Quotes About Vernacular

As modern readers of masterpieces like The Plum in the Golden Vase and The Story of the Stone know, some degree of "unfinishedness" was to be expected, and perhaps desired, even in novels of undeniable craft and artistry by tremendously sophisticated authors. Vernacular novels were intentionally circulated not as finished products, but with room for readers, as well as editors and commentators, to contribute their own thoughts.

I use a lot of old-fashioned expressions.

In the fourteenth century, Italian literature was, by requirement, divided into two categories: tragedy, representing high literature, was written in formal Italian; comedy, representing low literature, was written in the vernacular and geared toward the general population.

Even at its most spontaneous, [the Carmina ] has not the sudden miracle of the earliest vernacular ... It is the contrast between the thrushes in February and the violin.

But his key label is 'cant'. He defines the word as follows: 1. A corrupt dialect used by beggars and vagabonds 2. A particular form of speaking peculiar to some certain class or body of men 3. A whining pretension to goodness, in formal and affected terms 4. Barbarous jargon 5. Auction When a word is

It's very easy to think about rhymes and just usage of words that sound good but don't mean anything. Basically, I try to put into song the way people actually talk.

I'm not actually perishing, but I do feel like I die a little every time someone uses 'literally' to mean 'really.'

Minority art, vernacular art, is marginal art. Only on the margins does growth occur.

Whenever serious art loses track of its roots in the vernacular, then it begins to atrophy.

Old words, he said, were the best of all, and he indulged in them: correctitude, palimpsest, parlementaire, guttersnipe, purblind.

Jazz music, as is also the case with the old down-home spirituals, gospel and jubilee songs, jumps, shouts and moans, is essentially an American vernacular or idiomatic modification of musical conventions imported from Europe, beginning back during the time of the early settlers of the original colonies.

We want a vernacular in art. No mere verbal or formal agreement, or dead level of uniformity but that comprehensive and harmonizing unity with individual variety which can be developed among people politically and socially free.

I tended to emphasize the secular, the casual, the colloquial, the vernacular against the sacred.

What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.

'Friends' was an education in intelligent comedic banter; in intelligent vernacular. It was an education in scene study. It was an education in group dynamic. I came out of there with a master's degree in comedy.

With the Larry Bertlemann portrait, I started with a photograph that I could use for it. I built the drawing's identity to serve as a graphic identity. After a number of sketches, I went into my own abstract vernacular of drawn lines and shapes to create the composition for the poster design.

The word 'demand' is a tricky word when used by our gender. When used by men, it's part of their vernacular.

For books I want to keep reading, it's definitely the voice. It must be a voice I've never heard before, and it must have its own particular intelligence. By 'voice,' I don't mean vernacular. It has to have its own particular history and world that it inhabits.

At our peril, we ignore the fact that black vernacular, like the blues, both has a form and performs... For just as there would be no American music without black folks, there would be very little of our American language.

I consider the indiscriminate propagation of self-help to be morally unacceptable... self-help is the opposite of autonomous or vernacular life.

What interests me is what you might call vernacular writing, writing that connects you to a place.

I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?

Melodies are just honest. They can only be what they are. Words have the capacity for deception. They're all full of subtext, and some of them are cliche and overused and vernacular. They're tricky. All I can say is, words are tricky.

We get the papers: I prefer broadsheets because I had the fear of God put into me by the tabloids and, though I'm very much over it, I still don't really like to read them. It's a destructive vernacular that makes me angry and scared, and it is all sensationalist onomatopoeia and alliteration.