A Quote by Kate Bush
Originally, when I wrote the song 'The Sensual World' I had used text from the end of 'Ulysses.' When I asked for permission to use the text, I was refused, which was disappointing.
Related Quotes
Because the great thing about fairy tales and folk tales is that there is no authentic text. It's not like the text of Paradise Lost or James Joyce's Ulysses, and you have to adhere to that exact text.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
The discourse on the Text should itself be nothing other than text, research, textual activity, since the Text is that social space which leaves no language safe, outside, nor any subject of the enunciation in position as judge, master, analyst, confessor, decoder. The theory of the Text can coincide only with a practice of writing.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
We must be forewarned that only rarely does a text easily lend itself to the reader's curiosity... the reading of a text is a transaction between the reader and the text, which mediates the encounter between the reader and writer. It is a composition between the reader and the writer in which the reader "rewrites" the text making a determined effort not to betray the author's spirit.
Never preach a sermon without a text from the Bible, a text containing the theme which you can elaborate. The text is the best proof in support of your argument. A sermon without a text is an argument without a proof.
The area we define as what Quora's good at is long-form text that's useful over time, and where you care about who wrote the text. Not that you need to be friends with them, just that they're someone trustworthy.
Any fifth language that you use should be equally used as just another bit of theater language, so that if you have a strong text, then the light should be as strongly part of that text as, for example, the sound it should be or whatever it is that you see.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
When I speak at my local church, which I try to do 35 to 40 times a year, I try in every lesson to take the Old Testament text or New Testament text and apply them to what is happening to me or how that applies to the audience that I'm teaching in a modern, fast-changing, technological world. I use headlines, interfaith and that sort of thing.
One of the things I really respect about Doug Moo is that he is constantly grappling with the text. Where he hears the text saying something which is not what his tradition would have said, he will go with the text. I won't always agree with his exegesis, but there is a relentless scholarly honesty about him which I really tip my hat off to.
At some point I realized that the text was the painting and that everything else was extraneous. The painting became the act of writing a text on a canvas, but in all my work, text turns into abstraction.
Literature can no longer be either Mimesis or Mathesis but merely Semiosis, the adventure of what is impossible to language, in a word: Text (it is wrong to say that the notion of 'text' repeats the notion of 'literature': literature represents a finite world, the text figures the infinite of language).
Good web text has a lot in common with good print text. It's plain, concise, concrete and 'transparent': even on a personal site the text shouldn't draw attention to itself, only to its subject.
Theatre is about the collective imagination... Everything I use on-stage is driven by the subject matter and what you might call the text - but that text can be anything, from a fragment of movement or music to something you see on a TV.
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