Contexts Quotes

Authors: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Categories: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
writers-use-narratives-to-select-from-everything-there-is-make-contexts-by-putting-pieces-into-relation-thats-what-writers-do-they-make-contexts-paul-shepheard
the-work-television-is-to-establish-false-contexts-to-chronicle-unraveling-existing-contexts-finally-to-establish-context-no-context-to-chronicle-it
ive-done-many-different-movies-in-many-different-contexts
diversity-is-best-in-all-contexts
context-overrides-in-different-contexts-cells-do-different-things-mina-bissell
the-real-hallmark-learning-is-transferring-what-youve-learned-into-new-contexts-eric-mazur
as-anyone-familiar-with-my-scholarship-knows-i-am-not-huge-fan-inherent-powers-in-most-contexts
im-not-shy-person-im-just-somebody-whos-got-lot-work-who-doesnt-like-to-parade-himself-in-new-celebrity-contexts-alan-moore
the-monkees-are-to-beatles-what-star-trek-is-to-nasa-they-are-both-totally-valid-in-their-contexts-micky-dolenz
the-natural-world-is-not-only-set-constraints-but-contexts-within-which-we-can-more-fully-realize-our-dreams-paul-shepard
i-had-always-wanted-to-be-writer-who-confused-genre-boundaries-who-was-read-in-multiple-contexts
actual-human-discourse-happens-within-number-contexts-not-in-some-sort-unified-public-forum
the-great-thing-about-x-men-is-that-it-takes-characters-that-are-quite-firmly-established-in-comics-puts-them-in-new-contexts
testimony-should-be-philosophical-problem-not-limited-to-legal-historical-contexts-where-it-refers-to-account-witness-who-reports-what-he-has-seen
im-artist-who-works-with-pictures-words-sometimes-that-stuff-ends-up-in-different-kinds-sites-contexts-which-determine-what-it-means-looks-like-barbara-kruger
there-is-no-surer-more-illuminating-way-reading-mans-character-perhaps-little-his-past-history-than-by-observing-contexts-in-which-he-prefers-to-use-certain-words-owen-barfield
rape-is-particularly-traumatic-meaningful-in-many-ways-that-theres-something-about-using-word-in-other-contexts-that-diminishes-reality-it-impact-it-has-on-womens-lives-sandra-br
because-i-live-in-countryside-i-want-building-which-encourages-me-to-have-fully-formed-relationship-with-environment-it-gives-me-opportunity-to-not-just-be-inside-outside-but-in-
the-text-is-merely-one-contexts-piece-literature-its-lexical-verbal-one-no-more-less-important-than-sociological-psychological-historical-leslie-fiedler
ordinary-language-carries-with-it-conditions-meaning-which-it-is-easy-to-recognize-by-classifying-contexts-in-which-expression-is-employed-in-paul-ricoeur
citizenship-ethnicity-can-become-in-certain-contexts-restrictive-perhaps-thats-one-reason-i-was-interested-in-people-who-feel-compelled-to-mask-their-origins-thereby-circumvent-r
everyday-life-became-infused-with-urgency-as-i-tried-to-speak-act-in-ways-that-fit-holy-script-glorified-god-in-new-contexts-kevin-vanhoozer
i-suppose-its-fair-to-say-that-i-am-interested-in-invention-self-selves-were-all-born-into-certain-circumstances-with-particular-physical-traits-unique-developmental-experiences-
some-women-bristle-in-certain-contexts-at-being-called-female-it-seems-to-focus-exclusively-on-reproductive-system-makes-you-feel-like-chicken-all-thighs-breasts-mary-norris
part-why-i-love-these-angry-straight-white-punks-is-that-they-are-stripping-dharma-its-bullshit-applying-it-to-contexts-styles-that-even-if-they-arent-mine-are-at-least-different
this-is-absolutely-correct-forms-part-larger-concept-that-topdown-causation-is-key-factor-not-just-in-way-brain-works-but-in-broader-contexts-in-george-f-r-ellis
we-dont-experience-light-color-gesture-in-vacuum-we-experience-it-in-contexts-jay-maisel
its-important-to-always-put-things-in-their-historical-contexts-it-teaches-important-lessons-about-country-in-question-warren-christopher
fruitful-discourse-in-science-or-theology-requires-us-to-believe-that-within-the-contexts-of-normal-discourse-there-are-some-true-statements
i-think-about-art-lot-only-in-two-contexts-one-is-narrativethe-other-thing-that-im-interested-in-which-is-tangential-but-not-unrelated-all-art-to-me-steven-soderbergh
i-enjoy-being-around-people-who-disagree-with-me-i-enjoy-being-in-non-political-contexts-activities
in-digital-age-we-filter-forward-instead-filtering-out-as-result-all-that-material-is-still-available-to-us-to-others-to-filter-in-their-own-ways-to-bring-forward-in-other-contex
i-usually-say-latina-mexican-american-american-mexican-in-certain-contexts-chicana-depending-on-whether-my-audience-understands-term-not
pull-approaches-differ-significantly-from-push-approaches-in-terms-how-they-organize-manage-resources-push-approaches-are-typified-by-programs-tightly-scripted-specifications-act
Let's press ahead a little further by sketching out a few variations among short shorts: ONE THRUST OF INCIDENT. (Examples: Paz, Mishima, Shalamov, Babel, W. C. Williams.) In these short shorts the time span is extremely brief, a few hours, maybe even a few minutes: Life is grasped in symbolic compression. One might say that these short shorts constitute epiphanies (climactic moments of high grace or realization) that have been tom out of their contexts. You have to supply the contexts yourself, since if the contexts were there, they'd no longer be short shorts. LIFE ROLLED UP. (Examples: Tolstoy's 'Alyosha the Pot, ' Verga's 'The Wolf, ' D. H. Lawrence's 'A Sick Collier.') In these you get the illusion of sustained narrative, since they deal with lives over an extended period of time; but actually these lives are so compressed into typicality and paradigm, the result seems very much like a single incident. Verga's 'Wolf' cannot but repeat her passions, Tolstoy's Alyosha his passivity. Themes of obsession work especially well in this kind of short short. SNAP-SHOT OR SINGLE FRAME. (Examples: Garda Marquez, Boll, Katherine Anne Porter.) In these we have no depicted event or incident, only an interior monologue or flow of memory. A voice speaks, as it were, into the air. A mind is revealed in cross-section - and the cut is rapid. One would guess that this is the hardest kind of short short to write: There are many pitfalls such as tiresome repetition, being locked into a single voice, etc. LIKE A FABLE. (Examples: Kafka, Keller, von Kleist, Tolstoy's 'Three Hermits.') Through its very concision, this kind of short short moves past realism. We are prodded into the fabulous, the strange, the spooky. To write this kind of fable-like short short, the writer needs a supreme self-confidence: The net of illusion can be cast only once. When we read such fable-like miniatures, we are prompted to speculate about significance, teased into shadowy parallels or semi allegories. There are also, however, some fables so beautifully complete (for instance Kafka's 'First Sorrow') that we find ourselves entirely content with the portrayed surface and may even take a certain pleasure in refusing interpretation. ("Introduction")

Irving Howe
lets-press-ahead-little-further-by-sketching-out-few-variations-among-short-shorts-one-thrust-of-incident-examples-paz-mishima-shalamov-babel-w-c-williams-in-these-short-shorts-t
in-contexts-religion-politics-words-are-not-regarded-as-standing-rather-inadequately-for-things-events-on-contrary-things-events-are-regarded-as-particular-illustrations-words-al
in-contexts-religion-politics-words-are-not-regarded-as-standing-rather-inadequately-for-things-events-on-contrary-things-events-are-regarded-as-aldous-huxley
As a result of the work done by all these stratifying force in language, there are no "neutral" words and forms - words and forms that can belong to "no one"; language has been completely taken over, shot through with intentions and accents. For any individual consciousness living in it, language is not an abstract system of normative forms, but rather a concrete heteroglot conception of the world. All words have the "taste" of a profession, a genre, a tendency, a party, a particular work, a particular person, a generation, an age group, the day and hour. Each word tastes of the context and contexts in which it has lived it socially charged life; all words and forms are populated by intentions. Contextual overtones (generic, tendentious, individualistic) are inevitable in the word. As a living, socio-ideological concrete thing, as heteroglot opinion, language, for the individual consciousness, lies on the borderline between oneself and the other. The word in language is half someone else's. It becomes "one's own" only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention. Prior to this moment of appropriation, the word does not exist in a neutral and impersonal language (it is not, after all, out of a dictionary that the speaker gets his words!), but rather it exists in other people's mouths, in other people's contexts, serving other people's intentions: it is from there that one must take the word, and make it one's own. And not all words for just anyone submit equally easy to this appropriation, to this seizure and transformation into private property: many words stubbornly resist, others remain alien, sound foreign in the mouth of the one who appropriated them and who now speaks them; they cannot be assimilated into his context and fall out of it; it is as if they put themselves in quotation marks against the will of the speaker. Language is not a neutral medium that passes freely and easily into the private property of the speaker's intentions; it is populated - overpopulated - with the intentions of others. Expropriating it, forcing it to submit to one's own intentions and accents, is a difficult and complicated process.

Mikhail Bakhtin
as-result-work-done-by-all-these-stratifying-force-in-language-there-are-no-neutral-words-forms-words-forms-that-can-belong-to-no-one-language-has-been-completely-taken-over-shot
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