Quotes About Cultural

We also have a cultural phenomenon: the emergence of a global culture, or of cultural globalization

I would never call myself cultural elite, but you might be cultural elite.

Much of the world today, including the United States, is still living in the social, cultural, and political aftermath of Britain's cultural achievements, its industrial revolution, its government of checks and balances, and its conquests around the world.

[Museums] all belongs to the cultural department, which is the biggest cultural department in the world.

Mathematics was born and nurtured in a cultural environment. Without the perspective which the cultural background affords, a proper appreciation of the content and state of present-day mathematics is hardly possible.

I want people to leave the theater with a greater understanding of the rich cultural heritage of Pakistan. "Song of Lahore" moves beyond headlines and stereotypes and shows that a vast majority of Pakistanis are not perpetrators of religious violence - they are victims of it. The beautiful cultural heritage of the region belies its image in the West as monolithically religious, intolerant, and violent.

The identity of just one thing, the "clash of civilization" view that you're a Muslim or a Hindu or a Buddhist or a Christian, I think that's such a limited way of seeing humanity, and schools have the opportunity to bring out the fact that we have hundreds of identities. We have our national identity. We have our cultural identity, linguistic identity, religious identity. Yes, cultural identity, professional identity, all kinds of ways.

I presume that nobody will deny the positive aspects of the North American cultural world. These are well known to all. But these aspects do not make one forget the disastrous effects of the industrial and commercial process of 'cultural lamination' that the USA is perpetrating on the planet.

Malcolm X is a person who has inspired - he has been the muse of several generations of black cultural workers, artists, poets, playwrights.

Ethical and cultural desegregation. It is a contradiction in terms to scream race pride and equality while at the same time spurning Negro teachers and self-association.

Pittsburgh is kind of like Newark without the cultural advantages.

From the clayey soil of northern Wyoming is mined bentonite, which is used as filler in candy, gum, and lipstick. We Americans are great on fillers, as if what we have, what we are, is not enough. We have a cultural tendency toward denial, but being affluent, we strangle ourselves with what we can buy. We gave only to look at the houses we build to see how we build *against* space, the way we drink against pain and loneliness. We fill up space as if it were a pie shell, with things whose opacity further obstructs our ability to see what is already there.

Cultural legacies are powerful forces. They have deep roots and long lives. They persist, generation after generation, virtually intact, even as the economic and social and demographic conditions that spawned them have vanished, and they play such a role in directing attitudes and behavior that we cannot make sense of our world without them.

I make films as a business, not as a cultural endeavor.

Science has only two things to contribute to religion: an analysis of the evolutionary, cultural, and psychological basis for believing things that aren't true, and a scientific disproof of some of faith's claims (e.g., Adam and Eve, the Great Flood). Religion has nothing to contribute to science, and science is best off staying as far away from faith as possible. The "constructive dialogue" between science and faith is, in reality, a destructive monologue, with science making all the good points, tearing down religion in the process.

The creativity of people on the schizophrenic end of the human continuum is a creativity that springs from the inability to accept the standardized cultural denials of the real nature of ex­perience. And the price of this kind of almost "extra human" crea­tivity is to live on the brink of madness, as men have long known.

This is the birth of the modern human soul. The artists are like us, not like the Neanderthals, who had no culture - and who incidentally were still roaming the landscape at the time the paintings were made. It is striking that there is a distant cultural echo that seems to reach all the way down to us, over dozens of millennia.

We're born into a certain family, nation, class. But if we have no connection whatsoever with the worlds beyond the one we take for granted, then we too run the risk of drying up inside. Our imagination might shrink; our hearts might dwindle, and our humanness might wither if we stay for too long inside our cultural cocoons. Our friends, neighbors, colleagues, family - if all the people in our inner circle resemble us, it means we are surrounded with our mirror image.

I think it's interesting, from a creative point of view, to have witnessed the loss of consciousness on a national level and on a cultural level - Bush had 91 percent support in the polls after 9/11. We wanted to kick some ass!

It had been only through books-at best, no more than vicarious cultural transfusions-that I had managaed to keep myself alive in a negatively vital way. Whenever my environment had failed to support or nourish me, I had clutched at books.

The world I grew up in had both a literal and mythological quality. We were on the borders of several worlds - the larger black world bordered us on one side. More distantly, there was the larger white world. We interacted with some, but not others. If you think of it as an internal geography, it is a land, a contested space with these very charged historical, cultural, and emotional borders.

Frederick Buechner can find grace and redemption even in the shoddiest, phoniest aspects of a cultural wasteland. One reads Lion Country...with hope and delight.

As a first-generation "Asian American woman," for one thing, I knew there was no such thing as an "Asian American woman." Within this homogenizing labeling of an exotica, I knew there were entire racial/national/cultural/sexual-preferenced groups, many of whom find each other as alien as mainstream America apparently finds me.

The world can only appear monochromatic to those who persist in interpreting what they experience through the lens of a single cultural paradigm, their own. For those with the eyes to see and the heart to feel, it remains a rich and complex topography of the spirit.

When I was growing up and somebody like Robert De Niro had a movie come out, it was a cultural event. Because he had such a confidence and a single mission that was so intimate.

Any social or cultural change has to be made openly and with people agreeing. You don't get there by just pushing an outsider's point of view.

It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.

The problem is we have to transcend cultural languages and fall into a phase with the communication systems that nature has placed all around us.

Certainly our cultural fallback position seems to be that our technologies will get us out of everything they have got us into. That looks like a magical thinking to me, but we don't really have a better idea.

The Arts, especially film, transcend all cultural barriers, hopefully offering an avenue where all people can find a common place to meet, understand each other, and nurture a safe world for all our children to grow strong within.

At the present moment in our culture this yearning for meaning and consciousness, this yearning to give and serve something higher than ourselves, is breaking through the hard crust of our widespread cultural materialism and pseudo-scientific underestimation of what a human being is meant to be together with an equally tragic overestimation of what we human beings are capable of in our present everyday state of being. The intensity of the present confusion about the nature and existence of God is a symptom of this yearning within the whole of our modern culture.

Culture is more often a source of conflict than of synergy. Cultural differences are a nuisance at best and often a disaster.

Perhaps some of the appeal of the dangerous-but-yummy paranormal anti-hero lies in his scorn for societal expectations. Yes, women have come a long way, but there are still some cultural stigmas more associated with women than men.

No nation can survive without passing its heritage, language and, yes, faith to the next generation. A country must be built on something substantial and if the cultural elitists think it can be built on 'diversity,' that is a foundation of shifting sand.

Realization that i couldn't be a ballet dancer was a blessing in disguise because that was the first time I felt like I stepped into adulthood. I realized, Okay, this is not going to work out. It was frustrating for about a year because I didn't know what to do with the creativity and the discipline that dancing had instilled in me from a very young age. But then I moved to Paris to model, and that was my cultural awakening. Now, I think dancing has been the biggest thing in my life, much more so than modeling, and it still helps me enormously in my work.

..I think there is less cynicism about human rights than there was. The work we are doing is part of the overall pattern of human development, whatever the political system, whatever the country, whatever the cultural background, whatever the religion.

Lawrence Hill, a cultural and spiritual descendant of West African griots, has used his vast storytelling talents to create an epic story that spans three continents. The Book of Negroes recites the pain, misery and liberation of one African woman, Aminata Diallo, who was stolen from her homeland and sold into American slavery. Through Aminata, Hill narrates the terrifying story of slavery and puts at the centre a female experience of the African Diaspora. I wept upon reading this story. The Book of Negroes is courageous, breathtaking, simply brilliant.

In the gospel message, the beginning of change occurs in the heart of each individual. This heart change makes a difference in the home, then in the community, and ultimately in the nation- and in turn it shapes the future of a cultural ethos.

Without a good cultural policy, without adequate help, we will always have individualists, shooting stars who are rapidly forgotten or who stop painting for a more profitable occupation.

I think it's too easy to just say that there is a direct and necessary conflict between black identity and gay identity. I think it's more nuanced than that simply because I think black is a color and then people layer on top of it all kinds of socio-cultural elements.

The language of the culture also reflects the stories of the culture. One word or simple phrasal labels often describe the story adequately enough in what we have termed culturally common stories. To some extent, the stories of a culture are observable by inspecting the vocabulary of that culture. Often entire stories are embodied in one very culture-specific word. The story words unique to a culture reveal cultural differences.

We spend more time with our coworkers than we do with our loved ones, and yet we don't have that many novels on the subject. We have far more novels about families bickering at Thanksgiving and not enough about the day before Thanksgiving at the office. If we lived in, say, Romania, maybe a workplace job might not be as important to the cultural discussion. But we live in America, where work is crucially important and capitalism drives everything we do.

... despite the limitations and problems inherent to photographic representation (and especially the representation of politics), it remains for me the most powerful and engaging medium today - one central to the development of cultural dialogue.

Ruling elite have think tanks, they have research institutes, they've invaded universities, they've monopolized the cultural apparatuses.

At least half the country thinks the mascot issue is insignificant. But I think it's indicative of the ways in which Indians have no cultural power. We're still placed in the past. So we're either in the past or we're only viewed through casinos.

I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.

Take the life issue. This issue requires a president and an administration leading our nation to understand the importance of life. This whole faith-based initiative really ties into a larger cultural issue that we're working on. It begins to affect the life issue, as well as the human dignity issue, because when you're talking about welcoming people of faith to help people who are disadvantaged and are unable to defend themselves, the logical step is also those babies.

I guess both Nabokov and Popper had, in different ways, immunized me against the fashion for French-influenced literary theory in the '70s, '80s, and '90s - "immunized" in the sense that they made me no longer susceptible to this epidemic cultural virus. I looked into Derrida and found that he rarely seemed to be interested in truth; he was more interested in making a splash.