A Quote by Jhumpa Lahiri

When you live in a country where your own language is considered foreign, you can feel a continuous sense of estrangement. You speak a secret, unknown language, lacking any correspondence to the environment. An absence that creates a distance within you.
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.
Learning astrology is like learning any foreign language. You already have the ideas, concepts, and experiences of your life within you; you are just learning a new language for what you are already experiencing.
I feel impelled to speak today in a language that in a sense is new-one which I, who have spent so much of my life in the military profession, would have preferred never to use. That new language is the language of atomic warfare.
Learn a language of another country and then you can go to that country: a place where the problems of your family will not follow. A language they do not speak.
Wherever I go, I have to speak English, which is my second language. So whenever you get a chance to speak in your own language? It feels good.
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.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
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.
For if every true love affair can feel like a journey to a foreign country, where you can’t quite speak the language, and you don’t know where you’re going, and you’re pulled ever deeper into the inviting darkness, every trip to a foreign country can be a love affair, where you’re left puzzling over who you are and whom you’ve fallen in love with.
When you're in other people's country you don't speak your own language out of respect. You don't need to speak.
Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.
Expressing love in the right language. We tend to speak our own love language, to express love to others in a language that would make us feel loved. But if it is not his/her primary love language, it will not mean to them what it would mean to us.
The poet, by composing poems, uses a language that is neither dead nor living, that few people speak, and few people understand We are the servants of an unknown force that lives within us, manipulates us, and dictates this language to us.
XML is not a language in the sense of a programming language any more than sketches on a napkin are a 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.
It's like learning a language; you can't speak a language fluently until you find out who you are in that language, and that has as much to do with your body as it does with vocabulary and grammar.
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