to power. Originally articulated on behalf of black women, the term brought to light the invisibility of many constituents within groups that claim them as members but often fail to represent them.
To propel our Louisiana culture into the future seems to be quite a task, but if one lives for the music as Cedric does, the path seems effortless. These songs may well be early brushstrokes of a life's worth of possibilities, not only for himself, but also for the identity survival of a culture.
When I started acting, it was like a double identity crisis - your basic crisis, compounded by people saying, 'there goes Robards' kid, Bacall's kid.' Now I realize, sure, that gets your foot in the door, but once it's there, it's your foot. I'm not bothered anymore. I'm confident of my abilities.
As photographers, we have to find our own identity, our own voice, our own vocabulary. And my question all the time is whether this vocabulary is limited, like our own vocabulary that goes from A to Zed, or whether this vocabulary can carry on growing. And to me, I hope that it carries on growing.
Parenting is a profoundly reciprocal process: we, the shapers of our children's lives, are also being shaped. As we struggle to beparents, we are forced to encounter ourselves; and if we are willing to look at what is happening between us and our children, we may learn how we came to be who we are.
To many writers and thinkers, though not to all, another text is, or can be, the most naked and charged of life-forces ... The concept of allusion or analogue is totally inadequate. To Dante these other texts are the organic context of identity. They are as directly about life as life is about them.
I made a vow that I wouldn't be tempted by what could happen to me if I went to Europe. I thought, 'You could be absorbed in it - it's so seductive, you might lose your own search for identity.' Then, when I did finally go to Europe, I was able to resist it because I had established my own identity.
I want to change and try new ideas - allowing your sonic identity to evolve in your music and not being afraid of that. You see musicians hit upon something that works, and then go, "Let's keep doing that for 10 years." And that idea kind of terrifies me a little bit. It becomes like a day job then.
Whether you look at 'Glee' and its normalization of gay identity or you look at the work of Martin Scorsese and the Italian-American community, American culture is able to take these stories, which are seen as marginalized, and just turn them into American stories. And you don't think twice about it.
Gay rights are not primarily marriage rights, and for the millions who live in unaccepting places with no resources, dignity remains elusive. I am lucky to have forged meaning and built identity, but that's still a rare privilege. And gay people deserve more, collectively, than the crumbs of justice.
The obsessive documentation is itself adjacent to hyper-consumption in our society. The desire to just have everything all the time and adjacent to that is - it might be a little hokey but - a certain loss of identity that then only gets sort of found or ascribed to these moments that are documented.
Environmental pollution, terrorism, and many other global threats do not stop at borders. We all bear global responsibility and thus need a global identity to enable us to cope with them. We must learn to integrate different levels of identity in ourselves. What matters is not either/or, but both/and.
Who among us is so certain of our identity? Who hasn't been asked, 'What's your background?' and hesitated, even for a split second, to answer their inquisitor. Howard Jacobson's 'The Finkler Question' forces us to ask that of ourselves, and that's why it's a must read, no matter what your background.
Every project is different. Adapting 'Robopocalypse' would be totally different than adapting, say, 'Hunger Games.' Each project has its own life and its own identity. You get into trouble when you think there's one single way to approach everything. Each project, there's a different way to attack it.
When the Negro was completely an underdog, he needed white spokesmen. Liberals played their parts in this period exceedingly well.... But now that the Negro has rejected his role as an underdog, he has become more assertive in his search for identity and group solidarity; he wants to speak for himself.
When the identity is realized, I as swordsman see no opponent confronting me and threatening to strike me. I seem to transform myself into the opponent, and every movement he makes as well as every thought he conceives are felt as if they were my own and I intuitively...know when and how to strike him.
I've really come into my own as an artist. I'm much more sure of my identity and understand it much better, and have accepted the fact that I like to jump around a lot in terms of who I am and what kind of music I create, and that it is okay - in fact, that is my main identity, the fact that I do that.
We're just people from everywhere, looking for identity. New York, with the history of freedom, and dreams, and realized dreams, people come to this place like a magnet. You are really coming here to do something that you love. If you lose that idea of yourself, you're not in the lake, you're dried out.
I find confidence seductive. Confidence, to me, is being happy in your own identity and not being influenced by others. I find that quite seductive because I'm a 50-50 person: in some ways I'm confident, and in some ways I'm quiet, reclusive. [I] like someone who can shake me out of that and approach me.
Before doing 'Midnight's Children,' I didn't really have a chance to explore my Indian side. The Indian side of my heritage was always present, but it did not particularly define my identity. Being English was more an identity-defining status. I was born and brought up in London. Yes, my father is Parsi.
Because the one who by excellency of nature transcends all quantity and size and magnitude...has now...contracted himself into a quantity and size and has acquired a physical identity, do not hesitate any longer to draw pictures and to set forth, for all to see, him who has chosen to let himself be seen.
'Rhye' clearly plays with notions of sexual identity, and it has made a concerted effort to keep its own identity mysterious. Its love songs are gender-neutral, the members have declined to appear in their own videos, and you'd be hard-pressed to find a photo of the duo that doesn't cast them in shadows.
Panama is a country that's been dealing with issues of identity since its very birth. It was born on Wall Street. It was born out of engineering construction. It was the canal. Because of the canal, the country was born, so the country has been divided into pro-canal and against-canal people for so long.
If I perceive in another person mainly the surface, I perceive mainly the differences,that which separates us. If I penetrate to the core, i perceive our identity, the fact of our brotherhood. This relatedness from center to center - instead of that from periphery to periphery - is 'central relatedness'.
There is nothing in existence available without payment. If you want to know yourself, you will have to drop all false identities. They are your investments, they are your power, they are your prestige, they are your religion, they are your qualifications. It is difficult to drop them; it feels like death.
If you want to control the world you need to control the oil. Therefore the destruction of Iraq is a prerequisite to controlling oil. That means the destruction of the Iraqi national identity, since the Iraqis are committed to their principles and rights according to international law and the U.N. charter.
Kenya is rapidly developing its industry and manufacturing, and its cultural identity as a new country. We had a humongous history pre-British, and when we were colonized and violently reshuffled, we had to decide who we were again. We couldn't rest on the stories and the cultures of our great-grandparents.
Personal identity seems like it's just such an American archetype, from Holly Golightly re-inventing herself in 'Breakfast At Tiffany's' to Jay Gatsby in 'The Great Gatsby.' It seems like the sort of archetypal American issue. If you're given the freedom to be anything, or be anyone, what do you do with it?
When you go through hell, your own personal hell, and you have lost - loss of fame, loss of money, loss of career, loss of family, loss of love, loss of your own identity that I experienced in my own life - and you've been able to face the demons that have haunted you... I appreciate everything that I have.
I'm often asked the same question: What in your work comes from your own culture? As if I have a recipe and I can actually isolate the Arab ingredient, the woman ingredient, the Palestinian ingredient. People often expect tidy definitions of otherness, as if identity is something fixed and easily definable.
The simple truth of our finiteness is that we could, by whatever means, go on interminably only at the price of either losing the past and, therewith, our identity, or living only in the past and therefore without a real present. We cannot seriously wish either and thus not a physical enduring at that price.
As a woman who doesn't necessarily fit the beauty standard in Hollywood... I really related to the narrative of looking for something you felt comfortable in that would properly express your identity, especially when your identity didn't feel like it necessarily matched the one that was being imposed on you.
If I were to peruse a survey of label options, as they exist now, they either sound like a time bomb disorder or manic depression or Bipolar divide or mental illness. How can I find an identity in that? It certainly isn't something I can bring up in conversation, without a reaction of judgement or even fear.
There's all these proofs that go on of identity, of records, and they're quite non-digital. The blockchain innovation really allows us to take everything where there's record keeping, everything where there's trust around record keeping, and it allows us to make that digital, immutable, permanent, and global.
Being gay, you're kind of forced to ask, I suppose, very existential questions from a very, very early age. Your identity becomes so important to you because you're trying to understand it, and, I think, from the age of, like, 9, you're being forced to ask questions... that other kids maybe don't have to ask.
In addition to exploring imaginative worlds, I believe that young people should have access to reading material that validates their life, that gives them a sense of identity - to be able to read texts that chimes with their own world, corrals thoughts, and connects with the emotional conflicts of growing up.
While the living thing may easily be crushed by superior force, it none the less tries to turn the energies which act upon it into means of its own further existence. If it cannot do so, it does not just split into smaller pieces (at least in the higher forms of life), but loses its identity as a living thing.