A Quote by Barry Ritholtz

People who work in specialized fields seem to have their own language. Practitioners develop a shorthand to communicate among themselves. The jargon can almost sound like a foreign language.
I really like language - and slang in particular, and just the shorthand we use when we communicate with people.
Try not to be either intimidated by or a captive of jargon. Even though it's language, and language is about communication, it often exists actually to obfuscate and to control power and not to communicate.
It's important to me to work in my own language now and then. I love English, but you can never learn to master a foreign language if you're not brought up with it.
It's important to me to work in my own language now and then. I love English, but you can never learn to master a foreign language if you're not brought up with it
Magicians and scientists are, on the face of it, poles apart. Certainly, a group of people who often dress strangely, live in a world of their own, speak a specialized language and frequently make statements that appear to be in flagrant breach of common sense have nothing in common with a group of people who often dress strangely, speak a specialized language, live in ... er.
If language naturally evolves to serve the needs of tiny rodents with tiny rodent brains, then what's unique about language isn't the brilliant humans who invented it to communicate high-level abstract thoughts. What's unique about language is that the creatures who develop it are highly vulnerable to being eaten.
I just want to say that 'Minari' is about a family. It's a family trying to learn how to speak a language of its own. It goes deeper than any American language and any foreign language.
They're on their way to the foreign-language wing. That's no surprise. The foreign kids are always here, like they need to breathe air scented with their native language a couple times a day or they'll choke to death on too much American.
Some feminist critics debate whether we take our meaning and sense of self from language and in that process become phallocentric ourselves, or if there is a use of language that is, or can be, feminine. Some, like myself, think that language is itself neither male nor female; it is creatively expansive enough to be of use to those who have the wit and art to wrest from it their own significance. Even the dread patriarchs have not found a way to 'own' language any more than they have found a way to 'own' earth (though many seem to believe that both are possible).
The jargon of authenticity ... is a trademark of societalized chosenness, ... sub-language as superior language.
In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.
I'm chasing a kind of language that can be unburdened by people's expectations. I think music is the primary model-how close can you get this language to be like music and communicate feeling at the base level in the same way a composition with no words communicates meaning? It might be impossible. Language is always burdened by thought. I'm just trying to get it so it can be like feeling.
It is the task of the translator to release in his own language that pure language that is under the spell of another, to liberate the language imprisoned in a work in his re-creation of that work.
Lots of people speak Afrikaans. It's not a statement; it's just a language that we use to communicate. It has its own flavour; it's got its own slang. People laugh. People like it. They like us being open.
I don't hate language. I have my own language, but I also enjoy the English language. Obviously, you don't read a lot of literature and not care about language.
Rather than thinking of sound and sense in my essays as two opposing principles, two perpendicular trajectories, as they are often considered in conversations around translation, or even as two disassociated phenomena that can be brought together to collaborate with more or less success, I think of sound as sense. Sound has its own meaning, and it's one of the many non-semantic dimensions of meaning in language. I want to emphasize is the formal dynamic between language-as-information and language-as-art-material.
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