A Quote by Roland Barthes
Henceforth I would have to cosent to combine two voices: the voice of banality (to say what everyone sees and knows) and the voice of singularity (to replenish such banality with all the élan of an emotion which belonged only to myself).
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The banality of evil transmutes into the banality of sentimentality. The world is nothing but a problem to be solved by enthusiasm.
There are times when the voice of repining is completely drowned out by various louder voices: the voice of government, the voice of taste, the voice of celebrity, the voice of the real world, the voice of fear and force, the voice of gossip.
The great work of art is the complete banality, and the fault with most banalities is that they are not banal enough. Banality here is not infinite in its depth and consequence, but rests on a foundation of spirituality and aesthetics.
The only master that exists, the only one that's true and believable is your own conscience. To find it you have to stand in silence-alone and in silence-you have to stand on the naked earth, naked yourself and with nothing around you, as if you were already dead. You don't hear anything at first; the only thing you feel is terror, but then you begin to hear a voice, away in the background, far off; it's a calm voice, and maybe its banality gets on your nerves to begin with.
Cannot Hannah Arendt's 'banality of evil' be subject to transposition: the evil of banality?
There arose a belief in style - and in banality. Banality encompassed politics, too, because it was a common belief that politics were not worthy of art.
This approach to voice is designed to liberate the natural voice and thereby develop a vocal technique that serves the freedom of human expression. The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two- to four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
That was a very different emotion and I felt Dido's words would be good and I had a template with my voice in it. Then, when he heard it, he wanted both our voices together in it and that's the scene when he sees the boy and then he gets charged to go on that final cutting effort.
It is not just shameful for a contemporary American poet to use rhymes, it is unthinkable. It seems banal to him; he fears banality worse than anything, and therefore, he uses free verse - though free verse is no guarantee against banality.
I think everyone has a story to tell. Part of what I do is help artists find their voice, not only their vocal voice, but their writing voice. Every artist that I worked with who has those records that everyone talks about, they are also writers. I like to say I helped support whatever their writing was so people heard the song clearly.
My voice is the only material thing in which I can still reveal myself. Go ahead and cut off the hand or the testicles of a voice. Try to find the head of a voice, the orifice through which it passes, or even the breasts to which you can attach the clips of your electrodes. Nothing. Resonant tooth.
We don't see the banality, but we accept banality. We accept it as inevitable, and it's not.
The artist, and particularly the poet, is always an anarchist in the best sense of the word. He must heed only the call that arises within him from three strong voices: the voice of death, with all its foreboding, the voice of love and the voice of art.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
'Selma' is a story about voice - the voice of a great leader; the voice of a community that triumphs despite turmoil; and the voice of a nation striving to grow into a better society. I hope the film reminds us that all voices are valuable and worthy of being heard.
... In contrast to the "banality of evil," which posits that ordinary people can be responsible for the most despicable acts of cruelty and degradation of their fellows, I posit the "banality of heroism," which unfurls the banner of the heroic Everyman and Everywoman who heed the call to service to humanity when their time comes to act. When that bell rings, they will know that it rings for them. It sounds a call to uphold what is best in human nature that rises above the powerful pressures of Situation and System as the profound assertion of human dignity opposing evil.
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