A Quote by Lee Isaac Chung

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.
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.
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 language we share is at the core of our identity as citizens, and our ticket to full participation in American political life. We can speak any language we want at the dinner table, but English is the language of public discourse, or the marketplace and of the voting booth.
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.
The language skill in the U.S. for the most part has been awful. Many Americans don't learn any foreign language.
My own view is that one cannot be religious in general any more than one can speak language in general; at any given moment one speaks French or English or Swahili or Japanese, but not 'language.
Bilingual-education advocates say it's important to teach a child in his or her family's language. I say you can't use family language in the classroom - the very nature of the classroom requires that you use language publicly.
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.
A language possesses utility only insofar as it can construct conventional boundaries. A language of no boundaries is no language at all, and thus the mystic who tries to speak logically and formally of unity consciousness is doomed to sound very paradoxical or contradictory. The problem is that the structure of any language cannot grasp the nature of unity consciousness, any more than a fork could grasp the ocean.
The important thing is to be able to understand anyone who has something useful to say. - There is a general moral here. Be very careful and very clear about what you say. But do not be dogmatic about your own language. Be prepared to express any careful thought in the language your audience will understand. And be prepared to learn from someone who talks a language with which you are not familiar.
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.
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.
There is a language older by far and deeper than words. It is the language of bodies, of body on body, wind on snow, rain on trees, wave on stone. It is the language of dream, gesture, symbol, memory. We have forgotten this language. We do not even remember that it exists.
XML is not a language in the sense of a programming language any more than sketches on a napkin are a language.
I don't hate language. I have my own language, but I also enjoy the English language. Obviously, you don't read a lot of literature and not care about language.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
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