Quotes About Cultural

The body must be regarded as a site of social, political, cultural and geographical inscriptions, production or constitution. The body is not opposed to culture, a resistant throwback to a natural past; it is itself a cultural, the cultural product.

We have been the benefactors of our cultural heritage and the victims of our cultural narrowness.

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

The enormous social change involved in a sexual revolution is basically a matter of altered consciousness, the exposure and elimination of social and psychological realities underlying political and cultural structures. We are speaking, then, of a cultural revolution, which, while it must necessarily involve the political and economic reorganization traditionally implied by the term revolution, must go far beyond this as well.

The term Hispanic, coined by technomarketing experts and by the designers of political campaigns, homogenizes our cultural diversity (Chicanos, Cubans, and Puerto Ricans become indistinguishable), avoids our indigenous cultural heritage and links us directly with Spain. Worse yet, it possesses connotations of upward mobility and political obedience.

Ours is a post-Christian world in which Christianity, not only in the number of Christians but in cultural emphasis and cultural result, is no longer the consensus or ethos of our society.

Most historians accept that Egypt was a cradle of civilization, and that many cultural idioms and traditions come from there. What has yet to be understood, however, is the manner in which Egypt inherited its cultural elements from the lands of the North-West. This fact is not known today because of the threat it poses to Rome and London, the Vatican and Crown, and to all those who have profited from the suppression of knowledge.

Culture has become one of the last elements of our identity. We have to act in favor of cultural diversity abroad as well as at home, we need strong cultural diplomacy but we have to create it.

I believe architecture is a cultural output and I think Rem Koolhaas is one of the rare individuals who was able to really output architecture as cultural artifact.

Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.

And make no mistake: irony tyrannizes us. The reason why our pervasive cultural irony is at once so powerful and so unsatisfying is that an ironist is impossible to pin down. All U.S. irony is based on an implicit "I don’t really mean what I’m saying." So what does irony as a cultural norm mean to say? That it’s impossible to mean what you say? That maybe it’s too bad it’s impossible, but wake up and smell the coffee already? Most likely, I think, today’s irony ends up saying: "How totally banal of you to ask what I really mean.

Italy advocates the adoption of a legal instrument on cultural diversity, guaranteeing every country the protection of its own historical identity and the uniqueness of its physical and intangible cultural heritage.

If we are to believe or accept that buildings are cultural markers, if architects work in a vacuum with their own preconceptions about society, then we won't be creating appropriate cultural markers.

The fierce willingness to repudiate domination in a holistic manner is the starting point for progressive cultural revolution.

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

The men who are messing up their lives, their families, and their world in their quest to feel man enough are not exercising truemasculinity, but a grotesque exaggeration of what they think a man is. When we see men overdoing their masculinity, we can assume that they haven't been raised by men, that they have taken cultural stereotypes literally, and that they are scared they aren't being manly enough.

Distinctly American poetry is usually written in the context of one's geographic landscape, sometimes out of one's cultural myths, and often with reference to gender and race or ethnic origins.

Cultural identity is of course connected to this issue. When I was younger, it was inspiring to write about the people that raised me, especially their near-insane struggle to live between America and Middle East. But like many writers, I want to paint on as broad a canvas as possible.

..Acts of appropriation are part of the process by which we make ourselves. Appropriating - taking something for one’s own use - need not be synonymous with exploitation. This is especially true of cultural appropriation. The “use” one makes of what is appropriated is the crucial factor.

Africa is our center of gravity, our cultural and spiritual mother and father, our beating heart, no matter where we live on the face of this earth.

A talent for speaking differently, rather than for arguing well is the chief instrument of cultural change.

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.

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!

If you're creating something that has some sort of cultural currency - if the idea is getting out there - then that will probably yield money in some form, whether it's through selling art or selling books or being asked to give a lecture.

It's not a gun control problem; it's a cultural control problem.

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.

Often, these downplay the power of cultural imperialism - in that sense, playing the game of US interests - by reassuring us that the global success of American mass culture is not as bad as all that.

We know what hair smells like when a hot comb hits it. That's a cultural thing. We know what that smells like on Sunday mornings, usually church-related or something. In my house, it was getting ready for church and your sister was getting her hair fried.

I don't want an entire world full of people just drinking Coca-Cola and eating McDonald's hamburgers and listening to American pop records. That would be a lesser world. I hope the cultural diversity is rich and is able to survive the Westernization of their economies.

Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.

The United States is such a potent political, cultural, and economic model in the evocation of the contemporary world, that to come here, select some elements from the prototype and rearrange them, that's really interesting artistically.

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.

Underground electronic music is art - fundamentally it's based on contemporary art, culture, dance, and real music. If you look at EDM, how many of those cultural standpoints are the same?

I founded the King Hussein Foundation after my husband's death in 1999, to build on his humanitarian vision and legacy in the country and abroad, through programs promoting education and leadership, economic empowerment, tolerance, cross-cultural dialogue, and media that enhances mutual understanding and respect among different cultures across conflict lines.

The best example of all, to me, that our problems are both personal and cultural and political and social is the whole condition of the middle class economically.

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.

I just don't need cable news. There's nothing that happens on cable news that I don't already know. I'm talking about just the acquisition of information, learning things. What is on cable TV is not that. Cable news isn't news. What is happening on cable news right now is a political assassination of not just Donald Trump, but of ideas and cultural mores that I believe in.

I think cultural appropriation has been an issue since the beginning of time and I think it's so important for us to tell our own stories and tell them the way we know how they're supposed to be told but also giving each other the exposure and access in order to do that.

African American music can't happen in Germany or in Italy or in Mumbai. If America disappeared off the face of the Earth today, the greatest single cultural loss would be blues, jazz, hip-hop, R&B, rock-and-roll.

We are increasingly recognising and accepting, respecting and celebrating, our cultural diversity.

Cultural relevance can be a cruel mistress.

If we had about 100 years, that sort of slow cultural conversion would be exactly the thing to do. But physics is calling the tune here. We've got to respond to a timetable that physics has set for us.

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

As a Liberal of course I am very strongly committed to the notion of artistic freedom and very hostile to the idea of there being a single view of cultural policy dictated from on high.

Cultural standards evolve. The meaning of the public interest also, of course, evolves.

It is this capacity for relentless self-criticism that should be - everywhere - the true measure of intellectual freedom and cosmopolitanism, not the entrenched cultural power and self-congratulatory moral rhetoric of some people in countries long accustomed to telling other societies what to do and how to behave.

Gun crime is a major cause of fear and distress throughout the UK. The problem is deeply entrenched in a wide range of social and cultural factors and therefore not an isolated issue.

New York City is just one node on the global cultural scene now. Social media reflects the state of the world, so I've become more devoted to that. To be a NYC artist today feels local and small. Social media feels now.