Feminists

"I don't pretend to be anyone's voice. I have been very lucky to be published in Europe, and I say lucky because there are women who have been writing in Latin America since the seventeenth century, like Sor Juana Inés de la Cruz. The problem is that few people ever talk about them. Their work is rarely taught at the universities, there is no literary criticism on them, and they are not published, translated or distributed."

"Just a few years ago, one could easily identify the women in all of Latin America who stood out in literature. Names like Gabriela Mistral, Alfonsina Storni, Juana de Ibarború, Delmira Agustini, Claudia Lars, not to mention the greatest of them all, Sor Juana Inés de la Cruz, who, five hundred years ago, took off her feminist gloves when she wrote, “Stupid men, who, without cause, accuse women,” words proclaimed rather shockingly."

"Probably the first official feminist in Mexican history was Sor Juana Inéz de la Cruz, who lived from 1648 to 1695. During her lifetime, she was honored as the tenth Muse of Mexico, and known through the Americas and Europe for her wit and intelligence. She argued against a sexual double standard in her famous poem, "Hombres necios" (Foolish Men): "Which has the greater/sin when burned/By the same lawless fever:/She who is amorously deceived,/Or he, the sly deceiver?/Or which deserves the sterner blame,/Though each will be a sinner:/She who becomes a whore for pay,/Or he who pays to win her?" Sor Juana argued for equality in education, but did not trust men to act as teachers. She suggested that a group of self-educated women should teach young females, instructing them not only in elementary subjects, but in literature, history, science, and theology as well."

"No se avergüenzan los Sabios de mirarse convencidos; porque saben, como Sabios, que su saber es finito."

"¡Qué bien se ve que eran Sabios en confesarse rendidos, que es triunfo el obedecer de la razón el dominio!"

"¿Cuál mayor culpa ha tenido En una pasión errada: La que cae de rogada, O el que ruega de caído? ¿O cuál es más de culpar, Aunque cualquiera mal haga: La que peca por la paga, O el que paga por pecar?"

"Hombres necios que acusáis A la mujer, sin razón, Sin ver que sois la ocasión De lo mismo que culpáis: Si con ansia sin igual Solicitáis su desdén ¿Por qué queréis que obren bien, Si las incitáis al mal?"

"Yo no estimo tesoros ni riquezas; y así, siempre me causa más contento poner riquezas en mi pensamiento que no mi pensamiento en las riquezas."

"¿En perseguirme, mundo, qué interesas? ¿En qué te ofendo, cuando sólo intento poner bellezas en mi entendimiento y no mi entendimiento en las bellezas?"

"Pain is just a consequence of love."

"You have to learn the language of my fans because ‘soon’ means 10 days or less,I’m not allowed to use that word at this moment. I’m not gonna use that word today. I’ll say that. Just keep your eyes peeled. Just keep them peeled. That’s all I’m saying."

"You know what, they did the Brighter Days memory erasure treatment to me, so I’m having trouble remembering the details. They’re foggy."

"My sun is in dog, and my rising is in cat. Just because cats are so boundaried, and I have a little bit of boundaries too now, but I have the openness and emotional availability of a dog. So I have the emotional landscape of a dog, but with the boundaries of a cat."

"The Waterboy, with Adam Sandler, makes me cry. When they're mean to Bobby Boucher, I cry. I don't like it. I love Bobby Boucher. He says, “Would you please still be my friend?” and I lose it. But I cry at everything."

"Grande is my mom's last name; Butera is my father's last name. This feels like the most important, full-circle thing I've ever done, so I wanted to have them both be a part of this."

"I have never in my life felt the way I did when I found out that I got the role of Glinda in the film. I thought, Everything’s going to be okay forever now."

"It was my creative vision for it. I said, "I need to put a spin on this and wear it with a Jason mask or a Scream mask" or something. But I was a huge musical fan in general. This is kind of controversial to say, but I loved Avenue Q, even though it won the Tony for Best Musical over Wicked. But Wicked, of course, is my number one."

"I don't need a dozen roses You ain't gonna wine and dine me no. I don't need a pretty poet."

"“Don’t ever doubt yourselves or waste a second of your life. It’s too short, and you’re too special.”"

"“I’m tired of needing to be linked to a guy, I’m not Big Sean‘s ex, I’m not Niall‘s new possible girl. I’m Ariana Grande.”"

"Music is something everyone on Earth can share. Music is meant to heal us, to bring us together, to make us happy."

"I'm very proud [to be part Italian] … Although I don't eat a lot of Italian things, because I'm vegan. … I love animals more than I love most people, not kidding. But I am a firm believer in eating a full plant-based, whole food diet that can expand your life length and make you an all-round happier person. It is tricky dining out, but I just stick to what I know – veggies, fruit and salad – then when I get home I'll have something else."

"Late-capitalist retranslation of difference allows hierarchical and material differences in power between people to be erased from consciousness, even when these same economic and social privileges are bolstered."

"Louis Althusser puts it this way: because "class instinct is subjective and spontaneous," the class instinct of the middle classes and "thus of intellectuals" must undergo a painful and "revolutionary" transformation in order to become oppositional—that is, in order to become aligned with the methodology of the oppressed."

"How does one go about thinking, talking, living, theorizing, or resisting an original, prodigious, and ongoing first world cultural expansion, indeed, this imperial neocolonization of all citizen-subjects, when the nature of this very expansion functions to take in any thought about it?"

"Much of my professional life has been concerned with the politics of who we think we are. I've been riveted by the question of how we can understand the chaos of identifications which we seek to reach somehow, 'ourselves'. Of course this arrival never occurs; we'll never be ourselves, whatever that could mean."

"The problem of ideology ... has especially to do with the concepts and the languages of practical thought which stabilize a particular form of power and domination; or which reconcile and accommodate the mass of the people to their subordinate place in the social formation."

"You can't change the desert. You can only take the fastest course through it. Wishing it's an oasis won't make it so..."

"Nefertiti is like Athena born from the brow of Zeus, a head-heavy armored goddess. She is beautiful but desexed."

"The Nefertiti bust is one of the most popular art works in the world. It is printed on scarves and molded in necklace pendants and coffee-table miniatures. But never in my experience is the bust exactly reproduced. The copyist softens it, feminizes it and humanizes it. The actual bust is intolerably severe. It is too uncanny an object for domestic display. Even art books lie. The bust is usually posed in profile or at an angle, so that the missing left pupil is hidden or shadowed. What happened to the eye?"

"A NAME IN THE MOUTHS OF MEN BUILDS IN THE MOST INVULNERABLE HEART OF THE PYRAMIDS."

"THE IMPOSSIBLE IS THE ONLY WORTHY OPPONENT OF MAN."

"SPEECH AND WRITING ARE MORE SOLID THAN A STELE. A NAME IN THE MOUTHS OF MEN BUILDS IN THE MOST INVULNERABLE HEART OF THE PYRAMIDS."

"You can’t change the desert. You can only take the fastest course through it. Wishing it’s an oasis won’t make it so, Mutnodjmet."

"Be careful here, my lady. Let history forget your name. For if your deeds are to live in eternity, you will have to become exactly what your family wants you to be.” “And what is that?” I demanded. “A slave to the throne."

"I heard Nakhtmin’s voice in my mind, that to be forgotten was the greatest gift that history could give"

"Because he is weak and shallow, and you should learn to recognize men who are afraid of others with power, Mutnodjmet."

"My love is unique an none can rival her. Just by passing, she has already stolen away my heart"

"Nothing is forever...nothing lasts"

"I wonder if our names determine our destiny, or if destiny leads us to choose certain names."

"In the spring of the freshman year, the sophmore girls held what was called "The Baby Party" which all freshmen girls were compelled to attend. At this affair, the freshmen girls were questioned as to their misdemeanors and punished for their disobedience and rebellions. The baby party was so name because the freshman girls were required to dress as babies."

"Marston’s work opened the door for those in his profession to be more actively involved in the legal system. This perhaps begs the question: Is it a good thing for psychologists to be allowed to testify in court? There is certainly evidence to suggest that psychologists have something to offer the legal process above and beyond what their medically trained psychiatric colleagues might offer. Clinical psychologists typically have substantially more training in research than psychiatrists do and also spend several more years in formal study of human behavior. Likely as a result of this extra training, judges, attorneys, and law professors performing blind reviews rated forensic reports by psychologists to be more thorough and of higher quality than those completed by psychiatrists. Thus, William Moulton Marston, by tipping the first domino in a line that allowed psychologists to testify as recognized experts, directly contributed to better information and higher-quality work being used in the legal process. In this respect, much like his famous creation, he was a warrior for truth and justice."

"I always thought this Marston was a phony."

"This noted scientist is the most genuine human being I’ve met. He isn’t fat—that is, in the ordinary way. He’s just enormous all over. We walked through the garden and about the grounds. The doctor asked me about my work and myself, and I told him more in 15 minutes than I’d tell my most intimate friend in a week. He’s the kind of person to whom you confide things about yourself you scarcely realize."

"He believes the sexes have changed their professional status, that the hunted has become the huntress, that men have more ideas about women than about themselves and that a majority of men prefer to be 'unhappy masters' rather than 'happy slaves'."

"If Marston is whipping up comics stories while Rome burns, there must be a reason."

"The social value of freeing women from a harem-enclosed existence to a life of activity can be questioned only by those advocates of a "man's world" who wish to perpetuate its butchers and savage jungle law."

"The task of depicting character in the sound picture is, in one sense, far easier than in the silent picture. The latter, being essentially pantomime clarified with titles, is cruelly restricted as a medium of depicting human nature. Few of us express ourselves in postures and gestures. Our natural manner finds itself freer and surer in spoken words and, most of all, in decisive acts involving such forms of language as promises, commands, prohibitions, and so on, all of which readily lends itself to reproduction in talk and scene combined. To this extent, character drawing in sound pictures seems to offer pretty much the same opportunities and difficulties as in the drama of the Broadway stage. But a closer study brings out the somewhat startling fact that a sound picture, skillfully handled, can reveal more of a personality than any other device of art or science. The actor on the stage can talk, gesticulate, and move to and fro; but there his powers end. The actor of the talking screen can do all of these things and then carry on his subjective life in the presence of the spectators. We can show pictorially his memories, his fears, his hopes, and his cunning schemes. We can reveal his clenched fist in a close-up. We can show the beads of perspiration on his brow, as he trembles with suppressed rage."

"People go to moving pictures to be made to weep or laugh, to be happy or unhappy as they watch what hap pens to the screen characters before them. They become completely absorbed in the screen action. They follow the story, willy-nilly. And in so doing, they are forced to feel the emotion/ aroused by the dramatic situations.Pictures makes millions of people, day after day, feel glad or sad, courageous or fearful, righteous or angry. He, can do this, that is to say, within limits, and these limits largely depend upon the story of the picture. If the producer has a powerful enough story, these millions for get themselves and their little joys and woes and escape into the scenes on the screen before them. Small wonder then, that, with such stupendous power over the thinking and feeling of myriads of men, women, and children, the moving picture producer is willing, even eager, to spend hundreds of thousands of dollars — or even a cool mil lion or so — to secure and produce a picture for this world of movie-goers. But the story selected must itself have power enough to arouse the emotions of an audience. Excellent photography and good acting can help to carry successfully any story, but they can never put emotional meaning into a story that is built without emotional appeal."

"The literary story is hard enough, heaven knows. It calls for a thorough understanding of the kinds of people you set out to depict. It cannot be of high quality unless the author can plot well. And, of course, it must be cast in distinctive style. The picture of the silent screen does not demand literary abilities, but it does require insight into character as well as drama; furthermore, it is founded upon a high order of visual imagination. The stage play, in a certain sense, calls for all the chief abilities of literary stories and silent pictures; and, in addition, it must be managed with dialogue, which is some thing very different from literary language. But the sound picture goes beyond all of these other art forms. To invent a good one, you must grasp character, drama, settings, and dialogue. But you must go beyond these. You need a fanciful ear. The backgrounds of your story now cry out. The tale is filled with noises. And every least sound adds a unique quality to the total effect."