Style Quotes - page 78
Cruyff introduced some passing drills into Barça's ‘arterial' system. And since then, the rondos have been not just a method but a symbol of the club's playing style: of dominating and never losing the ball. Cruyff blended several ideas and concepts and converted them into a philosophy – the seeds of which were planted throughout a club in urgent need of a footballing identity. Until then, the first team of Barcelona had been comfortably living in a world of excuses and enemies, content with their role as victims when faced with Real Madrid, an institution seen from Catalonia as the club of the Establishment.
Johan Cruyff
With Cruyff we [Barça] began to play differently, breaking new ground and innovating. With him, both as a player and coach, we established our own style on the field, what is traditionally known as 'total football,' the Barça style everyone admires. The arrival of Cruyff altered the history of Barça. He contributed decisively to a change of mentality. He got us to keep our heads up and to see that no opponent was invincible, that we could attain what we were aiming for. Cruyff was an icon who explained, better than anyone, that Barça is more than a club. He did it simply and based in reality, and always moving forward. Without Cruyff's unabashed and non-conformist spirit, we quite possibly wouldn't have become the greatest club in the world. So, again, thank you, Johan. Thanks to the man who was admired, thanks to the social icon, thanks to the football superstar.
Johan Cruyff
More than an athlete, Cruyff was also a great thinker, someone who reinvented the sport (...) Cruyff has left us now, but his vision and philosophy will hopefully live forever. You can see it in the way Barcelona-one of two clubs Cruyff revolutionized, along with Ajax-still plays every week. It's a style that has admirers around the world. I think a lot of people share that [philosophy] with him. You want to see this type of game, where you set the tone, you control the game, you make it fast, you make it attractive and attacking. He's always been famous for his version of the 4–3–3 with the wide wingers, all technically highly gifted and fast. This is his mark."
Johan Cruyff
The possibility of associating two or three hundred families in agricultural and manufacturing industry depends upon a system so entirely different from what now exists, that it will open to the reader a new social world. He must consequently, in the study which opens before him, follow the guide with confidence, bearing constantly in min the gigantic results which will flow from association. Such results are well worth the sacrifice of a few prejudices. Every sensible reader will be of this opinion, and will concur to follow the advice which I shall constantly give, namely, to neglect the form and style of presentation, and occupy himself solely with the substance of the theory, seeking to determine whether the process of association is really discovered or not.
Charles Fourier
Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.
Irenaeus
It is to Gainsborough's credit that he never attempted the so-called 'grand style' in painting as did Romney with such doubtful success; in that province Reynolds holds the highest rank of the artists of his day. Gainsborough in some respects was like a child; and this gives his character a certain attraction.
Thomas Gainsborough
Remember when the narrator is bullying the other girl? She says to her, "Just say ‘ow.' Just say anything, just make a sound.” I guess that's the first step: make a sound. I think for everybody that just being able to speak up is a bravery, which they have to learn. But for a writer, it's to be able to find a style and a rhythm and a structure to be able to tell a story. I think that is another way of finding voice, and it's not that easy....
Maxine Hong Kingston
Where is good English to be found? Not among those who might be expected to write well professionally. Schoolmasters seldom write well: it is difficult for any teacher to avoid either pomposity or, in the effort not to be pompous, a jocular conversational looseness. The clergy suffer from much the same occupational disability: they can seldom decide whether to use "the language of the market-place" or Biblical rhetoric. Men of letters usually feel impelled to cultivate an individual style - less because they feel sure of themselves as individuals than because they wish to carve a niche for themselves in literature; and nowadays an individual style usually means merely a peculiar range of inaccuracies, ambiguities, logical weaknesses and stylistic extravagancies. Trained journalists use a flat, over-simplified style, based on a study of what sells a paper and what does not, which is inadequate for most literary purposes.
Robert Graves
Authentic leftism is populist. It is based in working-class style, working-class language, working-class direct emotion, in an openness and brusqueness of speech. Not this fancy, contorted jargon of the pseudo-leftist of academe, who are frauds. These people who manage to rise to the top at Berkley, at Harvard, at Princeton, how many of these people are radical? They are career people. They are corporate types [...] They love the institutional context. They know how to manipulate the bureaucracy which has totally invaded and usurped academe everywhere. [...] They love to sit on endless committees. They love bureaucratic regulation. Not one "leftist" in American academe raised his or her voice against obscene growth of tuition costs, which have bankrupted a whole generation of young people.
Camille Paglia
Now they had to study just as stringently and methodically as the engineers and technicians of the past, if not more so. They had a steep path to climb, had to purify and strengthen their minds by dint of mathematics and scholastic exercises in Aristotelian philosophy. Moreover, they had to learn to renounce all those benefits which previous generations of scholars had considered worth striving for: rapid and easy money-making, celebrity and public honors, the homage of the newspapers, marriages with daughters of bankers and industrialists, a pampered and luxurious style of life.
Hermann Hesse
... a translator may discern the general character of his author's style, and yet fail remarkably in the imitation of it. Unless he is possessed of the most correct taste, he will be in continual danger of presenting an exaggerated picture or a caricatura of his orginal. The distinction between good and bad writing is often of so very slender a nature, and the shadowing of difference so extremely delicate, that a very nice perception alone can at all times define the limits.
Alexander Fraser Tytler
If Vasari really knew the nature of the Greek style of which he speaks, he would deal with it differently in what he says. He compares it with Giotto, but what Giotto did is simple in comparison, because the Greek style is full of ingenious difficulties [= translation of Greek art historian Nicos Hadjinicolau] / full of deceptive difficulties. [= translation of Spanish art historians Xavier de Salas and Fernando María].
El Greco
I made a mistake with these stores; I didn't do it myself and it's wrong. So I've had to let people go and there's nothing I hate more than having to get rid of kids. It breaks their hearts. But you know what? It affects sales. Should garment workers at my factory suffer because we fuck up the casting? What I'm looking for is style--that's not something you can teach a person. You have it or you don't. Let's say one girl has an acne problem but good style, while another one is beautiful but has no style. I'm picking acne!"
Dov Charney
If Stalin engineered the Prague coup without fully anticipating these consequences, it was not just because he had always planned to enforce his writ in a certain way throughout the bloc. Nor was it because Czechoslovakia mattered much in the grand scheme of things. What happened in Prague-and what was happening at the same time in Germany, where Soviet policy was moving swiftly from stonewalling and disagreement to open confrontation with her former allies-was a return by Stalin to the style and strategy of an earlier era. This shift was driven in general terms by Stalin's anxiety at his inability to shape European and German affairs as he wished; but also and above all by his growing irritation with Yugoslavia.
Tony Judt
If one strand in the heritage of the Sixties was high-cultural pretension, the other, its intimate inversion, was a hardening crust of knowing cynicism. The relative innocence of rock and roll was increasingly displaced by media-wise pop bands whose stock in trade was a derisive appropriation and degradation of the style forged by their immediate precursors. Much as popular romances and tabloid journalism had once fastened on to mass literacy for commercial advantage, so ‘punk' rock appeared in the Seventies in order to exploit the market for popular music. Presented as ‘counter-cultural' it was in fact parasitic upon mainstream culture, invoking violent images and radical language for frequently mercenary ends.
Tony Judt
He came to science fiction in 1952; some two or three years later, somebody told him he was writing parables, and Sheckley believed it. The stripped quality of his subsequent work, and its utter divorcement from fact and logic, are traceable to this unfortunate influence.
He has a unique touch with a wacky civilization, a clean, compact style, and a satirical wit that is dry without being bitter.
Robert Sheckley
Standing on his ladder, he patiently covered his canvas with those tiny multicolored strokes, which give it, from a distance, that intense life and luminosity which are the secrets of his style. At his task, Seurat always concentrated on a single section of the canvas, having previously determined each stroke and color to be applied. Thus he was able to paint steadily without having to step back from the canvas in order to judge the effect obtained.. .Nothing was left to change, to some happily inspired brush stroke.
Georges Seurat
At about the age of eleven, I was reading the thrillers of Sax Rohmer and Edgar Wallace concerning Dr. Fu Manchu and other sophisticated Chinese villains, nurturing a secret admiration for these gentlemen because of their opposition to the suet-pudding heroism of our own culture, and because of their refined and mysterious style of life. While other boys dreamed of becoming generals, cowboys, mountain climbers, explorers, and engineers, I wanted to be a Chinese villain. I wanted servants carrying knives in their sleeves, appearing or vanishing without the slightest sound. I wanted a house with secret doors and passages, with Coromandel screens, with ancient scrolls, with ivory and lacquer boxes of exotic poisons, with exquisite brands of tea, with delicate blue porcelain, with jade idols and joss-sticks, and with sonorous gongs.
Alan Watts
