Quotes of All Topics . Occasions . Authors
Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?
Translation from one language to another is like viewing a piece of tapestry on the wrong side where though the figures are distinguishable yet there are so many ends and threads that the beauty and exactness of the work is obscured.
In the lives of individuals and societies, language is a factor of greater importance than any other. For the study of language to remain solely the business of a handful of specialists would be a quite unacceptable state of affairs.
If it's racist, it's racist. If it's anti-Semitic, it's anti-Semitic. If it's anti-women, it's anti-women. If it's anti-immigrant, it's anti-immigrant, and we need to really strengthen our language, so that it is clear and not mushy.
It was once argued that 'Starring Sylvester Stallone' were the three scariest words in the English language but until I saw Adam Sandler I'd always thought the three scariest words in the English language were 'starring Dan Aykroyd.'
Magic, then, is not a method, but a language; it is part and parcel of that greater phenomenon, ritual, which is the language of religion. Ritual is a symbolic transformation of experiences that no other medium can adequately express.
At all periods of the [English] language it is difficult to assign a beginning date to most new words and meanings. They tend to slip into the language silently, and are placed in date order only when scholars subsequently get to work.
We have needed to define ourselves by reclaiming the words that define us. They have used language as weapons. When we open ourselves to what they say and how they say it, our narrow prejudices evaporate and we are nourished and armed.
Rap and spoken word have reawakened the country to poetry in itself. Texting and Twitter encourage creative uses of casual language, in ways I have celebrated widely. But we've fallen behind on savoring the formal layer of our language.
Immensely clever and libidinously hilarious.The most astonishing thing about Love in a Dead Language is its ingenious construction. Insofar as any printed volume can lay claim to being a multimedia work, this book earns that distinction.
English has been this vacuum cleaner of a language, because of its history meeting up with the Romans and then the Danes, the Vikings and then the French and then the Renaissance with all the Latin and Greek and Hebrew in the background.
One is almost tempted to say that the language itself is a mythology deprived of its vitality, a bloodless mythology so to speak, which has only preserved in a formal and abstract form what mythology contains in living and concrete form.
There are only two feelings, Love and fear: There are only two languages, Love and fear: There are only two activities, Love and fear: There are only two motives, two procedures, two frameworks, two results, Love and fear, Love and fear.
When you're selling a product or service, you don't have - it doesn't have to be absolutely perfect, although I've provided language that is. When you're a politician, one wrong word changes the entire - changes the meaning of something.
Samskrit language, as has been universally recognized by those competent to form a judgment, is one of the most magnificent, the most perfect, the most prominent and wonderfully sufficient literary instrument developed by the human mind.
From now on I will consider a language to be a set (finite or infinite) of sentences, each finite in length and constructed out ofa finite set of elements. All natural languages in their spoken or written form are languages in this sense.
I have never denied my background or my culture. I have taught my child to embrace her Mexican heritage, to love my first language, Spanish, to learn about Mexican history, music, folk art, food, and even the Mexican candy I grew up with.
There is language going on out there- the language of the wild. Roars, snorts, trumpets, squeals, whoops, and chirps all have meaning derived over eons of expression... We have yet to become fluent in the language -and music- of the wild.
We have language and they do not. Chimps communicate by embracing, patting, looking - all these things. And they have lots of sounds. But they cannot sit and discuss. They cannot teach about things that are not present, as far as we know.
Although our body language governs the way other people perceive us, our body language also governs how we perceive ourselves and how those perceptions become reinforced through our own behavior, our interactions, and even our physiology.
The Christian faith is mysterious to the core. It is about things and beings that ultimately can't be put into words. Language fails. And if we do definitively put God into words, we have at that very moment made God something God is not.
Whenever a man undergoes a considerable change, in consequence of being observed by others, whenever he assumes another gait, another language, than what he had before he thought himself observed, be advised to guard yourself against him.
I'm trying to talk to my kids in Japanese, because I'm not a pro English speaker. My wife speaks to them in English. That's her first language. I don't want my kids to feel the same as me when I was studying English. It was so frustrating.
The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.
Command of English, spoken or written, ranks at the top in business. Our main product is words, so a knowledge of their meaning and spelling and pronunciation is imperative. If a man knows the language well, he can find out about all else.
The most powerful words in English are 'Tell me a story,' words that are intimately related to the complexity of history, the origins of language, the continuity of the species, the taproot of our humanity, our singularity, and art itself.
It's perfectly obvious that there is some genetic factor that distinguishes humans from other animals and that it is language-specific. The theory of that genetic component, whatever it turns out to be, is what is called universal grammar.
The world of public discourse - political, social, diplomatic, commercial - has so corrupted language that we are rightly more suspicious of the meaning of words than we are convinced of their veracity. Language has been turned on its head.
Nobody in my family or in my neighborhood used the language that they used at the University of Chicago. I remember the first time I heard the word "value" repeated again and again by my professor. Value to me was the price of a frying pan.
Good design, at least part of the time, includes the criterion of being direct in relation to the problem at hand - not obscure, trendy, or stylish. A new language, visual or verbal, must be couched in a language that is already understood.
Artists are perennially implored to consider 'the limitations of the medium.' Whoever invented this expression exaggerated the limitations of the English language. We are not concerned with what effects cannot be produced with our materials.
Two races share today the soil of Canada. These people had not always been friends. But I hasten to say it. There is no longer any family here but the human family. It matters not the language people speak, or the altars at which they kneel.
Silence is never-ending speech. Vocal speech obstructs the other speech of silence. In silence one is in intimate contact with the surroundings. Language is only a medium for communicating one's thoughts to another. Silence is ever speaking.
You want to free the world, free humanity, from oppression? Look inside, look sideways, look at the hidden violence of language. Never forget that language is where the other, parallel violence, the cruelty exercised on the body, originates.
Human beings do not live in the objective world alone, nor alone in the world of social activity as ordinarily understood, but are very much at the mercy of the particular language which has become the medium of expression for their society.
There's a melody in everything. And once you find the melody, then you connect immediately with the heart. Because sometimes English or Spanish, Swahili or any language gets in the way. But nothing penetrates the heart faster than the melody.
You can compare it to dreams: you have a very specific and individual pictorial language that you either accept or that you can translate rashly and wrongly. Of course, you can ignore dreams, but that would be a shame, because they're useful.
You don't do things for shock value anymore, because that's not even the language of today. At least, that's not what interests me. If I do it, it's because I want to see things in another way, not necessarily because I want to shock anybody.
It's like, symbolic language, the way that people approach dense poetry... it always bugs me, because that approach suggests that it's like a mystery novel, and that if you can put together the clues, you can come up with one singular answer.
People have tried to corner the market on being offended, corner the market on language and corner the market on opinion. Should I lose my job 'cause I offended somebody? No, of course not. Your life should never be affected by public opinion.
Something of the previous state, however, survives every change. This is called in the language of cybernetics (which took it form the language of machines) feedback, the advantages of learning from experience and of having developed reflexes.
I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.
Animals praise a good day, a good hunt. They praise rain if they're thirsty. That's prayer. They don't live an unconscious life, they simply have no language to talk about these things. But they are grateful for the good things that come along.
As a poet who has the tools for interpreting the poem differently, you can begin to deconstruct it. But the human being who's like, "I know about conversation, I know about language, I know about hard times," will approach the poem differently.
The human face is the organic seat of beauty. It is the register of value in development, a record of Experience, whose legitimate office is to perfect the life, a legible language to those who will study it, of the majestic mistress, the soul.
The language of the Veda itself is sruti, a rhythm not composed by the intellect but heard, a divine Word that same vibrating out of the Infinite to the inner audience of the man who had previously made himself fit fot the impersonal knowledge.
Language is a process of free creation; its laws and principles are fixed, but the manner in which the principles of generation are used is free and infinitely varied. Even the interpretation and use of words involves a process of free creation.
Music is the language of the angels. You can hear just one or two chords, one or two notes of a song, and bam - you're right back there, you're right back in that moment, you're back in that day, you're back at that prom, you're back in the car.
I have difficulties with contemporary language. Big difficulties. I counted, you know, something like 160 words have disappeared from the English language because of the use of the word "like." "I'm like, he's like" - not "thought," not "as if ."
...In another time, What cannot be seen will define us, and we shall be prompted To say that language is error, and all things are wronged By representation. The self, we shall say, can never be Seen with a disguise, and never be seen without one.