Quotes About Cultural

The idea of cultural relativism is nothing but an excuse to violate human rights. Human rights is the fruit of various civilizations. I know of no civilization that tolerates or justifies violence, terrorism, or injustice. There is no civilization that justifies the killing of innocent people. Those who are invoking cultural relativism are really using that as an excuse for violating human rights and to put a cultural mask on the face of what they're doing.

If someone says that they have to 'tolerate' cultural differences and cultural groupings different from themselves then that may make it difficult, at the same time, to condemn unjust practices within those cultures.

The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.

With the rise of new technologies, media, and other cultural apparatuses as powerful forms of public pedagogy, students need to understand and address how these pedagogical cultural apparatuses work to diffuse learning from any vestige of critical thought. This is a form of public pedagogy that needs to be addressed both for how it deforms and for how it can create important new spaces for emancipatory forms of pedagogy.

The people themselves are not a homogeneous cultural collectivity but present numerous and variously combined cultural stratifications which, in their pure form, cannot always be identified within specific historical popular collectivities.

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.

I don't think it is wrong, racist, immoral or anything, for a country to say 'we will decide what the cultural identity and the cultural destiny of this country will be and nobody else'.

The sickly cultural pathos which the whole of France indulges in, that fetishism of the cultural heritage.

...discussing cultural relativism with cultural relativists is like playing tennis with some guy who says, "Your ace is just a social construct.

The biggest secret weapon we had in regards to really being true to this part of the world, and making sure this part of the world could see themselves in this film [Moana] in a way that felt positive and accurate, was Opetaia, my co-writer, Opetaia Foa'i, who has a great band called Te Vaka and is an amazing musical and cultural ambassador.

I'd thought sexuality was instinctive or natural, but it's profoundly linked to inner security and cultural context.

Pittsburgh is kind of like Newark without the cultural advantages.

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.

Moreover, as America becomes an increasingly multi-cultural society, it may find it more difficult to fashion a consensus on foreign policy issues, except in the circumstance of a truly massive and widely perceived direct external threat.

The sexual revolution produced cultural convulsions that were unparalleled in the 20th century.

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.

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!

I think the cultural task is to separate our impulses and needs and desires from the supernatural and, above all, from the superstitious.

I received a phone call from my mother, and it was so complicated and involved, and it reminded me of just how it is in a family, and how it is in Mexico, and gossip, and all this stuff. And I thought, well, why can't a documentary be made about gossip? And in that way, I touch upon these other things - identity, cultural identity, and aesthetics.

Avant-garde, jazz, pop, classical, country and western, rock, free, straight-ahead, etc. are ultimately meaningless terms in the face of the music being discussed at best - at worst, those terms often serve as code words for what is in fact a cultural / political discussion more than a musical one.

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.

I do consider the human capacity for violence is the central issue of the social contract. In boxing we have a peculiarly civilized form, in that boxers don't screech and holler. They don't use weapons. All of this seems to me quite amazing, because it is so disciplined, so controlled. It's ritualized, but absolutely genuine. And the cultural structure built around that ritual is absolutely fascinating to me. And it seems to me that boxing is one of those structures that is designed to promote harmony. I think that it is a stove that contains that fire in us and makes it safe and useful.

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.

There's a cultural conviction that any 'artist' must have personal suffering to back up their work, otherwise there's something undeserved and therefore inauthentic about it, perhaps even some sort of cheating.

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.

You go back and you examine the reasons America was founded, why it worked, what was magic about it, and you find out that people wanted to come here for cultural reasons, in addition to economic. It was rooted in liberty. It was rooted in freedom. It was rooted in the recognition of the primacy of the individual, the power of the individual over government in this country.

I think of art as a glue, a cultural and social glue. It's one of the means that has served to show us the things we believe in and the things we celebrate; it has served to reinforce our relationship to each other.

I grew up in the suburbs and basically associate the suburbs with cultural death.

A homeless man once told me that dancing to rap music is the cultural equivalent of masturbating, and I'd sort of fell the same way about playing John Madden Football immediately after filing my income tax: It's fun, but - somehow - vaguely pathetic.

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

With Tatars, the situation is a little bit more complex. They are geographically very isolated so they need the rest of Russia. When they pump oil, they need pipelines to deliver it so they need those connections. We in Siberia don't need those connections. The only thing which actually sticks us together is the cultural similarities and the relatives that are on both sides of the Ural mountains.

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.

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

Writing was a political act and poetry was a cultural weapon.

Surely people can now see that it is no accident that he, Obama, sat at the feet of the Rev. Jeremiah Wright for 20 years, that he is mother was a leftist activist and cultural Marxist, that his main early mentor was radical Frank Marshall Davis, that he was a member of the far-left New Party in Chicago, that his main vocation in life has been street organizing and agitation and that he didn't think the revolutionarily, transformative Warren court was liberal enough.

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

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 education has reduced us to a nation of morons; we were strangers to our own culture and camp followers of another culture, feeding on leavings and garbage . . . What about our own roots? . . . I am up against the system, the whole method and approach of a system of education which makes us morons, cultural morons, but efficient clerks for all your business and administration offices.

We are, at almost every point of our day, immersed in cultural diversity: faces, clothes, smells, attitudes, values, traditions, behaviours, beliefs, rituals.

Private property is a natural fruit of labor, a product of intense activity of man, acquired through his energetic determination to ensure and develop with his own strength his own existence and that of his family, and to create for himself and his own an existence of just freedom, not only economic, but also political, cultural and religious.

For corporations to be bedfellows with the arts is good business for both. The architecture that houses a company is a more visible statement than the president's in the annual report. Ditto interiors, particularly of offices and sometimes, dramatically, in plants. For solvent businesses, support of community cultural undertakings in music, drama, dance creates great goodwill. Also, the existence of such activities is often important to the executives and their families that companies want to keep or attract to keep.

The Russian Federation has a growing Muslim minority, which is causing cultural and religious clashes. This is similar to mass immigration of Mexicans to America, and certain presidential candidates are tailoring their campaigns to get Mexican votes.

If television once could be seen as ranking among a number of vehicles for conveying expression or information from which we could choose, we no longer have that choice: the televisual has become an intrinsic and determining element of our cultural formation.

Country [China] needs to continue opening up and keep connecting. It needs to realize that the world has become one. The old concept of isolation, the idea that you can solve your problems on your own does not work anymore - neither in cultural, economic, nor political terms.

It started out as a typically insane idea to map every part of the published text in terms of its manuscript provenance and history, and to establish the cultural meaning of the book, part and whole.

Certain music, jazz in particular, has the ability to make you a better citizen of the world. It helps you expand your world view and gives you more confidence in your cultural achievements. Improvisational jazz teaches you about yourself while the swing in jazz teaches you how to work with others

The rate of human invention is faster, and the rate of cultural loss is slower, in areas occupied by many competing societies with many individuals and in contact with societies elsewhere.