A Quote by Arthur Schopenhauer
The first forty years of our life give the text, the next thirty furnish the commentary upon it, which enables us rightly to understand the true meaning and connection of the text with its moral and its beauties.
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The first forty years of life give us the text; the next thirty supply the commentary on it.
The meaning of a work is not what the author had in mind at some point, nor is it simply a property of the text or the experience of a reader. Meaning is an inescapable notion because it is not something simple or simply determined. It is simultaneously an experience of a subject and a property of a text. It is both what we understand and what in the text we try to understand.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
To understand a Bible text it takes an act of the Holy Spirit equal to the act that inspired the text in the first place. A revelation of the Holy Spirit in one glorious flash of inward illumination would teach you more of Jesus than five years in a theological seminary.
A text is not a text unless it hides from the first comer, from the first glance, the law of its composition and the rules of its game. A text remains, moreover, forever imperceptible. Its laws and rules are not, however, harbored in the inaccessibility of a secret; it is simply that they can never be booked, in the present, into anything that could rigorously be called a perception.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
Our amended Constitution is the lodestar for our aspirations. Like every text worth reading, it is not crystalline. The phrasing is broad and the limitations of its provisions are not clearly marked. Its majestic generalities and ennobling pronouncements are both luminous and obscure. This ambiguity of course calls forth interpretation, the interaction of reader and text. The encounter with the Constitutional text has been, in many senses, my life's work.
What secret knowledge, one must wonder, is breathed into lawyers when they become Justices of this Court that enables them to discern that a practice which the text of the Constitution does not clearly proscribe, and which our people have regarded as constitutional for 200 years, is in fact unconstitutional?
I'm bullish on writing. Movies, radio, television, and now digital media - everything was supposed to push us away from text, to video or "back" to speech. First, there's no going back. We're always stumbling forward. Second, writing is invincible. Thirty years ago, we thought we'd all be talking to our computers; instead, we're all typing on our phones.
Never preach a sermon without a text from the Bible, a text containing the theme which you can elaborate. The text is the best proof in support of your argument. A sermon without a text is an argument without a proof.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.
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