Critique Paper Quotes

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76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces
Mortimer J. Adler (How to Read a Book: The Classic Guide to Intelligent Reading)
There’s nothing about me on the jacket because I have no credentials. I majored in English at school, but I only took one creative writing class. I think I got a B. And I never really thought about getting an MFA. I’m too spiteful to take criticism constructively and I’m only comfortable being honest about people behind their backs, so workshops or group critiques were never what I was looking for. For years I just wrote in journals and didn’t really worry about turning any of it into stories or stuff for other people to read, so I guess I developed my writing style by talking to myself, like some homeless people do. Only I used a pen and paper instead of just freaking out on the street. If they switched to a different medium they might be better off. It would probably help if they had someplace to live too.
Paul Neilan
It is standard for academics to subject their work to rigorous critique by peers: papers get torn to shreds in seminars and referee reports, and experiments pored over to look for potentially confounding variables. And for good reason: history is littered with bad theories and empty theoretical concepts, from inner demons to bodily humours to phlogiston. There’s no reason to think there isn’t room for similar error here – in fact, there is extra reason to think there is, inasmuch as some (though not all) trans people so clearly desperately want gender identity theory to work, which might be affecting their neutrality. Many trans people assume – wrongly, as I will eventually argue – that the existence and recognition of their political and legal rights depends upon gender identity theory’s correctness.
Kathleen Stock (Material Girls: Why Reality Matters for Feminism)
Then I told her to change her mindset. “Look,” I said, “it’s not about you. That’s their job. Their job is to find every possible flaw. Your job is to learn from the critique and make your paper even better.” Within hours she was revising her paper, which was warmly accepted. She tells me: “I never felt judged again. Never. Every time I get that critique, I tell myself, ‘Oh, that’s their job,’ and I get to work immediately on my job.
Carol S. Dweck (Mindset: The New Psychology of Success)
He was the most astonishing contradiction of components I’d ever encountered. Shy yet fiercely communicative when putting an idea into your head. Vocally astringent regarding his own abilities but not to the point that he couldn’t produce—he was as prolific an artist (yes, an artist, and I never use the term, especially regarding people I like) I’ve ever seen. But I could feel it. Everything he sketched, penciled, inked, made—was a payment, one he could scarcely afford; as if it physically hurt him to put pencil to paper. Yet that only seemed to spur him on, to live far beyond his means. He was unable not to. For Sketch, to draw was to breath, and so the air became lead—silvery in the right light, dark soot in the wrong; heavy, slick and malleable—into shapes he brought together in glorious orchestration, with a child’s eye and a rocket scientist’s precision, all fortified by a furious melancholy, a quiet engine of sourceless shame and humility. When it came to another’s work, he longed to praise it but then couldn’t resist critiquing it all within an inch of its life, analyzing deficiencies with uncontrollable abandon and laser accuracy. He was sharp as his Radio 914 pen nibs, and as pointed. And then he’d apologize. Oh, he would apologize: Oh my GOD, forgive me, please don’t hate me, I’m SORRY, don’t listen to me, why am I saying things, what do I know, I don’t know anything, why do you listen to me you should just tell me to shut UP, I’m awful, forgive me, you hate me, don’t you? Tell the truth. Please don’t hate me. Please don’t. Please.
Chip Kidd (The Learners)
In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.
Geoff Dyer (But Beautiful: A Book About Jazz)
Marx, concerning himself with a less remote time ("Critique of the Gotha Program"), declared with equal conviction that the one and only means of correcting offenders (true, he referred to criminals; he never even conceived that his pupils might consider politicals offenders) was not solitary contemplation, not moral soul-searching, not repentance, and not languishing (for all that was superstructures!)—but productive labor. He himself had never taken a pick in hand. To the end of his days he never pushed a wheelbarrow, mined coal, felled timber, and we don't even know how his firewood was split—but he wrote that down on paper, and the paper did not resist.
Aleksandr Solzhenitsyn (The Gulag Archipelago, 1918-1956: An Experiment in Literary Investigation, Books III-IV)
(….) “What does it matter whose head those images came from? ‘Poetry is a conversation not a monologue,’ “ Fox quoted Cooper in a passable English accent. “A writer can only put the words on the paper; the vision has to come from the reader, right? It’s language, not paint, not film. That’s the beauty of it to me. Why do your woods or your Wood Wife, have to look precisely the same as Cooper’s?” “Well in terms of Miller’s work on Cooper-” “We’re not talking literary critique here. We’re talking about poems, words on a page,” Fox said, tapping his knee, “and what those words turn into when they slip inside your brain.” He tapped his head. “It’s magic; and magic disappears if you try too hard to pin it down.
Terri Windling (The Wood Wife)
You’ve all read Animal Farm in school, I’m sure. But it’s pretty unlikely that you’ve read Orwell’s preface to Animal Farm, which was not published. It was discovered many years later in his collected papers. It sometimes appears in contemporary editions, but was probably missing from the book you read. You’ll recall that Animal Farm is a satirical critique of Bolshevik Russia, the totalitarian enemy. But the preface, directed to the people of free England, says that they shouldn’t feel too self-righteous about it. England too has literary censorship, of a kind appropriate to free societies in thrall to hegemonic common sense. “The sinister fact about literary censorship in England,” Orwell wrote, “is that it is largely voluntary. Unpopular ideas can be silenced, and inconvenient facts kept dark, without any need for any official ban.
Noam Chomsky (Consequences of Capitalism: Manufacturing Discontent and Resistance)
The shift from precious metals to paper in retrospect clarifies that artifacts serving as money tokens are no more than representations of abstract exchange value—they are thus ultimately coveted for their potential use in social transaction, nor for some imagined, essential value intrinsic to the money tokens themselves. If it were not for international agreements such as those of Bretton Woods, gold could conceivably be as useless a medium of exchange in some cultural contexts as seashells are to modern Europeans. This understanding of money, however, simultaneously implies that there is no such thing as intrinsic value. If value ubiquitously pertains to social relations, any notion of intrinsic value is an illusion. Although the European plundering and hoarding of gold and silver, like the Melanesian preoccupation with kula and the Andean reverence for Spondylus, has certainly been founded on such essentialist conceptions of value, the recent representation of exchange value in the form of electronic digits on computer screens is a logical trajectory of the kind of transformation propagated by [Marco] Polo. It is difficult to imagine how money appearing as electronic information could be perceived as possessing intrinsic value. This suggests that electronic money, although currently maligned as the root of the financial crisis, could potentially help us rid ourselves of money fetishism. Paradoxically, the progressive detachment of money from matter, obvious in the transitions from metals through paper to electronics, is simultaneously a source of critique and a source of hope.
Alf Hornborg (Global Magic: Technologies of Appropriation from Ancient Rome to Wall Street (Palgrave Studies in Anthropology of Sustainability))
This was one of Kissinger’s first visits to Rand, after a long period of coldness that had begun in the late 1950s because of Rand’s critique of his advocacy of limited nuclear wars as instruments of U.S. policy in his 1957 book Nuclear Weapons and Foreign Policy.
Daniel Ellsberg (Secrets: A Memoir of Vietnam and the Pentagon Papers)
Was it possible this one would be a son too? She hoped so, but not because she favored men. Her husband modeled the seriousness, the stoicism, that she hoped her sons would inherit, but she had nothing to teach a daughter. She could teach her to dream—say, to be a painter, as she herself had been trained—and then teach her to let it go. Teach her to cloister herself in dark hallways, admiring how the light fell through the rice-paper doors while knowing that there was no point in putting it on canvas.
Shawna Yang Ryan (Green Island)
if these papers garner any attention from academics or ‘gentry’ who are insulted by my evaluations, I flatter myself with a job well done, as critiques from lambs are praises for lions. I will always rather be hated for saying the truth than loved for living a lie.
Rafael Joseph Sondon (The American Papers: A New Civil War and The State of The Union)
Žižek lays out three lines of argumentation in this regard. First, he claims that Europe has something important to offer the world—its modern emancipatory tradition, including feminism, workers’ rights, and the welfare state (1998, 1009). He readily admits this is a Eurocentric position; but his is not a run-of-the-mill kind that papers over European colonial history, seeing the continent as the flagbearer of liberal democracy and human rights. Instead, he acknowledges his inescapable European background and carries out a critique of many of its legacies (colonialism, liberalism, racism, the Holocaust, exploitation, misogyny, etc.), stating that “if the European legacy is to be effectively defended, then the first move should be a thorough selfcriticism . . . there is no room for self-satisfied arrogance” (2004b, 35). He is even unafraid of characterizing his native Slovenia as a “shitty country” for this reason (Žižek 2016a at 27:40). But nonetheless, he insists on defending and reinvigorating such left-European legacies as radical egalitarianism, universal emancipation, and justice. In this connection, he reminds those who are too quick to engage in critiques of Eurocentrism that the very conceptual tools they use are part of (what these same critics identify as) the European philosophical tradition, evidence precisely of these tools’ subversive universality (see chapter 3).
Zahi Zalloua (Universal Politics)
I met Jerry Fodor a number of times at conferences in the 1960s. Sometime in the mid-1960s, after a long day made longer by my talk on the Competence-Performance distinction, as we waited for the last speaker to finish, I saw Jerry writing a note which he passed across the room through a series of audience members all the way to me. Expecting a withering critique of the talk we just heard – or of my earlier talk – I opened the piece of folded paper and read “My shirt is nicer than your shirt.
Zenon Pylyshyn
In a 2009 paper, the Organisation for Economic Co-operation and Development (OECD) described skills and competencies that young people require in order to benefit from and contribute to a rapidly changing world. The OECD distinguishes these by defining skills as the ability to perform tasks and solve problems. Skills include critical thinking, responsibility, decision making, and flexibility. They define competencies as the ability to apply skills and knowledge in a specific context such as school or work. The OECD framework for 21st century skills and competencies has three dimensions: Figure 1.2 Center for Public Education Source: Jerald (2009). Used with permission. Information: This dimension includes accessing, selecting, evaluating, organizing, and using information in digital environments. Use of the information involves understanding the relationships between the elements and generation of new ideas. The competencies necessary to effectively use information include research and problem-solving skills. Communication: This dimension includes the ability to exchange, critique, and present information, and also the ability to use tools and technologies in a reflective and interactive way. The requisite skills are based on sharing and transmitting information to others. Ethics and Social Impact: This dimension involves a consideration of the social, economic, and cultural implications of technologies, and an awareness of the impact of one’s actions on others and the larger society. Skills and competencies required for this are global understanding and personal responsibility.
Laura M. Greenstein (Assessing 21st Century Skills: A Guide to Evaluating Mastery and Authentic Learning)
Parallel universes remain highly controversial. However, there's been a striking shift in the scientific community during the past decade, where multiverses have gone from having lunatic-fringe status to being discussed openly at physics conferences and peer-reviewed papers. I think the success of precision cosmology and inflation has played a major role in this shift, as has the discovery of dark energy and the failure to explain its fine-tuning by other means. Even those of my colleagues who dislike the multiverse idea now tend to grudgingly acknowledge that the basic arguments for it are reasonable. The main critique has shifted from "This doesn't make sense and I hate it" to "I hate it.
Max Tegmark (Our Mathematical Universe: My Quest for the Ultimate Nature of Reality)