Top 1200 Russian Language Quotes & Sayings - Page 13

To me there are two Hitlers: one who existed until the end of the French war; the other begins with the Russian campaign. In the beginning he was genial and pleasant. He would have extraordinary willpower and unheard-of influence on people. The important thing to remember is that the first Hitler, the man who I knew until the end of the French war, had much charm and goodwill. He was always frank. The second Hitler, who existed from the beginning of the Russian campaign until his suicide, was always suspicious, easily upset, and tense. He was distrustful to an extreme degree.

Everything that we inherit, the rain, the skies, the speech, and anybody who works in the English language in Ireland knows that there's the dead ghost of Gaelic in the language we use and listen to and that those things will reflect our Irish identity.

I once saw a small child go to an electric light switch as say, Mamma, can I open the light? She was using the age-old language of exploration, the language of art.

Rap and spoken word have reawakened the country to poetry in itself. Texting and Twitter encourage creative uses of casual language, in ways I have celebrated widely. But we've fallen behind on savoring the formal layer of our language.

You can't write about people out of textbooks, and you can't use jargon. You have to speak clearly and simply and purely in a language that a six-year-old child can understand; and yet have the meanings and the overtones of language, and the implications, that appeal to the highest intelligence.

Unfortunately, we're using the same language to talk about the language we'retalking about.

I have no relationship with the Russian government at all.

They (Americans) have their national game, baseball - which is cricket played with a strong American accent - and they have a national language, entirely their own, unlike any other language spoken on the earth.

The language that photography has is a formal language. Any photographer is doing something formal. If it's formal, then it must be an aesthetic way to communicate.

If you want to deliver as an actor, you need to know the language. If you don't know what you are mouthing, how will you perform? For me, it is important to know the language.

I ascribe a basic importance to the phenomenon of language. To speak means to be in a position to use a certain syntax, to grasp the morphology of this or that language, but it means above all to assume a culture, to support the weight of a civilization.

There is certainly no one 'type' of writer who deliberately draws on Shakespeare. In fact, there's a strong argument that everyone writing in the English language is influenced by Shakespeare because, to a considerable degree, he shaped that language.

I will not compromise on language or content. At 15, people can handle the same language as me, they're just as complicated as me and are very interested in thinking about important questions for the first time.

My first language, the true language of the soul spoken only on our planet of origin, had no word for betrayal or traitor. Or even loyalty- because without the opposite, the concept had no meaning.

I sat staring, staring, staring - half lost, learning a new language or rather the same language in a different dialect.

[Barack] Obama has a grasp of language and the presentation of language, particularly in times of crisis. And he did this over the race issue. He did this early on in his administration, when the country was polarized. That was unprecedented.

We live in our language like blind men walking on the edge of an abyss. This language is laden with future catastrophes. The day will come when it will turn against those who speak it.

As Bromberger observed, rules are understood to be elements of the computational systems that determine the sound and meaning of the infinite array of expressions of a language; the information so derived is accessed by other systems in language use.

Memetics provides a new approach to the evolution of language in which we apply Darwinian thinking to two replicators, not one. On this theory, memetic selection, as well as genetic selection, does the work of creating language.

Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.

I'm open to learning Russian.

The language of God is not English or Latin; the language of God is cellular and molecular.

Magic, then, is not a method, but a language; it is part and parcel of that greater phenomenon, ritual, which is the language of religion. Ritual is a symbolic transformation of experiences that no other medium can adequately express.

The important thing is to be able to understand anyone who has something useful to say. - There is a general moral here. Be very careful and very clear about what you say. But do not be dogmatic about your own language. Be prepared to express any careful thought in the language your audience will understand. And be prepared to learn from someone who talks a language with which you are not familiar.

The way that Russian Orthodox services work generally, and certainly the way that this worked, is that it goes on for hours and hours, and people wander in and wander out, and people talk the whole way through. One of the American women said to the other, "This is so beautiful. I can actually imagine maybe even becoming Orthodox." She went on and on, and finally a Russian seated just in front of her turned and said, "You are not member of church because it is beautiful; you are member of church because it is the single truth of God!"

For me, 'Shanghai' is beyond language. For me, it's good cinema. The language is incidental.

Every time another tribe becomes extinct and their language dies, another way of life and another way of understanding the world disappears forever. Even if it has been painstakingly studied and recorded, a language without a people to speak - it means little. A language can only live if its people live, and if today's uncontacted tribes are to have a future, we must respect their right to choose their own way of life.

Reality prior to my language exists as an unthinkable thought. . . . life precedes love, bodily matter precedes the body, and one day in its turn language shall have preceded possession of silence.

My mother always spoke to me in English, so it's technically my maternal language, and it became a kind of private language - I was happy that I could speak in English to my mum and the majority of people wouldn't understand it.

Edgar Sawtelle is a boy without a voice, but his world, populated by the dogs his family breeds, is anything but silent. This is a remarkable story about the language of friendship—a language that transcends words.

I am not patriotic or nationalistic, but the French language is like a country where I take refuge when I have nowhere else to go. It consoles me for everything. For me, the language no longer belongs to the colonialists.

The attitude of independence toward a constructed language which all national speakers must adopt is really a great advantage, because it tends to make man see himself as the master of language instead of its obedient servant.

Those who don't understand any language other than the language of force and violence don't respect human dignity. They seek violence because they will be irrelevant without it. We should not go their way.

No one can create a noteworthy work without knowing the tenets of their own language and literature. Language is renewed but it never changes its essence, because the contracts that have come about over time for communication cannot be rescinded so easily.

Our English language really says if you're not a theist, the only alternative is to be an atheist. What I'm trying to do is develop a language that will enable us to talk about God beyond the, what I think, are sterile categories of theism and atheism.

Understanding Scripture in a language other than the heart language in which we think and experience emotion is "like trying to eat soup with a fork. You can get a little taste, but you cannot get nourished.

For if consciousness is based on language, then it follows that it is of much more recent origin than has been heretofore supposed. Consciousness come after language! The implications of such a position are extremely serious.

If we’re going to solve the problems of the world, we have to learn how to talk to one another. Poetry is the language at its essence. It’s the bones and the skeleton of the language. It teaches you, if nothing else, how to choose your words.

Learning astrology is like learning any foreign language. You already have the ideas, concepts, and experiences of your life within you; you are just learning a new language for what you are already experiencing.

Growing up in Switzerland, you learn German pretty much from day one in school. You learn French and Italian as well. I took English as an extra language because I figured that was the language of the world.

It's not only exciting to watch, but you can also speak a different language with each other. It's a music language that's unique, compared to what other parents do, especially in their professional lives. Not everybody can talk about being an accountant.

Rather than thinking of sound and sense in my essays as two opposing principles, two perpendicular trajectories, as they are often considered in conversations around translation, or even as two disassociated phenomena that can be brought together to collaborate with more or less success, I think of sound as sense. Sound has its own meaning, and it's one of the many non-semantic dimensions of meaning in language. I want to emphasize is the formal dynamic between language-as-information and language-as-art-material.

Rhetoric is rooted in an essential function of language itself, a function that is wholly realistic and continually born anew: the use of language as a symbolic means of inducing cooperation in beings that by nature respond to symbols.

To understand the Universe, you must understand the language in which it's written, the language of Mathematics.

Children must master the language of things before they master the language of words.

For fifty years, we heard NATO is necessary to save Western Europe from the Russian hordes, you know the slave state, stuff I was taking about. In 1990-91, no Russian hordes. Okay, what happens? Well there are actually visions of the future system that were presented. One was [Mikhail] Gorbachev. He called for a Eurasian security system, with no military blocs. He called it a Common European Home. No military blocs, no Warsaw Pact. Just an integrated security system with no conflicts.Now the other vision was presented by George Bush, this is the "statesman".

What I search for continuously in my art is adequate language, language I hope can stand beyond any particular occasion. What I'm finding is that in our increasingly dysfunctional U.S. society, marvelous poetry is being written - out of and amid the dysfunction.

Plainly, children learn their language. I don't speak Swahili. And it cannot be that my language is 'an innate property of our brain.' Otherwise I would have been genetically programmed to speak (some variety of) English.

It seemed to me that the real philosophical breakthroughs of the 20th century were in terms of the understanding of language. What is language? Where does it come from, how does it work, what does it do?

The language of film is further and further away from the language of theater, and is closer to music. It’s abstract but still narrative. Everything feels less rehearsed. It’s more experimental than classical.

The so-called language of Barbara Kruger is vernacular language. Obviously, I pick through bits and pieces of it and figure out to some degree how to objectify my experience of the world, using pictures and words that construct and contain me.

Censors can make a case for zero tolerance in language. They can make the argument that since we don't allow our children to use that language in schools, we also shouldn't give them stories in which it is used.

So the language of musical harmony is an absolutely extraordinary one. It's a way of navigating one's emotional frameworks, but without the need to put things into words, and I think that, as with many other languages, it doesn't matter how much you know about a language.

I've done two remakes, 'Rowdy Rathore' and 'Son of Sardaar,' and I see nothing wrong with it. The originals were in a language that not everyone understands, so when you're making it in another language, you can reach a much wider audience. That's how I look at it.

In general, I agree with Jacob Grimm and feel that we ought to permit changes and uncontrolled growth in language. Even though that also allows potentially threatening new words to develop, language needs the chance to constantly renew itself.

We all laugh and cough with the same language and will die with the same language as well!

That's one of the ways language evolved, by some very obscure form becoming common usage. And I must say that I'm very intrigued by use of language and slang, and criminal underground terms.

I do try to incorporate particular rhythmic and generally sonic motifs I discover in music as such, and if one thinks of language in a narrow sense, that, perhaps, suggests a possibility for a rhythmic sensibility that enters poetry from outside of language.

The language of literature is the language of all the world. It is necessary to divest ourselves at once of the notion of diversified vocal and grammatical speech which constitutes the various tongues of the Earth, and conceals the identity of image and logic in the minds of all men.

That is a horrible thing in a way, but it is the one thing poets can bring back to experience, this intense focus on language, which activates words as a portal back into experience. It's a mysterious process that's very hard to articulate, because it's focused entirely on the material of language in a way, but in the interests not just of language itself whatever that would mean - that's the mistake, by the way, that so many so-called "experimental" poets make - but in service to human experience.