James Ingram Quotes

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Remember The Dream You have a choice Your heart will know You gotta look back sometime To know where to go You have a voice Long as you live It's never too small Whatever you got to give When your life is low (hold on) And you want to let go (be strong - hold on) Remember the dream we had When there was nothing else Remember the light that shines And find it in yourself Remember the dream is yours So let it guide your way And keep it alive with you each day Don't ever say You just don't care the chances you take Will take you as far as you dar Don't be afraid Hold your head high There's strength in your soul You never know till you try When your life is low (hold on) And you want to let go (be strong -- hold on) You're not alone .. somebody cares (Hold on ...be strong) When you're walkin' the road With those who been there (You're not alone) Remember the dream is yours So let it guide your way And keep it alive with you each day.
James Ingram
The loudness of tone in Jane Eyre is undoubtedly effective in communicating tension and frustration, but the style does of course have its related limitations. It precludes the use of the small suggestive detail or the quiet but telling observation that Mrs Gaskell and George Eliot are so good at. In such a fortissimo performance as this, the pianissimo gets drowned out, or noted only as an incongruity (which helps to account for the book's moments of unintended comic bathos). Again, it makes the whole question of modulation of tone a difficult one,6 and it is also hard to manage irony elegantly, as the Brocklehurst and Ingram portraits show. There is unconscious ambiguity but little deliberate irony in Jane Eyre. Hence the remarkable unity of critical interpretation of the book—the reader knows all too well what he is meant to think about the heroine and the subsidiary characters. The novel does not merely request our judicious sympathy for the heroine, it demands that we see with her eyes, think in her terms, and hate her enemies, not just intermittently (as in David Copperfield) but in toto. It was, incidentally, because James Joyce recognised the similar tendency of Stephen Hero that he reshaped his autobiographical material as A Portrait of the Artist as a Young Man, retaining the 'first-person effect' but building in stylistic and structural irony that would guard against the appearance of wholesale authorial endorsement of Stephen.
Ian Gregor (Reading the Victorian novel: Detail into form (Vision critical studies))
My gratitude goes as well to the other data scientists I pestered and to the institutions that collect and maintain their data: Karlyn Bowman, Daniel Cox (PRRI), Tamar Epner (Social Progress Index), Christopher Fariss, Chelsea Follett (HumanProgress), Andrew Gelman, Yair Ghitza, April Ingram (Science Heroes), Jill Janocha (Bureau of Labor Statistics), Gayle Kelch (US Fire Administration/FEMA), Alaina Kolosh (National Safety Council), Kalev Leetaru (Global Database of Events, Language, and Tone), Monty Marshall (Polity Project), Bruce Meyer, Branko Milanović (World Bank), Robert Muggah (Homicide Monitor), Pippa Norris (World Values Survey), Thomas Olshanski (US Fire Administration/FEMA), Amy Pearce (Science Heroes), Mark Perry, Therese Pettersson (Uppsala Conflict Data Program), Leandro Prados de la Escosura, Stephen Radelet, Auke Rijpma (OECD Clio Infra), Hannah Ritchie (Our World in Data), Seth Stephens-Davidowitz (Google Trends), James X. Sullivan, Sam Taub (Uppsala Conflict Data Program), Kyla Thomas, Jennifer Truman (Bureau of Justice Statistics), Jean Twenge, Bas van Leeuwen (OECD Clio Infra), Carlos Vilalta, Christian Welzel (World Values Survey), Justin Wolfers, and Billy Woodward (Science Heroes). David Deutsch, Rebecca Newberger Goldstein, Kevin Kelly, John Mueller, Roslyn Pinker, Max Roser, and Bruce Schneier read a draft of the entire manuscript and offered invaluable advice.
Steven Pinker (Enlightenment Now: The Case for Reason, Science, Humanism, and Progress)
For company he had a grease-stained paperback copy of Ian Fleming’s Thunderball. Jerry yawned as he flipped pages, envying James Bond as he thwarted assassins and terrorists, darting from close call to close call and from bed to bed, barely lingering to enjoy the scent of the gorgeous women who found him irresistible.
John J. Gobbell (Dead Man Launch (Todd Ingram, #6))