I just was not going to subject my record to the bleak prospects of a primary election.
Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.
I love film, and I think it's so important for kids to be educated about films and real life subjects that films cover.
I was born in 1935, and as far back as I can remember, I was sketching designs. My first subject was an aircraft, which I imagined myself piloting.
I love the fact that people can relate to what I'm saying, even if it's not for the same subject I was writing about. That is the power of real music and real expression.
It's a taboo subject. How the dead are betrayed by the living. We who are living--we who have survived--understand that our guilt is what links us to the dead. At all times we can hear them calling to us, a growing incredulity in their voices, You will not forget me -- will you? How can you forget me? I have no one but you.
My favourite subjects at school were algebra and logic: making a big problem into something small.
Probably every subject is interesting if an avenue into it can be found that has humanity and that an ordinary person can follow.
Every writing teacher gives the subliminal message, every time they teach: 'Your life counts for something.' In no other subject that I know of is that message given.
To paint well, I need to be enraptured by my subjects.
Anybody with skin issues knows that that's a very sensitive subject, and that's why I've never shared that I have vitiligo because I do.
Even as rigorous a determinist as Karl Marx, who at times described the social behaviour of the bourgeoisie in terms which suggested a problem in social physics, could subject it at other times to a withering scorn which only the presupposition of moral responsibility could justify.
Reading a book should be a conversation between you and the author. Presumably he knows more about the subject than you do; if not, you probably should not be bothering with his book. But understanding is a two-way operation; the learner has to question himself and question the teacher, once he understands what the teacher is saying. Marking a book is literally an expression of your differences or your agreements with the author. It is the highest respect you can pay him.
Romantic Orientalism was fascinated by the color and excitement of a powerful culture, and nearly always approached its subject with love.
Generosity is self-existing openness, complete openness. You are no longer subject to cultivating your own scheme or project. And the best way to open yourself up is to make friends with yourself and with others.
A person is not merely a single subject distinguished from all the others. It is especially a being to which is attributed a relative autonomy in relation to the environment with which it is most immediately in contact.
When I look at a wildlife or nature subject, I dont see the feathers in the wings, I just count the wings. I see exciting shapes, color combinations, patterns, textures, fascinating behavior and endless possibilities for making interesting pictures. I regard the picture as an ecosystem in which all the elements are interrelated, interdependent, perfectly balanced, without trimming or unutilized parts; and herein lies the lure of the painting; in a world of chaos, the picture is one small rectangle in which the artist can create an ordered universe.
I like my subjects to be American, and not too dead, so I can interview people who knew them.
George Orwells 1984 frequently tops surveys of our greatest books: its not a celebration of poetic language. Its decidedly anti-literary, a masterpiece of personal and political narrative sequence. And its subject matter is crucial, because what 1984 shows is that language can be a dirty trick.
I have read all of Daniel Aaron's books, and admired them, but in The Americanist I believe he has composed an intellectual and social memoir for which he will be remembered. His self-portrait is marked by personal tact and admirable restraint: he is and is not its subject. The Americanist is a vision of otherness: literary and academic friends and acquaintances, here and abroad. Eloquently phrased and free of nostalgia, it catches a lost world that yet engendered much of our own.
My family has had to move and change their name and have been subject to threats from right wing blogs calling for my son, for example, to be killed to get at me.
Prophets, mystics, poets, scientific discoverers are men whose lives are dominated by a vision; they are essentially solitary men . . . whose thoughts and emotions are not subject to the dominion of the herd.
People are very good [at] thinking about agents. The mind is set really beautifully to think about agents. Agents have traits. Agents have behaviors. We understand agents. We form global impression of their personalities. We are really not very good at remembering sentences where the subject of the sentence is an abstract notion.
It's unsettling, to lose the safety of the familiar, even when what's disrupted is an ordinary routine. When I began this poem, I was grieving for the loss of my old barbershop in Manhattan, and wondering at the strangeness of my new one. I didn't have any idea the poem would break into the underworld, opening a deeper subject: the continuing force of the old griefs routine helps to mediate, and my strange, sheer wonder at my own survival. Where's home now? In the contingent present, in which anything can disappear, and where we're sometimes granted some form of grace.
Control over a woman is the only form of dominance most men possess, for most men are merely subjects of more powerful men.
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