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.

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

I'm interested in the cultural thing - music, then eventually cinema. I think it's part of my struggle as a cultural worker. I'm not into the armed thing. I cannot be violent.

Even if 80 percent of the population of a country are Christian believers, they will have almost no cultural influence if the Christians do not live in cultural centers and work in culture-forging fields such as academia, publishing, media, entertainment, and the arts. The assumption that society will improve simply be more Christian believers being present is no longer valid.

I think that in the diaspora, and among immigrants, religion becomes a vehicle for the transmission of cultural information, and cultural codes, and this does end up re-inscribing certain things about the religion - like caste. Caste discrimination and hierarchy are still a very fundamental and violent part of Hinduism. My family was upper caste, and that was very clear. I feel like caste and religious practice are inextricable, actually.

Ideologies are cultural memes. They are the most confining of the cultural memes. That's where culture gets real ugly. It is when you rub up against its ideologies.

The real problems are cultural. The problems of the people who take drugs as a cultural trap - I think there's a real problem there, the crack stuff, the hopelessness of the junkie. The urban angst.

Because I'm sort of an honorary Canadian, I don't think the others grasped the cultural significance of who the Tragically Hip were before the tour. Talking to Sheryl Crow and her people and the guys in Wilco, everyone was ecstatic to be on the tour, it was a lot of fun. But it even took me a while to grasp the idea that this is not just a band, this is a cultural artifact, what the Hip means in Canada. There is nobody else like them.

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

All cultural explorers. . . start off from specific roots which color their vision and define the allegiances of the work of art they produce.

The union of a man and a woman is the most enduring human institution, honored and encouraged in all cultures and by every religious faith." ... "Marriage cannot be severed from its cultural, religious and natural roots without weakening the good influence of society.

If the cultural elite has its way, the U.S. will be much more like Europe

In general, you have great artists who have died far too early and who have left great cultural impact. If you look at people like Vincent van Gogh or Jean-Michel Basquiat-there's a long, long list of artists who have died in tragic circumstances, and far, far too early.

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.

Your primary presumption that The Bridge was proffered as an epic has no substantial foundation. You know quite well that I doubt that our present stage of cultural development is so ordered yet as to provide the means or method for such an organic manifestation as that.

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.

In my view, Africa's real problems are cultural.

Right now were in the middle of a cultural war between the Muslims and the Western world. The politicians get in the way, but if you put two people together in a room, they can talk it out and work it out, just like Anna and the King.

I know, or I dream, that pop music can search out limits, mock restrictions and divisions, exorcise cultural nightmares, contribute to revitaiisation of people's thinking, disturb and inspire if only through its unstable mobility, its readiness to pursue apparently irrelevant links and private associations.

Graphic design is a visual language uniting harmony and balance, color and light, scale and tension, form and content. But it is also an idiomatic language, a language of cues and puns and symbols and allusions, of cultural references and perceptual inferences that challenge both the intellect and the eye.

What little wilderness remains displays the patterns we must return to, if our species and as many others as now remain are to persist here a while. Ideally this would call for a broad cultural rapprochment with the wild, a long overdue armistice in civilization's war upon it.

Standing outside the cultural hysteria the trend is fairly clear. It is a trend toward temporal compression and the emergence of ambiguity.

Now, after the material resources of the colonies have been looted, their spiritual and cultural resources are being transformed into commodities for the world market.

In most of my photographic pieces I have manipulated the quality of the evidence that people assign to photography, in order to subvert it, or to show that photography lies - that what it conveys is not reality but a set of cultural codes.

We are told No, you're unimportant, you're peripheral - get a degree, get a job, get a this, get that, and then you're a player. You don't even want to play that game. You want to reclaim your mind and get it out of the hands of the cultural engineers who want to turn you into a half-baked moron consuming all this trash that's being manufactured out of the bones of a dying world.

Cooking is a holistic process of planning, preparing, dining and sharing food. I place food at the center of our humanity, as it nourishes not only our physical bodies but also our emotional and spiritual lives. Food is truly a cultural phenomenon that informs our traditions and our relationship with the earth. I genuinely believe that food connects us all.

With enough money and international coordination, we can push incoming asteroids out of Earth's path. We might even be able to bring back extinct animals in the lab. The problem really isn't scientific - it's cultural. We aren't yet able to coordinate ourselves as a global civilization to do something simple like bring food to a famine-stricken region. We can actually use current satellite technologies to predict where famine will strike next, but we can't get food there - usually for political reasons.

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.

The time has come to make the protection of children - all our children - a common cause that can unite us across the boundaries of our political orientation, religious affiliation and cultural traditions. We must reclaim our lost taboos, and make the abuse and brutalization of children simply unaccepetable.

The worst thing that can happen to anybody in this cultural environment is to fail.

Some sort of belief in all-powerful supernatural beings is common, if not universal. A tendency to obey authority, perhaps especially in children, a tendency to believe what you're told, a tendency to fear your own death, a tendency to wish to see your loved ones who have died, to wish to see them again, a wish to understand where you came from, where the world came from, all these psychological predispositions, under the right cultural conditions, tend to lead to people believing in things for which there is no evidence.

..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.

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.

I love history, cultural and religious studies, philosophy, photography and traveling.

Even if it is true that all cultures share a common morality, why does this prove a supreme intelligence? After all, don't we humanists sometimes claim that there is a common thread of humanistic values running through history across cultural and religious lines?

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.

Within a social structure, a familial structure, or a cultural structure of various kinds, there is a substitute for actual freedom. I mean, actual freedom is a very abstract notion; we have no idea what it means, except within a context - freedom to do what? So within these social structures, freedom becomes defined as power, your ability to make choices, and the power relationship within a family, any family.

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.

In south west Lancashire, babies don't toddle, they side-step. Queuing women talk of 'nipping round the blindside'. Rugby league provides our cultural adrenalin. It's a physical manifestation of our rules of life, comradeship, honest endeavour, and a staunch, often ponderous allegiance to fair play.

... 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.

I know one day I'll be irrelevant. No matter how hard you try there is a cultural moment, but eventually that window's gone, your time on Earth is finished, and you might as well leave. I could absolutely die tomorrow - I would not care. I feel like I've lived, I feel like I've had a great life.

As for the historical inspirations I drew on in writing The Snow Queen, I suppose I would call them more cross-cultural inspirations, though they frequently involve past societies as well as present day ones.

With an age difference comes a great gap in cultural references, and so on. It's not all about race and gender. It interests me that, as you get older, your younger self becomes a stranger to you. A split occurs within yourself. But maybe we're all always strangers to ourselves.

I suffer the anthropological malady diagnosed by Le vi- Strauss inTristes tropiques: I find it much more difficult to suspend value judgments about the society in which I normally reside than I do abroad. It takes physical and cultural distance to gain moral detachment and political noncommitment. Relativism implies a solid measure of indifference.

Sam Walton was a master storyteller who used illustrative stories to reinforce his cultural standards.

This is an incredibly creative time. It is a difficult time. It is a disparaging time. A time of cultural and global transitions based on the realization that the Earth cannot support nonsustainable practices anymore. I believe capitalism will eventually be replaced by a communitarian ethic where the rights and care of all beings will be taken into consideration, not just the greed of a corporate few.

In every domain of art, a work that corresponds to the need of its day carries a message of social and cultural value. It is the artist who crystallizes his age ... who fixes his time in history.