A Quote by Stefan Kanfer
Kenney knows two essential truths about melodrama: First that it is most powerful when combined with irony and understatement; and second that it is a salient feature of modern life.
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The most powerful life is the most simple life. The most powerful life is the life that knows where it's going, that knows where the source of strength is; it is the life that stays free of clutter and happenstance and hurriedness.
Critics who perceive the first level of Mann's irony recognize that the second voice is giving us reasons to be dubious about various aspects of Aschenbach's life and work. But many of them don't appreciate the second level of irony, the one exemplified in setting this narrative voice alongside the more sympathetic one, and inviting us to choose.
There is... in our day, a powerful antidote to nonsense, which hardly existed in earlier times - I mean science. Science cannot be ignored or rejected, because it is bound up with modern technique; it is essential alike to prosperity in peace and to victory in war. That is, perhaps from an intellectual point of view, the most hopeful feature of our age, and the one which makes it most likely that we shall escape complete submersion in some new or old superstition.
To make the best use of your life, you must never forget two truths: First, compared with eternity, life is extremely brief. Second, earth is only a temporary residence. You won't be here long, so don't get too attached.
There are two great truths which from this platform I have proclaimed for many years. The first is that salvation is free to every man who will have it; the second is that God gives salvation to a people whom He has chosen; and these truths are not in conflict with each other in the least degree.
We must face life as it is and understand that diversity is its most essential feature.
There are truths, that are beyond us, transcendent truths, about beauty, truth, honor, etc. There are truths that man knows exist, but they cannot be seen - they are immaterial, but no less real, to us. It is only through the language of myth that we can speak of these truths.
There are two threats to reason, the opinion that one knows the truth about the most important things and the opinion that there is no truth about them. Both of these opinions are fatal to philosophy; the first asserts that the quest for truth is unnecessary, while the second asserts that it is impossible. The Socratic knowledge of ignorance, which I take to be the beginning point of all philosophy, defines the sensible middle ground between two extremes.
With a profound first-hand knowledge of participants, encompassing linguistic competence, and engaging prose, Padraic Kenney recreates the simultaneously serious and playful currents of East Europe's overthrow of repressive state socialism. What an invaluable guide to the elusive exhilaration that motivated the actors and captivated all of us who followed the transformation with such hope! We can appreciate neither the ebullience of 1989 nor the disappointment with the quotidian reality that followed without understanding Kenney's 'carnival.'
When irony first makes itself known in a young man's life, it can be like his first experience of getting drunk; he has met with a powerful thing which he does not know how to handle.
Melodrama is one of the most stunning art forms. These are stories where the emotions are big, and the situations are big, and the artists believe in the situation dramatically. There's no irony or distance.
And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit "I don’t really mean what I’m saying." So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: "How totally banal of you to ask what I really mean.
Irony is the bringing together of two contradictory truths and to make out of the contradiction a new truth, with a laugh or a smile.
The reason there is no noblesse oblige about Dubya is because he doesn't admit to himself or anyone else that he owes his entire life to being named George W. Bush. He didn't just get a head start by being his father's son - it remained the single most salient fact about him for most of his life.
We made four feature films with Sherwood Baptist. The wonderful thing was the church (members) volunteered. It was an awesome atmosphere of attitudes. The hard part was (that) all four of the first feature films we made take place in modern-day Albany, Georgia. We know that not all of our films going to be (set in) modern-day Albany, Georgia.
Those beliefs about the essential goodness or beauty of the world are fundamentally paper-thin bullshit. There's not an essential belief that isn't a contingent belief. It could all be destroyed in a second, at any second. And I have an issue with that.
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