There is something monstrous in commands couched in invented and unfamiliar language; an alien master is the worst of all. The language of the law must not be foreign to the ears of those who are to obey it.
When I'm doing a one-on-one with somebody, I have to speak in a language that that person can understand, using a vocabulary that they instantly get, and I always have to feel my way around to figure that out. It's a lot of fun, and it's also really challenging - challenging in a different way from performing.
Genitive is a funny word because it means "from," but it also is the gender in European languages for objects: the masculine, feminine, and neuter. So if you have a genitive present, there's room for everybody to fit in. I just did a project in Vienna about rock, paper, scissor; you change the gender and it simply changes the whole thing. Rock is no longer a male. It doesn't function the same way.
Translation is a form of passive aggression. In doing it, a writer chooses to forgo original authorship so as to play havoc with a foreign original in a process of imitation, zigzagging between the foreign and receiving languages but in the last analysis cancelling the first in favor of the second.
Translation rewrites a foreign text in terms that are intelligible and interesting to readers in the receiving culture. Doing so is akin to committing an act of ethnocentric violence by uprooting the text from the language and culture that gave it life. Translating into current, standard English at once conceals that violence and homogenizes foreign cultures.
"Writing" is the Latin of our times. The modern language of the people is video and sound.
My early education was in the public school system of Omaha, where, retrospectively, I realize that my high school training served me in good stead for the basic subjects of mathematics, English, foreign languages and history.
The dictionary has been in the making for several decades, and the result is well worth the wait. MacLean and those who worked with her have consulted with IÃ±upiaq speakers from across Alaska's North Slope to compile a comprehensive collection of word stems, along with postbases, grammatical endings, and an array of other valuable material. . . . This dictionary will prove fascinating for anyone interested in the IÃ±upiat and their language.
External realities - worlds of politics, economics, law, war, interpersonal and social relations - are part of prose fiction. Fiction also includes the realities of a character's interior language. Poetry can encompass the same realities, but in compressed, intensified language, which creates entirely different degrees of emotional force.
The violence inherent in our systems and structures of power is a part of who we are - our thoughts, sensibilities, imaginations, language. We live in manifestations of it - permanent war, environmental destrucution, poverty, racism, misogyny, the assault on labor, torture in our prisons, capital punishment - a corporate capitalist state controlled by oligarchical interests for their own private profit and gain.
The steward, according to custom, had stopped all the clocks. This, in the language of Narouz, said "Your stay with us is so brief, let us not be reminded of the flight of the hours."
This is the gift all writers seek-to write language that incandesces yet does not melt.
If you can't describe your strategy in twenty minutes, simply and in plain language, you haven't got a plan. 'But,' people may say, 'I've got a complex strategy. It can't be reduced to a page.' That's nonsense. That's not a complex strategy. It's a complex thought about the strategy.
The thought of today cannot be expressed in the language of yesterday.
The transformations of the French empire itself or of French power structures themselves as well as the emergence of a kind of language of equal rights starting with the American Revolution and the French Revolution provided an opportunity and in some ways connected with other kinds of ground level desires or hopes and ideologies for freedom that were coming out of the plantation regime itself.
Conversation is a traffick; and if you enter into it, without some stock of knowledge, to ballance the account perpetually betwixtyou,-the trade drops at once: and this is the reasonwhy travellers have so little [good] conversation with natives,-owing to their [the natives'] suspicionthat there is nothing to be extracted from the conversationworth the trouble of their bad language.
Poetry is the art of using language to transcend language.
The church has long used the concept of sacraments-outward signs of inward grace-to name the spaces where God meets us in an especially present way. For many Christians, however, that language seems abstract, even (sadly) foreign. Dean Nelson lovingly explores those spaces of encountering God; his luminous book has helped me see anew the sacred in the ordinary. I am grateful.
Cure" is one of the most precious words in the English language. It's a short word. A clean and simple word. But it isn't so easy a thing as it sounds. There are questions like: How will this affect us in ten years? In twenty? What will it do to our children? Our children's children?
Language is our way of communicating what we want and who we are.
'God' is the name given to the most 'important' human idea. In English, as in other languages, the original sense of the word is obscure. But the character of the name is the same in all languages: it is a question. 'God' is the question 'Is there something more important than, something besides, man?'
Sometimes only poetry can say it. I think there's just this deeper language, and away of putting your world back together again and breaking through barriers.
I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.
It's easy to talk to a horse if you understand his language. Horses stay the same from the day they are born until the day they die. They are only changed by the way people treat them.
When you're on stage, the audience becomes your other half. It's the ultimate high you can reach as a musician - an incredible feeling. And no matter where I am it's still the same; there's a reason we call music the universal language.
The purpose of most computer languages is to lengthen your resume by a word and a comma.
Real programmers can write assembly code in any language.
When they first built the University of California at Irvine they just put the buildings in. They did not put any sidewalks, they just planted grass. The next year, they came back and put the sidewalks where the trails were in the grass. Perl is just that kind of language. It is not designed from first principles. Perl is those sidewalks in the grass.
Part of language design is perturbing the proposed feature in various directions to see how it might generalize in the future.
The problem with using C++ ... is that there's already a strong tendency in the language to require you to know everything before you can do anything.
So many computer languages try to force you into one way of thinking and Perl is very much the opposite of that approach. It's kind of like a, well, sometimes Perl has been called the Swiss army chainsaw of the internet, but it's more like a Swiss army machine shop. It really gives you a lot of tools, some of which are dangerous, but it lets you get your job done very quickly.
Computer language design is just like a stroll in the park. Jurassic Park, that is.
But the possibility of abuse may be a good reason for leaving capabilities out of other computer languages, it's not a good reason for leaving capabilities out of Perl.
Many computer scientists have fallen into the trap of trying to define languages like George Orwell's Newspeak, in which it is impossible to think bad thoughts. What they end up doing is killing the creativity of programming.
Computer languages differ not so much in what they make possible, but in what they make easy.
As a linguist, I don't think of Ada as a big language. Now, English and Japanese, those are big languages. Ada is just a medium-sized language.
Take Lisp, you know its the most beautiful language in the world - at least up until Haskell came along.
At many levels, Perl is a 'diagonal' language.
Now, I'm not the only language designer with irrationalities. You can think of some languages to go with some of these things.
All language designers are arrogant. Goes with the territory.