A Quote by Theophrastus

We must consider the distinctive characters and the general nature of plants from the point of view of their morphology, their behavior under external conditions, their mode of generation, and the whole course of their life.
We must consider the distinctive characters and the general nature of plants from the point of view of their morphology , their behavior under external conditions, their mode of generation, and the whole course of their life.
Our time has been distinguished, more than by anything else, by a mastery, a control, of the external world, and by an almost total forgetfulness of the internal world. If one estimates human evolution from the point of view of knowledge of the external world, then we are in many respects progressing. If our estimate is from the point of view of the internal world, and of oneness of internal and external, then the judgment must be very different.
To consider the school as a place where instruction is given is one point of view. But, to consider the school as a preparation for life is another. In the latter case, the school must satisfy all the needs of life.
But the point is to get a whole new generation of people and people in general more re-engaged in news, and this has happened a lot since September 11th of course.
It's a whole lot more productive to be in problem-solving mode than it is to be in behavior modification mode.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
Literature is my life of course, but from an ontological point of view. From an existential point of view, I like being a teacher.
I look for the essence of a story and a human angle that I think audiences can relate to. I also look at how the dialogues flow in the film as a whole and between the characters, and most importantly I always consider what I can bring to the character from a creative point of view.
What are plants doing? What are plants all about? They serve human beings by being decorative, but what is it from its own point of view? It's using up air; it's using up energy. It's really not doing anything except being ornamental. And yet here's this whole vegetable world, cactus plants, trees, roses, tulips, and edible vegetables, like cabbages, celery, lettuce - they're all doing this dance.
It does not matter what name you attach to it, but your consciousness must ascend to the point through which you view the universe with your God-centered nature. The feeling accompanying this experience is that of complete oneness with the Universal Whole... This God-centered nature is constantly awaiting to govern your life gloriously. You have the free will to either allow it to govern your life, or not to allow it to affect you. The choice is always yours!
The Sun-Paul must consider only one thing: what is the relation of this or that external reaction of the animal to the phenomena of the external world?
I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.
To understand why dictators have a problem with making peace - or at least a genuine peace - the link between the nature of a regime and its external behavior must be understood.
There are two main strategies we can try to improve the quality of life. The first is to try making external conditions match our goals. The second is to change how we experience external conditions to make them fit our goals better.
Marriage is a reflection of your life in general: how you treat people, how you argue, how secure you are in your own thoughts. How vehemently do you argue your point of view? With what disdain do you view the other's point of view?
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
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