Top 1200 Literary Devices Quotes & Sayings - Page 3

Electronic devices dislike me. There is never a day when something isn't ailing.

Left to my own devices, I'd probably Google myself all day.

This is no longer a battle of devices, it is a war of ecosystems.

We'll have 130 million phone devices that have Flash by the end of the year.

Well, I happen to have a love of vocal reproduction devices.

My favorite method of encryption is chunking revolutionary documents inside a mess of JPEG or MP3 code and emailing it off as an "image" or a "song." But besides functionality, code also possesses literary value. If we frame that code and read it through the lens of literary criticism, we will find that the past hundred years of modernist and postmodernist writing have demonstrated the artistic value of similar seemingly arbitrary arrangements of letters.

We want the technology in our devices to enable a social experience.

I'm fascinated with the electronic devices that we can mess around with.

Man is naturally lazy, therefore he invents labor-saving devices.

I think color, for a costume designer, is one of your biggest storytelling devices.

We are beginning to see intimations of this in the implantation of computer devices into the human body.

First one gets works of art, then criticism of them, then criticism of the criticism, and, finally, a book on The Literary Situation , a book which tells you all about writers, critics, publishing, paperbacked books, the tendencies of the (literary) time, what sells and how much, what writers wear and drink and want, what their wives wear and drink and want, and so on.

Ambient Devices develops a new generation of consumer electronic products.

The free market for mobile devices and wireless service has been a dramatic success.

The new "ambiguity" means, in a way adjudged favorable to literary, poetic, intellectually and psychologically well-devised and praiseworthily executed linguistic performance, uncertainty of meaning, or difficulty for the interpreter in identifying just what the meaning in question is: it means the old meanings of ambiguity with a difference. It means uncertainty of meaning (of a word or combination of words) purposefully incorporated in a literary composition for the attainment of the utmost possible variety of meaning-play compressible within the verbal limits of the composition.

A word, and all the infinite fluctuations it may possess. Like that moment when you know you have something to say, and you know you're speaking, even, but you still have no idea how you will say it. Or the moment when, as a reader, you're reading, and you are understanding what you are reading, but still have utterly no idea what will come next for you, what precisely the author wants to say. For me, that is the ultimate level of literary depth, of literary density.

The vividness of children is easier to see when they're completely left to their own devices.

I'm fascinated by the idea that a human connection can be triggered through inanimate devices.

In the absence of a natural disaster we are left again to our own uneasy devices.

I want my books to exist in the literary world, not only in the art world. I am interested in having a dialogue with other writers, and the readers of those writers. Someone who is reading a book of mine might not have visited my exhibitions related to it, but can still have a full, literary experience with that book. This would be a completely different experience from stepping into the show, not having read the book. One form is not illustrative of the other.

Our mobile devices are so powerful that they don't just change what we do, they're changing who we are.

I detest flying anywhere. Left to my own devices, I'd never leave my keyboard.

All I am in private life is a literary critic and historian, that's my job...And I'm prepared to say on that basis if anyone thinks the Gospels are either legends or novels, then that person is simply showing his incompetence as a literary critic. I've read a great many novels and I know a fair amount about the legends that grew up among early people, and I know perfectly well the Gospels are not that kind of stuff.

Conventions of generality and mathematical elegance may be just as much barriers to the attainment and diffusion of knowledge as may contentment with particularity and literary vagueness... It may well be that the slovenly and literary borderland between economics and sociology will be the most fruitful building ground during the years to come and that mathematical economics will remain too flawless in its perfection to be very fruitful.

Point shoes are torture devices.

At one time, I hated the iPhone - but that was only before I used one for the first time. Now, it would be difficult for me to make the switch to any other platform. I've spent a fair amount of money on apps that continue to ride with me as I upgrade my iS devices. The iPhone certainly has its share of flaws and shortcomings, but having spent a great deal of time with other devices that claim to be "killer" continue to fall short. The industry needs competition, but I just need my mobile communications computer to work with a healthy array of software.

It's much harder these days as a start-up to do physical devices.

The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We're increasingly adrift in a grey void of aesthetic relativism.

I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.

In the digital world, he who hesitates is abandoned. So you have to generate 3-D excitement with as many devices as you can find.

Great things happen when you converge services and devices.

Software and digital devices are imbued with the values of their creators.

A veritable incubator of short cuts, schemes and devices to overcome the truth.

Everybody should read fiction… I don’t think serious fiction is written for a few people. I think we live in a stupid culture that won’t educate its people to read these things. It would be a much more interesting place if it would. And it’s not just that mechanics and plumbers don’t read literary fiction, it’s that doctors and lawyers don’t read literary fiction. It has nothing to do with class, it has to do with an anti-intellectual culture that doesn’t trust art.

Fashion is becoming the same thing as our devices.

Our five senses are faulty data-taking devices, and they need help.

Eventually the Internet will be accessed by PC, television, and wireless devices.

Apps have become a preferred way of accessing information on mobile devices.

Every few seconds a new book sees the light of day. Most of them will just be a part of the hum that makes us hard of hearing. Even the book is becoming an instrument of forgetting. A truly literary work comes into being as its creator's cry of protest against the forgetting that looms over him, over his predecessors and his contemporaries alike, and over his time, and the language he speaks. A literary work is something that defies death.

Left to my own devices, I tend to go darker and weirder, and it's fun.

Left to my own devices I'd get up at midday every day of my life.

When people are using their devices, it's probable that almost half are networking on social media.

We expect the market for convergence devices to double to 100 million units in 2006.

I'm a storyteller, I'm not a literary writer, and I don't want to be a literary writer. People say to me, "Oh, when are you going to write something different?" What? I don't want to write anything different. I'm writing relationships between people, all different colors, all different sizes, all different sexual orientations, and that's what I want to do.

The company [Microsoft] really has to chart a direction in mobile devices. Because if you're going to be mobile-first, cloud-first you really do need to have a sense of what you're doing in mobile devices. I had put the company on a path. The board as I was leaving took the company on a path by buying Nokia, they kind of went ahead with that after I told them I was going to go. The company, between me and the board, had taken that sort of view. Satya, he's certainly changed that. He needs to have a clear path forward. But I'm sure he'll get there.

These self-appointed deacons in the Church of Latter-Day American Literature seem to regard generosity (of words) with suspicion, texture with dislike, and any broad literary stroke with outright hate. The result is a strange and arid literary climate where a meaningless little fingernail paring like Nicholson Baker's Vox becomes an object of fascinated debate and dissection, and a truly ambitious American novel like Matthew's Heart of the Country is all but ignored.

A critical assumption is sometimes made that [Grisham, Clancey, Crichton & myself] have access to some mystical vulgate that other (and often better) writers cannot find or will not deign to use. I doubt if this is true. Nor do I believe the contention of some popular novelists... that thier success is based on literary merit -- that the public understands true greatness in ways the tight-a**ed, consumed-by-jealousy literary establishment cannot. This idea is ridiculous, a product of vanity and insecurity.

Perilous to us all are the devices of an art deeper than we possess ourselves.

The amplification of our diverse literary voices is a political act of resistance. Our lives are important, too. Our lives should be represented in our literature. And that literature is vital, compelling, and accessible. That literature deserves to be disseminated and noticed and available. And with respect to the dissemination and promotion of diverse voices - librarians, educators, and editors of literary journals play such an important role. They deserve not only a hearty shout out, but also our thanks and support.

Literary men now routinely tell their readers about their divorces. One literary man who reviews books wrote, in reviewing a study of Ruskin, that he had never read a book by Ruskin but that the study confirmed him in his belief that he didn't want to read a book by Ruskin. This man very often writes about his family life.

Liberals don't think parents can be left to their own devices when it comes to raising our children.

All of the devices work out of the box without any subscription fee.

Our goal is to make the best devices in the world, not to be the biggest.

Morality is the best of all devices for leading mankind by the nose.

The blockchain allows our smart devices to speak to each other better and faster.

Put your hand on your heart to keep it from flying off to the lovely magical literary island Mary Ann Shaffer and Annie Barrows have created in The Guernsey Literary and Potato Peel Pie Society. This novel is a delightful mix of fine writing, powerful emotions, glorious settings and amazing characters who deal with life in a way that will have readers falling in love on every single page.

Televisions are devices with screens that things appear on.

We are clearly betting on tablets being both content consumption and production devices.

If left to their own devices a child will achieve.

Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. ... The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years.