A Quote by Camille Paglia

French rhetorical models are too narrow for the English tradition. Most pernicious of French imports is the notion that there is no person behind a text. Is there anything more affected, aggressive, and relentlessly concrete than a Parisan intellectual behind his/her turgid text? The Parisian is a provincial when he pretends to speak for the universe.
The American high school graduate is two years behind his English, French or German counterpart; in Alabama, God knows how far behind.
It was always said that the big distinction between the French and the English is that the English are intelligent and the French are intellectual.
The strongest army in the world [the French] facing no more than twenty-six [German] divisions, sitting still and sheltering behind steel and concrete while a quixotically valiant ally was being exterminated!
Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.
Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
My wife's French. I mean I speak a bit of French but I've lived amongst French, you know, most of my adult life.
When I got to college I simply decided that I could speak French, because I just could not spend any more time in French classes. I went ahead and took courses on French literature, some of them even taught in French.
The power of a text when it is read is different from the power it has when it is copied out. Only the copied text thus commands the soul of him who is occupied with it, whereas the mere reader never discovers the new aspects of his inner self that are opened by the text, that road cut through the interior jungle forever closing behind it: because the reader follows the movement of his mind in the free flight of day-dreaming, whereas the copier submits it to command.
One of the things I really respect about Doug Moo is that he is constantly grappling with the text. Where he hears the text saying something which is not what his tradition would have said, he will go with the text. I won't always agree with his exegesis, but there is a relentless scholarly honesty about him which I really tip my hat off to.
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 more English is heard in the world, the more gratifying it seems to speak French, and above all to know the culture of our country. They find a kind of French social grace in the language and culture.
I speak French, and I grew up with French, so my English is Franglais.
I met my wife through playing golf. She is French and couldn't speak English and I couldn't speak French, so there was little chance of us getting involved in any boring conversations - that's why we got married really quickly.
My dad's French, and I spent my summers in France growing up. So I speak French fluently, and obviously, I speak English because I was raised in New York, and I grew up here.
I always have a problem playing text-heavy games. I'm a slow reader. I don't speak English well. As a kid in China, trying to play these games, I just wanted the text to go away.
I went to Brown to be a French professor, and I didn't know what I was doing except that I loved French. When I got to Paris and I could speak French, I know how much it helped me to establish relationships with Karl Lagerfeld, with the late Yves St. Laurent. French, it just helps you if you're in fashion. The French people started style.
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