Quotes of All Topics . Occasions . Authors
The semiology and phenomenology of hashtaggery intrigues me. From what I understand, it all began very simply: on Twitter, hashtags - those little checkerboard marks that look like this # - were used to mark phrases or names, in order to make it easier to search for them among the zillions and zillions of tweets.
'Ever closer union' is one of the totemically controversial phrases in the European Union's Treaties. It seems to give weight to the view that the scheme is designed to end in a single state and that those who agreed the texts have long know this, even if they have been unwilling to admit it to the British people.
We cannot expect that everyone, to use the phrase of a decade ago, will talk sense to the American people. But we can hope that fewer people will listen to nonsense. And the notion that this Nation is headed for defeat through deficit, or that strength is but a matter of slogans, is nothing but just plain nonsense.
The language of the totalist environment is characterized by the thought-terminating cliché. The most far-reaching and complex of human problems are compressed into brief, highly reductive, definitive-sounding phrases, easily memorized and easily expressed. These become the start and finish of any ideological analysis.
You can't just have slogans, you can't just have catchy phrases. You have to have an agenda. And I think what the Republican Party has to do, if it's going to incorporate the tea party efforts in it, is to come up with an agenda that the American people can see, touch, and actually believe in, and something they believe in.
Ted Cruz, who uses phrases like 'carpet-bombing' the people of ISIS and who said, after the incidents in Paris, that we need a war president, is using fear mongering and hate speech. As a citizen of the world, I'm very concerned that this kind of behavior is being cheered on by anyone. It only brings more pain and suffering.
In the spirit of faith let us begin each day, and we shall be sure to " redeem the time " which it brings to us, by changing it into something definite and eternal. There is a deep meaning in this phrase of the apostle, to redeem time. We redeem time, and do not merely use it. We transform it into eternity by living it aright.
Not only the grounds of the opinion are forgotten in the absence of discussion, but too often the meaning of the opinion itself... Instead of a vivid conception and a living belief, there remain only a few phrases retained by rote; or, if any part, the shell and husk only of the meaning is retained, the finer essence being lost.
You use words like 'introvert' and 'extrovert,' various traits of a personality. A lot of that stuff, we used in drama school, and that was kind of interesting, to realize my teachers sort of ripped off a lot of Jung. And how much of it is part of our society now, these phrases, introvert and extrovert, where it actually came from.
We feel something, and reach out for the nearest phrase or hum with which to communicate, but which fails to do justice to what has induced us to do so....We stay on the outside of our impressions, as if staring at them through a frosted window, superficially related to them, yet estranged from whatever has eluded casual definition.
The selective instinct of the artist tells him when his language should be homely, and when it should be more elevated; and it is precisely in the imperceptible blending of the plain with the ornate that a great writer is distinguished. He uses the simplest phrases without triviality, and the grandest without a suggestion of grandiloquence.
I'm pretty good at inventing phrases - you know, the sort of words that suddenly make you jump, almost as though you'd sat on a pin, they seem so new and exciting even though they're about something hypnopaedically* obvious. But that doesn't seem enough. It's not enough for the phrases to be good; what you make with them ought to be good too.
The 'control of nature' is a phrase conceived in arrogance, . . . when it was supposed that nature exists for the convenience of man . . . . It is our alarming misfortune that so primitive a science has armed itself with the most modern and terrible weapons, and that in turning them against the insects it has also turned them against the earth.
The breakdown of our language, evident in the misuse, i.e., the misunderstanding of nouns and adjectives, is most grave, though perhaps not so conspicuous, in the handling of prepositions, those modest little connectives that hold the parts of a phrase or a sentence together. They are the joints of any language, what make it, literally, articulate.
I'm terrified of the thought of time passing (or whatever is meant by that phrase) whether I 'do' anything or not. In a way I may believe, deep down, that doing nothing acts as a brake on 'time's - it doesn't of course. It merely adds the torment of having done nothing, when the time comes when it really doesn't matter if you've done anything or not.
When I started it [non for profit], I thought, I'm not smart enough to do this. I had no experience in management, no experience in administration, no experience in nonprofit; but then this phrase came into my head: I only have to be smart enough to find people who are smarter than me; I only have to be smart enough to recognize who knows more than me.
I went to Berlin and Warsaw and Kraków to do research. Right after we got started, I had already booked this trip, so I went. Seeing the history and the posters, and hearing from the guy certain phrases and words and images, it's stunning how much they're playing from the handbook of the little mustache that isn't Chaplin. With Rudy Giuliani as Mussolini.
[Lost of the absolute] is in this sense that ''I no longer know what to do with my life" must be understood. Critics have been mistaken about the meaning of this phrase, seeing in it a cry of despair as in Simone de Beauvoir's "I have been cheated." When she uses this word it is to indicate that she claims from life an absolute which she cannot find there.
[William Butler] Yeats has the phrase Hodos Chameliontos, chameleon-like, in that you don't know where the beginning or the middle or the end is, so it's an unrelieved hallucination, because you don't know where you're coming in and you don't know where you're going out. It ends, you're going into the hallucination, or maybe coming out of it, I don't know.
What are your fees?" inquired Guyal cautiously. "I respond to three questions," stated the augur. "For twenty terces I phrase the answer in clear and actionable language; for ten I use the language of cant, which occasionally admits of ambiguity; for five, I speak a parable which you must interpret as you will; and for one terce, I babble in an unknown tongue.
Carl Orff's Carmina Burana has the ability to take you from placidity to power in one sonic breath. It is music of dignity and strength, with primitive, energetic passages, evoking absolute beauty from the simplest of phrases. It brings up something that has everything to do with significance - squeezing joy and motif that you just can't drop - it stays with you.
There is something ridiculous and even quite indecent in an individual claiming to be happy. Still more a people or a nation making such a claim. The pursuit of happiness is without any question the most fatuous which could possibly be undertaken. This lamentable phrase - the pursuit of happiness - is responsible for a good part of the ills and miseries of the modern world.
Nothing in finance is more fatuous and harmful, in our opinion, than the firmly established attitude of common stock investors regarding questions of corporate management. That attitude is summed up in the phrase: "If you don't like the management, sell your stock." ... The public owners seem to have abdicated all claim to control over the paid superintendents of their property.
When I'm on the operating table, I'm happy for the surgeon to treat me as a machine, but the moment I return to consciousness I have other needs and aspirations that should be recognized. We're not here only to survive or extend our individual or species life but to do something seemingly more difficult, for which I've used words and phrases like 'love' and the 'Kingdom of God'.
Some words have multiple meanings. Scholastic, aware that I'm allergic to preservatives, kindly got someone to translate the phrase "I can only eat food without preservatives" into Italian. They warned me, however, as they taught me how to say it, that the Italian word for "preservatives" is the same as the word for "condom." So that I should be careful how I look when I say it.
The difficulty of saying I-a phrase from the East German novelist Christa Wolf. But once having said it, as we realize the necessity to go further, isn't there a difficulty of saying 'we'? You cannot speak for me. I cannot speak for you. Two thoughts: there is no liberation that only knows how to say 'I'; there is no collective movement that speaks for each of us all the way through.
...people like to say things like 'all work is prostitution'. Most work is exploitation, but most work is not prostitution. Prostitution is prostitution, a very specific sort of exploitation... And while I am doing literal corrections to flippant turns of phrase, the earth doesn't get raped. It gets mined and poisoned and blown up and depleted, it gets ruined, but it doesn't get raped.
There's a phrase, "sitzfleisch", which means just plain sitting on your ass and getting it done. Just showing up for work. My uncle Raphael was a painter, and he used to say, "If the muse is late for work, start without her". You have to be there. You have to be there, and do it, and grind it out, even when it is grinding and you know you're probably going to rewrite all this tomorrow.
I had nothing to do with death panels. I thought it was a horrible phrase about end of life. I didn't think it was accurate, and I was - I've always been opposed to it. The reason why I stood behind that phrase "death tax" for so many years is because the only time that you could pay that tax, the only time, is on the death of a relative. And that's what makes it a death tax. You have to be accurate.
There's something nearly mystical about certain words and phrases that float through our lives. It's computer mysticism. Words that are computer generated to be used on products that might be sold anywhere from Japan to Denmark - words devised to be pronounceable in a hundred languages. And when you detach one of these words from the product it was designed to serve, the words acquires a chantlike quality.
Perhaps it is not-being that is the true state, and all our dream of life is inexistent; but, if so, we feel that these phrases of music, these conceptions which exist in relation to our dream, must be nothing either. We shall perish, but we have as hostages these divine captives who will follow and share our fate. And death in their company is somehow less bitter, less inglorious, perhaps even less probable.
Of all the memorable phrases that have been minted and mobilised to describe modern British royalty, 'constitutional monarchy' is virtually the only one which seemes to have neither been anticipated nor invented by Walter Bagehot. It was he who insisted that 'a princely marriage is the brilliant edition of a universal fact, and as such it rivets mankind'; and he who warned that the monarchy's 'mystery is its life. We must not let in daylight upon magic'.
The main trend with the theme episodes is that anywhere there is a misconception about the way the physical world works, we're finding fertile material. Whether it's in a phrase like "going over like a lead balloon" or "a needle in a haystack," or tackling movie myths or even a genre, like MacGyver or James Bond, we're finding that all these things can lead to people believing the world works in a certain way. It might not be correct, but we can test out if it's true.
There was a warmth of fury in his last phrases. He meant she loved him more than he her. Perhaps he could not love her. Perhaps she had not in herself that which he wanted. It was the deepest motive of her soul, this self-mistrust. It was so deep she dared neither realise nor acknowledge. Perhaps she was deficient. Like an infinitely subtle shame, it kept her always back. If it were so, she would do without him. She would never let herself want him. She would merely see.
On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.
