Representation Quotes

Quotes tagged as "representation" Showing 1-30 of 159
Karl Marx
“The oppressed are allowed once every few years to decide which particular representatives of the oppressing class are to represent and repress them.”
Karl Marx

Carmen Maria Machado
“We deserve to have our wrongdoing represented as much as our heroism, because when we refuse wrongdoing as a possibility for a group of people, we refuse their humanity.”
Carmen Maria Machado, In the Dream House

John Green
“But it is a pipe."
"No, it's not," I said. It's a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It's very clever.”
John Green, The Fault in Our Stars

David Eagleman
“Since we live in the heads of those who remember us, we lose control of our lives and become who they want us to be.”
David M. Eagleman, Sum: Forty Tales from the Afterlives

Jane Espenson
“If we can't write diversity into sci-fi, then what's the point? You don't create new worlds to give them all the same limits of the old ones.”
Jane Espenson

Kakuzō Okakura
“Our mind is the canvas on which the artists lay their colour; their pigments are our emotions; their chiaroscuro the light of joy, the shadow of sadness. The masterpiece is of ourselves, as we are of the masterpiece.”
Kakuzō Okakura, The Book of Tea

Paolo Bacigalupi
“The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own.

And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.”
Paolo Bacigalupi

Friedrich Nietzsche
“What, then, is truth? A mobile army of metaphors, metonyms, and anthropomorphisms – in short, a sum of human relations, which have been enhanced, transposed, and embellished poetically and rhetorically, and which after long use seem firm, canonical, and obligatory to a people: truths are illusions about which one has forgotten that this is what they are; metaphors which are worn out and without sensuous power; coins which have lost their pictures and now matter only as metal, no longer as coins.”
Freidrich Neitzsche

Criss Jami
“If it's true what is said, that only the wise discover the wise, then it must also be true that the lone wolf symbolizes either the biggest fool on the planet or the biggest Einstein on the planet.”
Criss Jami, Diotima, Battery, Electric Personality

Georges Perec
“This is how space begins, with words only, signs traced on the blank page. To describe space: to name it, to trace it, like those portolano-makers who saturated the coastlines with the names of harbours, the names of capes, the names of inlets, until in the end the land was only separated from the sea by a continuous ribbon of text. Is the aleph, that place in Borges from which the entire world is visible simultaneously, anything other than an alphabet?”
Georges Perec, Species of Spaces and Other Pieces

bell hooks
“It is not surprising that young white males – most between thirty and forty – play major roles in the production of hip-pop. It’s easy to forget this because when most people critique rap and hip-pop harshly, they assume that young black men are the sole creators and producers of misogynist rap. In fact, nothing is unilaterally produced anymore. As we’ve discussed, once you have a corporate takeover of the street culture, it is no longer the property of the young, Black and Latino men and women who have created it. It is reinvented with the mass consumer audience in mind. The hard-core misogyny and the hard-core sexism isn’t a translation from street to big-time studio, it is a product of the big-time studio.”
bell hooks, Homegrown: Engaged Cultural Criticism

Jeanine Cummins
“[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.”
Jeanine Cummins, American Dirt

David Markson
“Once, Turner had himself lashed to the mast of a ship for several hours, during a furious storm, so that he could later paint the storm. Obviously, it was not the storm itself that Turner intended to paint. What he intended to paint was a representation of the storm. One's language is frequently imprecise in that manner, I have discovered.”
David Markson, Wittgenstein's Mistress

“Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.”
Paul Haggis

“Surrealism also refuses the representation of reality: reality can only be; its existence proves its reality. Fiction thereby becomes impossible or is, by definition, false.”
Michael Richardson, Dedalus Book of Surrealism 2: The Myth of the World

T.F. Hodge
“It is more substantial to represent a purpose, rather than just a title.”
T.F. Hodge, From Within I Rise: Spiritual Triumph Over Death and Conscious Encounters with "The Divine Presence"

Criss Jami
“One of the Christian's biggest fears is appearing 'too Christian'. God forbid, because that's often characterized as god-awful! We want to be one, but without being 'one of them'.”
Criss Jami, Killosophy

Virginia Woolf
“History is too much about wars; biography too much about great men.”
Virginia Woolf, A Room of One's Own

Michael Copperman
“...But if we are to say anything important, if fiction is to stay relevant and vibrant, then we have to ask the right questions. All art fails if it is asked to be representative—the purpose of fiction is not to replace life anymore than it is meant to support some political movement or ideology. All fiction reinscribes the problematic past in terms of the present, and, if it is significant at all, reckons with it instead of simply making it palatable or pretty. What aesthetic is adequate to the Holocaust, or to the recent tragedy in Haiti? Narrative is not exculpatory—it is in fact about culpability, about recognizing human suffering and responsibility, and so examining what is true in us and about us. If we’re to say anything important, we require an art less facile, and editors willing to seek it.”
Michael Copperman

Yōko Ogawa
“—Mais, quelle que soit l'importance de l'événement, dès qu'il est écrit sur le papier, il ne fait plus qu'une ou deux lignes. "Mes yeux ne voyaient plus" ou "je n'avais plus un sou", il suffit d'une dizaine ou d'une vingtaine de lettres de l'alphabet. C'est pourquoi, quand on calligraphie des autobiographies, il arrive qu'on soit soulagé. On se dit que ce n'est pas la peine de trop réfléchir à tout ce qui se passe dans le monde.”
Yoko Ogawa, Les Tendres plaintes

“I just like to say I'm from London, I don't have any specific area I represent. I'm not representing for a small group of people. I'd like everybody to be able to relate to a nerd, because everybody's a bit nerdy. I'm more interested in that than in where they're from. I'm more interested in what people do.”
Craig Taylor

John Cowper Powys
“The reality is one thing; the name; with all is strange associations, is only an outward shell of such reality.”
John Cowper Powys, A Glastonbury Romance

Jennieke Cohen
“However, one might ask why you decided to veer from your usual course and make every element so simple---relatively speaking."
Elijah had been anticipating some question like this. "You asked me to show myself on a plate. Sometimes things that appear simple are actually quite complex. And sometimes the most complex-seeming things truly have little substance. On occasion, the ingredients must speak for themselves," he replied, feeling for all the world like whatever happened later, he'd done himself proud.”
Jennieke Cohen, My Fine Fellow

P. Djèlí Clark
“Who says all the fantasies with sword-wielding heroes and heroines have to be in Middle Earth, Westeros, or even our dreams of Africa past—“copper sun or scarlet sea?”
Maybe they can happen right here, too.”
P. Djèlí Clark, Ring Shout

“Ethnicity is often mistakenly associated exclusively with People of Colour, particularly in its use in 'official' terms such as BAME but equally when White people refer to 'ethnic clothes' or 'ethnic food'. However, ethnicity is a term that refers to any group of people who share an intersection of several factors of identity........ As such there are a range of ethnicities within the White population. eg Cornish ethnicity.”
Aisha Thomas, Representation Matters: Becoming an anti-racist educator

“It is vital that children see meaningful images of people who look like them being represented in a positive way that celebrates and acknowledges difference. -Dr Stella Louis”
Aisha Thomas, Representation Matters: Becoming an anti-racist educator

Ronald N. Giere
“More important is how the principles function in representational practice. Their function, I think, is to act as general templates for the construction of more specific abstract objects that I would call “models.” Thus, to the principles one adds what I am here calling “specific conditions,” the result being a more specific, but still abstract object.”
Ronald N. Giere

Mike Brooks
“…This lack of morality is not limited to rank. In Alaba, for example, even the simplest social structures are ignored. Alabans claim that concepts of ‘man’ and ‘woman’ do not apply, and insist they have either five or six genders, depending on how they are counted, between which these heathens will move depending on their whims. As a tonal language, the same sound with different inflections carries different meanings, so a Naridan must be very careful to avoid misrepresenting himself: for example, ‘mè’ is ‘high masculine’, used by those in whom the fire of manhood burns strongly, while ‘mê’ is ‘low masculine’, for in Alaban society it is no great shame for a man to admit to womanly character. The largely uninflected ‘me’ is the gender-neutral formal, but ‘mé’ is ‘low feminine’, favoured by women who lack the qualities appropriate for their gender, and ‘mē’ is ‘high feminine’, the only appropriate usage for any Naridan lady of decency. Even stranger is ‘më’, used only by those who insist they have no gender, even in the most informal settings. Such immorality is hardly unsurprising in a land that has provided succour to exiled pretenders since the Splintering.
Needless to say, Naridans should resist these pernicious local customs and only use the ‘high’ forms for themselves when visiting this land, lest they cause themselves considerable embarrassment.”
Mike Brooks, The Black Coast

“We say food is a weapon, which is another way to say that food is a means of protest, but good food can also be a tool of liberation.”
Jon Gray, Ghetto Gastro Presents Black Power Kitchen

“Nie ma postulatu, by każdy tekst odhaczył określoną liczbę okienek z listy „reprezentacja mniejszości”, z czego uwielbiają szydzić ci, którzy empatii nie widzieli nawet w słowniku, bo raz natknęli się na termin „polityczna poprawność” i nie szukali już jakichkolwiek innych. Reprezentacja nie jest obowiązkowa, ale jest potrzebna i pożyteczna. Marzy nam się literatura, która nie wyklucza z powodu arbitralnych cech. Albo inaczej: literatura, która jest pisana z empatią i namysłem, sięgająca po to, co jeszcze nieograne i pomijane, pokazująca coś, co widujemy rzadko, a czego potrzebę odczuwamy głęboko. Bo jeśli nawet gatunek, w którym może istnieć wszystko, udaje, że nie istnieją osoby LGBTQ+, to czy gdziekolwiek jest dla nas miejsce?”
Magdalena Stonawska, Tęczowe i fantastyczne: antologia queerowej fantastyki

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