A Quote by Cynthia Ozick
Above all, a book is a riverbank for the river of language. Language without the riverbank is only television talk - a free fall, a loose splash, a spill.
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All I did was sit on the riverbank handing out river water. After I'm gone, I trust you will notice the river.
Trees on a riverbank, a woman in another man's house, and kings without counselors go without doubt to swift destruction.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
I caught Bast’s arm when she was a few steps from the bank. “Stay away from the water.” She frowned. “Carter, I’m a cat. I’m not going for a swim. But if you want to summon a river goddess, you really need to do it at the riverbank.
A people without a language of its own is only half a nation. A nation should guard its language more than its territories, 'tis a surer barrier and a more important frontier than mountain or river.
Few cross over the river. Most are stranded on this side. On the riverbank they run up and down. But the wise man, following the way, Crosses over, beyond the reach of death. He leaves the dark way For the way of light.
When you fall in love with a book, something especially interesting and exciting is happening because of the way language works on us as human beings. And I love language.
Language is decanted and shared. If only one person is left alive speaking a language - the case with some American Indian languages - the language is dead. Language takes two and their multiples.
It has not been definitively proved that the language of words is the best possible language. And it seems that on the stage, which is above all a space to fill and a place where something happens, the language of words may have to give way before a language of signs whose objective aspect is the one that has the most immediate impact upon us.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
The language of men was involved with only one hemisphere in order to leave the other free for the language of the gods.
Quiet talk is the language of love. It is the language of peace. It is the language of God.
I love the best of all the traditions. My discipline is the take-no-prisoners language of good poetry, but a language that actually frees us from prejudice, no matter what religion or political persuasion they are. I try to create a river-like discourse. The river is not political, it's not on your side or against you. It's an invitation into the onward flow.
One of the reasons I love language is that concerning semiotics, language is an arbitrary sign system, which means the signs within it are free-floating, but we put them in a certain order to get them to have meaning for us. If we left them alone, they'd be like water, like the ocean. It would be just this vast field of free-floating matter or signs, so in this way, I think language and water have much in common. It's only us bringing grammar and syntax and diction and the human need for meaning that orders language, hierarchizes it.
The language in a comic book or a graphic novel and the cinematographic language are really not the same language. They are false brother and sister. It's not at all the same.
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