I think when we engage in language we are engaging in something that is specifically and primally human.
Music is a manifestation of the human spirit, similar to language. Its greatest practitioners have conveyed to mankind things not possible to say in any other language. If we do not want these things to remain dead treasures, we must do our utmost to make the greatest possible number of people understand their idiom.
Shakespeare's taught me that there are more words in the English language than I have got in my head.
I'm completely at ease on a set. I'm pretty comfortable most places, but hitting the mark and knowing set etiquette and understanding cameras and lenses are second nature. It's a language I've spoken for years.
China's cinema has been rising for some time; it has more exposure, so my chances of becoming internationally known are better. But the first thing I have to do is learn English. If I can grasp the language, then perhaps I can think about the U.S.
I must stick with Chinese language films.
A lot of politics plays at the level of myth, and if you understand that, then you feel like you have access to the secret language of politics.
Music is its own language - if you don't speak it, it's hard to say what you're trying to do.
Hebrew is the most wonderful of languages, a language of a thousand antonyms, hard and strong as steel, while soft and gleaming as gold.
The language of the internet is English, and an overwhelming proportion of the global computer chatter also originates from America, influencing the content of global conversation.
My plays have been translated into all of the official languages of South Africa except Afrikaans.
I miss aspects of being in the Arab world - the language - and there is a tranquility in these cities with great rivers. Whether it's Cairo or Baghdad, you sit there and you think, 'This river has flown here for thousands of years.' There are magical moments in these places.
I don't want to do an edgy show, I didn't want bad language. I think edginess is the new hackiness.
I think of language as our first music.
Poets are seen as the caretakers of language, so working with words no matter what the form is what we do.
It wasn't a deliberate decision to become a poet. It was something I found myself doing - and loving. Language became an addiction.
I originally wanted to embrace the imagery and forthrightness of rap music. There are some interesting, dynamic voices in rap. But I find most of it irresponsible in its overt violence and commercialization of anger. As artists, we believe we can will action through language. If that's the case, we have to take responsibility for what we say.
I always lived in a multilingual society (Polish-Ukrainian, German-Ukrainian, English-Ukrainian), and was open to outside linguistic influences. I think it was within three years of coming to the US that I started writing in English, although purely for myself, not trying to get it published. Living in America, I was constantly in touch with English, and Ukrainian was for me a private language.
I was always creatively stubborn, adverse to editing by others, and wanted to use the kind of Ukrainian we spoke among ourselves rather than the more artificial prescribed literary Ukrainian. The problem was the greatest in prose, where editors would change my language because "it sounded better this way." My poetry they left alone probably out of deference to that hallowed genre.
I've done a lot of going back and forth with my own writing, in particular translating my English language stuff into Ukrainian - poetry as well as prose. But I actually hate doing it. It is a thankless, mind-numbing process, additionally unpleasant for me because it reminds me of my ambiguous status of not belonging anywhere.
That is one more reason why I write in English only right now. I prefer writing in the language I hear around me for the people by whom I am surrounded.
Poetic language features an iconic rather than a predominantly conventional relationship of form and content in which all language (and cultural) elements, variant as well as invariant, may be involved in the expression of the content.", "Analysis of the Poetic Text.
It is not the responsibility of the language to force good looking code, but the language should make good looking code possible.
Language designers want to design the perfect language. They want to be able to say, 'My language is perfect. It can do everything.' But it's just plain impossible to design a perfect language, because there are two ways to look at a language. One way is by looking at what can be done with that language. The other is by looking at how we feel using that language-how we feel while programming.
I didn't work hard to make Ruby perfect for everyone, because you feel differently from me. No language can be perfect for everyone. I tried to make Ruby perfect for me, but maybe it's not perfect for you. The perfect language for Guido van Rossum is probably Python.
I hope to see Ruby help every programmer in the world to be productive, and to enjoy programming, and to be happy. That is the primary purpose of Ruby language.
People need to see that, far from being an obstacle, the world's diversity of languages, religions and traditions is a great treasure, affording us precious opportunities to recognize ourselves in others.
I think there are so many ways to become interested in music. I believe signs of sustained interest gives a sense of the right time. Music, if thought of as a language, would perhaps indicate that as early as possible is not so bad. I do believe that a really nurturing first teacher that makes the child love something is crucial.
As you begin to realize that every different type of music, everybody's individual music, has its own rhythm, life, language and heritage, you realize how life changes, and you learn how to be more open and adaptive to what is around us.
Horrible that you could write in a language so well, but have nothing meaningful to say.
I have 'Happy Birthday' in multiple languages on my iPod - I like to play it at company birthday parties.
There are two generic and invariable features that characterize utopias. One is the content: the authors of utopias paint what they consider to be ideal societies; translating this into the language of mathematics, we might say that utopias bear a + sign. The other feature, organically growing out of the content, is to be found in the form: a utopia is always static; it is always descriptive and has no, of almost no, plot dynamics.
It is not our sexual preferences, the color of our skin, the language we speak, nor the religion we practice that creates friction, hatred and wars amongst in society. It is our words and the words of our leaders that can create that disparity.
The soul inside me is the last foreign language I'm learning.
Our language is primarily for expressing human goodness and beauty.
Sometimes you search so hard for words. You look for a way to interpret the language of this heart and the unspoken bond you feel. But in the end you are left with nothing but silence. And deep down you hope it's understood.
Basketball, in America, is like a culture. It is like a foreigner learning a new language. It is difficult to learn foreign languages and it will also be difficult for me to learn the culture for basketball here.
If you're going to learn a new language, you can't try to be perfect. You'll stop yourself from talking. You just have to let go.
Moving to the US was quite a transition for me, to say the least! There were, and still are so many new things to get used to: the language, food, culture, even the style of basketball is different here!
In the English language, I can love my car, or my house, or my daughter, or traveling, but in Greek and how I grew up, love is described with different words.