Imagination Quotes - page 95
!['God' can be used oppressively against women in a number of ways...[one way is by an] overt manner when theologians proclaim women's subordination to be God's will. The symbol of the Father God, spawned in the human imagination and sustained as plausible by patriarchy, has in turn rendered service to this type of society by making its mechanisms for the oppression of women appear right and fitting. If God in "his" heaven is a father ruling "his" people, then it is in the "nature" of things and according to divine plan and the order of the universe that society be male-dominated. (Mary Daly)](https://cdn.quotesdtb.com/img/quotes_images_webp/59/mary-daly-appear-divine-1004859.webp)
It requires a kick in the imagination, a wrenching of tired words, to realize that feminism is the final and therefore the first cause, and that this movement is movement. Realization of this is already the beginning of a qualitative leap in be-ing. For the philosophers of senescence 'the final cause' is in technical reason; it is the Father's plan, an endless flow of Xerox copies of the past. But the final cause that is movement is in our imaginative-cerebral-emotional-active-creative be-ing.
Mary Daly
I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.
Azar Nafisi
In any given society the Remnant are always so largely an unknown quantity. You do not know, and will never know, more than two things about them. You can be sure of those - dead sure, as our phrase is - but you will never be able to make even a respectable guess at anything else. You do not know, and will never know, who the Remnant are, nor what they are doing or will do. Two things you do know, and no more: First, that they exist; second, that they will find you. Except for these two certainties, working for the Remnant means working in impenetrable darkness; and this, I should say, is just the condition calculated most effectively to pique the interest of any prophet who is properly gifted with the imagination, insight and intellectual curiosity necessary to a successful pursuit of his trade.
Albert Jay Nock
Over many years (I am almost 72) so many poets have touched my imagination and opened paths for me-it hardly makes sense to list them. I have always read a great deal of poetry. Some poets-like Robert Lowell, Denise Levertov, Randall Jarrell, Jean Valentine, Audre Lorde, Hayden Carruth, Jane Cooper, June Jordan, Joy Harjo, Clayton Eshelman-have been my friends, we've been comrades in exchanging work and encouraging each other... But I've also been powerfully affected by Wallace Stevens, Hart Crane, Muriel Rukeyser, Aimé Césaire, Robert Duncan-poets I met briefly if at all. Baudelaire, Sachs, Celan, Ghalib, Mandelstam...all in translation. This kind of influence isn't textual, exactly-it's like having windows open on "what is possible.” And this kind of intensive reading of many poets, and dialogues with a few, seems to me more fertilizing to a poet's life than immersion in workshops.
Adrienne Rich
Freud captured the imagination of a whole continent and civilzation for a good reason. Though on the surface inconsistent, illogical or "way out," his followers, with their cautious logic, their experiments and revisions have nothing comparable to say. Freudianism is so charted so impossible to repudiate because freud grasped the cruecail problem of moddern life: Sexuality.
Shulamith Firestone
I am always interested in the ways of scoring the sound of the poem, especially a poem with long lines. Spaces within a line, double colons, slashes, are indications of pause, of breath, of urgency, they are not metrically exact as in a musical notation but they serve (I hope) to make the reader think about the sound of the poem-just as traffic symbols, when driving, make us almost unconsciously aware of a steep hill, an intersection, an icy bridge etc. Poets have used such indicators long before modernism-Dickinson's dashes and capitals are one example. Contemporary composers have also expanded on classical notation with new, self-invented markings. You want to find a way that is not random or chaotic but allows for various renderings of a line, a punctuation of the imagination.
Adrienne Rich
Acknowledgement, and celebration, of mystery probably constitutes the most consistent theme of my poetry from its very beginnings. Because it is a matter of which I am conscious, it is possible, however imprecisely, to call it an intellectual position; but it is one which emphasizes the incapacity of reason alone (much though I delight in elegant logic) to comprehend experience, and considers Imagination the chief of human faculties. It must therefore be by the exercise of that faculty that one moves toward faith, and possibly by its failure that one rejects it as delusion. Poems present their testimony as circumstantial evidences, not as closing argument. Where Wallace Stevens says, "God and the imagination are one," I would say that the imagination, which synergizes intellect, emotion and instinct, is the perceptive organ through which it is possible, though not inevitable, to experience God.
Denise Levertov
I speak of the imagination, which the Kabalists term the DIAPHANE or TRANSLUCID. Imagination, in effect, is like the soul's eye; therein forms are outlined and preserved; thereby we behold the reflections of the invisible world; it is the glass of visions and the apparatus of magical life. By its intervention we heal diseases, modify the seasons, warn off death from the living and raise the dead to life, because it is the imagination which exalts will and gives it power over the Universal Agent.
Eliphas Levi
I would first need to acknowledge that the mere act of creating something that questions the world and one's life in it, that exercises one's imagination, or that even pens something simply for the sake of beauty, is a kind of politics because it is determined to create awareness of some kind in some context...
Richard Blanco
We are all tattooed in our cradles with the beliefs of our tribe; the record may seem superficial, but it is indelible. You cannot educate a man wholly out of the superstitious fears which were early implanted in his imagination; no matter how utterly his reason may reject them, he will still feel as the famous woman did about ghosts, Je n'y crois pas, mais je les crains,-"I don't believe in them, but I am afraid of them, nevertheless".
Oliver Wendell Holmes, Sr.
[L]ife would indeed be easy if it were always clear what our duty is. Usually there is a conflict of duties as there is of loyalties. In order to serve one you often have to abandon the others. I remember a man saying to me during the last war that he had no use for rebels. Then I asked him how he would describe a German living in Germany and working for the defeat of the Nazis? Judged by conventional standards, the man was a rebel and a traitor. But judged in the wider context of humanity he was a hero. All you can really say here is that a man ought not to betray his first loyalty. The fact is that few people do. The problem is one of deciding which is the first loyalty from among a number of competing ones. And the higher the intelligence, the wider the knowledge, the keener the imagination, then the more loyalties there will be competing for our allegiance, and of course, the deeper the spiritual struggle involved in sorting them out.
Aneurin Bevan
Maybe we should develop a Crayola bomb as our next secret weapon. A happiness weapon. A Beauty Bomb. And every time a crisis developed, we would launch one. It would explode high in the air - explode softly - and send thousands, millions, of little parachutes into the air. Floating down to earth - boxes of Crayolas. And we wouldn't go cheap either - not little boxes of eight. Boxes of sixty-four, with the sharpener built right in. With silver and gold and copper, magenta and peach and lime, amber and umber and all the rest. And people would smile and get a little funny look on their faces and cover the world with imagination instead of death. A child who touched one wouldn't have his hand blown off.
Robert Fulghum
At the level of ordinary consciousness the individual man is the centre of everything, surrounded on all sides by what he isn't. At the level of practical sense, or civilization, there's a human circumference, a little cultivated world with a human shape, fenced off from the jungle and inside the sea and the sky. But in the imagination anything goes that can be imagined, and the limit of the imagination is a totally human world.
Northrop Frye
One of the most obvious uses [of literature], I think, is its encouragement of tolerance. In the imagination our own beliefs are also only possibilities, but we can also see the possibilities in the beliefs of others. Bigots and fanatics seldom have any use for the arts, because they're so preoccupied with their beliefs and actions that they can't see them as also possibilities.
Northrop Frye
It seems to me that Spinoza shares the fate of good old Saturn in the fable. The new gods pulled down the sublime one from the lofty throne of knowledge. He faded back into the solemn obscurity of the imagination; there he lives and now dwells with the other Titans in dignified exile. [Original in German: Spinosa, scheint mirs, hat ein gleiches Schicksal, wie der gute alte Saturn der Fabel. Die neuen Götter haben den Herrlichen vom hohen Thron der Wissenschaft herabgestürzt. In das heilige Dunkel der Fantasie ist er zurückgewichen, da lebt und haust er nun mit den andern Titanen in ehrwürdiger Verbannung.].
Baruch Spinoza
We are all afraid - for our confidence, for the future, for the world. That is the nature of the human imagination. Yet every man, every civilization, has gone forward because of its engagement with what it has set itself to do. The personal commitment of a man to his skill, the intellectual commitment and the emotional commitment working together as one, has made the Ascent of Man.
Jacob Bronowski
Helnwein's subject matter is the human condition. The metaphor for his art is dominated by the image of the child, but not the carefree innocent child of popular imagination. Helnwein instead creates the profoundly disturbing yet compellingly provocative image of the wounded child. The child scarred physically and the child scarred emotionally from within.
Gottfried Helnwein
The animals are much more content with mere existence than we are; the plants are wholly so; and man is so according to how dull and insensitive he is. The animal's life consequently contains less suffering but also less pleasure than the human's, the direct reason being that on the one hand it is free from care and anxiety and the torments that attend them, but on the other is without hope and therefore has no share in that anticipation of a happy future which, together with the enchanting products of the imagination which accompany it, is the source of most of our greatest joys and pleasures. The animal lacks both anxiety and hope because its consciousness is restricted to what is clearly evident and thus to the present moment: the animal is the present incarnate.
Arthur Schopenhauer
All right. I already see you turning off. I can see you say you don't understand me. You can't understand that it could be chance. "I don't like it!" Tough! I don't like it either, but that's the way it is! OK? I don't understand it either. ..."It must be that Nature knows that it's going to go up or down." No, it must not be that nature knows! We are not to tell Nature what she's gotta be! That's what we found out. Every time we take a guess as how she's got to be, and go and measure... She's clever. She's always got better imagination than we have, and she finds a cleverer way to do it than we have thought of. And in this particular case, the clever way to do it is by probability, by odds. ...[L]ight works by probability.
Richard Feynman
