A Quote by Paul Ricoeur
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
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The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.
Each human being has his or her own sexual identity and should be able to exercise that identity without guilt as long as they do not force that sexual identity on others.
When folks say 'identity politics' don't matter, it simply reinforces the norm of a white, middle-class, cis narrative and further marginalizes the rest of us who don't share that identity.
I always think about race as a part of one's identity, not the whole of one's identity. You don't want it to be the defining characteristic of a character. There has to be more.
Narrative identity takes part in the story's movement, in the dialectic between order and disorder.
Narrative identity takes part in the story's movement, in the dialectic between order and disorder
I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.
It would be a sad story to get rid of religious belief, national identity, family, and even sexual identity. That's not freedom.
We are undermining a generation's happiness by depriving them of national identity, religious identity, and gender identity
When it comes to identity, that was an issue that plagued me for a lot of my life. It's something that I wanted to tap into. Film can really take you to other places, and sometimes that's necessary to understand your own identity or someone else's identity or just the issue of identity, in general. It takes you. It's borderless. It's boundless. It's universal.
As a woman who doesn't necessarily fit the beauty standard in Hollywood... I really related to the narrative of looking for something you felt comfortable in that would properly express your identity, especially when your identity didn't feel like it necessarily matched the one that was being imposed on you.
Society imposes an identity on you because of the way you look. Your struggle as a self has to do with an identity being imposed on you that you know is not your identity.
The whole point is to take from our native culture and from contemporary culture without using one art form to mimic the other, so that our native identity remains the native identity, the contemporary identity remains the contemporary identity, and the mixing of these two musical identities creates a third musical identity.
Why would one's identity be a matter of feelings? I think that that's a misuse of terms, philosophically. Identity is mind independent. It's something that is objective, regardless of how you feel. So, the term gender identity seems to me to be something of an oxymoron. It's not really about one's identity. It's rather a matter of one's self-perception or one's feelings about oneself.
My clothes have a story. They have an identity. They have a character and a purpose. That's why they become classics. Because they keep on telling a story. They are still telling it.
If a man has a sense of identity that does not depend on being shored up by someone else, it cannot be eroded by someone else. If a woman has a sense of identity that does not depend on finding that identity in someone else, she cannot lose her identity in someone else. And so we return to the central fact: it is necessary to be.
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