A Quote by John Ralston Saul
Languages and cultures are disappearing at an enormously fast rate, and many of them are in Canada. These are extreme examples of removal of freedom of expression - to actually lose a language and the ability to express that culture.
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Both sameness and difference are issues for us. A sign of cultural homogenization is that languages are disappearing at an alarming rate. I am heartened by signs that some peoples are fighting back, e.g., the revitalization of the language of the Wampanoag tribe in Massachusetts. But if we reject essentialism about culture, we will be cautious about overgeneralizing about what homogenization is and to what degree it exists. If we think of cultures as dynamic, internally diverse and contested, we will be aware that what looks like homogenization may be deeper down this more complicated thing.
Mathematics is pure language - the language of science. It is unique among languages in its ability to provide precise expression for every thought or concept that can be formulated in its terms.
The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages.
Freedom is the thing that has attracted me most to jazz. Within improvisation, you're really able to express something that maybe I'm not so adept at expressing via language. So I develop a language through the instrument to tell stories. So it's kind of this freedom of thought and freedom of expression that kind happens.
Music is language itself. It should not have any barriers of caste, creed, language or anything. Music is one, only cultures are different. Music is the language of languages. It is the ultimate mother of languages.
I work in Hebrew. Hebrew is deeply inspired by other languages. Not now, for the last three thousand years, Hebrew has been penetrated and fertilized by ancient Semitic languages - by Aramaic, by Greek, by Latin, by Arabic, by Yiddish, by Latino, by German, by Russian, by English, I could go on and on. It's very much like English. The English language took in many many fertilizations, many many genes, from other languages, from foreign languages - Latin, French, Nordic languages, German, Scandinavian languages. Every language has influences and is an influence.
For me, language is a freedom. As soon as you have found the words with which to express something, you are no longer incoherent, you are no longer trapped by your own emotions, by your own experiences; you can describe them, you can tell them, you can bring them out of yourself and give them to somebody else. That is an enormously liberating experience.
English is big business and languages are dying as never before. Is there a connection? Is this another manifestation of McDonaldisation – the undesirable face of globalization? Do we want to lose the variety of languages and all the rich culture that comes with them?
I'm German! Actually, I love my countr, ;I love the language. The German language is very special because it is so precise. There is a word for everything. There are so many wonderful words that other languages don't have. It is impressive to have such a rich language, and I love to work in that language.
Contrary to conventional wisdom, dance is not a universal 'language' but many languages and dialects. There are close to 6000 verbal languages, and probably that many dance languages.
Language and culture cannot be separated. Language is vital to understanding our unique cultural perspectives. Language is a tool that is used to explore and experience our cultures and the perspectives that are embedded in our cultures.
One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.
Writing in African languages became a topic of discussion in conferences, in schools, in classrooms; the issue is always being raised - so it's no longer "in the closet," as it were. It's part of the discussion going on about the future of African literature. The same questions are there in Native American languages, they're there in native Canadian languages, they're there is some marginalized European languages, like say, Irish. So what I thought was just an African problem or issue is actually a global phenomenon about relationships of power between languages and cultures.
Obviously no language is innate. Take any kid from any race, bring them up in any culture and they will learn the language equally quickly. So no particular language is in the genes. But what might be in the genes is the ability to acquire language.
In your relationship with God there are also times when you want to say things and you're trying to find the words to express them. In a human relationship sometimes you struggle for words and you've got to do it, but in a relationship with God he can actually give you a language which enables you to communicate. In a relationship with God you feel things and you want to express them and you're not limited by human language. You can express what you really feel in your heart, through a language that he gives you, and that helps you to communicate with God.
Of course, English is a very powerful language, a colonizer's language and a gift to a writer. English has destroyed and sucked up the languages of other cultures - its cruelty is its vitality.
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