A Quote by Deborah Smith

There's no linear narrative - the structure is more like a series of variations on a theme (how identity is shaped by language), with the past constantly bleeding into the present, dreams into reality. And the language, while incredibly lyrical in places, also has this underlying dissonance, the sense of it having itself been translated.
Every language having a structure, by the very nature of language, reflects in its own structure that of the world as assumed by those who evolved the language. In other words, we read unconsciously into the world the structure of the language we use.
In the future, we've forgotten it. It's disappointing to find out that the past is the present is the future. Nobody wants that. And yet, that's what it is. Maybe it's a kind of surrealist move, to use language like "post-racial" - thinking that if you create the language for it, it will happen. I wish it worked that way. But that's not our reality.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
The structure of language determines not only thought, but reality itself.
In general, I agree with Jacob Grimm and feel that we ought to permit changes and uncontrolled growth in language. Even though that also allows potentially threatening new words to develop, language needs the chance to constantly renew itself.
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.
Urdu can not die out because it has very strong roots in Persia. The language itself is not only just the language of the Muslims, but it's also the language of the Hindus.
The fact of simultaneously being Christian and having as my mother tongue Arabic, the holy language of Islam, is one of the basic paradoxes that have shaped my identity.
Also, they don't understand - writing is language. The use of language. The language to create image, the language to create drama. It requires a skill of learning how to use language.
If a novel is written in a certain language with certain characters from a particular community and the story is very good or illuminating, then that work is translated into the language of another community - then they begin to see through their language that the problems described there are the same as the problems they are having. They can identify with characters from another language group.
The main effect of the Internet on language has been to increase the expressive richness of language, providing the language with a new set of communicative dimensions that haven't existed in the past.
My idea in terms of managing a narrative, or in thinking in my creative life, is that you could easily argue that the past, the present and the future all occur simultaneously, and if you can postulate that, then you're not strictly bound to a linear narrative.
Having God as an identity marker is nothing but a label, a language, and a lifestyle. I'm a Christian. I talk like one. I act like one. But having God as an identity changer is so much more. It's lavish abandon to who God is and who He's made me to be. Holding nothing back!
XML is not a language in the sense of a programming language any more than sketches on a napkin are a language.
A novel, even a social realist one, can't simply be a comprehensive rendering of what is. A novel requires a special angle or approach, whether in structure or language or theme, to justify itself.
The language of the land in the Parthian empire was the native language of Iran. There is no trace pointing to any foreign language having ever been in public use under the Arsacids.
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