Top 1200 Certain Quotes & Sayings - Page 20

Realism as a foreign policy doctrine means basically you don't care about values; you consider them a luxury, and it leads to a kind of acquiescence in spheres of influence. Now, spheres of influence sound good if you're a graduate student, or a certain kind of - an academic with a certain habit of mind. But in fact, spheres of influence don't work out very well, certainly not for the victims, and there are always victims.

So you can have your program, but you also have to be ready to change it immediately because there are certain kinds of people who like certain kinds of songs and they like - some people want to dance when you come out, some people just want to be intimate with you. So you kind of feel your way through a show.

Still I believe that Hanna Arendt, she was wrong when she tried to say that we are all actually capable of this, it's not true. I think it's not true. There are certain things human beings are not capable of. I mean people, even normal human beings. You have to do certain things in order to become what the enemy was and I didn't accept her philosophical outlook on that.

Indeed, it is impossible to be neutral. In a world already moving in certain directions, where wealth and power are already distributed in certain ways, neutrality means accepting the way things are now. It is a world of clashing interests ? war against peace, nationalism against internationalism, equality against greed, and democracy against elitism ? and it seems to me both impossible and undesirable to be neutral in those conflicts.

Women, by nature, are a certain way; they think a certain way. Women are web thinkers. We think wide... Why? Because we have children. Why? Because we were born as women to have children and to be able to take care of them. We do so many things at once.

You can't find intimacy - you can't find home - when you're always hiding behind masks. Intimacy requires a certain level of vulnerability. It requires a certain level of you exposing your fragmented, contradictory self to someone else. You running the risk of having your core self rejected and hurt and misunderstood.

As far as the laws of mathematics refer to reality, they are not certain, and as far as they are certain, they do not refer to reality.

I notice that, in the lecture … which Prof. Lowry gave recently, in Paris … he brought forward certain freak formulae for tartaric acid, in which hydrogen figures as bigamist … I may say, he but follows the loose example set by certain Uesanians, especially one G. N. Lewis, a Californian thermodynamiter, who has chosen to disregard the fundamental canons of chemistry—for no obvious reason other than that of indulging in premature speculation upon electrons as the cause of valency

Relationship means something complete, finished, closed. Love is never a relationship; love is relating. It is always a river, flowing, unending. Love knows no full stop; the honeymoon begins but never ends. It is not like a novel that starts at a certain point and ends at a certain point. It is an ongoing phenomenon. Lovers end, love continues. It is a continuum. It is a verb, not a noun.

When a physician is called to a patient, he should decide on the diagnosis, then the prognosis, and then the treatment. ... Physicians must know the evolution of the disease, its duration and gravity in order to predict its course and outcome. Here statistics intervene to guide physicians, by teaching them the proportion of mortal cases, and if observation has also shown that the successful and unsuccessful cases can be recognized by certain signs, then the prognosis is more certain.

We really have no choice but to pray and encourage a return to an America steeped in Judeo-Christian values. It is either that or taking our chances in a society with no values at all. For all Americans the former carries certain risks, but the latter spells certain doom. For now, we should not be deflected by theological debate from the life-saving tasks awaiting us. There is work to be done. We must ensure that America will continue to be part of God's plan for the world.

Who isn't crazy sometimes? Who hasn't driven around a block hoping a certain person will come out; who hasn't haunted a certain coffee shop, or stared obsessively at an old picture; who hasn't toiled over every word in a letter, taken four hours to write a two-sentence email, watched the phone praying it will ring; who doesn't lay awake at night sick with the image of her sleeping with someone else?

Most of what I do is science fiction. Some of the things I do are fantasy. I don't like the labels, they're marketing tools, and I certainly don't worry about them when I'm writing. They are also inhibiting factors; you wind up not getting read by certain people, or not getting sold to certain people because they think they know what you write. You say science fiction and everybody thinks Star Wars or Star Trek.

Apart from being celebrities, there's a huge amount of respect associated with being cricketers and a certain amount of reverence and honour associated with representing India. In people's eyes, apart from other celebrities in India, I think for sportsmen in India there's a certain amount of regard.

I find fantasy easier to write. If I'm going to write science fiction, I spend a lot more time thinking up justifications. I can write fantasy without thinking as much. I like to balance things out: a certain amount of fantasy and a certain amount of science fiction.

I don't think poetry will die, but I think that poetry does demand a certain kind of attention to language. It does demand a certain space in order to read it, and I think that space is somewhat threatened by the lack of attention that people have and the amount of time that they give to things.

If a novel is written in a certain language with certain characters from a particular community and the story is very good or illuminating, then that work is translated into the language of another community - then they begin to see through their language that the problems described there are the same as the problems they are having. They can identify with characters from another language group.

I think of consciousness as a bottomless lake, whose waters seem transparent, yet into which we can clearly see but a little way.But in this water there are countless objects at different depths; and certain influences will give certain kinds of those objects an upward influence which may be intense enough and continue long enough to bring them into the upper visible layer. After the impulse ceases they commence to sink downwards.

Music is made of what we do when we move, and we can only move in certain ways, in certain ranges of tempo because of the inherent constraints that our bodies offer, or you can call them 'affordances' - that's another word for me. It's a little more positive; doesn't make it seem like a limitation, but rather, a set of opportunities. You can say that that's part of music making, but there's also the imagination. The power of the imagination is kind of trumping - sorry to have to use that word.

I'm really disturbed by the degree to which I don't hear people saying, "Are we leaving the world better than we found it?" I think we are a generation that perhaps could not answer in the affirmative, and it is the evasion of the larger responsibility of being only one generation in what one hopes will be an infinite series of fruitful generations. There is a selfishness in refusing to understand that we are passing through; others will come, and they deserve certain courtesies and certain considerations from us.

Memories and thoughts age, just as people do. But certain thoughts can never age, and certain memories can never fade.

[...] intelligent people only have a certain amount of time (measured in subjective time spent thinking about religion) to become atheists. After a certain point, if you're smart, have spent time thinking about and defending your religion, and still haven't escaped the grip of Dark Side Epistemology, the inside of your mind ends up as an Escher painting.

Statesmen and legislators, standing so completely within the institution, never distinctly and nakedly behold it. They speak of moving society, but they have no resting-place without it. They may be men of a certain experience and discrimination, and have no doubt invented ingenious and even useful systems, for which we sincerely thank them; but all their wit and usefulness lie within certain not very wide limits. They are wont to forget that the world is not governed by policy and expediency.

Every work of art causes the receiver to enter into a certain kind of relationship both with him who produced the art, and with all those who, simultaneously, previously, or subsequently, receive the same artistic impression. Art is a human activity- that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are touched by these feelings and also experience them.

Here, the certain temple rule, this seems to me to have a certain responsibility to look after the well-being of society and look after Buddhism and culture. I consider these part of the practice of spirituality. There is no competition between spiritual practice and party politics. That is outdated. We already, since 2001, have elected political position. My position is semi-retired. I am looking forward to complete retirement.

It's very difficult when you have learned something a certain way. Not only your mind absorbs it; your eyes also are trained to see in a certain way because eyes are only as good as you've been trained to see.

If you look at most womens writing, women writers will describe women differently from the way male writers describe women. The details that go into a woman writers description of a female character are, perhaps, a little more judgmental. Theyre looking for certain things, because they know what women do to look a certain way.

The inability to envision a certain kind of person doing a certain kind of thing because you've never seen someone who looks like him do it before is not just a vice. It's a luxury. What begins as a failure of the imagination ends as a market inefficiency: when you rule out an entire class of people from doing a job simply by their appearance, you are less likely to find the best person for the job.

[I have seen] workers in whom certain morbid affections gradually arise from some particular posture of the limbs or unnatural movements of the body called for while they work. Such are the workers who all day stand or sit, stoop or are bent double, who run or ride or exercise their bodies in all sorts of [excess] ways. ... the harvest of diseases reaped by certain workers ... [from] irregular motions in unnatural postures of the body.

In terms of applicability to today's world, many people are trying to domesticate Scripture so as to get the PC answer, the politically correct answer on a wide range of subjects, whether it's homosexual marriage, or a certain view of government, or a certain view of eschatology or whatever. At the end of the day we want also to encourage the kind of reverent handling of Scripture that wants to be corrected by Scripture, that is more eager to be mastered by Scripture then to master it.

If you look at most women's writing, women writers will describe women differently from the way male writers describe women. The details that go into a woman writer's description of a female character are, perhaps, a little more judgmental. They're looking for certain things, because they know what women do to look a certain way.

I also just get so ecstatic hearing and feeling the noise in general and it still makes me giggle inside playing certain sounds. One of the downsides is that in order to produce certain sounds, I'm totally using my arms the wrong way and sometimes that worries me. But then that physical strain puts me in a different state of mind to bring out different dimensions in the music, I suppose.

I've spent years studying words. Linguistics, language, the power of words, the power of phrases on human beings. All of that. It's part of my, almost obsessive, fascination. It turns out that there are some keys that we all need to know about how conversations impact us, because they do at a chemical level. There are certain things that if we learned this, it would totally change our interactions with others, and that's the following. There are certain words that have a feeling of, "I love you, I care for you, you're in my tribe."

Even where the affections are not strongly moved by any superior excellence, the companions of our childhood always possess a certain power over our minds which hardly any later friend can obtain. They know our infantine dispositions, which, however they may be afterwards modified, are never eradicated; and they can judge of our actions with more certain conclusions as to the integrity of our motives.

The endeavor of being a foreign correspondent means that you will never be their equal. And that has its pros and cons. Were you to be an insider in a particular society, then you would be one of them, and the way you would write about that society would be very different. When you're brought up in a certain way, you have certain blind spots to the things going on in your culture. There is an illumination the outsider brings to a place or a situation that cannot be duplicated.

I think the function of suffering is to let me know that my perception is skewed; what I’m doing is judging natural events in such a way that I am creating suffering within myself. For instance, you have pain over certain conditions, certain situations that occur. And if you just say ‘ok, here I am, I’m going to experience the pain,’ you don’t suffer. The resistance and the degree of the resistance to the natural phenomenon of life causes tremendous suffering.

My older sister has entire kingdoms inside of her, and some of them are only accessible at certain seasons, in certain kinds of weather. One such melting occurs in summer rain, at midnight, during the vine-green breathing time right before sleep. You have to ask the right question, throw the right rope bridge, to get there-and then bolt across the chasm between you, before your bridge collapses.

Puns are little "plays on words" that a certain breed of person loves to spring on you and then look at you in a certain self-satisfied way to indicate that he thinks that you must think that he is by far the cleverest person on Earth now that Benjamin Franklin is dead, when in fact what you are thinking is that if this person ever ends up in a lifeboat, the other passengers will hurl him overboard by the end of the first day even if they have plenty of food and water.

I don't really write any of my raps down. The same, Kanye don't write any of his raps down. Common. It's easy that way. For me, personally, I figure I will lose some of the inspiration in the time of me writing it down, or I'll say it a certain way because I wrote it a certain way.

When a story or part of a story comes to me, I turn it over in my mind a long time before starting to write. I might make notes or take long drives or who knows what. By the time I give myself permission to write, I know certain things, though not everything. I know where the story is headed, and I know certain crucial points along the way.

I'm often a little perplexed, when I read a review of a book, by the quotes that are pulled out as evidence of excellent prose. I don't think great novels are necessarily composed of great prose, or that there's a correlation between beautiful prose and the quality of a work of fiction. A really good, interesting novel will often let a little ugliness get into its words - to create a certain effect, to leave the reader with a certain sense of disorientation.

Sometimes I just trust certain intuitions on certain things. As we age, I start to follow it without being scared. So whatever it was - moving to New York, getting married with Grace - I always had that first impression about something. I'm not saying be superficial. I'm not about that. It's more of a thing you have from the stomach. It's a magnet, you are attracted to it. When I was younger, I would question it. I wouldn't follow it. But as I get older, I am just going for it, without fear.

I'm always producing with the idea that the music is representing one person. That could play a factor in the intimacy of it. I'm always producing for that one person, never for a group of people - especially if it's non-danceable. I'm always thinking that one person's going to listen to this and that person might want to feel a certain way at a certain time. That can be out in space, it can be at the bus stop, it can be laying in bed listening to music. I look at it as if I'm whispering in someone's ear, basically.

There are certain things I can't do, certain pitches I can't hit. You stay away from them. You try to wait for pitches you can hit. The bat speed isn't what it used to be. You make up for it by using your head, working counts, getting ahead in counts and getting pitches to hit and hitting them hard.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.

You're born in a certain time, your budvi, or the way to mind, or the psyche of it all, understands the time in which you were born, and so already information is adapted by the mind of a person born in a certain time, that's why we're so different from our parents, and our parents from theirs.

I'm surprised when the work appears beautiful, and very pleased. And I think work can be very good and very successful without being able to call it beautiful, although I'm not clear about that. The work is good when it has a certain completeness; and when it's got a certain completeness, then it's beautiful.

I think certain movies are right for 3D. I think certain movies are not right for 3D. And I think the specialness of 3D will be worn off if every movie becomes 3D.

In his very rejection of art Walt Whitman is an artist. He tried to produce a certain effect by certain means and he succeeded....He stands apart, and the chief value of his work is in its prophecy, not in its performance. He has begun a prelude to larger themes. He is the herald to a new era. As a man he is the precursor of a fresh type. He is a factor in the heroic and spiritual evolution of the human being. If Poetry has passed him by, Philosophy will take note of him.

I feel closer ties and more intimate bonds with certain characters in books, with certain images I’ve seen in engravings, than with many supposedly real people with the metaphysical absurdity known as ‘flesh and blood’. In fact, ‘flesh and blood’ describes them very well: they resemble cuts of meat laid out on the butcher’s marble slab, dead creatures bleeding as though still alive.

Usually it's just material that resonates with me and I never know exactly what that's gonna be. And there's obviously a certain persuasion, if you will. It's dependent upon the fact that I'm known for certain genres. So, that influences my decision making as well. I mean I'd love to, for example, do an action thriller but there are a lot of very talented people doing that and so it would be very difficult for me to switch over to that genre. So, I do look for things that I know (will resonate with) my audience.

You can't expect a poodle to guard your house the way a Doberman pinscher does, and you can't expect a Doberman pinscher to jump in your lap the way a poodle does. Some people are just animals of a certain nature, and they are always going to have certain impulses that motivate them.

Without running, I would have missed the joy of rain. What could be considered an inconvenience or a bummer to the inexperienced is actually a gift. Without running, I would miss a lot of things-like seeing cities in a certain way, or knowing certain people all the way to the core. I'm glad we don't experience life through glass, under cover, or from the sidelines. Good things take miles.

In a way, I feel that we're always connected, maybe you and me, we've been connected - not only now, but before. That's why we've crossed paths. And this manifests beautifully for me in fables, old television, novels in Thailand, but now we try to ignore these themes and stories. That's why now when we make "ghost" films, they have a certain stock quality to their effects, a certain formula, and I miss how it used to be.

In order to get inside their skin, I have to identify with them. That includes even the ones who are complete bastards, nasty, twisted, deeply flawed human beings with serious psychological problems. Even them. When I get inside their skin and look out through their eyes, I have to feel a certain - if not sympathy, certainly empathy for them. I have to try to perceive the world as they do, and that creates a certain amount of affection.

My grandmother's grandparents were slaves. My grandmother Big Mama would tell me about the stories she heard as a child growing up in the shadows of a North Carolina plantation. It's only been in my lifetime that blacks have had the right to vote, live in certain areas or hold certain jobs. It is with this black history that I write about the financial challenges African-Americans still have.

Changing your life does not always mean that you stop doing certain things. It may mean that you start doing certain other things. What you really want to do is nurture the attitude that you are open to learning more about yourself. Accepting more about yourself. This is what will inspire you to do something new.

It's not true that you fall in love only once in your life. But it is true that you only fall in love a certain way, with a certain absoluteness, once.

When I went back home, I was constantly being reminded, I'm an African woman, and so there are certain things I shouldn't do, certain ambitions that I should not entertain. That was a problem for me because I had never thought of myself as an African woman, never thought of myself as a woman to begin with. For me the limit was my capacity, my capability.

When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.