Representation Quotes (displaying: 1 - 30 of 118 quotes )
We keep coming back to the question of representation because identity is always about representation. People forget that when they wanted white women to get into the workforce because of the world war, what did they start doing? They started having a lot of commercials, a lot of movies, a lot of things that were redoing the female image, saying, “Hey, you can work for the war, but you can still be feminine.” So what we see is that the mass media, film, TV, all of these things, are powerful vehicles for maintaining the kinds of systems of domination we live under, imperialism, racism, sexism etc. Often there’s a denial of this and art is presented as politically neutral, as though it is not shaped by a reality of domination.
More and more these days what I find myself doing in my stories is making a representation of goodness and a representation of evil and then having those two run at each other full-speed, like a couple of PeeWee football players, to see what happens. Who stays standing? Whose helmet goes flying off?
They had managed to convert their wealth, which had originally been in the form of factories or stores or other demanding enterprises, into a form so liquid and abstract, negotiable representations of money on paper, that there were few reminders coming from anywhere that they might be responsible for anyone outside their own circle of friends and relatives.
Some false representations contravene the law; some do not. The law does not pretend to punish everything that is dishonest. That would seriously interfere with business, and, besides, could not be done. The line between honesty and dishonesty is a narrow, shifting one and usually lets those get by that are the most subtle and already have more than they can use.
The great discovery of psychoanalysis was that of the production of desire, of the production of the unconscious. But once Oedipus entered the picture, the discovery was soon buried beneath the new brand of idealism: a classical theater was substituted for the unconscious as a factory: representation was substituted for the units of production of the unconscious; and an unconscious that was capable of nothing but expressing itself? in myth, tragedy, dreams? was substituted for the productive unconscious
In reality, genuine epiphanies are extremely rare. In contemporary adult life maturation & acquiescence to reality are gradual processes. Modern usage usually deploys epiphany as a metaphor. It is usually only in dramatic representations, religious iconography, and the 'magical thinking' of children that insight is compressed to a sudden blinding flash.
All the same, we ought to point out that if the kinds of poetry and representation which are designed merely to give pleasure can come up with a rational argument for their inclusion in a well-governed community, we'd be delighted -- short of compromising the truth as we see it, which wouldn't be right -- to bring them back from exile: after all, we know from our own experience all about their spell. I mean haven't you ever fallen under the spell of poetry, Glaucon, especially when the spectacle is provided by Homer?
The dialectic of antiquity tended towards leadership (the great individual and the masses--the free man and the slaves); so far the dialectic of Christendom tends towards representation (the majority sees itself in its representative and is set free by the consciousness that it is the majority which is represented, in a sort of self-consciousness); the dialectic of the present age tends towards equality, and its most logical--though mistaken--fulfilment is levelling, as the negative unity of the negative reciprocity of all individuals.
For time flows on, and if it did not, it would be a bad prospect for those who do not sit at golden tables. Methods become exhausted; stimuli no longer work. New problems appear and demand new methods. Reality changes; in order to represent it, modes of representation must also change. Nothing comes from nothing; the new comes from the old, but that is why it is new.
A terrible crisis unquestionably has arisen in the Church. In the ministry of evangelical churches are to be found hosts of those who reject the gospel of Christ. By the equivocal use of traditional phrases, by the representation of differences of opinion as though they were only differences about the interpretation of the Bible, entrance into the Church was secured for those who are hostile to the very foundations of the faith.
The large, gaping flaws in the construction of the stories--mad wives in the attic, strange apparitions in Belgium--are a representation of the life she could not face; these gothic subterfuges represent the mind at a breaking point, frantic to find any way out. If the flaws are only to be attributed to the practicce of popular fiction of the time, we cannot then explain the large amount of genuine feeling that goes into them. They stand for the hidden wishes of an intolerable life.
(from his random observations after reading David Copperfield by Charles Dickens)In the Old Curiosity Shop I discovered that in the character of Dick Swiveller, Dickens provided P.G. Wodehouse with pretty much the whole of his oeuvre. In David Copperfield, David's bosses Spenlow and Jorkins are what must be the earliest fictional representations of good cop/bad cop.
I would never speak about faith, but speak about the Lord himself - not theologically, as to the why and wherefore of his death - but as he showed himself in his life on earth, full of grace, love, beauty, tenderness and truth. Then the needy heart cannot help hoping and trusting in him, and having faith, without ever thinking about faith. How a human heart with human feelings and necessities is ever to put confidence in the theological phantom which is commonly called Christ in our pulpits, I do not know. It is commonly a miserable representation of him who spent thirty-three years on our Earth, living himself into the hearts and souls of men, and thus manifesting God to them.
Why do you love the woman you're in love with? Because she is. And that, after all, is God's own definition of Himself; I am that I am. The girl is who she is. Some of her isness spills over and impregnates the entire universe. Objects and events cease to be mere representations of classes and become their own uniqueness; cease to be illustrations of verbal abstractions and become fully concrete. Then you stop being in love, and the universe collapses, with an almost audible squeak of derision, into its normal insignificance.
Because our Savior lives, we do not use the symbol of His death as the symbol of our faith. But what shall we use? No sign, no work of art, no representation of form is adequate to express the glory and the wonder of the Living Christ. He told us what that symbol should be when He said, ‘If ye love me, keep my commandments’ (John 14:15). As His followers, we cannot do a mean or shoddy or ungracious thing without tarnishing His image. Nor can we do a good and gracious and generous act without burnishing more brightly the symbol of Him whose name we have taken upon ourselves. And so our lives must become a meaningful expression, the symbol of our declaration of our testimony of the Living Christ, the Eternal Son of the Living God.
And I remember in frequent discourses with my master concerning the nature of manhood, in other parts of the world, having occasion to talk of lying and false representation… For he argued thus; that the use of speech was to make us understand one another, and to receive information of facts; now if any one said the thing which was not, these ends were defeated… …he leaves me worse than in ignorance, for I am led to believe a thing black when it is white, and short when it is long.
NOT to my contemporaries, not to my compatriots but to mankind I commit my now completed work in the confidence that it will not be without value for them, even if this should be late recognised, as is commonly the lot of what is good. For it cannot have been for the passing generation, engrossed with the delusion of the moment, that my mind, almost against my will, has uninterruptedly stuck to its work through the course of a long life. preface to the second edition of "the world as will and representation
The Promised Land was a tangible representation of God's ultimate desire for His people, but they failed to comprehend His gift for at least three reasons: It was unconditionally promised, it was outrageously generous, and it was absolutely free. None of those make sense in the world as we know it...
The Matrix has its roots in primitive arcade games,' said the voice-over, 'in early graphics programs and military experimentation with cranial jacks.' On the Sony, a two-dimensional space war faded behind a forest of mathematically generated ferns, demonstrating the spatial possibilities of logarithmic spirals; cold blue military footage burned through, lab animals wired into test systems, helmets feeding into fire control circuits of tanks and war planes. 'Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts... A graphic representation of data abstracted from the banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding...
But myth is something else than an explanation of the world, of history, and of destiny. Myth expresses in terms of the world - that is, of the other world or the second world - the understanding that man has of himself in relation to the foundation and the limit of his existence. Hence to demythologize is to interpret myth, that is, to relate the objective representations of the myth to the self-understanding which is both shown and concealed in it.
The celebrated opening image of 'The Love Song of J. Alfred Prufrock' is another case in point: Let us go then, you and I, When the evening is spread out against the sky. Like a patient etherised upon a table... How, the reader wonders, can the evening look like an anaesthetised body? Yet the point surely lies as much in the force of this bizarre image as in its meaning. We are in a modern world in which settled correspondences or traditional affinities between things have broken down. In the arbitrary flux of modern experience, the whole idea of representation - of on thing predictably standing for another - has been plunged into crisis; and this strikingly dislocated image, one which more or less ushers in 'modern' poetry with a rebellious flourish, is a symptom of this bleak condition.