“A general semiotics transforms, for the very fact of its theoretical claim, its own object.”

Lecture XX, "Conclusions"
1900s, The Varieties of Religious Experience (1902)
Context: This thoroughly 'pragmatic' view of religion has usually been taken as a matter of course by common men. They have interpolated divine miracles into the field of nature, they have built a heaven out beyond the grave. It is only transcendentalist metaphysicians who think that, without adding any concrete details to Nature, or subtracting any, but by simply calling it the expression of absolute spirit, you make it more divine just as it stands. I believe the pragmatic way of taking religion to be the deeper way. It gives it body as well as soul, it makes it claim, as everything real must claim, some characteristic realm of fact as its very own. What the more characteristically divine facts are, apart from the actual inflow of energy in the faith-state and the prayer-state, I know not. But the over-belief on which I am ready to make my personal venture is that they exist. The whole drift of my education goes to persuade me that the world of our present consciousness is only one out of many worlds of consciousness that exist, and that those other worlds must contain experiences which have a meaning for our life also; and that although in the main their experiences and those of this world keep discrete, yet the two become continuous at certain points, and higher energies filter in. By being faithful in my poor measure to this over-belief, I seem to myself to keep more sane and true. I can, of course, put myself into the sectarian scientist's attitude, and imagine vividly that the world of sensations and scientific laws and objects may be all. But whenever I do this, I hear that inward monitor of which W. K. Clifford once wrote, whispering the word 'bosh!' Humbug is humbug, even though it bear the scientific name, and the total expression of human experience, as I view it objectively, invincibly urges me beyond the narrow 'scientific' bounds. Assuredly, the real world is of a different temperament — more intricately built than physical science allows. So my objective and my subjective conscience both hold me to the over-belief which I express. Who knows whether the faithfulness of individuals here below to their own poor over-beliefs may not actually help God in turn to be more effectively faithful to his own greater tasks?

p 110
The Undiscovered Self (1958)
Context: We are living in what the Greeks called the right time for a "metamorphosis of the gods," i. e. of the fundamental principles and symbols. This peculiarity of our time, which is certainly not of our conscious choosing, is the expression of the unconscious man within us who is changing. Coming generations will have to take account of this momentous transformation if humanity is not to destroy itself through the might of its own technology and science.

Source: "Foundations of the Theory of Signs," 1938, p. 43

Source: Eclipse of Reason (1947), p. 29.

1920s, Notes on Democracy (1926)

Source: The Worldly Philosophers (1953), Chapter X, The Modern World, p. 278

Preface
The Importance of Living (1937)
Context: This is a personal testimony, a testimony of my own experience of thought and life. It is not intended to be objective and makes no claim to establish eternal truths. In fact I rather despise claims to objectivity in philosophy; the point of view is the thing. I should have liked to call it "A Lyrical Philosophy," using the word "lyrical" in the sense of being a highly personal and individual outlook...

Source: Corporate Strategy, 1965, p. 47; cited in: Graham Kenny, (2012),"From the stakeholder viewpoint: designing measurable objectives", Journal of Business Strategy, Vol. 33 Iss: 6 pp. 40-46

Games for Actors and non-Actors (1992)
Context: When does a session of The Theatre of the Oppressed end? Never — since the objective is not to close a cycle, to generate a catharsis, or to end a development. On the contrary, its objective is to encourage autonomous activity, to set a process in motion, to stimulate transformative creativity, to change spectators into protagonists. And it is precisely for these reasons that the Theatre of the Oppressed should be the initiator of changes the culmination of which is not the aesthetic phenomenon but real life.