#critic

It's critical to have a sound foundation in free-market economics and the Constitution. A great many Republicans in Washington don't have that foundation. ↗

— Ted Cruz

#critical #economics #foundation #free-market #great

Critics can say horrible things. It only hurts when I agree with them. ↗

— Jon Cryer

#critics #horrible #horrible things #hurts #i

If a writer has to find a rhythm if his novel is to come 'right', a rhythm which he may well discover in the rhythm of an individual sentence, then likewise a reader has to find a corresponding rhythm in his reading, which may equally well be discovered in responding to local effect. The intimacy of this relationship between writer and reader is well caught in a recent observation made by Graham Greene, 'Novels should always have, if not dull, then at least level patches. That's where the excessive use of film technique, cutting sharply from intensity to intensity is harmful. . . . The writer needs level passages for his subconscious to work up to the sharp scenes . . . and the reader needs those level patches too, so that he can share in the processes of creation—not by conscious analysis, but by absorption?' To reflect on the wide-ranging effects of rhythm in reading would seem to be one way of making a start on tracing that obscure route that leads from 'absorption' to 'conscious analysis'. ↗

— Ian Gregor

#equality

I have been frequently accused of deliberately twisting subject matter to my point of view. Above all, I know that life for a photographer cannot be a matter of indifference. Opinion often consists of a kind of criticism. But criticism can come out of love. ↗

— Robert Frank

#accused #been #cannot #come #consists

Much literary criticism comes from people for whom extreme specialization is a cover for either grave cerebral inadequacy or terminal laziness, the latter being a much cherished aspect of academic freedom. ↗

— John Kenneth Galbraith

#aspect #being #cerebral #cherished #comes

I was trained in the '50s as a New Critic. I remember what literature was like before the New Critics, when people stood up and talked about Shelley's soul and such things. ↗

— Clifford Geertz

#before #critic #critics #i #i remember

The point of literary criticism in anthropology is not to replace research, but to find out how it is that we are persuasive. ↗

— Clifford Geertz

#criticism #find #how #literary #literary criticism

I don't happen to subscribe to the notion that everybody who criticizes Tom Daschle is criticizing Tim Johnson. I think that's a bit of a stretch. ↗

— John Thune

#criticizes #criticizing #daschle #everybody #happen

The formerly absolute distinction between time and eternity in Christian thought--between nunc movens with its beginning and end, and nunc stans, the perfect possession of endless life--acquired a third intermediate order based on this peculiar betwixt-and-between position of angels. But like the Principle of Complementarity, this concord-fiction soon proved that it had uses outside its immediate context, angelology. Because it served as a means of talking about certain aspects of human experience, it was humanized. It helped one to think about the sense, men sometimes have of participating in some order of duration other than that of the nunc movens--of being able, as it were, to do all that angels can. Such are those moments which Augustine calls the moments of the soul's attentiveness; less grandly, they are moments of what psychologists call 'temporal integration.' When Augustine recited his psalm he found in it a figure for the integration of past, present, and future which defies successive time. He discovered what is now erroneously referred to as 'spatial form.' He was anticipating what we know of the relation between books and St. Thomas's third order of duration--for in the kind of time known by books a moment has endless perspectives of reality. We feel, in Thomas Mann's words, that 'in their beginning exists their middle and their end, their past invades the present, and even the most extreme attention to the present is invaded by concern for the future.' The concept of aevum provides a way of talking about this unusual variety of duration-neither temporal nor eternal, but, as Aquinas said, participating in both the temporal and the eternal. It does not abolish time or spatialize it; it co-exists with time, and is a mode in which things can be perpetual without being eternal. We've seen that the concept of aevum grew out of a need to answer certain specific Averroistic doctrines concerning origins. But it appeared quite soon that this medium inter aeternitatem et tempus had human uses. It contains beings (angels) with freedom of choice and immutable substance, in a creation which is in other respects determined. Although these beings are out of time, their acts have a before and an after. Aevum, you might say, is the time-order of novels. Characters in novels are independent of time and succession, but may and usually do seem to operate in time and succession; the aevum co-exists with temporal events at the moment of occurrence, being, it was said, like a stick in a river. Brabant believed that Bergson inherited the notion through Spinoza's duratio, and if this is so there is an historical link between the aevum and Proust; furthermore this durée réelle is, I think, the real sense of modern 'spatial form,' which is a figure for the aevum. ↗

— Frank Kermode

#experience

The modern minds in each generation are the critics who preserve us from a petrifying world, who will not leave us to walk undisturbed in the ways of our fathers. ↗

— Edith Hamilton

#each #fathers #generation #leave #minds