Mastery Of Language Quotes

Mastery of language affords remarkable power.

The ability to think for one's self depends upon one's mastery of the language.

Mastery of language affords one remarkable opportunities.

Calling sex by its name thereafter [the 17th c.] became more difficult and more costly. As if in order to gain mastery of it in reality, it had first been necessary to subjugate it at the level of language, control its free circulation in speech, expunge it from the things that were said, and extinguish the words that rendered it too visibly present.

I made a list of skills in which I think every adult should gain a working knowledge. I wouldn't expect you to become a master of any, but mastery isn't necessary. Luck has a good chance of finding you if you become merely good in most of these areas. I'll make a case for each one, but here's the preview list. Public speaking Psychology Business Writing Accounting Design (the basics) Conversation Overcoming Shyness Second language Golf Proper grammar Persuasion Technology ( hobby level) Proper voice technique

As it happens, I am still committed to the idea that the ability to think for one's self depends upon one's mastery of the language.

The systematic looting of language can be recognized by the tendency of its users to forgo its nuanced, complex, mid-wifery properties for menace and subjugation. Oppressive language does more than represent violence; it is violence; does more than represent the limits of knowledge; it limits knowledge. Whether it is obscuring state language or the faux-language of mindless media; whether it is the proud but calcified language of the academy or the commodity driven language of science; whether it is the malign language of law-without-ethics, or language designed for the estrangement of minorities, hiding its racist plunder in its literary cheek - it must be rejected, altered and exposed. It is the language that drinks blood, laps vulnerabilities, tucks its fascist boots under crinolines of respectability and patriotism as it moves relentlessly toward the bottom line and the bottomed-out mind. Sexist language, racist language, theistic language - all are typical of the policing languages of mastery, and cannot, do not permit new knowledge or encourage the mutual exchange of ideas. - Toni Morrison, Nobel Lecture, 1993

Knowledge of the name gives him who knows it mastery even over the being and will of the god.

Aside from mastery in the fine arts, success in learning anything is the result of genuine interest and amount of energy dedicated to it.

The traumatized person is often relieved simply to learn the true name of her condition. By ascertaining her diagnosis, she begins the process of mastery. No longer imprisoned in the wordlessness of the trauma, she discovers that there is a language for her experience. She discovers that she is not alone; others have suffered in similar ways. She discovers further that she is not crazy; the traumatic syndromes are normal human responses to extreme circumstances. And she discovers, finally, that she is not doomed to suffer this condition indefinitely; she can expect to recover, as others have recovered...

You keep comparing yourself to a book. That is not how I see you. If I want to learn about you, it’s not for...pleasure, or leisure, or the desired mastery of a subject. I am not trying to learn you like a language. I am trying, Ayla, to learn you like a person. Like people do, with the knowledge that I will never know everything. That it is impossible to know everything. Because you deserve to be known, in whatever capacity you wish. I am trying to become a person who deserves to know you.

humans live in a world where it’s words and not deeds that have power, where the ultimate skill is mastery of language.

But even we, with our supposed mastery of the English language, were not immune to the shortcoming of our vocabularies. Words can only help you if you speak them.

If people could climb higher in the social hierarchy in proportion to their incompetence, I guarantee the world would not go round the way it does. But that's not even the problem. What his sentence means isn't that incompetent people have found their place in the sun, but that nothing is harder or more unfair than human reality: humans live in a world where it's words and not deeds that have power, where the ultimate skill is mastery of language.

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

But that's not even the problem. What his sentence (Those who can, do; those who can't, teach; those who can't teach teach the teachers and those who can't teach the teachers go into politics.) means isn't that incompetent people have found their place in the sun, but that nothing is harder or more unfair than human reality: humans live in a world where the ultimate skill is mastery of language. This is a terrible thing because basically we are primates who've been programmed to eat, sleep, reproduce, conquer and make our territory safe, and the ones who are most gifted at that, the most animal types among us, always get screwed by the others, the fine talkers, despite these latter being incapable of defending their own garden or bringing rabbit home for dinner or procreating properly. Humans live in a world where the weak are dominant.

I am still committed to the idea that the ability to think for one’s self depends upon one’s mastery of the language,

They feed back exactly what is given them. Because they do not believe in words - words are for "typeheads," Chester Anderson tells them, and a thought which needs words is just one more of those ego trips - their only proficient vocabulary is in the society's platitudes. As it happens I am still committed to the idea that the ability to think for one's self depends upon one's mastery of the language, and I am not optimistic about children who will settle for saying, to indicate that their mother and father do not live together, that they come from "a broken home." They are sixteen, fifteen, fourteen years old, younger all the time, an army of children waiting to be given the words.

[H]umans live in a world where it's words and not deeds that have power, where the ultimate skill is mastery of language. This is a terrible thing because basically we are primates who've been programmed to eat, sleep, reproduce, conquer and make our territory safe, and the ones who are most gifted at that, the most animal types among us, always get screwed by the others, the fine talkers, despite these latter being incapable of defending their own garden or bringing a rabbit home for dinner or procreating properly. Humans live in a world where the weak are dominant. This is a terrible insult to our animal nature, a sort of perversion or a deep contradiction.

Responding to a moderator at the Sydney Writers Festival in 2008 (video), about the Spanish words in his book: When all of us are communicating and talking when we’re out in the world, we’ll be lucky if we can understand 20 percent of what people say to us. A whole range of clues, of words, of languages escape us. I mean we’re not perfect, we’re not gods. But on top of that people mis-speak, sometimes you mis-hear, sometimes you don’t have attention, sometimes people use words you don’t know. Sometimes people use languages you don’t know. On a daily basis, human beings are very comfortable with a large component of communication, which is incomprehensibility, incomprehension. We tend to be comfortable with it. But for an immigrant, it becomes very different. What most of us consider normative comprehension an immigrant fears that they’re not getting it because of their lack of mastery in the language. And what’s a normal component in communication, incomprehension, in some ways for an immigrant becomes a source of deep anxiety because you’re not sure if it’s just incomprehension or your own failures. My sense of writing a book where there is an enormous amount of language that perhaps everyone doesn’t have access to was less to communicate the experience of the immigrant than to communicate the experience that for an immigrant causes much discomfort but that is normative for people. which is that we tend to not understand, not grasp a large part of the language around us. What’s funny is, will Ramona accept incomprehension in our everyday lives and will greet that in a book with enormous fury. In other words what we’re comfortable with out in the outside world, we do not want to encounter in our books. So I’m constantly, people have come to me and asked me… is this, are you trying to lock out your non-Dominican reader, you know? And I’m like, no? I assume any gaps in a story and words people don’t understand, whether it’s the nerdish stuff, whether it’s the Elvish, whether it’s the character going on about Dungeons and Dragons, whether it’s the Dominican Spanish, whether it’s the sort of high level graduate language, I assume if people don’t get it that this is not an attempt for the writer to be aggressive. This is an attempt for the writer to encourage the reader to build community, to go out and ask somebody else. For me, words that you can’t understand in a book aren’t there to torture or remind people that they don’t know. I always felt they were to remind people that part of the experience of reading has always been collective. You learn to read with someone else. Yeah you may currently practice it in a solitary fashion, but reading is a collective enterprise. And what the unintelligible in a book does is to remind you how our whole, lives we’ve always needed someone else to help us with reading.

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

Our children need our time, not our intelligence. They bloom with love, not perfect language skills. They need mercy, not intellectual mastery. And they will learn—indeed, truly learn—when they are given time to explore ideas without constant fact-checking and examination.

Even with skills that are primarily mental, such as computer programming or speaking a foreign language, it remains the case that we learn best through practice and repetition—the natural learning process.

Twentysomethings who use their brains by engaging with good jobs and real relationships are learning the language of adulthood just when their brains are primed to learn it. In the chapters ahead, we will see how they learn to calm themselves down at work and in love, and this brings mastery and success. They

It's one of my profound thoughts, but it came from another profound thought. It was one of Papa's guests, at the dinner party yesterday, who said: "Those who can, do; those who can't, teach; those who can't teach teach the teachers; and those who can't teach the teachers, go into politics." Everyone seemed to find this very inspiring but for the wrong reasons . . . It doesn't mean what you think it does at the outset. If people could climb higher in the social hierarchy in proportion to their incompetence, I guarantee the world would not go around the way it does. But that's not even the problem. What his sentence means isn't that incompetent people have found their place in the sun, but that nothing is harder or more unfair than human reality: humans live in a world where it's words and not deeds that have power, where the ultimate scale is mastery of language. This is a terrible thing because basically we are primates who've been programmed to eat, sleep, reproduce, conquer and make our territory safe, and the ones who are most gifted at that, the most animal types among us, always get screwed by the others, the fine talkers, despite these latter being incapable of defending their own garden or bringing a rabbit home for dinner or procreating properly. Humans live in a world where the weak are dominant. This is a terrible insult to our animal nature, a sort of perversion or a deep contradiction.

To have another language is to possess a second soul.” – Charlemagne

Safe movement through the world depended on mastery of language, fluency.

As Brother Francis readily admitted, his mastery of pre-Deluge English was far from masterful yet. The way nouns could sometimes modify other nouns in that tongue had always been one of his weak points. In Latin, as in most simple dialects of the region, a construction like servus puer meant about the same thing as puer servus, and even in English slave boy meant boy slave. But there the similarity ended. He had finally learned that house cat did not mean cat house, and that a dative of purpose or possession, as in mihi amicus, was somehow conveyed by dog food or sentry box even without inflection. But what of a triple appositive like fallout survival shelter? Brother Francis shook his head. The Warning on Inner Hatch mentioned food, water, and air; and yet surely these were not necessities for the fiends of Hell. At times, the novice found pre-Deluge English more perplexing than either Intermediate Angelology or Saint Leslie's theological calculus.

Perfectly following a list of punctuation rules may grant me some kinds of power, but it won’t grant me love. Love doesn’t come from a list of rules—it emerges from the spaces between us, when we pay attention to each other and care about the effect that we have on each other. When we learn to write in ways that communicate our tone of voice, not just our mastery of rules, we learn to see writing not as a way of asserting our intellectual superiority, but as a way of listening to each other better. We learn to write not for power, but for love. But for all the subtle vocal modulations that typography can express, we’re not just voices. We still need a way to convey the messages that we send with the rest of our bodies.

There comes a moment for the immigrant's child when you realize you and your parents are assimilating at the same time. Later, I understood that we were both sifting, store to store, for some possible future -- that we were both mystified by the same fashions, trends, and bits of language. That my late night trips to the record store with my dad had been about discovery, not mastery. Later still, I came to recognize that assimilation as a whole was a race toward a horizon that wasn't fixed. The ideal was ever shifting, and your accent would never be quite perfect. It was a set of compromises sold to you as a contract. Assimilation was not a problem to be solved but the problem itself.

Mastery of the art and spirit of the Germanic language... enables a man to travel all day in one sentence without changing cars.

There was no end to the inventiveness of men when their goal was to prove their mastery.

Her mastery of the language was a blissful expression of the spirit to her, like playing a musical instrument.

May every being not just learn but MASTER the language of Tolerance, Peace and Love

The claim associated with the idea of interactional expertise is that mastery of an entire form of life is not necessary for the mastery of the language pertaining to the form of life

For compatibility in love relationships, it’s especially important to read facial contrasts, where you have something very different from your partner. Opposites attract. Find out, specifically, why.

I am saying then, that literacy—the mastery of language and the knowledge of books—is not an ornament, but a necessity. It is impractical only by the standards of quick profit and easy power. Longer perspective will show that it alone can preserve in us the possibility of an accurate judgement of ourselves and the possibilities of correction and renewal. Without it, we are adrift in the present, in the wreckage of yesterday, in the nightmare of tomorrow.

All programs transform data, converting an input into an output. And yet when we think about design, we rarely think about creating transformations. Instead we worry about classes and modules, data structures and algorithms, languages and frameworks.

I continue to admit that Italian is not my language, that it's an adopted language I love and use without possession. But I also ask myself: Who possesses a language, and why? Is it a question of lineage? Mastery? Use? Affect? Attachment? What does it mean, in the end, to belong to a language?

He teaches his language students to imagine they have a bag full of one thousand beads. Every time they make a mistake talking to someone else in the language they take out one bead. When the bag is empty they will have achieved level 1 mastery. The faster they make those mistakes, the faster they will progress.

humans live in a world where it’s words and not deeds that have power, where the ultimate skill is mastery of language. This is a terrible thing because basically we are primates who’ve been programmed to eat, sleep, reproduce, conquer and make our territory safe, and the ones who are most gifted at that, the most animal types among us, always get screwed by the others, the fine talkers, despite these latter being incapable of defending their own garden or bringing a rabbit home for dinner or procreating properly. Humans live in a world where the weak are dominant. This is a terrible insult to our animal nature, a sort of perversion or a deep contradiction.

To begin this process, you need to train yourself to pay less attention to the words that people say and greater attention to their tone of voice, the look in their eye, their body language—all signals that might reveal a nervousness or excitement that is not expressed verbally. If you can get people to become emotional, they will reveal a lot more.

The secret to my father’s mastery of selling in a language he barely spoke is one word: chutzpah. It’s the Yiddish word for moxie, nerve, audacity; it’s a determined, give-no-f*cks approach to life. When Israelis say you have chutzpah, they mean you know what you want and go for it. They mean you have endless tenacity. They mean you’ll do what it takes.

Just like individual people, each animal is unique and endowed with different gifts, and some are more spiritually proficient than others. Some are young souls with limited understanding of their mission and purpose, while others have learned spiritual mastery through many lifetimes of experience. All, however, can help us develop fluency in the heart-based language of telepathy.

It is possible that librarians will be robots, controlled by Master Minds having mastery of a master computer at the Library of Congress. Or there will be no libraries and librarians, flesh-and-blood or otherwise. The onetime library patron will press a button and turn a dial on his TV, whereupon the requested book, in the desired language, will appear on the screen, the pages turning at the designated speed.

As it happens I am still committed to the idea that the ability to think for one’s self depends upon one’s mastery of the language, and I am not optimistic about children who will settle for saying, to indicate that their mother and father do not live together, that they come from “a broken home.” They are sixteen, fifteen, fourteen years old, younger all the time, an army of children waiting to be given the words.

Embrace Cursive Schools are downplaying—and even eliminating—the need to learn to write cursive, despite its necessity to engage highly complex cognitive processes and achieve mastery of a precise motor coordination. (It takes children years to master handwriting and some stroke victims relearn language by tracing letters with their fingers.) Writing in cursive also increases a sense of harmony and balance, and writing on paper provides creative options: to manipulate the medium in multidimensional, innovative, or expressive ways (such as cutting, folding, pasting, ripping, or coloring the paper). Also, when you write in longhand on paper and then edit, there’ll be a visual and tactile record of your creative process for you and others to study. Learning to write (and writing) in cursive, on paper, fosters creativity and should not be surrendered.

They had human qualities a Jeopardy computer could never approach: fluency in language, an intuitive feel for hints and suggestion, and a mastery of ideas and concepts. Beyond that, they appeared to boast computer-like qualities: vast memories, fast processors, and nerves of steel. No tip-of-the-tongue glitches for Jennings or Rutter. But would a much-ballyhooed match against a machine awaken their human failings? Ferrucci and his team could always hope.

The grammar of language locks us into certain forms of logic and ways of thinking. As the writer Sidney Hook put it, “When Aristotle drew up his table of categories which to him represented the grammar of existence, he was really projecting the grammar of the Greek language on the cosmos.” Linguists have enumerated the high number of concepts that have no particular word to describe them in the English language. If there are no words for certain concepts, we tend to not think of them.

The path of self-mastery is not easy, especially for a person who has grown accustomed to giving in to his impulses rather than controlling them. If he perseveres, though, such a person will feel a growing sense of his own dignity. He will begin to experience the body as a gift, and sexuality as a sign of communion—a reflection of God’s love. Freedom, the fruit of self-control, is the foundation for love between persons. This is why love can only flourish where there is purity of heart.

It is the inattentive reader who loses my subject, not I. Some word about it will always be found off in a corner, which will not fail to be sufficient, though it takes little room. I seek out change indiscriminately and tumultuously. My style and my mine alike go roaming. A man must be a little mad if he does not want to be even more stupid, say the precepts of our masters, and even more so their examples. A thousand poets drag and languish prosaically; but the best ancient prose — and I scatter it here indiscriminately as verse — shines throughout with the vigor and boldness of poetry, and gives the effect of its frenzy. To poetry we must certainly concede mastery and preeminence in speech. The poet, says Plato, seated on the tripod of the Muses, pours out in a frenzy whatever comes into his mouth, like the spout of a fountain, without ruminating and weighing it; and from him escape things of different colors and contradictory substance in an intermittent flow. He himself is utterly poetic, and the old theology is poetry, the scholars say, and the first philosophy. It is the original language of the Gods.

One of the major contributions of literature in our lives is that it establishes an artificial order of the world, of time, of space, of the living experience. Particularly the great works, the masterworks of literature, are instruments that permit us to adapt ourselves to this voragine, to this vortex that real life is, that real living experience is. When you explore the possibilities of creating a time structure in a story, you are not only doing something that is an artificial achievement of a formal skill, the mastery of language, or the mastery of techniques to hypnotize the reader. You are also creating an instrument through which we can better understand how daily experience, living experience, is happening in reality. And so this fascination with time, which is a distinct characteristic of modern literature, is not gratuitous, not artificial. It is a way of reacting to a reality in which we feel ourselves-particularly in contemporary societies-totally lost. We are becoming so insignificant, so minor in this extraordinary and impersonal world, which is the world of modern societies, that we need a way to place ourselves in it. This artificial organization that literature gives to life is something that helps us in real life to feel less lost and confused.

Of course the activists—not those whose thinking had become rigid, but those whose approach to revolution was imaginatively anarchic—had long ago grasped the reality which still eluded the press: we were seeing something important. We were seeing the desperate attempt of a handful of pathetically unequipped children to create a community in a social vacuum. Once we had seen these children, Ave could no longer overlook the vacuum, no longer pretend that the society’s atomization could be reversed. This was not a traditional generational rebellion. At some point between 1945 and 1967 we had somehow neglected to tell these children the rules of the game we happened to be playing. Maybe we had stopped believing in the rules ourselves, maybe we were having a failure of nerve about the game. Maybe there were just too few people around to do the telling. These were children who grew up cut loose from the web of cousins and great-aunts and family doctors and lifelong neighbors who had traditionally suggested and enforced the society’s values. They are children who have moved around a lot, San Jose, Chula Vista, here. They are less in rebellion against the society than ignorant of it, able only to feed back certain of its most publicized self-doubts, Vietnam, Saran-Wrap, diet pills, the Bomb. They feed back exactly what is given them. Because they do not believe in words—words are for “typeheads,” Chester Anderson tells them, and a thought which needs words is just one more of those ego trips—their only proficient vocabulary is in the society’s platitudes. As it happens I am still committed to the idea that the ability to think for one’s self depends upon one’s mastery of the language, and I am not optimistic about children who will settle for saying, to indicate that their mother and father do not live together, that they come from “a broken home.” They are sixteen, fifteen, fourteen years old, younger all the time, an army of children waiting to be given the words.

No matter how often you come back to Paris, if you go away that first time, you leave behind the life you might have led there, the man you might have been, the essays you might have written at the cafe tables, the manifestos you might have signed, the mastery you might have obtained over the French language and Paris taxi drivers. You might have risen high in French politics, romanced Ines de la Fressange from the top of a ladder, hatched a plan to fill in the Arc de Triomphe with a split level shopping mall, been run down in the Boulevard Saint-Germain by Françoise Sagan, buried in Père Lachaise and Natalie might have been your daughter. I can't imagine a more satisfactory life.

As an audience it seems we’re as good as saying, “I’ll pay attention to your idea if you… * are already being taken seriously in some way * have found your place (professionally or personally) * believe strongly in something relevant to your idea * are connecting (with ideas, with people) in meaningful ways * are finding ways to be useful in the world * are finding ways to achieve more of what you value * have developed mastery and control * are participating in interesting things * and are radiating love and acceptance for self and others.” Your chosen audience will have three or four things on that list they value most in their own lives. And because they do value those things so highly, they’ll be looking for those signals from you.

The Japanese word seiki is also a way of pointing to this vitality of presence. Carl Whitaker hinted at it when he said therapy was as good as the goodness of the therapist. Though his words are easy to misunderstand, they imply a truth: “I found seiki at the heart of most healing traditions.” Keeney is referring to his decade-long journey around the world, studying with the most accomplished healers in southern Africa, Latin America, South Asia, among the aborigines of Australia, and to many other far-flung places that hold ancient practices. He finds it more than a little amusing that in the culture of therapy we are so obsessed with things that matter so little to others around the world. “I have learned that one’s model or protocols matter not at all and that evidence-based therapy is a gambler’s way of pulling the authority card. If you have seiki, or a powerful life force, then any model will come to life. Without it, the session will be dead and incapable of transformation.” Keeney finds it challenging, if not frustrating, to try to explain this idea to those who don’t speak this language. “I guess if you have seiki or n/om, you feel what I am talking about; if you don’t, no words will matter. The extent to which you feel, smell, taste, hear, and see this vitality is a measure of how much mastery there is in your practice and everyday life.” We believe it is an illusion that master therapists truly understand what therapy is all about and how it works. The reality is that the process has many different dimensions and nuances that we never really grasp. There are aspects that appear both mysterious and magical.

listening to stories while looking at pictures stimulates children’s deep brain networks, fostering their optimal cognitive development. Further, the companionable experience of shared reading cultivates empathy, dramatically accelerates young children’s language acquisition, and vaults them ahead of their peers when they get to school. The rewards of early reading are astonishingly meaningful: toddlers who have lots of stories read to them turn into children who are more likely to enjoy strong relationships, sharper focus, and greater emotional resilience and self-mastery. The evidence has become so overwhelming that social scientists now consider read-aloud time one of the most important indicators of a child’s prospects in life. It would be a mistake, though, to relegate reading aloud solely to the realm of childhood.

Neo-primitivism’ is an observable process of cultural involution today that consists of a return to the behaviour of primitive masses, a decline of cultural memory and the appearance of social savagery. There are countless signs of this new primitivism: the rise of illiteracy in schools, the explosion of drug use, the Afro-Americanisation of popular music, the collapse of social codes, the retreat of general culture, mastery of knowledge and historical memory among young people, the dilution of contemporary art into the nihilist brutality of less-than-nothing, brutalising the masses and stripping them of culture by audiovisual media (the ‘cathode religion’),[185] the increase in criminal activity and barbarous behaviour (social savagery), the disappearance of a civic sense, the accelerated crumbling of homogeneous social norms and collective disciplines, the impoverishment of language, the reduction of social codes, and so on.

For it is true historically that those who have shown the greatest subtlety with language have shown the greatest power to understand (this does not exclude Sophists, for Plato made the point that one must be able to see the truth accurately in order to judge one’s distance from it if he is practicing deception). To take a contemporary example which has statistical support: American universities have found that with few exceptions students who display the greatest mastery of words, as evidenced by vocabulary tests and exercises in writing, make the best scholastic records regardless of the department of study they enter. For physics, for chemistry, for engineering—it matters not how superficially unrelated to language the branch of study may be—command of language will prognosticate aptitude. Facility with words bespeaks a capacity to learn relations and grasp concepts; it is a means of access to the complex reality. Evidently

There is an underlying rhythm to all text. Sentences crashing fall like the waves of the sea, and work unconsciously on the reader. Punctuation is the music of language. As a conductor can influence the experience of the song by manipulating its rhythm, so can punctuation influence the reading experience, bring out the best (or worst) in a text. By controlling the speed of a text, punctuation dictates how it should be read. A delicate world of punctuation lives just beneath the surface of your work, like a world of microorganisms living in a pond. They are missed by the naked eye, but if you use a microscope you will find a exist, and that the pond is, in fact, teeming with life. This book will teach you to become sensitive to this habitat. The more you do, the greater the likelihood of your crafting a finer work in every respect. Conversely the more you turn a blind eye, the greater the likelihood of your creating a cacophonous text and of your being misread.

If we now turn to strength of mind or soul, then the first question is, What are we to understand thereby? Plainly it is not vehement expressions of feeling, nor easily excited passions, for that would be contrary to all the usage of language, but the power of listening to reason in the midst of the most intense excitement, in the storm of the most violent passions. Should this power depend on strength of understanding alone? We doubt it. The fact that there are men of the greatest intellect who cannot command themselves certainly proves nothing to the contrary, for we might say that it perhaps requires an understanding of a powerful rather than of a comprehensive nature; but we believe we shall be nearer the truth if we assume that the power of submitting oneself to the control of the understanding, even in moments of the most violent excitement of the feelings, that power which we call self-command, has its root in the heart itself. It is, in point of fact, another feeling, which in strong minds balances the excited passions without destroying them; and it is only through this equilibrium that the mastery of the understanding is secured. This counterpoise is nothing but a sense of the dignity of man, that noblest pride, that deeply-seated desire of the soul always to act as a being endued with understanding and reason. We may therefore say that a strong mind is one which does not lose its balance even under the most violent excitement.

The intrinsic non-existence at the heart of entity is what Spare designated the Kiã, and he strove to convey his vision in a theory enshrined as the very keystone of the Book of Pleasure.To this, he wedded a new and radical model of transcendental sorcery that completely rejected all religious ethos and utilised instead those techniques that were most familiar to him, and most fully within his mastery as an artist and designer: for its language, line and letter synthesized as the Sigil and the Sacred Alphabet; for its praxis, the sense of sight extended through touch, emotion and profound nostalgia into a willed and magically fecund synaesthesia that attains its apotheosis in the Death Posture. The Book of Pleasure was a radical departure for magic when it was published in 1913, in its refusal to advance a new dispensation or ‘doctrine’ (as Crowley had done) – indeed, in its intent to overcome the bonds imposed upon raw sorcery by traditional religious thinking. Its concepts remain as radical today, whether applied in a strictly magical or psychological context. Why, then, did Spare’s ideas fail to gain any currency until around sixty years after his exposition? Was it purely because the work itself remained inaccessible until the books of Kenneth and Steffi Grant, and later Francis King and Neville Drury, brought them into wider circulation? In part, yes, but that is not the sole reason. Even given the masterly expositions of Spare’s creed from these authors, the work itself is yet little understood or applied.

You can do anything you want to do. What is rare is this actual wanting to do a specific thing: wanting it so much that you are practically blind to all other things, that nothing else will satisfy you. When you, body and soul, wish to make a certain expression and cannot be distracted from this one desire, then you will be able to make a great use of whatever technical knowledge you have. You will have clairvoyance, you will see the uses of the technique you already have, and you will invent more. I know I have said a lot when I say "You can do anything you want to do." But I mean it. There is reason for you to give this statement some of your best thought. You may find that this is just what is the matter with most of the people in the world; that few are really wanting what they think they want, and that most people go through their lives without ever doing one whole thing they really want to do. An artist has got to get acquainted with himself just as much as he can. It is no easy job, for it is not a present-day habit of humanity. This is what I call self-development, self-education. No matter how fine a school you are in, you have to educate yourself. There is nothing more entertaining than to have a frank talk with yourself. Few do it—frankly. Educating yourself is getting acquainted with yourself. Find out what you really like if you can. Find out what is really important to you. Then sing your song. You will have something to sing about and your whole heart will be in the singing. When a man is full up with what he is talking about he handles such language as he has with a mastery unusual to him, and it is at such times that he learns language.

Even if we restrict ourselves to the comparatively limited conceptual repertoire for talking about such matters that early Wittgenstein makes available, we may already say this: in order to learn a first language, the potential speaker needs not only to learn to see the symbol in the sign, she needs the very idea of language to become actual in her. This formal aspect of what it is to be human—the linguistic capacity as such—is something that dawns with the learning of one’s first language, with one’s becoming the bearer of a linguistic practice. We touched above, in the reply to Sullivan, on how the Tractatus inherits and adapts yet a further feature of the Kantian enterprise of critique: it starts with the assumption not only that we already have the very faculty we seek to elucidate in philosophy, but also that the prosecution of the philosophical inquiry must everywhere involve the exercise of the very capacity it seeks to elucidate. The Tractatus does not seek to confer the power of language on us: we already have this and bring it to our encounter with the book. Hence, it does not seek to explain what language is (as it is sometimes put) from sideways-on—from a position outside language—but rather from the self-conscious perspective of someone who already, in seeking philosophical clarity about what language is, seeks clarity about herself qua linguistic being. Through its exercise, however, the book does seek to confer a heightened mastery of that capacity on us—a reflective self- understanding of its logic and its limits, and of the philosophical confusions that arise from misunderstandings thereof. This heightened mastery (like the general power itself) can be acquired only through forms of further exercise of that same capacity. What I just said about the Tractatus, at this level of methodological abstraction, is no less true of the method of the Philosophical Investigations. The author of the Tractatus, however, unlike later Wittgenstein, never pauses for even a moment to reflect upon what it means to learn to recognize the symbol in the sign through attending to contexts of significant use. Nevertheless, early Witt- genstein would certainly agree with his later self on this point: for the learner of language, light must gradually dawn over the whole—over sign and symbol together.

It is not the development of material need which sets the modern vocabulary of aspiration apart from anything which has gone before, but rather the transformation of our spiritual needs. It is our spirits, not our clothes and houses and cars, that set us so radically apart from our own past and form much of the rest of the world. Imagine what we must be like to the primitive peoples who receive our attentions as anthropologists. We come upon them armed with our mastery of nature, and yet they can disarm us with the simplest metaphysical inquiry: what happen when people die? where do they go? what are the duties of the living to the dead? Their cultures are as rich in answers to these questions as our culture is rich in answers to the technical and scientific problems which baffle them. It has always been a truism of the Western bad conscience that we have purchased our mastery of nature at the price of our spirits. The conservative and romantic critique of Western progress has always used the example of the savage - rich in cosmology, poor in goods - to argue for an inverse historical relationship between the development of material and spiritual needs. Certainly this view could draw upon the dark side of the Christian theology of need. While secular optimists have trust in the permanence of spiritual need, Augustinian Christians have fixed their gaze on the nightmare of the happy slave: the being so absorbed by the material that all spiritual needs have perished. Yet human needing is historical, and who can predict what forms the needs of the spirit may take? There is a loss of nerve in the premature announcements of the death of the spirit, the easy condemnations of materialist aspiration in capitalist society. Western societies have continued the search for spiritual consolation in the only manner consistent with the freedom of the seeking subject: by making every person the judge of his own spiritual satisfaction. We have all been left to choose what we need, and we have pushed the search for private meaning to the limits of what a public language can contain if it is to continue to be a means of communication. We have Augustine's first freedom, and because we have it, we cannot have his second. We can no longer offer each other the possibility of metaphysical belonging: a shared place, sustained by faith, in a divine universe. All our belonging now is social.

Neuro-Linguistic Programming (NLP) and working with the subconscious mind. NLP is a different approach to mental mastery. It is the scientific impact that language has on the subconscious mind. An array of modalities and language patterns are implemented to bypass the loud, chattery, brain bullshit, which gets in the way of resourceful thinking. It also takes the traumas we have stored in our subconscious, from years of repetitive thinking and behaviors, and makes us consciously aware of them, so we can implement the tools and experience positive and lasting change at a brain and cellular level.

Only the perfect man can teach in silence, because he has reached it, and therefore he alone can stimulate it in others. He speaks through the silence infinitely more potently than through any human language. But those who are not yet Jivanmuktas naturally prefer to use speech and pen.

Still another barrier for many people which closes the door to success is the mania or passion for reading too many books, because of their inability to make a definite choice. Getting one on a theme which interests them, they invariably soon seek something “new,” and as soon as that has been read, they again start their interminable searching. Their lives pass without being properly and reasonably used. Such men forget that books are much more numerous than the weeks and months they have yet to live through. So what is the good of having read even half of them and dying before making any use of the things which men know only mentally? After all, books are usually for us only crystallized stores of borrowed thoughts created by other men, and not always of use to us, since in all fields of literature they so frequently offer only fiction or near-fiction, which can hardly help an earnest seeker. Although the mind is only a secondary power in man, compared with the higher wisdom consciousness known in Samadhi, which is devoid of thoughts, faults in the structure of that mind are almost an absolute barrier impossible to over come in any study, and especially in the present one. Inadequate comprehension is the same as insufficient knowledge of a foreign alphabet for someone who wants to read in that particular language. It may happen that it is not merely an unquenchable thirst for reading which drives a man from one author to another, but the fact that he is not satisfied with any so far encountered. In such a case there is nothing more to say then: “Seek and ye shall find.

Filling the well involves the active pursuit of images to refresh our artistic reservoirs. Art is born in attention. Its midwife is detail. Art may seem to spring from pain, but perhaps that is because pain serves to focus our attention onto details (for instance, the excruciatingly beautiful curve of a lost lover’s neck). Art may seem to involve broad strokes, grand schemes, great plans. But it is the attention to detail that stays with us; the singular image is what haunts us and becomes art. Even in the midst of pain, this singular image brings delight. The artist who tells you different is lying. In order to function in the language of art, we must learn to live in it comfortably. The language of art is image, symbol. It is a wordless language even when our very art is to chase it with words. The artist’s language is a sensual one, a language of felt experience. When we work at our art, we dip into the well of our experience and scoop out images. Because we do this, we need to learn how to put images back. How do we fill the well? ...In filling the well, think magic. Think delight. Think fun. Do not think duty. Do not do what you should do - spiritual sit ups like reading a dull but recommended critical text. Do what intrigues you, explore what interests you; think mystery, not mastery. A mystery draws us in, leads us on, lures us. 

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Through long immersion in a particular field of practice and inquiry, you become a connoisseur of a certain class of intellectual problems. You adopt the language of your subfield, but also a shared, usually inarticulate sense of what sort of problems are worth investigating: what to take seriously. In the course of this apprenticeship you make the characteristic mistakes of a novice, and suffer their humiliations before your teachers (who include the more advanced graduate students). Conversely, you experience elation at those moments when you feel a growing mastery—you’re becoming a journeyman.

Education and knowledge work increased mastery of language and thought, the tools with which we create personal meaning and form our own opinions.

I find writing frustrating. Words seem inadequate for all emotions. I do not have enough mastery of language to put my feelings to paper. Perhaps the author's duty is not to express his feelings but those of the story or novel.

Do not despise your inner world. That is the first and most general piece of advice I would offer. Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

every ideology opens its own special space of possibilities. And it is most definitely an ideology that is at issue here. We ought to remember that the mechanical philosophy arose not just as a new prescription for the sciences, unrelated to any of the more general cultural movements of its time, but also in association with a larger Western project of human mastery over the world: the great endeavor to subject nature to impediments and constraints (to use the language of Bacon)

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People have mastered flattery to the point that it has become a new street language.

What did we not lose under capitalism? Yes, we gained the mastery of language but forfeited communication.

To foster mastery and understanding of a concept, employ the Feynman technique. This involves simplifying and explaining complex topics using simple language, either in writing or by teaching others.

If we think deeply about our childhood, not just about our memories of it but how it actually felt, we realize how differently we experienced the world back then. Our minds were completely open, and we entertained all kinds of surprising, original ideas. Things that we now take for granted, things as simple as the night sky or our reflection in a mirror, often caused us to wonder. Our heads teemed with questions about the world around us. Not yet having commanded language, we thought in ways that were preverbal—in images and sensations. When we attended the circus, a sporting event, or a movie, our eyes and ears took in the spectacle with utmost intensity. Colors seemed more vibrant and alive. We had a powerful desire to turn everything around us into a game, to play with circumstances. Let us call this quality the Original Mind. This mind looked at the world more directly—not through words and received ideas. It was flexible and receptive to new information. [...] Masters and those who display a high level of creative energy are simply people who manage to retain a sizeable portion of their childhood spirit despite the pressures and demands of adulthood. This spirit manifests itself in their work and in their ways of thinking. Children are naturally creative. They actively transform everything around them, play with ideas and circumstances, and surprise us with the novel things they say or do. [...] Masters not only retain the spirit of the Original Mind, but they add to it their years of apprenticeship and an ability to focus deeply on problems or ideas. This leads to high-level creativity. Although they have profound knowledge of a subject, their minds remain open to alternative ways of seeing and approaching problems. They are able to ask the kinds of simple questions that most people pass over, but they have the rigor and discipline to follow their investigations all the way to the end. They retain a childlike excitement about their field and a playful approach, all of which makes the hours of hard work alive and pleasurable. Like children, they are capable of thinking beyond words—visually, spatially, intuitively—and have greater access to preverbal and unconscious forms of mental activity, all of which can account for their surprising ideas and creations.

You keep comparing yourself to a book. That is not how I see you. If I want to learn about you, it’s not for...pleasure, or leisure, or the desired mastery of a subject. I am not trying to learn you like a language. I am trying, Ayla, to learn you like a person. Like people do, with the knowledge that I will never know everything. That it is impossible to know everything. Because you deserve to be known, in whatever capacity you wish. I am trying to become a person who deserves to know you." ... “I told you once I’m not a book to be read,” Ayla continued. “I take it back. I’m a book. Read me.

As an audience it seems we’re as good as saying, “I’ll pay attention to your idea if you: are already being taken seriously in some way; have found your place (professionally or personally); believe strongly in something relevant to your idea; are connecting (with ideas, with people) in meaningful ways; are finding ways to be useful in the world; are finding ways to achieve more of what you value; have developed mastery and control; are participating in interesting things; and are radiating love and acceptance for self and others. Your chosen audience will have three or four things on that list they value most in their own lives. And because they do value those things so highly, they’ll be looking for those signals from you.

Those who make assumptions from far away, based on universal theories, do not see the whole picture. It takes great time and effort to see the differences, to participate in a culture. And because it is much harder to percieve these differences, culture has not been given its due as one of the primary shaping forces for language and for how we experience the world.

Wittgenstein insightfully noted that doubt presupposes the mastery of a language, its procedures and rules. Doubt cannot be so radical that it calls into question the very meanings of the words used to express it; to doubt a sentence, you need first to understand what is meant by the sentence. Thus, 'if you are not certain of any fact, you cannot be certain of the meaning of your words either.' So also, a reasonable suspicion about some assertion requires specific-not just imaginable-grounds. One could always imagine that what is described in some indicative sentence, p, is actually the contrary, not-p; yet doubting p would be idle unless a concrete reason against p could be offered, Therefore, the very activity of doubting requires a context of accepted beliefs; one can doubt only if he first has learned to handle a language and to use some judgements to call other judgements into question. Learning precedes doubt, and learning precludes doubting everything; to get on with learning, the student must not doubt certain things. 'For how can a child immediately doubt what it is taught? That could mean only that he was incapable pf learning certain language games.' These observations have important epistemological consequences. 'The child learns by believing the adult. Doubt comes after belief. Also 'doubt itself rests only on what is beyond doubt. Thus, 'a doubt that doubted everything would not be a doubt.; In short, Wittgenstein has shown universal doubt to be impossible. Doubt requires the testing of assertions, but testing comes to and end and thus assumes something which is not tested; therefore, 'the questions that we raise and our doubts depend on the fact that some propositions are exempt from doubt, are as it were like hinges on which those turn. Wittgenstein's conclusion on this point is surely one with which we should agree: 'If you tried to doubt everything you would not get as far as doubting anything. The game of doubt itself presupposes certainty.

universities have found that with few exceptions students who display the greatest mastery of words, as evidenced by vocabulary tests and exercises in writing, make the best scholastic records regardless of the department of study they enter. For physics, for chemistry, for engineering—it matters not how superficially unrelated to language the branch of study may be—command of language will prognosticate aptitude. Facility with words bespeaks a capacity to learn relations and grasp concepts; it is a means of access to the complex reality.

General education. The need for specialization. Foreign languages. How monographs should be read. The absolute necessity of seeking inspiration in nature. Mastery of technique. In search of original data

These terms are borrowed from J.R.R. Tolkien, whose unequaled mastery of the language of myth gave the twentieth century one of its great works of mythic literature.  His comments are relevant to any thoughtful study of myth: “...I cordially dislike allegory in all its manifestations, and always have done so since I grew old and wary enough to detect its presence.  I much prefer history, with its varied applicability to the thought and experience of readers.  I think that many confuse ‘applicability’ with ‘allegory’; but the one resides in the freedom of the reader, and the other in the purposed domination of the author.”[

Learning a language is a nonlinear affair. A moment of triumph often follows a crisis of confidence. Or else, after days of utter mastery, as your brain processes the language without that laborious sensation of actually processing it, you might find yourself suddenly suffering from language panic, total verb collapse, making errors of conjugation like someone blindfolded striking at tennis balls. You reach for a preposition from the shelf in your mind and find nothing there, absolutely nothing, no language whatsoever.

Core subjects include English, reading, and language arts; world languages; arts; mathematics; economics; science; geography; history; and government and civics. Learning and innovation skills are those possessed by students who are prepared for the 21st century and include creativity and innovation, critical thinking and problem solving, and communication and collaboration. Information, media, and technology skills are needed to manage the abundance of information and also contribute to the building of it. These include information literacy; media literacy; and information, communications, and technology (ICT) literacy. Life and career skills are those abilities necessary to navigate complex life and work environments. These include flexibility and adaptability, initiative and self-direction, social and cross-cultural skills, productivity and accountability, and leadership and responsibility.

For an academic, the skills are things like mastery of formal academic language, familiarity with the relevant literature in the discipline, knowledge of the main data collection techniques, adherence to the standards of rigour and so on. (We

counselors, often confuses stages, states, and lines. He mentioned that clients could move through all four stages (sensorimotor to formal operations) in a single counseling session. People do not actually develop through four (or even two) stages in a day. Rather, different lines of development may be differentially developed, so that a client may appear to exhibit very rudimentary development in one aspect (for example, morality) and advanced development in another (scientific or mathematical thinking). Similar phenomena (clients’ appearing to exhibit the qualities of different stages of development) can be accounted for by distinguishing between stages and states of consciousness. For example, a client may have a developmental center of gravity that hovers around the formal-reflexive mind but experience a state of panic or intense depression during which he resorts to the type of illogical and contrary-to-evidence thinking that characterize preoperational thinking. There are a few places where Ivey seems to distinguish between stages and states, as when he is describing a concrete operational client with whom the counselor finds various deletions, distortions, overgeneralizations, and other errors of thinking or behaving that “represent preoperational states” (1986, p. 163, italics added). This is an important point. The basic structures are not completely stable; otherwise, they would endure even under extreme stress. Hence, developmental waves are conceived of as relatively stable and enduring—far more stable and enduring than states of consciousness, but also far from rigidly permanent structures. Levels and Lines of Development Ivey also wrote of how clients cycle through Piaget’s stages of cognitive development: Each person who continues on to higher levels of development is also, paradoxically, forced to return to basic sensori-motor and pre-operational experience… . the skilled individual who decides to learn a foreign language … must enter language training at the lowest level and work through sensori-motor, preoperational, and concrete experience before being able to engage in formal operations with the new language. (Ivey, 1986, p. 161) People do not revert from the capacity for formal operational thinking to sensorimotor, except perhaps because of a brain injury or organic disorders of the nervous system. Piaget was very emphatic that cognitive development occurs in invariant stages, meaning that everyone progresses through the stages in the same order. At the same time, it is true that just because an individual exhibits formal operational thinking (a stage or level of cognitive development) in chemistry and mathematics does not mean that she automatically can perform at mastery levels in any domain, such as, in this case, a foreign language. This is another example of the utility of Wilber’s (2000e) distinguishing the sundry lines

fluent.’ As one of the subjects reported, ‘through reciting those lessons, he gained mastery of many collocations, phrases, sentence patterns and other language points.

It was English and Spanish because she’d lived in the United States, in Texas and New Mexico, for twenty-two years, and if there’s one thing that twenty-two years in a place will impose on you it is mastery of the local language, even if you don’t have any special talent for it. My mother had learned English formally at school. Spanish, informally, with the tejanos.

Nobody without a mastery of the Burmese language and cultural background could hope to reach out to the people of Burma. Therefore the modern educated felt too diffident to suggest the reassessment and reform of accepted values. The scholars of the old school on the other hand were too close to traditional institutions to be able to judge them objectively. Fielding Hall was one of those Englishmen who fell in love with Burma and the Burmese, of whom he had a romantic and in some ways simplistic vision. Nevertheless his observations on Burmese society were often shrewd and he noted a phenomenon which must surely lie at the basis of the failure for a true renaissance to take place under colonial rule. He remarked of monarchical Burma that there was no noble or leisured class between the king and the villagers. Consequently, the monarch had to recruit as his ministers men from the villages who, for all their natural capacity, did not have the ‘breadth of view, the knowledge of other countries, of other thoughts, that come to those who have wealth and leisure’. The situation had not changed radically under British rule.

My mastery of your language, you see, is lacking. I’d been mistakenly referring to your actions as ‘raping and burning my people.

All humans are artists, all of us. Every symbol, every word, is a little piece of art. From my point of view, and thanks to our programming, our greatest masterpiece of art is the use of a language to create an entire virtual reality within our mind.

Quoting page 115: The Hispanic civil rights organizations were heavily financed by the Ford Foundation, whose president from the late 1960s through the 1970s was McGeorge Bundy, Harvard alumni veteran of the Kennedy White House and tower of the nation’s eastern liberal establishment. In 1968 Ford had created MALDEF, as a Latino version of the NAACP, with a $2.2 million founding grant. La Raza, given a similar birthing grant of $630,000 by Ford in 1968, received $1,953,700 two years later. Between 1970 and 1999, Ford gave MALDEF $27.9 million and La Raza $21.5 million. In 1981 Ford started funding LULAC, the oldest Hispanic association. Noted since its origins in Texas in 1929 for espousing patriotism, political moderation, self-help ethnic, support for English language mastery, and bourgeois civic boosterism, LULAC in the 1970s adopted the strident tone of Chicano nationalism common to La Raza and MALDEF. In 1983 the Ford Foundation, led by Ford’s first African-American president, Franklin A. Thomas, began funding the National Immigration Forum, an umbrella association modeled on the Leadership Conference on Civil Rights, to coordinate lobbying against [immigration] restrictionist organizations such as FAIR. LULAC, although joining the racialized agenda of MALDEF and La Raza in the 1970s, retained its character as a membership-based organization rooted in the Hispanic (mainly Mexican-American) community. But the constituency represented by MALDEF and La Raza was essentially the Ford Foundation and the tightly networking community of Latino political careerists.

The brutality of language conceals the banality of thought and, with certain major exceptions, is indistinguishable from a kind of conformism. Cities, once the initial euphoria of discovery had worn off, were beginning to provoke in her a kind of unease. in New York, there was nothing, deep down, that appealed to her in the mixture of puritanism and megalomania that typified this people without a civilization. What helps you live, in times of helplessness or horror? The necessity of earning or kneading, the bread that you eat, sleeping, loving, putting on clean clothes, rereading an old book, the smell of ripe cranberries and the memory of the Parthenon. All that was good during times of delight is exquisite in times of distress. The atomic bomb does not bring us anything new, for nothing is more ancient than death. It is atrocious that these cosmic forces, barely mastered, should immediately be used for murder, but the first man who took it into his head to roll a boulder for the purpose of crushing his enemy used gravity to kill someone. She was very courteous, but inflexible regarding her decisions. When she had finished with her classes, she wanted above all to devote herself to her personal work and her reading. She did not mix with her colleagues and held herself aloof from university life. No one really got to know her. Yourcenar was a singular an exotic personage. She dressed in an eccentric but very attractive way, always cloaked in capes, in shawls, wrapped up in her dresses. You saw very little of her skin or her body. She made you think of a monk. She liked browns, purple, black, she had a great sense of what colors went well together. There was something mysterious about her that made her exciting. She read very quickly and intensely, as do those who have refused to submit to the passivity and laziness of the image, for whom the only real means of communication is the written word. During the last catastrophe, WWII, the US enjoyed certain immunities: we were neither cold nor hungry; these are great gifts. On the other hand, certain pleasures of Mediterranean life, so familiar we are hardly aware of them - leisure time, strolling about, friendly conversation - do not exist. Hadrian. This Roman emperor of the second century, was a great individualist, who, for that very reason, was a great legist and a great reformer; a great sensualist and also a citizen, a lover obsessed by his memories, variously bound to several beings, but at the same time and up until the end, one of the most controlled minds that have been. Just when the gods had ceased to be, and the Christ had not yet come, there was a unique moment in history, between Cicero and Marcus Aurelius, when man stood alone. We know Yourcenar's strengths: a perfect style that is supple and mobile, in the service of an immense learnedness and a disabused, decorative philosophy. We also know her weakness: the absence of dramatic pitch, of a fictional progression, the absence of effects. Writers of books to which the work ( Memoirs of Hadrian ) or the author can be likened: Walter Pater, Ernest Renan. Composition: harmonious. Style: perfect. Literary value: certain. Degree of interest of the work: moderate. Public: a cultivated elite. Cannot be placed in everyone's hands. Commercial value: weak. People who, like her, have a prodigious capacity for intellectual work are always exasperated by those who can't keep us with them. Despite her acquired nationality, she would never be totally autonomous in the US because she feared being part of a community in which she risked losing her mastery of what was so essential to her work; the French language. Their modus vivendi could only be shaped around travel, accepted by Frick, required by Yourcenar.

The crafting of imaginary worlds, in both cummings’s and Spender’s cases, took more than a mastery of language; it took an ability to relive sense impressions almost at will. Other writers have said much the same. Robert Frost called his poetry a process of “carrying out some intention more felt than thought. . . . I’ve often been quoted: ‘No tears in the writer, no tears in the reader. No surprise in the writer, no surprise for the reader.

The truthful—though unhelpful—answer to the question: "How did we come by our primary knowledge of causality?" is that in learning to speak we learned the linguistic representation and application of a host of causal concepts. Very many of them were represented by transitive and other verbs of action used in reporting what is observed. Others—a good example is "infect"—form, not observation statements, but rather expressions of causal hypotheses. The word "cause" itself is highly general. How does someone show that he has the concept cause? We may wish to say: only by having such a word in his vocabulary. If so, then the manifest possession of the concept presupposes the mastery of much else in language. I mean: the word "cause" can be added to a language in which are already represented many causal concepts. A small selection: scrape, push, wet, carry, eat, burn, knock over, keep off, squash, make (e.g. noises, paper boats), hurt. But if we care to imagine languages in which no special causal concepts are represented, then no description of the use of a word in such languages will be able to present it as meaning cause. Nor will it even contain words for natural kinds of stuff, nor yet words equivalent to "body", "wind", or "fire". For learning to use special causal verbs is part and parcel of learning to apply the concepts answer to these and many other substantives. As surely as we learned to call people by name or to report from seeing it that the cat was on the table, we also learned to report from having observed it that someone drank up the milk or that the dog made a funny noise or that things were cut or broken by whatever we saw cut or break them.