Curriculum Vitae Quotes

I don't understand this irony - valuable things like cars, gold, diamond are made up of hard materials but most valuable things like money, contracts and books are made up of soft paper.

Reading is the noblest of all the hobbies, that is why people mention it so frequently in their resume even if they don't read much.

„Cum să răspund deplin, la toate alteritățile mele, cu singurul nume pe care îl port în inimă?” (Impostorul. Curriculum Vitae Abisal)

As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones—I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become.

School programs the schooled to type a CV. Life inspires the unschooled to type a business plan.

The sparkle and morning-freshness of the shop, and the butter-conjuring girl, formed a mind-picture which accompanied the whole of my youth.(about the Buttercup Dairy)

A huge number of jobs that are filled are never advertised to the public, or if they are, they’re filled by people who have a connection to the employer.

Not every single broke and unemployed person needs a job; some need customers.

Give a typical employee a million, and, he is most likely to use the money to print his CV on fancier paper.

„Condamnat deja să port dintotdeauna, în trupul meu trecător, funcțiile estetice și valoarea structuratoare a cezurii” (Curriculum Vitae Prosodic)

تسمى السيرة الذاتية في اللغة الإنجليزية Curriculum Vitae أو C.V. اختصاراً، وهي عبارة لاتينية الأصل تعني «مجرى الحياة». كما تُسمى في الإنجليزية أيضاً Résumé ، وهي كلمة فرنسية الأصل تعني الملخص أو الموجز.

This is not an autobiography. It is, rather, a kind of curriculum vitae — my attempt to show how one writer was formed. Not how one writer was made; I don't believe writers can be made, either by circumstances or by self-will (although I did believe those things once). The equipment comes with the original package. Yet it is by no means unusual equipment; I believe large numbers of people have at least some talents as writers and storytellers, and that those talents can be strengthened and sharpened. If I didn't believe that ,writing a book like this would be a waste of time.

What do you do for a living?" The first thing everyone always wants to know is what I do when I'm not sleeping, what sorts of exams and theses I have to my name as if they wanted to reserve a place in my curriculum vitae for the date of my death. There ought to be a curriculum vitae whose first line is the date of death.

Your LinkedIn profile should leave no room for doubt about the kind of job you’re looking for and why you’re the best person for that position.

Lies are like fleas hopping from here to there, sucking the blood of the intellect.

Whisperer’ and a bestselling author of climate change and overpopulation books. Combining his curriculum vitae with the amazing dumbing down of the humanities department in recent years, he was in high demand. The campus was full of attractive women with limited, or even non-existent, critical thinking skills who didn’t know very much but were passionate about their beliefs.

Make sure your LinkedIn profile has a targeted headline. Not only should the headline clearly state your career focus, it’s also the most important place to add a keyword or two, because this influences how you appear in search results

To make the most of every encounter, personalize your verbal resume with just as much care as you would your written curriculum vitae. Instead of having one answer to the omnipresent ‘What do you do?’ prepare a dozen or so variations, depending on who’s asking. For optimum networking, every time someone asks about your job, give a calculated oral resume in a nutshell. Before you submit your answer, consider what possible interest the asker could have in you and your work.

Il CV (curriculum vitae). Il CVD, Come Volevasi Dimostrare (sei un foglio inutile). Lo tengo tra le dita come una reliquia, un memento, un "lei non sa chi sono io" e a dire il vero nemmeno io me lo ricordo, dunque questo foglio serve a rinvigorire la mia esile autostima. A scorrerlo con un filo d'onestà, è soltanto una radiografia imperfetta che tralascia ciò che conta davvero: gli incontri che mi hanno segnata, gli amori veri e quelli che credevo lo fossero, le persone che mi mancano, quelle che hanno smesso di mancarmi, gli amici, gli insensibili che ho incrociato senza rendermi conto di quanto fossero senza cuore, le persone che amo e non ho fatto in tempo ad abbracciare.

Your LinkedIn profile must be consistent with how you portray yourself elsewhere. Not only should your official résumé match the experience you list on LinkedIn, but it also should be consistent with Twitter and public Facebook information.

Your LinkedIn profile must include keywords for specific skills that match your desired job.

Finché l’uomo vive nel suo ambiente e in condizioni normali, gli elementi del curriculum vitae rappresentano per lui periodi importanti e svolte significative della sua vita. Ma appena il caso o il lavoro o le malattie lo separano dagli altri e lo isolano, questi elementi di colpo cominciano a scolorirsi, si inaridiscono e si decompongono con incredibile rapidità, come una maschera di cartone o di lacca senza vita, usata una volta sola. Sotto questa maschera comincia a intravedersi un’altra vita, conosciuta solo a noi, ossia la “vera” storia del nostro spirito e del nostro corpo, che non è scritta da nessuna parte, di cui nessuno suppone l’esistenza, una storia che ha molto poco a che fare con i nostri successi in società, ma che è, per noi, per la nostra felicità o infelicità, l’unica valida e la sola davvero importante. Sperduto in quel luogo selvaggio, durante le lunghe notti, quando tutti i rumori erano cessati, Daville pensava alla sua vita passata come a una lunga serie di progetti audaci e di scoraggiamenti noti a lui solo, di lotte, di atti eroici, di fortune, di successi e di crolli, di disgrazie, di contraddizioni, di sacrifici inutili e di vani compromessi. Nelle tenebre e nel silenzio di quella città che ancora non aveva visto ma in cui lo attendevano, senza dubbio, preoccupazioni o difficoltà, sembrava che nulla al mondo si potesse risolvere né conciliare. In certi momenti gli pareva che per vivere fossero necessari sforzi enormi e per ogni sforzo una sproporzionata dose di coraggio. E, visto nel buio di quelle notti, ogni sforzo gli sembrava infinito. Per non fermarsi e rinunciare, l’uomo inganna se stesso, sostituendo gli obiettivi che non è riuscito a raggiungere con altri, che ugualmente non raggiungerà; ma le nuove imprese e i nuovi tentativi lo obbligheranno a cercare dentro di sé altre energie e maggiore coraggio. Così l’uomo si autoinganna e col passare del tempo diviene sempre più e senza speranza debitore verso se stesso e verso tutto quello che lo circonda.

Mas não se diz sempre que o autor só pode falar de si mesmo? Olhar o pátio com angústia e não conseguir tomar uma decisão; ouvir o ruído obstinado de seu próprio ventre num momento de exaltação amorosa; trair e não poder parar na estrada tão bela das traições: levantar o punho no desfile da Grande Marcha; exibir seu humor diante dos gravadores escondidos pela polícia: eu próprio conheci e vivi todas essas situações; de nenhuma delas, no entanto, saiu o personagem que sou, eu mesmo, no meu curriculum vitae. Os personagens de meu romance são minhas próprias possibilidades que não foram realizadas. É o que me faz amá-los todos e temê-los ao mesmo tempo. Uns e outros atravessaram a fronteira que apenas me limitei a contornar. O que me atrai é essa fronteira que eles ultrapassaram (fronteira para além da qual termina o meu eu). Do outro lado começa o mistério que meu romance interroga. O romance não é uma confissão do autor, mas uma exploração do que é a vida humana, na armadilha em que se transformou o mundo. Chega! Voltemos a Tomas.

Mas não se diz sempre que o autor só pode falar de si mesmo? Olhar o pátio com angústia e não conseguir tomar uma decisão; ouvir o ruído obstinado do seu próprio ventre num momento de exaltação amorosa; trair e não poder parar na estrada tão bela das traições; levantar o punho no desfile da Grande Marcha; exibir seu humor diante dos gravadores escondidos pela polícia: eu próprio conheci e vivi todas essas situações; de nenhuma delas, no entanto, saiu o personagem que sou, eu mesmo, no meu curriculum vitae. Os personagens de meu romance são minhas próprias possibilidades que não foram realizadas. É o que me faz amá-los todos e temê-los ao mesmo tempo. Uns e outros atravessaram a fronteira que apenas me limitei a contornar. O que me atrai é essa fronteira que eles ultrapassaram (fronteira para além da qual termina o meu eu). Do outro lado começa o mistério que o meu romance interroga. O romance não é uma confissão do autor, mas uma exploração do que é a vida humana, na armadilha em que se transformou o mundo.mesmo? Olhar o pátio com angústia e não conseguir tomar uma decisão; ouvir o ruído obstinado do seu próprio ventre num momento de exaltação amorosa; trair e não poder parar na estrada tão bela das traições; levantar o punho no desfile da Grande Marcha; exibir seu humor diante dos gravadores escondidos pela polícia: eu próprio conheci e vivi todas essas situações; de nenhuma delas, no entanto, saiu o personagem que sou, eu mesmo, no meu curriculum vitae. Os personagens de meu romance são minhas próprias possibilidades que não foram realizadas. É o que me faz amá-los todos e temê-los ao mesmo tempo. Uns e outros atravessaram a fronteira que apenas me limitei a contornar. O que me atrai é essa fronteira que eles ultrapassaram (fronteira para além da qual termina o meu eu). Do outro lado começa o mistério que o meu romance interroga. O romance não é uma confissão do autor, mas uma exploração do que é a vida humana, na armadilha em que se transformou o mundo.

It takes time, hard-work and a lot of sacrifices to upgrade a Curriculum Vitae, however the day you lose your honor in the society, it will take only few seconds to make it become useless.

All I wanted was to live the life of the mind, and I know it’s a terribly shopworn thing to say, but there you have it. I didn’t stand in any camp, I wasn’t a formalist or a feminist, I didn’t want to call myself a reader-response person or a deconstructionist or a poststructuralist. I wasn’t a Marxist or a proponent of queer theory, or a Freudian, a post colonialist, or God help us! there was a black man in our department, a graduate student like me, who wanted us to start a movement to rename Multiculturalism ‘Slave Studies.’ He believed there was some sort of cleansing, revolutionary power in the ‘ironic distancing,’ that’s what he called it.” Langston took a deep breath, then sighed, remembering it all. “And no one could say anything to him, because we had no authority—that’s the key to the recent developments in the critical tradition: if you’re inside—and believe me, academia is nothing but a cult of expertise, it is the only religion alive and well—only if you’re inside do you have any authority, and if that’s the case, no one can speak to you. Your curriculum vitae becomes your fortress.

The traditional career path—joining a firm when young and leaving it only at the end of working life, then going on to draw a pension—has become an infrequent relic of a previous age. On the other hand, ever more people experience breaks in their curriculum vitae, constituting a literal social injury. They fall into a widening ‘twilight zone’, oscillating between employment and unemployment. They may well work most of the time, but their jobs are seldom long-term.54

Per zio Erwin c'era un sorta di curriculum dell'esistenza in cui le cose da fare erano state stabilite dagli altri. Le soddisfazioni e i piaceri della vita non consistevano tanto nel farle, quanto nello spuntarle dalla lista.

That is what our egos are doing all the time. Doing jobs we have no pleasure in, doing diets we take no pleasure in. Doing all kinds of things, not for the pleasure of doing them, but because we are trying to put together an impressive curriculum vitae.

Instead we find ourselves confronted with a fluid, composite mass where, among certain factual elements in our memories, which are also the memories of our hopes, expectations, and disappointments, there are a few holes that give a strange inconsistency to the days past, an awareness of external constraints of all kinds that weighed on our lives to the point of making us sometimes doubt that they were really ours. And finally there is the premonition that our future will not follow in an orderly way from our present any more than our present has from our past, which precedes but escapes it. In short, exactly the opposite of a curriculum vitae or a career plan, and sometimes the shadow of a doubt about our singular, individual identity.

In the detailed account of the years gone by, we are so far from finding a guiding principle, or even a general orientation, the irregular thread that would allow us to follow the course of the past and to appreciate its relative coherence retrospectively. Instead we find ourselves confronted with a fluid, composite mass where, among certain factual elements in our memories, which are also the memories of our hopes, expectations, and disappointments, there are a few holes that give a strange inconsistency to the days past, an awareness of external constraints of all kinds that weighed on our lives to the point of making us sometimes doubt that they were really ours. And finally there is the premonition that our future will not follow in an orderly way from our present any more than our present has from our past, which precedes but escapes it. In short, exactly the opposite of a curriculum vitae or a career plan, and sometimes the shadow of a doubt about our singular, individual identity.

An overdecorated CV is usually an overcompensation for being uneducated and/or inexperienced.

The the strength of a Curriculum Vitae is not about how good you could make it. It is about how good you can make it.

Why are people so afraid of thinking? Why don't they ever leave time to reflect? There's nothing wrong with tranquility; nor emptiness, vertigo, or even unhappiness. I think that these things are the first steps to precede the birth of a new thought. This is why I like to read.

Show me your resume and I will tell you what occupational diseases you may have.

And once more I see him the way he appeared to me at the very beginning of the novel: standing at the window and staring across the courtyard at the walls opposite. This is the image from which he was born. As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones—I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own I ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become.

Almost all proposals include ten sections. They are: (1) the title page, (2) the proposal table of contents, (3) The Overview, (4) Production Details, (5) The Audience, (6) The Competitive Analysis, (7) Marketing and Promotion, (8) About the Author, (9) Table of Contents and Chapter Outline, and (10) Sample Chapter (or two). A proposal might also have an appendix with additional information. A scholar would want to provide his curriculum vitae in the appendix. A photographer would include some sample photographs. Sometimes you might use a collection of news clippings.

As I have pointed out before, characters are not born like people, of woman; they are born of a situation, a sentence, a metaphor containing in a nutshell a basic human possibility that the author thinks no one else has discovered or said something essential about. But isn't it true that an author can write only about himself? Staring impotently across a courtyard, at a loss for what to do; hearing the pertinacious rumbling of one's own stomach during a moment of love; betraying, yet lacking the will to abandon the glamorous path of betrayal; raising one's fist with the crowds in the Grand March; displaying one's wit before hidden microphones—I have known all these situations, I have experienced them myself, yet none of them has given rise to the person my curriculum vitae and I represent. The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own ‘I’ ends) which attracts me most. For beyond that border begins the secret the novel asks about. The novel is not the author's confession; it is an investigation of human life in the trap the world has become.

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