Admission Motivation Quotes

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Play the psychoanalyst: make cutting comments concerning their unconscious motives (you are only being truthful), then sit back and listen. Your silence will goad them into embarrassing admissions. Leaven your judgments with occasional praise and they will strive to please you, like dogs.
Robert Greene (The Art of Seduction)
A lady had no business going around not murdering people when she had excellent motive, plausible means, and the correct temperament. Elspeth was decisive, physically strong, and by her own admission capable of coaxing along a seedling of a grudge until it flowered. "How dare she be innocent." I muttered. "It is most inconsiderate.
Deanna Raybourn (A Sinister Revenge (Veronica Speedwell, #8))
Our fear of death is deeply ingrained. It has been said that our knowledge of our mortality is what distinguishes us from other animals, and is the motive force behind almost all human action and achievement.
Henry Marsh (Admissions: Life as a Brain Surgeon (Life as a Surgeon))
Atheism is the default position in any scientific inquiry, just as a-quarkism or a-neutrinoism was. That is, any entity has to earn its admission into a scientific account either via direct evidence for its existence or because it plays some fundamental explanatory role. Before the theoretical need for neutrinos was appreciated (to preserve the conservation of energy) and then later experimental detection was made, they were not part of the accepted physical account of the world. To say physicists in 1900 were 'agnostic' about neutrinos sounds wrong: they just did not believe there were such things. As yet, there is no direct experimental evidence of a deity, and in order for the postulation of a deity to play an explanatory role there would have to be a lot of detail about how it would act. If, as you have suggested, we are not “good judges of how the deity would behave,” then such an unknown and unpredictable deity cannot provide good explanatory grounds for any phenomenon. The problem with the 'minimal view' is that in trying to be as vague as possible about the nature and motivation of the deity, the hypothesis loses any explanatory force, and so cannot be admitted on scientific grounds. Of course, as the example of quarks and neutrinos shows, scientific accounts change in response to new data and new theory. The default position can be overcome.
Tim Maudlin
When questioned in court (and she refused a lawyer): “All her life she had loved words and kindled to them, but now she was in their power. They shot to and fro, like shuttles weaving the threads of some invisible pattern… “The quick blade of his irony delicately laid bare the tissues wrapping cause and motive. He must trap her into some unguarded admission of complicity. But she, too, held a blade as powerful as her questioners. She was speaking the truth. She had nothing to hide from him.” -p. 295
Rachel Field (All This, and Heaven Too (Rediscovered Classics))
Whatever the motives out of which they were established, the old WASP admissions criteria actually meant something. Athletics were thought to build character - courage and selflessness and team spirit. The arts embodied an ideal of culture. Service was designed to foster a public-minded ethos in our future leaders. Leadership itself was understood to be a form of duty. Now it's all become a kind of rain dance that is handed down from generation to generation, an empty set of rituals known only to propitiate the gods. Kids do them because they know that they're supposed to, not because they, or anybody else, actually believes in them.
William Deresiewicz (Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life)
is honest enough to admit that. I’m sorry if ignorance scares you. I’m sorry if you can’t stand the thought of dying before you’ve found the meta-yes. But that’s how this works, for now. And in the meantime, bookended by birth and death, riding about in bodies of carbon, loving, suffering, striving, for a short, short time, we get to be. If we’re forced to be in a mysterious universe, and that universe is mute on the subject of its own motivations for existing, I’ll still take living in honest ignorance over your metaphysical posturing any day. That’s real bravery. Not concocting blatantly contradictory stories to comfort oneself, not appealing to the vague transcendent every time you get your worldview in a twist. Ignorance. Brave, honest admission of one’s ignorance, and living with that ignorance in a kind, compassionate manner, treating each other well even if we know we eventually all go to dust and never happen again. We must try to be wise, to be good women, to be good men. The rite of adulthood is the admission
Exurb1a (Geometry for Ocelots)
The story begins with the revelation Alicia murdered her husband. Why do you think the author made this admission at the very start?   2.  Alicia’s diary plays a key role in the book. What purpose do you think it serves? And does your perception of Alicia change the more you read?   3.  Alicia’s silence is related to the Greek myth of Alcestis. How do you feel about the story of the myth? Why do you think Alicia is silent?   4.  Theo’s motives to work with Alicia are complicated. Do you think he wanted to help her?   5.  Both Alicia and Theo had difficult childhoods. Early on, Theo says no one is born evil. That who we become depends on the environment into which we are born. By the end of the novel he appears to change his mind, saying that perhaps some of us are born evil, and, despite therapy, we remain that way. Which do you think is true?   6.  Weather plays a large role in the book, such as the heat wave during the summer. What purpose do you think the description of the weather serves in the novel?   7.  Do you think the world of a psychiatric unit was convincingly portrayed? How do you feel about Diomedes and the other psychiatrists?   8.  We never enter Kathy’s mind in the book. Do you have any sympathy for her?   9.  What do you think happens at the end of the book? The last line is ambiguous. 10.  It’s a psychological thriller with a twist. The author has said he was influenced by Agatha Christie. Did you feel this was simply a detective story or are there any other influences you can spot?
Alex Michaelides (The Silent Patient)
He had tenderness in his heart—“a soft place,” as Nicholas Higgins called it; but he had some pride in concealing it; he kept it very sacred and safe, and was jealous of every circumstance that tried to gain admission. But if he dreaded exposure of his tenderness, he was equally desirous that all men should recognise his justice; and he felt that he had been unjust in giving so scornful a hearing to any one who had waited, with humble patience, for five hours, to speak to him. That the man had spoken saucily to him when he had the opportunity, was nothing to Mr. Thornton. He rather liked him for it; and he was conscious of his own irritability of temper at the time, which probably made them both quits. It was the five hours of waiting that struck Mr. Thornton. He had not five hours to spare, himself; but one hour—two hours, of his hard penetrating intellectual, as well as bodily labour, did he give up to going about collecting evidence as to the truth of Higgins’s story, the nature of his character, the tenor of his life. He tried not to be, but was convinced that all that Higgins had said was true. And then the conviction went in, as if by some spell, and touched the latent tenderness of his heart; the patience of the man, the simple generosity of the motive (for he had learnt about the quarrel between Boucher and Higgins), made him forget entirely the mere reasonings of justice, and overleap them by a diviner instinct. He came to tell Higgins he would give him work; and he was more annoyed to find Margaret there than by hearing her last words; for then he understood that she was the woman who had urged Higgins to come to him; and he dreaded the admission of any thought of her, as a motive to what he was doing solely because it was right.
Elizabeth Gaskell (North and South)
At its most intense, the admissions process didn’t force kids to be Lisa Simpson; it turned them into Eddie Haskell. (“You look lovely in that new dress, Ms. Admissions Counselor.”) It guaranteed that teenagers would pursue life with a single ulterior motive, while pretending they weren’t. It coated their every undertaking in a thin lacquer of insincerity. Befriending people in hopes of a good rec letter; serving the community to advertise your big heart; studying hard just to puff up the GPA and climb the greasy poll of class rank—nothing was done for its own sake. Do good; do well; but make sure you can prove it on a college app. So
Andrew Ferguson (Crazy U: One Dad's Crash Course in Getting His Kid Into College)
Admission to the school of self-inquiry is dependent rather on our motivation, willingness, and effort to explore the inner dimensions of our being.
David A. Cooper (A Heart of Stillness: A Complete Guide to Learning the Art of Meditation)
One might think that after this trenchant diagnosis of the radical dualism in human thinking, Huxley would urge us to take truth seriously and lean against any way in which we may be tempted to rationalize our needs—as Plato and Aristotle would have recommended. Instead, bizarrely, he goes on to take the very approach he was attacking. He freely admits that he “took it for granted” that the world had no meaning, but he did not discover it, he decided it. “I had motives for not wanting the world to have meaning; consequently assumed that it had none, and was able without any difficulty to find satisfying reasons for this assumption.”7 His philosophy of meaninglessness was far from disinterested. And the reason? “We objected to morality because it interfered with our sexual freedom.”8 This admission is extraordinary. To be sure, Huxley and his fellow members of the Garsington Circle near Oxford were not like the Marquis de Sade, who used the philosophy of meaninglessness to justify cruelty, rape and murder. But Huxley’s logic is no different. He too reached his view of the world for nonintellectual reasons: “It is our will that decides how and upon what subjects we shall use our intelligence.” After all, he continues in this public confessional, “The philosopher who finds no meaning in the world is not concerned exclusively with a problem in metaphysics. He is also concerned to prove that there is no valid reason why he personally should not do as he wants, or why his friends should seize political power and govern in a way they find most advantageous to themselves.”9 The eminent contemporary philosopher Thomas Nagel is equally candid. He admits that his deepest objection to Christian faith stems not from philosophy but fear. I am talking about something much deeper—namely the fear of religion itself. I speak from experience, being strongly subject to this fear myself: I want atheism to be true and am made uneasy by the fact that some of the most intelligent and well-informed people I know are religious believers. It isn’t just that I don’t believe in God and, naturally, hope that I’m right in my belief. It’s that I hope there is no God! I don’t want there to be a God; I don’t want the universe to be like that.10 At least there is no pretense in such confessions. As Pascal wrote long ago, “Men despise religion. They hate it and are afraid it may be true.”11 In Huxley’s case there is no clearer confession of what Ludwig Feuerbach called “projection,” Friedrich Nietzsche called the “will to power,” Sigmund Freud called “rationalization,” Jean-Paul Sartre called “bad faith,” and the sociologists of knowledge call “ideology”—a set of intellectual ideas that serve as social weapons for his and his friends’ interests. Unwittingly, this scion of the Enlightenment pleads guilty on every count, but rather than viewing it as a confession, Huxley trumpets his position proudly as a manifesto. “For myself, no doubt, as for most of my contemporaries, the philosophy of meaninglessness was essentially an instrument of liberation.”12 Truth
Os Guinness (Fool's Talk: Recovering the Art of Christian Persuasion)
But now, after the news of Barthelme’s death, this simple fact of presence or absence, which I had begun to recognize in a small way already, now became the single most important supplemental piece of information I felt I could know about a writer: more important than his age when he wrote a particular work, or his nationality, his sex (forgive the pronoun), political leanings, even whether he did or did not have, in someone’s opinion, any talent. Is he alive or dead? — just tell me that. The intellectual surface we offer to the dead has undergone a subtle change of texture and chemistry; a thousand particulars of delight and fellow-feeling and forbearance begin reformulating themselves the moment they cross the bar. The living are always potentially thinking about and doing just what we are doing: being pulled through a touchless car wash, watching a pony chew a carrot, noticing that orange scaffolding has gone up around some prominent church. The conclusions they draw we know to be conclusions drawn from how things are now. Indeed, for me, as a beginning novelist, all other living writers form a control group for whom the world is a placebo. The dead can be helpful, needless to say, but we can only guess sloppily about how they would react to this emergent particle of time, which is all the time we have. And when we do guess, we are unfair to them. Even when, as with Barthelme, the dead have died unexpectedly and relatively young, we give them their moment of solemnity and then quickly begin patronizing them biographically, talking about how they “delighted in” x or “poked fun at” y — phrases that by their very singsong cuteness betray how alien and childlike the shades now are to us. Posthumously their motives become ludicrously simple, their delights primitive and unvarying: all their emotions wear stage makeup, and we almost never flip their books across the room out of impatience with something they’ve said. We can’t really understand them anymore. Readers of the living are always, whether they know it or not, to some degree seeing the work through the living writer’s own eyes; feeling for him when he flubs, folding into their reactions to his early work constant subauditional speculations as to whether the writer himself would at this moment wince or nod with approval at some passage in it. But the dead can’t suffer embarrassment by some admission or mistake they have made. We sense this imperviousness and adjust our sympathies accordingly. Yet in other ways the dead gain by death. The level of autobiographical fidelity in their work is somehow less important, or, rather, extreme fidelity does not seem to harm, as it does with the living, our appreciation for the work. The living are “just” writing about their own lives; the dead are writing about their irretrievable lives, wow wow wow. Egotism, monomania, the delusional traits of Blake or Smart or that guy who painted the electrically schizophrenic cats are all engaging qualities in the dead.
Nicholson Baker (U and I)
Alison Wood Brooks, an associate professor at Harvard Business School, had a different notion of how to handle nervousness. In a series of three studies, she subjected groups of people to experiences that most everyone would find nerve-racking: completing “a very difficult IQ test” administered “under time pressure”; delivering, on the spot, “a persuasive public speech about ‘why you are a good work partner’ ”; and most excruciating of all, belting out an 80s pop song (“Don’t Stop Believin’,” by Journey). Before beginning the activity, participants were to direct themselves to stay calm, or to tell themselves that they were excited. Reappraising nervousness as excitement yielded a noticeable difference in performance. The IQ test takers scored significantly higher. The speech givers came across as more persuasive, competent, and confident. Even the singers performed more passably (as judged by the Nintendo Wii Karaoke Revolution program they used). All reported genuinely feeling the pleasurable emotion of excitement—a remarkable shift away from the unpleasant discomfort such activities might be expected to engender. In a similar fashion, we can choose to reappraise debilitating “stress” as productive “coping.” A 2010 study carried out with Boston-area undergraduates looked at what happens when people facing a stressful experience are informed about the positive effects of stress on our thinking—that is, the way it can make us more alert and more motivated. Before taking the GRE, the admissions exam for graduate school, one group of students was given the following message to read: “People think that feeling anxious while taking a standardized test will make them do poorly on the test. However, recent research suggests that arousal doesn’t hurt performance on these tests and can even help performance. People who feel anxious during a test might actually do better. This means that you shouldn’t feel concerned if you do feel anxious while taking today’s GRE test. If you find yourself feeling anxious, simply remind yourself that your arousal could be helping you do well.” A second group received no such message before taking the exam. Three months later, when the students’ GRE scores were released, the students who had been encouraged to reappraise their feelings of stress scored an average of 65 points higher.
Annie Murphy Paul (The Extended Mind: The Power of Thinking Outside the Brain)
And then it was Taggart who screamed. It was a long, sudden, piercing scream, as if at some sudden sight, though his eyes were staring at space and seemed blankly sightless. The sight he was confronting was within him. The protective walls of emotion, of evasion, of pretense, of semi-thinking and pseudo-words, built up by him through all of his years, had crashed in the span of one moment—the moment when he knew that he wanted Galt to die, knowing fully that his own death would follow. He was suddenly seeing the motive that had directed all the actions of his life. It was not his incommunicable soul or his love for others or his social duty or any of the fraudulent sounds by which he had maintained his self-esteem: it was the lust to destroy whatever was living, for the sake of whatever was not. It was the urge to defy reality by the destruction of every living value, for the sake of proving to himself that he could exist in defiance of reality and would never have to be bound by any solid, immutable facts. A moment ago, he had been able to feel that he hated Galt above all men, that the hatred was proof of Galt’s evil, which he need define no further, that he wanted Galt to be destroyed for the sake of his own survival. Now he knew that he had wanted Galt’s destruction at the price of his own destruction to follow, he knew that he had never wanted to survive, he knew that it was Galt’s greatness he had wanted to torture and destroy—he was seeing it as greatness by his own admission, greatness by the only standard that existed, whether anyone chose to admit it or not: the greatness of a man who was master of reality in a manner no other had equaled.
Ayn Rand (Atlas Shrugged)
It is often the seemingly least significant details of each day that turn out to shape our most life-altering events.
AY Shih
when one considers the fact that, by their own admission, a small interference could place our entire planet at risk? In light of such potentially devastating risk factors and possible financial fallout, one must find the true motivations and end-game goals behind asteroid mining suspect. How much
Thomas Horn (The Wormwood Prophecy: Nasa, Donald Trump, and a Cosmic Cover-Up of End-Time Proportions)
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jp institute of education
We live in the Movie Age. We should make a list of the movies we’ve loved and hated, the ones that bored us, inspired us, made us laugh or cry, sick or elated. Then we need to compare those movies with our own life. Would anyone else want to watch the movie of our life? Would we want to watch it ourselves? Maybe we’d be the only person in the cinema even though admission was free. Maybe even we would walk out. And if it was that bad, shouldn’t we be doing something about it? When Hollywood movies really stink, the directors want their names removed from the credits. “Alan Smithee” is the name that gets used instead. How many of us are in Alan Smithee movies? If we could avoid using our real name, we would.
Mike Hockney (The Last Bling King)
What good came of all this exploration? It was a question philosophes found irresistable. Progress was their almost irresistable answer. But Diderot, the secular pontiff of the Enlightenment, the editor of the Encyclopédie, did not agree. In 1773 he wrote a denunciation of explorers as agents of a new kind of barbarism. Base motives drove them: 'tyranny, crime, ambition, misery, curiousity, I know not what restlessness of spirit, the desire to know and the desire to see, boredom, the dislike of familiar pleasures' - all the baggage of the restless temperament. Lust for discovery was a new form of fanaticism on the part of men seeking 'islands to ravage, people to despoil, subjugate and massacre.' The explorers discovered people morally superior to themselves, because more natural or more civilized, while they, on their side, grew in savagery, far from the polite restraints that reined them in at home. 'All the long-range expeditions,' Diderot insisted, 'have reared a new generation of nomadic savages ... men who visit so many countries that they end by belonging to none ... amphibians who live on the surface of the waters,' deracinated, and, in the strictest sense of the word, demoralized. Certainly, the excesses explorers committed - of arrogance, of egotism, of exploitation - showed the folly of supposing that travel necessarily broadens the mind or improves the character. But Diderot exaggerated. Even as he wrote, the cases of disinterested exploration - for scientific or altruistic purposes - were multiplying. If the eighteenth century rediscovered the beauties of nature and the wonders of the picturesque, it was in part because explorers alerted domestic publics to the grandeurs of the world they discovered. If the conservation of species and landscape became, for the first time in Western history, an objective of imperial policy, it was because of what the historian Richard Grove has called 'green imperialism' - the awakened sense of stewardship inspired by the discovery of new Edens in remote oceans. If philosophers enlarged their view of human nature, and grappled earnestly and, on the whole, inclusively with questions about the admissability of formerly excluded humans - blacks, 'Hottentots,' Australian Aboriginals, and all other people estranged by their appearance or culture - to full membership of the moral community, it was because exploration made these brethren increasingly familiar. If critics of Western institutions were fortified in their strictures and encouraged in their advocacy of popular sovreignty, 'enlightened despotism,' 'free thinking,' civil liberties, and human 'rights,' it was, in part, because exploration acquainted them with challenging models from around the world of how society could be organized and life lived.
Felipe Fernández-Armesto (Pathfinders: A Global History of Exploration)