A Quote by Mario Vargas Llosa

Journalism is a way of voicing opinion, of participating in the political, social, or cultural debate. — © Mario Vargas Llosa
Journalism is a way of voicing opinion, of participating in the political, social, or cultural debate.
In a lifetime of observing and participating in political debate, I have seen a lot of meanness.
I think by not participating in the current political debate, hopefully I'm sending a signal that will help set a tone.
The enormous social change involved in a sexual revolution is basically a matter of altered consciousness, the exposure and elimination of social and psychological realities underlying political and cultural structures. We are speaking, then, of a cultural revolution, which, while it must necessarily involve the political and economic reorganization traditionally implied by the term revolution, must go far beyond this as well.
Without a way to make regular, positive deposits in social relationships that bridge political lines, every civic debate is a withdrawal without social reserves, leaving people perpetually overdrawn.
The body must be regarded as a site of social, political, cultural and geographical inscriptions, production or constitution. The body is not opposed to culture, a resistant throwback to a natural past; it is itself a cultural, the cultural product.
In 'Who's Who,' my hobbies are listed as eating, sleeping, and voicing one's opinion. Not necessarily the right opinion, but it's mine.
Artists have their existential questions as human beings, and they address these questions in their works. But they are also thinking in a broader sense when they participate in a social and political debate through their works. Often the most important voices of artists in the political and the social debate are focused on originality in their works. We can see this in historical pieces, like "Guernica" by Picasso. "Guernica" was an extremely important manifestation and critique against war, but it was important and powerful because it was also an incredibly original and powerful work of art.
I believe in the critical importance of participating in the political system - from voting to standing for election. It's both rewarding and necessary that men and women of good will and clear thinking engage in honest, open debate.
If there are political programs on TV, yet it takes an artist to actually energize political debate, that tells you something really quite frightening about the level of the political debate happening on mainstream channels - right-wing-biased mothers.
If we don't believe in moral absolutes and then we get into a cultural-political debate, how are we going to win?
I think because I came into journalism by way of the Black Panther Party - and not J-school or a corporate bourgeois institution - I tried to do news, writing and reporting that had social, political and racial content and context.
Much of the world today, including the United States, is still living in the social, cultural, and political aftermath of Britain's cultural achievements, its industrial revolution, its government of checks and balances, and its conquests around the world.
In human geography, we think about landscapes as being political, social, cultural, economic, and physical things all at the same time. And that's the way that I wanted to approach the question of state secrecy.
Journalism and the news has become not only a means to debate but also to judge and deconstruct celebrity, the news story, and the emotional lives of political people.
I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.
The widespread inability to understand technological artifacts as fabricated entities, as social and cultural phenomena, derives from the fact that in retrospect only those technologies that prove functional for a culture and can be integrated into everyday life are 'left over.' However, the perception of what is functional, successful and useful is itself the product of social and cultural--and last but not least--political and economic processes. Selection processes and abandoned products and product forms are usually not discussed.
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