A Quote by Robert Fitzgerald
The question is how to bring a work of imagination out of one language that was just as taken-for-granted by the persons who used it as our language is by ourselves. Nothing strange about it.
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Everyone knows ladies love Cajuns. It's in our blood and our language is the language of romance." "Your language is the language of bullshit. You're just a couple of good ole boys with pretty faces. Women just ought to know better.
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.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
Poetry is not the language we live in. It's not the language of our day-to-day errand-running and obligation-fulfilling, not the language with which we are asked to justify ourselves to the outside world. It certainly isn't the language to which commercial value has been assigned.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
When you speak a foreign language, you become someone else. If you aren't used to speaking a language, and you start speaking it again, for the first few sentences you'll find yourself in very strange shape, because you're still the person who was speaking the first language. But if you keep speaking that language, you will become the person who corresponds to it.
Life is a thin narrowness of taken-for-granted, a plank over a canyon in a fog. There is something under our feet, the taken-for-granted. A table is a table, food is food, we are we - because we don't question these things. And science is the enemy because it is the questioner. Faith saves our souls alive by giving us a universe of the taken-for-granted.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
Lying is the misuse of language. We know that. We need to remember that it works the other way round too. Even with the best intentions, language misused, language used stupidly, carelessly, brutally, language used wrongly, breeds lies, half-truths, confusion. In that sense you can say that grammar is morality. And it is in that sense that I say a writer's first duty is to use language well.
Although our body language governs the way other people perceive us, our body language also governs how we perceive ourselves and how those perceptions become reinforced through our own behavior, our interactions, and even our physiology.
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.
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.
Language grows out of life, out of its needs and experiences...Language and knowledge are indissolubly connected; they are interdependent. Good work in language presupposes and depends on a real knowledge of things.
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.
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.
This is the problem with language, and this is what makes silent movies fun, because the connection with them, me or the audience is not with the language. There's no question of interpretation of what we are saying it's just about feeling. You create your own story.
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