Konstantina > Konstantina's Quotes

“Men explain things to me, still. And no man has ever apologized for explaining, wrongly, things that I know and they don't.”
― Rebecca Solnit, Men Explain Things to Me

“I do not wish them [women] to have power over men; but over themselves.”
― Mary Wollstonecraft, A Vindication of the Rights of Woman

“You say: I am not free. But I have raised and lowered my arm. Everyone understands that this illogical answer is an irrefutable proof of freedom.”
― Leo Tolstoy, War and Peace

“Life calls the tune, we dance.”
― John Galsworthy

“In riding a horse, we borrow freedom”
― Helen Thompson

“Until we are all free, we are none of us free. ”
― Emma Lazarus

“Do not make the mistake of thinking that you have to agree with people and their beliefs to defend them from injustice.”
― Bryant McGill, Voice of Reason

“Those who choose to be servants know the most about being free. ”
― Janette Oke

“A person who has not been completely alienated, who has remained sensitive and able to feel, who has not lost the sense of dignity, who is not yet "for sale", who can still suffer over the suffering of others, who has not acquired fully the having mode of existence - briefly, a person who has remained a person and not become a thing - cannot help feeling lonely, powerless, isolated in present-day society. He cannot help doubting himself and his own convictions, if not his sanity. He cannot help suffering, even though he can experience moments of joy and clarity that are absent in the life of his "normal" contemporaries. Not rarely will he suffer from neurosis that results from the situation of a sane man living in an insane society, rather than that of the more conventional neurosis of a sick man trying to adapt himself to a sick society. In the process of going further in his analysis, i.e. of growing to greater independence and productivity,his neurotic symptoms will cure themselves.”
― Erich fromm, The Art of Being

“Psychoanalytic insight, Miller seems to suggest, is itself a pathological symptom.”
― Alison Bechdel, Are You My Mother?: A Comic Drama

“In this pause, I suddenly saw something very clearly.

Whatever it was I wanted from my mother was simply not there to be had. It was not her fault.

And it was therefore not my fault that I was unable to elicit it.”
― Alison Bechdel, Are You My Mother?: A Comic Drama

“Furious activity is no substitute for analytical thought.”
― Alastair Pilkington

“It is a dangerous thing to substitute reading or writing for living. Live first, then write.”
― Kamand Kojouri

“If ever I was running, it was towards you.”
― Jennifer Elisabeth

“I always dream of a pen that would be a syringe.”
― Jacques Derrida, Jacques Derrida

“One of Allen Ginsberg’s T-shirts said, “Well, while I’m here, I’ll do the work. And what’s the work? To ease the pain of living. Everything else, drunken dumbshow.”
― Philip Glass, Words Without Music: A Memoir

“When I work with Godfrey, I don’t spend a lot of time looking at the image. I look at it once. Maybe twice, but not more than twice. Then I depend on the inaccuracy of my memory to create the appropriate distance between the music and the image. I knew right away that the image and the music could not be on top of each other, because then there would be no room for the spectators to invent a place for themselves. Of course, in commercials and propaganda films, the producers don’t want to leave a space: the strategy of propaganda is not to leave a space, not to leave any question. Commercials are propaganda tools in which image and music are locked together in order to make an explicit point, like “Buy these shoes” or “Go to this casino.”
The strategy of art is precisely the opposite. I would describe it this way: When you listen to a piece of music and you look at an image at the same time, you are metaphorically making a journey to that image. It’s a metaphorical distance, but it’s a real one all the same, and it’s in that journey that the spectator forms a relationship to the music and the image. Without that, it’s all made for us and we don’t have to invent anything. In works like Godfrey’s, and in works, for that matter, like Bob Wilson’s, the spectators are supposed to invent something. They are supposed to tell the story of Einstein. In Godfrey’s movies Koyaanisqatsi and Powaqqatsi, the words in the title are the only words there are. The journey that we make from the armchair to the image is the process by which we make the image and the music our own. Without that, we have no personal connection. The idea of a personal interpretation comes about through traversing that distance.”
― Philip Glass

“Reading is not walking on the words; it's grasping the soul of them.”
― Paulo Freire

“Am I in love? --yes, since I am waiting. The other one never waits. Sometimes I want to play the part of the one who doesn't wait; I try to busy myself elsewhere, to arrive late; but I always lose at this game. Whatever I do, I find myself there, with nothing to do, punctual, even ahead of time. The lover's fatal identity is precisely this: I am the one who waits.”
― Roland Barthes, A Lover's Discourse: Fragments

“To whom could I put this question (with any hope of an answer)? Does being able to live without someone you loved mean you loved her less than you thought...?”
― Roland Barthes

“Ultimately — or at the limit — in order to see a photograph well, it is best to look away or close your eyes. 'The necessary condition for an image is sight,'Janouch told Kafka; and Kafka smiled and replied: 'We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.”
― Roland Barthes, Camera Lucida: Reflections on Photography

“It is said that mourning, by its gradual labour, slowly erases pain; I could not, I cannot believe this; because for me, Time eliminates the emotion of loss (I do not weep), that is all. For the rest, everything has remained motionless. For what I have lost is not a Figure (the Mother), but a being; and not a being, but a quality (a soul): not the indispensable, but the irreplaceable.”
― Roland Barthes, Camera Lucida: Reflections on Photography

“The truth of the matter is that—by an exorbitant paradox—I never stop believing that I am loved. I hallucinate what I desire. Each wound proceeds less from a doubt than from a betrayal: for only the one who loves can betray, only the one who believes himself loved can be jealous: that the other, episodically, should fail in his being, which is to love me—that is the origin of all my woes. A delirium, however, does not exist unless one wakens from it(there are only retrospective deliriums): one day, I realize what has happened to me: I thought I was suffering from not being loved, and yet it is because I thought I was loved that I was suffering; I lived in the complication of supposing myself simultaneously loved and abandoned. Anyone hearing my intimate language would have had to exclaim, as of a difficult child: But after all, what does he want?”
― Roland Barthes, A Lover's Discourse: Fragments

“Film is, to me, just unimportant. But people are very important.”
― John Cassavetes, Cassavetes on Cassavetes

“how sad and bad and mad it was - but then, how it was sweet”
― Robert Browning

“I think I have an extremely aggravated case of paranoia”
― Charles Mingus

“How can I tell a story we already know too well? Her name was Africa. His was France. He colonized her, exploited her, silenced her, and even decades after it was supposed to have ended, still acted with a high hand in resolving her affairs in places like Côte d'Ivoire, a name she had been given because of her export products, not her own identity.
Her name was Asia. His was Europe. Her name was silence. His was power. Her name was poverty. His was wealth. Her name was Her, but what was hers? His name was His, and he presumed everything was his, including her, and he thought be could take her without asking and without consequences. It was a very old story, though its outcome had been changing a little in recent decades. And this time around the consequences are shaking a lot of foundations, all of which clearly needed shaking.
Who would ever write a fable as obvious, as heavy-handed as the story we've been given?
...
His name was privilege, but hers was possibility. His was the same old story, but hers was a new one about the possibility of changing a story that remains unfinished, that includes all of us, that matters so much, that we will watch but also make and tell in the weeks, months, years, decades to come.”
― Rebecca Solnit, Men Explain Things to Me

“The emotion that can break your heart is sometimes the very one that heals it...”
― Nicholas Sparks, At First Sight