Quotes About Interpretation

the line of mathematical imagination and that of philological critique seem to have faced each other in mutual incomprehension through the centuries

It is surely good method to posit our ignorance of a dazzling, familiar and yet ununderstood word, by treating it formally as an unknown term, and trying to define it by context

Ha önök írók volnának - mindenképpen azok, ugyanis az olvasó ugyanúgy szerz?je a m?nek, akár az író -, hogyan folytatnák ezt a történetet?

En una bandada de blancas palomas, un cuervo negro añade más belleza incluso que el candor de un cisne

Atunci de ce v? obosiÈ›i explicând ceea ce am spus eu, în loc s? m? întreceÈ›i È™i s? m? desfiinÈ›aÈ›i cu alte opere? Dac? am spus bine ceea ce am spus, pentru ce o spuneÈ›i voi din nou într-un mod mizerabil? Dac? alÈ›ii nu pricep vorbele mele, merit? oare s?-i faceÈ›i s? le priceap?, chiar aÈ™a cum le-am însemnat È™i le-am gravat eu în serile cele mai spumeg?toare ale inspiraÈ›iei mele?

Que não sabemos nem o que é o bem nem o que é o mal para nós. Mas que podemos decidir livremente o sentido a dar às coisas que acontecem. E essa é, no fundo, a nossa única força.

velha ideia russa segundo a qual a arte não é somente cultura, mas construção, profecia, verdade.

Crois-moi, la seule chose que tu peux contrôler c'est ta façon d'interpréter les événements. Si tu pars de l'idée que ce ne sont pas les choses, mais le jugement que nous portons sur elles qui nous fait souffrir, alors tu peux aspirer à prendre le contrôle de ta vie. Sinon tu es condamné à tirer sur des mouches avec un canon. »

Crois-moi, la seule chose que tu peux contrôler c'est ta façon d'interpréter les événements.

Crois-moi, la seule chose que tu peux contrôler c'est ta façon d'interpréter les événements. Si tu pars de l'idée que ce ne sont pas les choses, mais le jugement que nous portons sur elles qui nous fait souffrir, alors tu peux aspirer à prendre le contrôle de ta vie. Sinon tu es condamné à tirer sur

Il mistero di come i concetti e le idee prendano corpo in noi attraverso i segni che ci scambiamo lo affascinava sempre di più negli ultimi tempi. Il linguaggio. Avrebbe trattato prima o poi il problema delle sue forme. Avrebbe trattato anche quello.

Evil is relative…You can't hang a sign on it. You can't touch it or taste it or cut it with a sword. Evil depends on where you are standing, pointing your indicting finger.

No artist knows everything (yea, even this artist - piss-artist, con-artist, body-artist) but since every artist knows more than he can tell, all art is lying by omission.

Simultaneously (in the inner voice of a female American cultural studies professor): Only meaning can make a difference and we all know there's no meaning. All stories express a desire for meaning, not meaning itself. Therefore any difference knowing the story makes is a delusion.

Imagination was condemned to make something of things.

Nothing is the whole story. The self's curse – and the writer's.

Acting is not about dressing up. Acting is about stripping bare. The whole essence of learning lines is to forget them so you can make them sound like you thought of them that instant.

Playing may be easy, but playing the right way is not. ("Interpretations," A Cultural History of the Theatre in the Middle Ages, ed. Jody Enders, (London: Bloomsbury, 2017), 136.)

The perceptions and pronouncements of human beings are inherently subjective. Every news article is the product of all sorts of highly subjective cultural, nationalistic, and political assumptions. And all journalism serves one faction's interest or another's. The

there is no check or limit on the NSA's bulk collection of metadata, thanks to the government's interpretation of the Patriot Act—an interpretation so broad that even the law's original authors were shocked to learn how it was being used.

Interpreting literature was like performing a piece of music. It was a matter of lines and phrases, of hearing the resonance and learning where the stress falls. The note A has little significance by itself, just like the words love and yes. Yet placed just right, surrounded by other notes, other words, even a single tone can absorb all the forcefulness of our need, returning it to us as meaning.

The rest, but a small part, is fiction, part of the mosaic of storytelling that a writer must employ to bring life to his tale. But as to which part is truth and which small part is fiction, I will leave that for you to decide.

People as a rule do mean much more than they understand.

Helianos wanted to accept everything as it appeared on the surface; at least to interpret everything as favorably as he could, as mere kindliness, a wonderful improvement and a great blessing.