Top 1200 Written Language Quotes & Sayings - Page 16

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.

I should have written more. I should have written more during the period when I just liked so much doing the political work in the streets.

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.

In my opinion, the vast majority of scripts written - as well as most movies that are released - are not very original, well-written, or interesting. It has always been that way, and I think it always will be.

If the world is a game whose rules are written by the God, and sorcerers are those who cheat and cheat, then who has written the rules of sorcery?

If Allah has written for you happiness, no one can steal that from you, and if He has written for your heart to break, then no-one can mend it but He, so always put your trust in Allah.

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.

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.

The learned are not agreed as to the time when the Gospel of John was written; some dating it as early as the year 68, others as late as the year 98; but it is generally conceded to have been written after all the others.

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.

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.

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.

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.

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.

Every girl wants songs written about her. Even the most hardened tattoo-covered punk rock girl would love a nice ballad written for her.

All male roles are written in a way where you just hide what's going on inside you, and all female roles are written in a way where they expose everything.

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

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.

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.

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.

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.

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.

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.

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.

If you've written it you know exactly; whoever you're playing if you've written it you already know it. As a matter of fact, you've already made the movie if you wrote it. You've made it in your head.

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.

I try to write books that are different from the books I've already written. I think one of the thing I really try to do is reinvent how a novel can be written.

A written word is the choicest of relics. It is something at once more intimate with us and more universal than any other work of art. It is the work of art nearest to life itself. It may be translated into every language, and not only be read but actually breathed from all human lips; -- not be represented on canvas or in marble only, but be carved out of the breath of life itself.

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.

Every one of my books is written from the viewpoint of cops, with the exception of my book Killer on the Road, which is written from the viewpoint of a serial killer.

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.

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.

I can only write new words at my desk, the one I've owned for 25 years. When we moved to our new house I designed my office around it. I've written everything I've ever written at this desk.

It's very common for people to recommend something to me because they're going on what I've already written, when, what really is the case, is that you want to write about something you haven't written about, in ways that you haven't done before.

In ancient Greece, Socrates reportedly didn't fancy a literate society. He felt that people would lose the capacity to think for themselves, simply adopting the perspective of a handy written opinion, and that they would cease to remember what could be written down.

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.

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.

The things that the novel does not say are necessarily more numerous than those it does say and only a special halo around what is written can give the illusion that you are reading also what is not written.

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.

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.

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.

One of my great experiences in life was to be interviewed on a late-night talk show by a guy named Tom Snyder. He was interviewing me on a book I had written on the New Testament of the Bible called Rescuing the Bible from Fundamentalism, and we talked about the dating of the books of the New Testament, and I said, "Well, the consensus is that the gospels were written some forty to seventy years after the crucifixion." And he stopped me and said, "Wait a minute, Bishop, that means they couldn't have been written by eyewitnesses."

As an audience member, I like the sound of something that's been written - I like it to sound written. And then, of course, you can't do it without the musicians who can play it.

I may not have written the stories that I've written if I hadn't ended up in Niverville. I don't know; I don't know. How can you know?

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.

You have to fire yourself as the writer when you direct something you've written. You have to fire yourself, or else you get precious about what you've written. You've got to open up and let the actors in, and re-conceive a lot of things.

I have written it before and am not ashamed to write it again. Without Wodehouse I am not sure that I would be a tenth of what I am today -- whatever that may be. In my teenage years, his writings awoke me to the possibilities of language. His rhythms, tropes, tricks and mannerisms are deep within me. But more than that, he taught me something about good nature. It is enough to be benign, to be gentle, to be funny, to be kind.

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.

I started playing guitar when I was 13. I'd written a few songs on the guitar over some time. I'd written a book of poetry, and I got a book of lyrics that I had when I was a kid.

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?

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.

When the material written is very good then half of your work is done by the writer itself. When there's a well-defined character written, then the attempt is to be as honest to the material as possible.

I think any kind of comic sequence is as easy and as difficult as it is written. So, if it is written well, then it becomes easy. Sometimes you find it difficult because the humour is not coming out.

It's always amusing to look at how something early in the 20th century was written in anthropology and how it's written now. There's been an enormous shift in how it's done, but yet you can't put your finger on someone who actually did it

For me archaeology is not a source of illustrations for written texts, but an independent source of historical information, with no less value and importance, sometimes more importance, that the written sources.

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.

It's always amusing to look at how something early in the 20th century was written in anthropology and how it's written now. There's been an enormous shift in how it's done, but yet you can't put your finger on someone who actually did it.

I've written many love songs for Gerard. But it's never enough. I feel that he deserves a million love songs written for him.

My dear Jesus, my Savior, is so deeply written in my heart, that I feel confident, that if my heart were to be cut open and chopped to pieces, the name of Jesus would be found written on every piece.