I like the idea of having a paperless society.But to be paperless means you have to be so careful with your identity.
Talk about impersonating an identity, about locking into a role, about irony; I went to cover the war and the war covered me; an old story, unless of course you've never heard it.
Identity is a very difficult thing in the theatre. As an actor said to me one day, 'What are we doing today?' when we were doing a workshop. And I said, 'Oh, just be yourself'. And he said to me, 'I don't know who that is, I'm an actor'. And I begin to realise in fact that we seek identity because we're told we should have one, but I wonder whether it's necessary.
The great works belong to no one nation, no one cultural tradition even. They are universal.I want an Australian vision of arts policy that is expansive, is embracing, is not narrow, is not parochial. For example, that Australians can do Shakespeare just as well as Englishmen can because we, like every civilised nation, partake of the great canonical works. It's not about Australian nationalism; it's about our identity as a culturally ambitious, culturally sophisticated nation.
A writer soon discovers he has no single identity but lives the lives of all the people he creates and his weathers are independent of the actual day around him. I live with the people I create and it has always made my essential loneliness less keen.
A poet is the most unpoetical of anything in existence; because he has no identity he is continually informing and filling some other body.
National identity is a motion. It's something you're inside, you don't get what's happening, you can't see it from above. And that's where you have to write. You can't see what's happening now or what's going to happen, so you just dive into it and write.
I am a Black Lesbian Feminist Warrior Poet Mother, stronger for all my identities, and I am indivisible.
Identity is not found, the way Pharaoh's daughter found Moses in the bulrushes. Identity is built.
The desire to work with Burrows-Charles was really to change NBC's identity, to say, "We want to be in the sophisticated-adult-comedy business."
Sex annihilates identity, and the space given to sex in contemporary novels is an avowal of the absence of character.
human beings seem to hold on more tenaciously to a cultural identity that is learned through suffering than to one that has been acquired through pleasure and delight.
Detach the writer from the milieu where he has experienced his greatest sense of belonging, and you have created a discontinuity within his personality, a short circuit in his identity. The result is his originality, his creativity comes to an end. He becomes the one-book novelist or the one-trilogy writer.
Chloe Honum's brilliant first book The Tulip-Flame traces an identity forming within radically divergent but interlocking systems: a family traumatized by the mother's suicide, a failed relationship, the practice of ballet, a garden-each strict, exacting. And with 'a crow's sky-knowing mind,' Honum in every case transfigures emotion by way of elegant language and formal restraint. Chloe Honum is 'one astounding flame' of a poet, and I predict a long-lasting one.
Like the Pentagon, our social science often reduces all phenomena to dollars and body counts. Sexuality, family unity, kinship, masculine solidarity, maternity, motivation, nurturing, all the rituals of personal identity and development, all the bonds of community, seem "sexist," "superstitious," "mystical," "inefficient," "discriminatory." And, of course, they are -- and they are also indispensable to a civilized society.
My mirror image always had to be interpreted. And for that I sought my reflection in someone else's eyes.
It's not that pink is intrinsically bad, but it is such a tiny slice of the rainbow, and, though it may celebrate girlhood in one way, it also repeatedly and firmly fuses girl's identity to appearance.
I, who so love a hermit life for a good part of the day, find myself living in public, and almost losing my identity.
Just as our fingerprints are one-of-a-kind, so is our identity. Each of us is a once-only articulation of what humans can be. We are rare, unmatched, mysterious. This is why the quality of openness is so crucial to our self-discovery. We cannot know ourselves by who we think we are, who others take us to be, or what our driver's license may say. We are fields of potential, some now actualized, most not yet.
I had a family. They can be a nuisance in identity but there is no doubt no shadow of doubt that that identity the family identity we can do without.
I'm not attached to a certain scene. There was certain music - and techno was a part of it - that really formulated something for me, that really was a direct connection to what I experienced in my life. Going to parties and listening to techno at home helped form my musical identity. And that changed throughout my life.
In contrast to the asexual chasteness of official communist art , Nazi art is both prurient and idealizing. A utopian aesthetics (physical perfection; identity as a biological given) implies an ideal eroticism: sexuality converted into the magnetism of leaders and the joy of followers. The fascist ideal is to transform sexual energy into a "spiritual" force, for the benefit of the community.
I think history is inextricably linked to identity. If you don't know your history, if you don't know your family, who are you?
It's very important for a brand to have an identity through the years, but it's very important as well to evolve because times change so fast.
No one has their own identity like the Ronettes did back in the day.
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