A Quote by Jess Row

It's only when an American steps outside of their own culture that you see how integral it is. — © Jess Row
It's only when an American steps outside of their own culture that you see how integral it is.
Perhaps the best place to begin with an integral approach to business is with.. oneself. In the Big Three of self, culture, and world, integral mastery starts with self. How do body and mind and spirit operate in me? How does that necessarily impact my role in the world of business? And how can I become more conscious of these already operating realities in myself and in others?
Our attitude toward our own culture has recently been characterized by two qualities, braggadocio and petulance. Braggadocio - empty boasting of American power, American virtue, American know-how - has dominated our foreign relations now for some decades. Here at home - within the family, so to speak - our attitude to our culture expresses a superficially different spirit, the spirit of petulance. Never before, perhaps, has a culture been so fragmented into groups, each full of its own virtue, each annoyed and irritated at the others.
The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.
There is nothing like Integral Dreaming in the literature. This is an ambitious undertaking and its readers will gain an in-depth understanding of dreams and dreaming that they will find nowhere else. The ‘five movements’ of Integral Dream Practice will encourage many readers to follow the steps outlined, and integrate dreamwork into their own lives. This book will be an instant classic in the field.
We do not have an American culture. We have a white American culture and a black American culture. So when those two groups try to get together, [it's] very difficult because they each feel like they have the right to their culture.
In addition to declaring and destroying all of its weapons of mass destruction, Iraq must end its support for terrorism. It must cease the persecution of its civilian population. It must stop all illicit trade outside the oil-for-food program. And it must release or account for all Gulf War personnel, including an American pilot, whose fate is still unknown. By taking these steps, and only by taking these steps, the Iraqi regime has an opportunity to avoid conflict. These steps would also change the nature of the Iraqi regime itself. America hopes the regime will make that choice.
In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding—in time, in space, in culture. For one cannot even really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space, and because they are others.
Once you step foot on the Supreme Court steps, you lose your first-amendment rights. I don't see how, as an American citizen, you can't go to the Supreme Court steps and speak your mind or speak your piece peacefully.
Does people not asking me about Asian American literature mean they don't see it as its own literary tradition? I certainly believe in it as its own literary tradition, because your race plays a great factor in how you are seen by the world, and how you see the world; the fact that I'm an Asian American isn't incidental to who I am as a writer. Where it becomes difficult is defining what, if anything identifiable at all, makes an Asian American book an Asian American book, other than the fact of its creator being Asian. And I'd argue that there is nothing identifiable beyond that.
An observer will see the bizarre developments of behavior only in alien cultures, not his own. Nevertheless this is obviously a local and temporary bias. There is no reason to suppose that any one culture has seized upon an eternal sanity and will stand in history as a solitary solution of the human problem. Even the next generation knows better. Our only scientific course is to consider our own culture, so far as we are able, as one example among innumerable others of the variant configurations of human culture.
If most American cities are about the consumption of culture, Los Angeles and New York are about the production of culture - not only national culture but global culture.
How can we ever understand what we are and where we belong in the universe if we haven't experienced anything outside of our own nation, culture, or history?
The American understanding of China is filtered through years of politics; we rarely see the culture on its own terms.
For the first time since I began acting, I feel that I've found my place in the world, that there's something out of my own culture which i can express and perhaps help others preserve..i have found out now that the African natives had a definite culture a long way beyond the culture of the Stone age...an integrated thing, which is still unspoiled by western influences...I think the Americans will be amazed to find how many of the modern dance steps are relics of African heritage.
Explain to me what Italian-American culture is. We've been here 100 years. Isn't Italian-American culture American culture? That's because we're so diverse, in terms of intermarriage.
Only by art can we get outside ourselves, instead of seeing only one world, our own, we see it under multiple forms.
This site uses cookies to ensure you get the best experience. More info...
Got it!