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Read through the most famous quotes by topic #literacy
For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode. ↗
The link between literacy and revolutions is a well-known historical phenomenon. The three great revolutions of modern European history -- the English, the French and the Russian -- all took place in societies where the rate of literacy was approaching 50 per cent. Literacy had a profound effect on the peasant mind and community. It promotes abstract thought and enables the peasant to master new skills and technologies, Which in turn helps him to accept the concept of progress that fuels change in the modern world. ↗
All over the world there are enormous numbers of smart, even gifted, people who harbor a passion for science. But that passion is unrequited. Surveys suggest that some 95 percent of Americans are “scientifically illiterate.” That’s just the same fraction as those African Americans, almost all of them slaves, who were illiterate just before the Civil War—when severe penalties were in force for anyone who taught a slave to read. Of course there’s a degree of arbitrariness about any determination of illiteracy, whether it applies to language or to science. But anything like 95 percent illiteracy is extremely serious. ↗
