Quotes of All Topics . Occasions . Authors
Whenever Muslim women protest and ask for their rights, they are silenced with the argument that the laws are justified under Islam. It is an unfounded argument. It is not Islam at fault, but rather the patriarchal culture that uses its own interpretations to justify whatever it wants. It utilizes psychology to say that women are emotional. It utilizes medical science to say that men's brains are formed in such a way that they are better able to understand concepts. These are all hypotheses. None of this has been proven.
If a person is capable of rectifying his erroneous judgments in the light of new evidence he is not prejudiced. Prejudgments become prejudices only if they are reversible when exposed to new knowledge. A prejudice, unlike a simple misconception, is actively resistant to all evidence that would unseat it. We tend to grow emotional when a prejudice is threatened with contradiction. Thus the difference between ordinary prejudgments and prejudice is that one can discuss and rectify a prejudgment without emotional resistance.
Forcing your employees to follow required steps only prevents customer dissatisfaction. If your goal is truly to satisfy, to create advocates, then the step-by-step approach alone cannot get you there. Instead, you must select employees who have the talent to listen and to teach, and then you must focus them toward simple emotional outcomes like partnership and advice....Identify a person's strenths. Define outcomes that play to those strengths. Find a way to count, rate or rank those outcomes. And then let the person run.
The most important, the longest lasting, the strongest emotional, and the most practiced memories are the ones that are embedded the deepest in the brain, and because we have retrieved them so many times previously, they are the most able to be retrieved. We all hear about people who can remember their youth, their phone number, or street address from 70 years ago, but they cannot recall what they had for breakfast. The memory of this morning's breakfast wasn't rehearsed, and wasn't very important, so it fades away quickly.
From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.
The artist must operate on the assumption that the public consists in the highest order of individual; that he is civilized, cultured, and highly sensitive both to emotional and intellectual contexts. And while the whole public most certainly does not consist in that sort of individual, still the tendency of art is to create such a public - to lift the level of perceptivity, to increase and enrich the average individual's store of values... I believe that it is in a certain devotion to concepts of truth that we discover values.
I actually recommend as little actual counting as possible in a life partnership. But, when there's a sense of injustice brewing between you, some counting is inevitable, and so my advice is to count using as broad a scope as possible. It's not just hours worked or chores done, either, and it's not even just about the household - it's a system of Whole Marriage Thinking. It's about hours worked, chores done, goals supported, emotional needs met, everything. What it all takes out of you, what it all gives back. It all factors in.
Rather than teasing the buyers, we may blame the society in which they lived for setting up a situation where the purchase of ornate cabinets felt psychologically necessary and rewarding, where respect was dependent on baroque displays. Rather than a tale of greed, the history of luxury could more accurately be read as a record of emotional trauma. It is the legacy of those who have felt pressured by the disdain of others to add an extraordinary amount to their bare selves in order to signal that they too may lay a claim to love.
I'm always looking for older equipment and ways of recording, but you can't escape the fact that it's all going to be digitized and reduced. I do think music sounds better when it's on tape and more simply recorded. I've been arguing with people for 10 years about tape versus digital, and I believe tape is absolutely essential in getting the sound that's conducive to the enjoyment of music. I wonder if it's going to go back to that. Sometimes I think it has to. As music becomes more computer-based, it's lost some emotional impact.
To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.
Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.
Then the challenge is, once you left brain it and build it, then when you're on stage you have to know it so well that you can get lost in it. I don't want to be onstage looking like a robot, I want to be at the end of the day very emotional and what feels like someone being up there rather than reciting things. That's always the challenge, to analyze and then somehow lose yourself in something you absolutely know backwards and forwards. And nothing's going to surprise you, but you have to be surprised by it and let it surprise you.
It's a lot of accumulated joy and tension and all kinds of emotions just pouring out of all us. We've all been preparing for this day and we all knew that one day we would just have to move on with our lives and careers even though we all love this show and love working together. But it's still an incredibly emotional time, especially for me with a lot of journalists asking me how it feels about FRIENDS coming to an end. It's started to make me think very deeply about what it's all meant to me and that's made me ever more emotional!
The scientific attitude of mind involves a sweeping away of all other desires in the interests of the desire to know-it involves suppression of hopes and fears, loves and hates, and the whole subjective emotional life, until we become subdued to the material, able to see it frankly, without preconceptions, without bias, without any wish except to see it as it is, and without any belief that what it is must be determined by some relation, positive or negative, to what we should like it to be, or to what we can easily imagine it to be.
For us what we're trying to do is find the right balance of creating a space for emotion that leads to a sense of empathy and solidarity rather than a sense of division. In my most grandiose moments I think of HuffPost as a platform that makes solidarity possible, that really thinking about the emotional content of stories is a way to help people who think, or who have been manipulated to think, that they're interests are opposed to one another, that they actually are aligned in a fundamental way and they're actually in the same boat.
Cognitive states of mind are seldom addictive, since they depend upon exploration of the world, and the individual encounter with the individual object, whose appeal is outside the subject's control. Addiction arises when the subject has full control over a pleasure and can ponder it at will. It is primarily a matter of sensory pleasure, and involves a kind of short-circuiting of the pleasure network. Addiction is characterized by a loss of the emotional dynamic that would otherwise govern an outward-directed, cognitively creative life.
What we, or at any rate what I, refer to confidently as memory--meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion--is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.
The answer, usually, is no. Wisdom is a quality that defies easy definition but psychologists who study aging have found that some of its components - judgment, emotional regulation - do improve with age in most people, consciously or not. Of course there is a subset of people out there who are sitting in their rocking chairs, spewing hate, but my guess is that these people weren't very pleasant to begin with, ... The reality is that the data are fairly convincing that people as they get older become more positive and less self-absorbed.
Strong emotional experiences are for the most part impersonal. Anyone who has hated another person so much that only chance stands between that person and death knows this, as does whoever has fallen into the catastrophe of a deep depression, anyone who has loved a woman to the dregs, anyone who has beaten others bloody or ever come up behind another person with muscles trembling. "Losing one's head," language calls it. Emotional experience is, in itself, poor in qualities; qualities are brought to it by the person who has the experience.
We find nothing easier than being wise, patient, superior. We drip with the oil of forbearance and sympathy, we are absurdly just, we forgive everything. For that very reason we ought to discipline ourselves a little; for that very reason we ought to cultivate a little emotion, a little emotional vice, from time to time. It may be hard for us; and among ourselves we may perhaps laugh at the appearance we thus present. But what of that! We no longer have any other mode of self-overcoming available to us: this is our asceticism, our penance.
Though all three men faced the same hardship, their differing perceptions of it appeared to be shaping their fates. Louie and Phil's hope displaced their fear and inspired them to work toward their survival, and each success renewed their physical and emotional vigor. Mac's resignation seemed to paralyze him and the less he participated in their efforts to survive, the more he slipped. Though he did the least, as the days passed, it was he who faded the most. Louie and Phil's optimism, and Mac's hopelessness, were becoming self-fulfilling.
Pardew has come out and criticized me. He is the worst at haranguing referees. He shoves them and makes a joke of it. How he can criticize me is unbelievable. He forgets the help I gave him, by the way. The press have had a field day. The only person they have not spoken to is Barack Obama because he is busy. It is unfortunate but I am the manager of the most famous club in the world. Not Newcastle, a wee club in the North-East. I was demonstrative. I am always demonstrative. Everyone knows that. I am an emotional guy but I was not abusive.
Most of the arts, as painting, sculpture, and music, have emotional appeal to the general public. This is because these arts can be experienced by some one or more of our senses. Such is not true of the art of mathematics; this art can be appreciated only by mathematicians, and to become a mathematician requires a long period of intensive training. The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.
Determination and persistence are melded together. Their basis comes from people who stay hungry and don`t allow themselves to get too comfortable. Entering a comfort zone is the fastest way to kill your drive and determination, at which point you begin to accept whatever you have as being "good enough." There is no self-esteem in accepting the status quo. There are tremendous emotional and psychological rewards that come with pushing yourself to break through past limits and, in the process, creating something of value for yourself and others.
It's often hard to determine, especially in early drafts, whether or not a story has a bona fide complication. Remember this: A complication must either illuminate, thwart, or alter what the character wants. A good complication puts emotional pressure on a character, promoting that character not only to act, but to act with purpose.If the circumstance does none of these things, then it's not a complication at all - it's a situation. This situation, or setup, might be interesting or even astonishing, but it gives the story no point of departure.
George Orwell was right. There's no greater genius as far as I'm concerned in terms of understanding human nature. I think that a lot of people just believe anything you tell them, and no matter what it is, they just go along with the program. They're perfectly happy to take their pill every day and do what they're told, and work and buy things, and work and buy things, and stay out of any complex emotional situations. And whatever the authorities tell them to do, they do, and whatever the authorities say is the truth, they believe is the truth.
I was devastated. I'm still devastated to this day. When talent like that disappears in a flash, you can't believe it. You deny it. Max Roach, who, of course, played with him on all those EmArcy recordings, held a concert in Baltimore for Clifford long after Clifford died. Max was still disbelieving so many years later. The concert was supposed to bring closure. But Max was so outrageously emotional that day. He had quite a few eruptions and was very emotional about what had happened so many years earlier. Like everyone, he remained disbelieving.
You don't know the things in your childhood that influence you. You can't possibly know them. People today try to analyze the early environment and the reasons for something that happened, but if you look at children of the same family -- children who have identical parents, go to identical schools, have an almost identical upbringing, and yet who have totally different experiences and neuroses -- you realize that what influences the children is not so much the obvious externals as their emotional experiences. Of course any psychiatrist knows that.
Any time you do anything different in this life, it's risky. But I've only done things differently, and it's gotten me quite far. If you want to make a splash, you've got to step out on that ledge and jump. And I could land flat on my face and it would be the biggest nightmare of my life. I'm willing to risk it. I want to help change the way male chefs see females. I want to show them that, yes, we're emotional and, yes, sometimes we make irrational decisions, but we're passionate about what we do, and that passion will propel us to the next level.
I would say that among my many huge emotional miscalculations was my taking a film career for granted. It is the most awesome privilege to be able to use one's imagination and wit, physicality and musicality, conscious brain and unconscious instinct in the service of a work that has a chance to move and excite and amuse and delight people all over the world, including long after we're dead. What a noble calling! And I felt it was just there for me as a kind of given, some sort of inherited birthright-when in reality it's the most magnificent luxury.
Now, now," my father said. "Let's just get the bags." This was typical. My father, the lone male in our estrogen-heavy household, had always dealt with any kind of emotional situation or conflict by doing something concrete and specific. Discussion of cramps and heavy flow at the breakfast table? He was up and out the door to change oil on one of our cars. Coming home in tears for reasons you just didn't want to discuss? He'd go make you a grilled cheese, which he'd probably end up eating. Family crisis brewing in a public place? Bags. Get the bags.
For me, it's really easy to be kind to others when I remember that none of us came into this world with a manual about how to get it all right. We are ultimately a product of our biology and environment. Consequently, I choose to be compassionate with others when I consider how much painful emotional baggage we are biologically programmed to carry around. I recognize that mistakes will be made, but this does not mean that I need to either victimize myself or take your actions and mistakes personally. Your stuff is your stuff, and my stuff is my stuff.
It is certainly true that cooking is therapeutic, creative and all those other faintly creepy self-helpish words. I would love to tell you that learning to cook was part of my journey toward actualization. I would love to tell Oprah this. I would love to tell Oprah this while weeping. But I learned to cook for a much simpler reason: in the abject hope that people would spend time with me if I put good things in their mouth. It is, in other words (like practically everything else I do), a function of my desperation for emotional connection and acclaim.
The hardest thing over the years has been having the courage to go against the dominant wisdom of the time to have a view that is at variance with the present consensus and bet that view. The hard part is that the investor must measure himself not by his own perceptions of his performance, but by the objective measure of the market. The market has its own reality. In an immediate emotional sense the market is always right so if you take a variant point of view you will always be bombarded for some time by conventional wisdom as expressed by the market.
Because mothers make us, because they map our emotional terrain before we even know we are capable of having an emotional terrain, they know just where to stick the dynamite. With a few small power plays - a skeptical comment, the withholding of approval or praise - a mother can devastate a daughter. Decades of subtle undermining can stunt a daughter, or so monopolize her energy that she in effect stunts herself. Muted, fearful, riddled with self-doubt, she can remain trapped in daughterhood forever, the one place she feels confident she knows the rules.
It should not be a surprise to find that s/m fantasy is significant in women's sex lives. Women may be born free but they are born into a system of subordination. We are not born into equality and do not have equality to eroticise. We are not born into power and do not have power to eroticise. We are born into subordination and it is in subordination that we learn our sexual and emotional responses. It would be surprising indeed if any woman reared under male supremacy was able to escape the forces constructing her into a member of an inferior slave class.
I remember watching Meryl Streep in, The River Wild. There's this scene where she's has a gun pointed at her, it's absurd in a lot of ways. Someone pulls a gun on her I think, I'm not really fully aware of the scene and she just, she starts, you see her terrified. And then all of a sudden she starts to burst out laughing. She starts laughing. Like she can't stop laughing. Because she's terrified and she's emotional and there are no rules to what you're supposed to feel. That to me is like A number one, that's the thing I have to remind myself all the time.
The characteristic property of hallucinogens, to suspend the boundaries between the experiencing self and the outer world in an ecstatic, emotional experience, makes it posible with their help, and after suitable internal and external perparation, to evoke a mystical experience according to plan, so to speak. I see the true importance of LSD in the possibility of providing material aid to meditation aimed at the mystical experience of a deeper, comprehensive reality. Such a use accords entirely with the essence and working character of LSD as a sacred drug.
I want to create a rapid response team, right around the world, perhaps starting originally with our partners, similar to the one we have in the United Nations whereby, where there's a problem in our society which demands a compassionate response, an educated, informed, not just a splurgy emotional thing, but an informed compassionate response that puts yourself in the position of the other and sees all sides of the problem, not just your own, there'll be somebody poised in each society who can write to the media, write an op-ed piece, to go on TV or radio.
My dear boy, the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination.. Faithfulness is to the emotional life what consistency is to the life of the intellect---simply a confession of failures. Faithfulness! I must analyse it some day. The passion for property is in it. There are many things that we would throw away if we were not afraid that others might pick them up. But I don't want to interrupt you. Go on with your story.
I volunteered at UCLA's occupational therapy ward, where there are lots of kids with autism and emotional problems. I just wanted to prove to myself that I could not break down and cry at everything, and that I could just help somebody else. The one thing I really remember was that when we would take them out of the hospital for a walk around campus, they would freak out the most when we were waiting for the elevator. I remember the guy at the elevator said to himself, "Transitions are the hardest." And I said to myself, "Transitions are always the hardest."
I wanted to pack a lot into the lyric, but not go beyond its bounds. Some have written that I wanted to expand what the lyric could do. I just want the hugeness of experience-which includes philosophical discursiveness-to move at a rate of speed that kept it (because all within one unity of experience) emotional. Also, often, questions became the way the poems propelled themselves forward It brings the reader in as a listener to a confession[.] A poem is a private story, after all, no matter how apparently public. The reader is always overhearing a confession.
Doctor MacKenzie says "Sometimes I think the Victorians had the right idea. When you lost a family member back then you were suppose to be in full mourning, dress in nothing but black, for a whole year. Then you went into something they called 'half mourning' for another full year, adn during those two years, you were pretty much expected to have emotional breakdowns, you could do it whenever you felt you needed to, and everybody would support you. Now?, A month after a tragedy, maybe two, and you're expected to be all better-or down pills so you can pretend you are.
A birth we embark on a good journey, seeking a destination of happiness. The journeys on our life-road facilitate development of our emotional, mental, physical and spiritual states-of-being, into a way of true power and wisdom. The Heart-center power, expressed as happiness and love, will guide us upward on a path away from frustration, bitter toil and travail. These journeys are directed inward, not outwardly in material mementos of ego and possession. The lesson is relearning that which has been suppressed and forgotten, in ourselves, since our earliest childhood.
But veteran lawmakers torn apart by PTSD don't have a choice about being Exhibit A in the case against Washington politics. When you see what can happen to a page or a junior congressman, it passes on in a very real way, not in a history-class sense, that reality of what political power really is, .. Who are we to impose this emotional albatross on public servants? As a nation, we pretend to elect our leaders. It seems unjust to make them a special class to suffer for our sins over wrongheaded laws, or pay a continuing emotional price for securing their future careers.
Comedy is an intellectual affair, and deals chiefly with logic. Tragedy is an emotional affair, and deals chiefly with value. Horace Walpole once said that "life is a comedy to the man who thinks and a tragedy to the man who feels." Comedy is negative; it is a criticism of limitations and an unwillingness to accept them. Tragedy is positive; it is an uncritical acceptance of the positive content of that which is delimited. Since comedy deals with the limitations of actual situations and tragedy with their positive content, comedy must ridicule and tragedy must endorse.
Now he realized the truth: that sacrifice was no purchase of freedom. It was like a great elective office, it was like an inheritance of power - to certain people at certain times an essential luxury, carrying with it not a guarantee but a responsibility, not a security but an infinite risk. Its very momentum might drag him down to ruin - the passing of the emotional wave that made it possible might leave the one who made it high and dry forever on an island of despair...Sacrifice by its very nature was arrogant and impersonal; sacrifice should be eternally supercilious.
In undeveloped social groups, we find very little formal teaching and training. Savage groups mainly rely for instilling needed dispositions into the young upon the same sort of association which keeps adults loyal to their group. They have no special devices, material, or institutions for teaching save in connection with initiation ceremonies by which the youth are inducted into full social membership. For the most part, they depend upon children learning the customs of the adults, acquiring their emotional set and stock of ideas, by sharing in what the elders are doing.
Names generate meaning in a short amount of space — they provoke thoughts, questions. That's something I like doing. Of course, you have to be careful. Sometimes it can alienate the reader, it can be another level of mediation, to make a character carry the great burden of a metaphoric name. The character can be a device before he or she becomes a person, and that can be a bad thing for a writer who wants to offer up a kind of emotional proximity in the work. It's a constant struggle, the desire to be playful and the desire to communicate on some very stark emotional level.
There are people we meet in life who miss being important to us by inches, days, or heartbeats. Another place or time or a different emotional frame of mind and we would willingly fall into their arms; gladly take up their challenge or invitation. But as it is, we encounter them when we are discontent or content and they are not. Whatever they are, we are not and vice versa. Two trains going in different directions that pass for a few powerful moments at full speed, blasting noise and wind but then they are gone. Whatever serious chemistry might have been possible if, isn’t.