Quotes About Cultural

Historicism and cultural relativism actually are a means to avoid testing our own prejudices and asking, for example, whether men are really equal or whether that opinion is merely a democratic prejudice.

Estoy cansada de no saber dónde morirme. Ésa es la mayor tristeza del emigrado. ¿Qué tenemos nosotros que ver con los cementerios de los países donde vivimos? [...] ¿No comprendéis? Nosotros somos aquellos que miraron sus pensamientos uno por uno durante treinta años. Durante treinta años suspiramos por nuestro paraíso perdido, un paraíso nuestro, único, especial.

In today's Britain, the weakest among us are often assumed to be minority communities. In fact, the weakest are those minorities-within-minorities for whom the legal right to exit from their communities' constraints amounts to nothing before the enforcement of cultural and religious shaming.

My advice to anyone experiencing racial or cultural bullying, either in real life or online, is to remember that these cowardly acts of unprovoked nastiness merely display the bully's own insecurities, as what they point out as weaknesses are simply ways in which you differ from them.

In times of stress, it is easy to look to one's weaknesses and fear the worst, but it is worth remembering that London's cultural strengths are not some ephemeral dot-com bubble; they are a real, tangible legacy of decades of investment in talent.

Thanks to the competence, love of God, our country's security and stability, endowed wealth, integrated infrastructure and quality services, the U.A.E. turned into the world's renowned destination for tourism, investment and business management: the interface of choice for hosting major cultural events, artistic and sports, in the world.

Travel is one of the best anti-war weapons that there are. I've been to Iran, and if you're there you see little kids, cops, old people, cemeteries. Once you see that, you can't say, 'Oh, Iran, let's bomb them.'

Jesus is a half-naked guy, hanging, nailed to a cross, and then people wear that around their neck, and then those are the people that are upset about violence in movies.

I like wearing the things from Japan, because they usually get a different collection than we do.

I know when I used to chemically straighten mine, I did it because I wasn't comfortable with my natural hair. I thought it was too poofy, too kinky. So for me, personally, when I started wearing it natural, it felt like I was blossoming because I was letting go of all the dead hair and all the parts of me that had rejected my natural state.

I don't think people realize why weaves and the cultural appropriation of black hairstyles are so sensitive. It's deep-rooted. For me, it goes back to high school: I wanted to have the long, flowing hair. So I got a weave. But then I didn't want guys to put their fingers in it - you don't want them to feel your weave.

One of my major goals is to develop a web of the small Wyoming museums and create a major museum system. There are about eight of these museums, and they are all scattered.

I try to study the background of the country I am in and what were my hits there, so I can at least give them some of what they want. It's like a wedding - give them something old, something new, something borrowed and definitely something blue!

You have Vampire Weekend who have more African references musically than most African-American artists.

'Hymn for the Weekend' mixes cultural and religious practices, commodifying them into a banal but beautiful message of imagined solidarity.

Poland is the natural bridge between East and West.

I had kids make fun of me because not only was I blonde but also Polish.

Many Americans remain very interested in royal goings-on in general, and not just because of their soap-opera appeal. To a greater degree than any other polity, Britain functions as Americans' defining 'other.'

I'm a little like Marco Polo, going around and mixing cultures.

I had never heard this term before - gente-fication - which is also happening in Portland, Houston; it's happening in a lot of cities. It's upwardly mobile Latinx who want to come back to their neighborhoods where they grew up - or it's Latinx moving to L.A. and looking for a Latinx neighborhood to live or open a business.

What I do feel is that 'Up in the Air' is the most indicative film of 2009. It is the portrait of 2009.

I don't think people should be afraid of portraying people with accents, especially Asian accents.

I'm not posh at all. I grew up in Sheffield but never managed to pick up the accent - which was careless because there'd be some cache now in being a northern playwright, but I missed out on that one.

Jewish history has been in my cultural DNA since I was a child growing up in post-war London. In the midst of that dark, gray, lamenting monochromatic world of the '50s, I had a sense that both Jewish and English history were full of color and light and animation.