Quotes About Cultural

But what stands out in Japanese history, as well as in today's Japanese management behavior, is the capacity for making 180-degree turns—that is, for reaching radical and highly controversial decisions.

Usually I said nothing at all; as a waiguoren I was often most comfortable when I was listening.

Wang Chaosu shouted everything at me, the way many Americans do when they meet foreigners with bad English.

Before him, tribes would throw long spears at each other and wait. Like, ho hum, arrow arrow in the air, hey, want some coffee? Shaka said no way, José — well, maybe not José but the Zulu equivalent — short spears are better! Then you can go right up to your enemy's ugly face and wham! Stab! Arrrrgghh!

Hipsters are fine with coffee but eye boutiques and banks with suspicion, yuppies are fine with the boutiques and banks but see landscapes radically altered by development as cultural losses, and developers such as Pres Kabacoff are fine with those landscapes as long as they don't inspire protest.

Non-physicality grew from Los Angeles's geographic/architectural/cultural climate.

Whaling should stop because it brings needless suffering to social, intelligent animals capable of enjoying their own lives. But against the Japanese charge of cultural bias, Western nations will have little defense until they do much more about the needless animal suffering in their own countries.

There were many human groups that did not go to war; the Eskimos never grasped the idea at all, and the American Indians never took to it well. But these dissenters were wiped out, and a cultural pattern was established that became the standard for the whole planet. Now it has become ingrained in us.

Berlin. I used to love this old city. But that was before it had caught sight of its own reflection and taken to wearing corsets laced so tight that it could hardly breathe. I loved the easy, carefree philosophies, the cheap jazz, the vulgar cabarets and all of the other cultural excesses that characterized the Weimar years and made Berlin seem like one of the most exciting cities in the world.

The stand he wants to open'll sell gyros, he says. He's not Italian after all.

Our nation's angriest culture warriors need to know the cost of their conflict. As they seek to crush their political and cultural enemies, they may destroy the nation they seek to rule.

The same cultural values which caused secession were also partly responsible for its eventual defeat.

Indeed, cuckolded men are universal objects of disrespect and derision.

Through the mediating work of four cultural formations—carnival, tasting, contact zones, and edgework (or risky play)—the chapter explores how the articulation of market play provides a tool for leveraging and for holding an audience; works to redefine markets as pleasurable, exploratory, nontrading spaces; and provides a playful structure through which neoliberal market relations can be parodied and critiqued.

Bitter struggles deform their participants in subtle, complicated ways. The idea that one should speak one's cultural allegiance first and the truth second (and that this is a sign of authenticity) is precisely such a deformation.

Libraries are not failing 'because they are libraries'. Neglected libraries get neglected, and this cycle, in time, provides the excuse to close them. Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay.

Brother Anansi, the Spider, that great cultural hero of West Africa who is personated in Haiti by Ti Malice and in the United States by Brer Rabbit.

I know some players who have played abroad. It was not always easy for them.

In 'Shirin Farhad' I play the character of a Parsi woman. Though I was born a Parsi, in a Parsi family, I don't have the right accent.

Life in England was a bit difficult. It is not easy for a South American. Some people get on fine, and for others, it is harder to adapt.

I went to school in Tanzania for two years, from five to seven. I started off in my mother's school with a lot of African children - but then I was put into the international school.

I am Indian-American, but I often play ethnically ambiguous roles.

I'm sort of half-Chilean at this point anyway, half-Argentine. This is where I have been living and working for a long time now.

Mustafa Ali is who I wanted to see when I was growing up. I'm not wearing anything on my head; I'm not saying anything in Arabic. I'm just going to come out as Mustafa Ali.