
<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span>
From Prose
A collection of quotes on the topic of style, styling, likeness, other.
<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span>
From Prose
Shared on her Facebook page https://www.facebook.com/MayaAngelou/posts/10150251846629796, July 4, 2011
“Fashion fades, style is eternal.”
Variant: Fashions fade, style is eternal.
Interviewed by David Ewen in The Etude, 1941; cited from Josiah Fisk and Jeff Nichols (eds.) Composers on Music (Boston, MA: Northeastern Universities Press, 1997) pp. 235-6
Source: "Why I Write" http://www.k-1.com/Orwell/site/work/essays/write.html, Gangrel (Summer 1946)
Context: Anyone who cares to examine my work will see that even when it is downright propaganda it contains much that a full-time politician would consider irrelevant. I am not able, and do not want, completely to abandon the world view that I acquired in childhood. So long as I remain alive and well I shall continue to feel strongly about prose style, to love the surface of the Earth, and to take pleasure in solid objects and scraps of useless information. It is no use trying to suppress that side of myself. The job is to reconcile my ingrained likes and dislikes with the essentially public, non-individual activities that this age forces on all of us.
It is not easy. It raises problems of construction and of language, and it raises in a new way the problem of truthfulness.
Picasso quoted in 'TIME'; quoted in: The Atlantic, Vol. 214 (1964), p. 97.
Picasso commented on his ambiguous style, or use of multiple styles.
1960s
“Orthodoxy, of whatever colour, seems to demand a lifeless, imitative style.”
Politics and the English Language (1946)
http://jazztimes.com/articles/20128-miles-davis-and-bill-evans-miles-and-bill-in-black-white.
<span class="plainlinks"> Foreword, 'Tales of Transformation: English Translation of Tagore's Chitrangada and Chandalika', Lopamudra Banerjee, (2018). https://www.amazon.co.uk/dp/B07DQPD8F4/</span>
From Prose
Source: The Society of Mind (1987), Ch.2
Context: Questions about arts, traits, and styles of life are actually quite technical. They ask us to explain what happens among the agents of our minds. But this is a subject about which we have never learned very much... Such questions will be answered in time. But it will just prolong the wait if we keep using pseudo-explanation words like "holistic" and "gestalt." …It's harmful, when naming leads the mind to think that names alone bring meaning close.
“In matters of grave importance, style, not sincerity, is the vital thing.”
Source: The Importance of Being Earnest
“You can always count on a murderer for a fancy prose style.”
Source: Lolita
“True friends are like diamonds – bright, beautiful, valuable, and always in style.”
“Style is knowing who you are, what you want to say, and not giving a damn”
“I seem to be having tremendous difficulty with my life-style”
Source: The Hitchhiker's Guide to the Galaxy
“If I was on the road to Hell, at least I was going in style.”
Source: Changes
As quoted in "From Wing Chun to Jeet Kune Do" by Jesse R. Glover in Black Belt Vol. 31, No. 9 (September 1993), p. 35
“Behind the perfection of a man's style, must lie the passion of a man's soul.”
Source: Reviews
“You can't throw too much style into a miracle.”
Source: A Connecticut Yankee in King Arthur's Court
Statement (August 2003), as quoted in BBC - Profile: Alexander Lukashenko (9 January 2007) http://news.bbc.co.uk/2/hi/europe/3882843.stm.
as quoted in the text of the exhibition 'Kandinsky and der Blaue Reiter', Gemeentemuseum the Hague, Netherlands; February-June, 2010
Gabriele refers to the big change she made, before the period of her first Murnau landscape paintings (c. 1904 - 1914), when she lived and worked together with Kandinsky].
His letter to Tytus Woyciechowski in Poturzyn. Paris, 12 December 1831.
Source: http://www.tcj.com/tezuka-osamu-and-american-comics/ Tezuka Osamu and American Comics
Source: http://www.tcj.com/tezuka-osamu-and-american-comics/ Tezuka Osamu and American Comics
1770s, Letter to Phyllis Wheatley (1776)
"Price Flexibility and Output Stability: An Old Keynesian View" (1993)
Quote from Claude Monet par lui-meme – an interview by Thiébault-Sisson / translated by Louise McGlone Jacot-Descombes; published in 'Le Temps newspaper', 26 November 1900.
About Toulmouche, Monet first painting-teacher in Paris c. 1857
1900 - 1920
Book V, Chapter 6.
Books, Coningsby (1844), The Young Duke (1831)
Robert Louis Stevenson Familiar Studies of Men and Books (London: Chatto & Windus, 1882), ch. 6.
Criticism
Vol. I, Ch. 7: Of the Eleventh Horn of Daniel's Fourth Beast
Observations upon the Prophecies of Daniel, and the Apocalypse of St. John (1733)
The Ballot or the Bullet (1964), Speech in Cleveland, Ohio (April 3, 1964)
Letter to Weird Tales editor Edwin Baird printed in Weird Tales 3, no. 3 (March 1924), pp. 89-92. Quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 122
Non-Fiction, Letters
As quoted in Nicky Woolf, "'PUAhate' and 'ForeverAlone': inside Elliot Rodger's online life", The Guardian (May 30, 2014)
Bodybuilding.com, PUAhate and ForeverAlone posts
“All styles are good except the boring kind.”
Tous les genres sont bons, hors le genre ennuyeux.
L'Enfant prodigue: comédie en vers dissillabes (1736), Preface
Citas
Nordhaus, William D., and James Tobin. " Is growth obsolete? http://www.nber.org/chapters/c7620.pdf." Economic Research: Retrospect and Prospect Vol 5: Economic Growth. Nber, 1972. 1-80.
1970s and later
Source: Tao of Jeet Kune Do (1975), p. 12 <!-- Ohara Publications (July 1993) -->
Context: Jeet Kune Do favors formlessness so that it can assume all forms and since Jeet Kune Do has no style, it can fit in with all styles. As a result, Jeet Kune Do utilizes all ways and is bound by none and, likewise, uses any techniques which serve its end.
“One thing is needful — to 'give style' to one's character.”
Eins ist not.
Seinem Charakter 'Stil geben'.
Sec. 290
The Gay Science (1882)
On Wii
Source: 2006 Issue of Maxim (Note: "Revolution" was the working name for the Wii)
http://www.theabsolute.net/minefield/pwords.html
Other
Peter Gzowski's 90 Minutes Live interview (1977)
“His style is chaos illumined by flashes of lightning.”
A reference to George Meredith's style.
The Decay of Lying (1889)
On her favourite style icon http://www.tellychakkar.com/tv/features/tv-actresses-pick-their-favourite-style-icons-337/
Section IV introduction.
Jack: Straight from the Gut (2001)
English and Welsh (1955)
“One forges one's style on the terrible anvil of daily deadlines.”
Le Figaro (1881) as quoted in The Oxford Dictionary of Quotations (1999) by Elizabeth Knowles and Angela Partington, p. 840.
"The Revolution That Didn't Happen" in The New York Review of Books (1998) http://www.nybooks.com/articles/735
Song Pack Up Your Troubles in Your Old Kit Bag (1915).
“Go ahead, switch the style up. If niggas hate, then let them hate and watch the money pile up.”
In Da Club
Song lyrics, Get Rich or Die Tryin (2003)
Part 6 "Beyond System — The Ultimate Source of Jeet Kune Do"
Jeet Kune Do (1997)
Section 288
2010s, 2013, Evangelii Gaudium · The Joy of the Gospel
But then you play through the moves and it is not true at all. But the thing that was great about Capablanca was that he really spoke his mind, he said what he believed was true, he said what he felt.
Radio Interview, October 16 2006 http://www.geocities.jp/bobbby_b/mp3/F_35_3.MP3
1980s, Second term of office (1985–1989), Farewell Address (1989)
"Points of Character", p. 37.
Faraday as a Discoverer (1868)
Context: A point highly illustrative of the character of Faraday now comes into view. He gave an account of his discovery of Magneto-electricity in a letter to his friend M. Hachette, of Paris, who communicated the letter to the Academy of Sciences. The letter was translated and published; and immediately afterwards two distinguished Italian philosophers took up the subject, made numerous experiments, and published their results before the complete memoirs of Faraday had met the public eye. This evidently irritated him. He reprinted the paper of the learned Italians in the Philosophical Magazine accompanied by sharp critical notes from himself. He also wrote a letter dated Dec. 1,1832, to Gay Lussac, who was then one of the editors of the Annales de Chimie in which he analysed the results of the Italian philosophers, pointing out their errors, and' defending himself from what he regarded as imputations on his character. The style of this letter is unexceptionable, for Faraday could not write otherwise than as a gentleman; but the letter shows that had he willed it he could have hit hard. We have heard much of Faraday's gentleness and sweetness and tenderness. It is all true, but it is very incomplete. You cannot resolve a powerful nature into these elements, and Faraday's character would have been less admirable than it was had it not embraced forces and tendencies to which the silky adjectives "gentle" and "tender" would by no means apply. Underneath his sweetness and gentleness was the heat of a volcano. He was a man of excitable and fiery nature; but through high self-discipline he had converted the fire into a central glow and motive power of life, instead of permitting it to waste itself in useless passion. "He that is slow to anger" saith the sage, "is greater than the mighty, and he that ruleth his own spirit than he that taketh a city." Faraday was not slow to anger, but he completely ruled his own spirit, and thus, though he took no cities, he captivated all hearts.
Interview with Oriana Fallaci (November 1972), as quoted in "Oriana Fallaci and the Art of the Interview" in Vanity Fair (December 2006) http://www.vanityfair.com/politics/features/2006/12/hitchens200612; Kissinger, as quoted in "Special Section: Chagrined Cowboy" in TIME magazine (8 October 1979) http://www.time.com/time/magazine/article/0,9171,916877,00.html called this "without doubt the single most disastrous conversation I ever had with any member of the press" and claimed that he had probably been misquoted or quoted out of context, but Fallaci later produced the tapes of the interview.
1970s
Context: I've always acted alone. Americans like that immensely.
Americans like the cowboy who leads the wagon train by riding ahead alone on his horse, the cowboy who rides all alone into the town, the village, with his horse and nothing else. Maybe even without a pistol, since he doesn't shoot. He acts, that's all, by being in the right place at the right time. In short, a Western. … This amazing, romantic character suits me precisely because to be alone has always been part of my style or, if you like, my technique.
Comments on the North American Events (1862)
Context: Lincoln’s proclamation is even more important than the. Lincoln is a sui generis figure in the annals of history. He has no initiative, no idealistic impetus, cothurnus, no historical trappings. He gives his most important actions always the most commonplace form. Other people claim to be “fighting for an idea”, when it is for them a matter of square feet of land. Lincoln, even when he is motivated by, an idea, talks about “square feet”. He sings the bravura aria of his part hesitatively, reluctantly and unwillingly, as though apologising for being compelled by circumstances “to act the lion”. The most redoubtable decrees — which will always remain remarkable historical documents-flung by him at the enemy all look like, and are intended to look like, routine summonses sent by a lawyer to the lawyer of the opposing party, legal chicaneries, involved, hidebound actiones juris. His latest proclamation, which is drafted in the same style, the manifesto abolishing slavery, is the most important document in American history since the establishment of the Union, tantamount to the tearing up of the old American Constitution.
Source: The Warrior Within : The Philosophies of Bruce Lee (1996), p. 108-109
Context: The Three Stages of Cultivation — The first is the primitive stage. It is a stage of original ignorance in which a person knows nothing about the art of combat. In a fight, he simply blocks and strikes instinctively without a concern for what is right and wrong. Of course, he may not be so-called scientific, but, nevertheless, being himself, his attacks or defenses are fluid. The second stage — the stage of sophistication, or mechanical stage — begins when a person starts his training. He is taught the different ways of blocking, striking, kicking, standing, breathing, and thinking — unquestionably, he has gained the scientific knowledge of combat, but unfortunately his original self and sense of freedom are lost, and his action no longer flows by itself. His mind tends to freeze at different movements for calculations and analysis, and even worse, he might be called “intellectually bound” and maintain himself outside of the actual reality. The third stage — the stage of artlessness, or spontaneous stage — occurs when, after years of serious and hard practice, the student realizes that after all, gung fu is nothing special. And instead of trying to impose on his mind, he adjusts himself to his opponent like water pressing on an earthen wall. It flows through the slightest crack. There is nothing to try to do but try to be purposeless and formless, like water. All of his classical techniques and standard styles are minimized, if not wiped out, and nothingness prevails. He is no longer confined.
Of the Network of Signifiers
The Four Fundamental Concepts of Psycho Analysis (1978)
Context: It is on this step that depends the fact that one can call upon the subject to re-enter himself in the unconscious—for, after all, it is important to know who one is calling. It is not the soul, either mortal or immortal, which has been with us for so long, nor some shade, some double, some phantom, nor even some supposed psycho-spherical shell, the locus of the defences and other such simplified notions. It is the subject who is called— there is only he, therefore, who can be chosen. There may be, as in the parable, many called and few chosen, but there will certainly not be any others except those who are called. In order to understand the Freudian concepts, one must set out on the basis that it is the subject who is called—the subject of Cartesian origin. This basis gives its true function to what, in analysis, is called recollection or remembering. Recollection is not Platonic reminiscence —it is not the return of a form, an imprint, a eidos of beauty and good, a supreme truth, coming to us from the beyond. It is something that comes to us from the structural necessities, something humble, born at the level of the lowest encounters and of all the talking crowd that precedes us, at the level of the structure of the signifier, of the languages spoken in a stuttering, stumbling way, but which cannot elude constraints whose echoes, model, style can be found, curiously enough, in contemporary mathematics.
Autobiographical essay (1994)
Context: At the present time I seem to be thinking rationally again in the style that is characteristic of scientists. However this is not entirely a matter of joy as if someone returned from physical disability to good physical health. One aspect of this is that rationality of thought imposes a limit on a person's concept of his relation to the cosmos.
On being enchanted by engineers in “Diego Rivera: A Man and His Murals” http://teachersinstitute.yale.edu/curriculum/units/1999/2/99.02.06.x.html (Yale-New Haven Teachers Institute)
Dr. Mujeeb, his friend during their stay in Germany in 1922, p. 75.
About Zakir Hussain, Quest for Truth (1999)
In, p. 254.
Encyclopaedia of the History of Science, Technology, and Medicine in Non-Western Cultures
Fifth Harmony Was Just The Beginning For Lauren Jauregui, Nylon Magazine, September 5, 2018 https://www.youtube.com/watch?v=YtrtUi4Vmnw,
Source: Song Don't Care
“That’s kind of a leap, but the Russian judge gave you a nine point five for style, so OK.”
Variant: That's kind of a leap, but the Russian judge gave you a nine point five for style, so okay.
Source: Glass Houses
“To do a dull thing with style-now that's what I call art.”
Variant: It's better to do a dull thing with style than a dangerous thing without it.
“I've always loved high style in low company.”
“In character, in manner, in style, in all the things, the supreme excellence is simplicity”
Source: Favorite Poems
“If at first you don’t succeed, failure may be your style.”
Source: The Naked Civil Servant; How To Become A Virgin; Resident Alien
“As I have often said, she has two styles of acting: with or without the beard.”
Source: Are These My Basoomas I See Before Me?
Nobel lecture (8 December 1980)
Context: Only if we assume that a poet constantly strives to liberate himself from borrowed styles in search for reality, is he dangerous. In a room where people unanimously maintain a conspiracy of silence, one word of truth sounds like a pistol shot. And, alas, a temptation to pronounce it, similar to an acute itching, becomes an obsession which doesn't allow one to think of anything else. That is why a poet chooses internal or external exile. It is not certain, however, that he is motivated exclusively by his concern with actuality. He may also desire to free himself from it and elsewhere, in other countries, on other shores, to recover, at least for short moments, his true vocation — which is to contemplate Being.