Model Un Quotes

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You're a model? Never would have guessed," Jonah said in a lazy, teasing voice that caused Hamilton's head to swivel. He'd never seen Jonah flirt before. The girl tilted her head. The glossy hair spilled down one bare shoulder. "Un moment...you look familiar." Jonah grinned. "Yeah?" "'Ave we met? Are you an 'airdresser?" "A hairdresser?" Jonah choked out. "Guys, we'd better get going," Hamilton said. "The name is Jonah," Jonah said, pronuncing his name carefully. He waited for a sign of recognition. "Nicole." "Jonah Wizard." Nicole squinted at him. "You are a wee-zhard? Like the Harry Potter, non?" "I'm Hamilton," Hamilton said, even though nobody asked.
Jude Watson (A King's Ransom (The 39 Clues: Cahills vs. Vespers, #2))
He knew for a fact that one of the girls had managed to take over the plenary session of the national model UN and push through a motion sanctioning the use of nuclear weapons to protect an endangered species of sea turtle. This while representing Lesotho.
Lev Grossman (The Magicians (The Magicians, #1))
Richard Connor Cobalt.” I gave her an amiable smile. She procured the corresponding nametag. “Welcome to this year’s Model UN, Richard. Good luck.” Her last phrase—while nothing more than a meaningless farewell—punctured a part of my head, poking at a nerve. Good luck. I liked having control of my fate. And luck meant that I had none. That I’d have to let someone inferior decide my outcome.
Krista Ritchie (Fuel the Fire (Calloway Sisters #3))
But just as a vaccine company facing bankruptcy will ultimately survive not by making the world's greatest vaccine but, rather, the world's worst virus, so, too, did bodyguard and security firms need the world's most evil terrorists in order to prosper, not the greatest security experts. That was capitalism, Hanja understood how the world could curl around and bite its own tail like the uroboros serpent. And he knew how to translate that into business and extract the maximum revenue. There was no better business model than owning both the virus and the vaccine. With one hand you parceled out fear and instability, and with the other you guaranteed safety and peace. A business like that would never go under.
Kim Un-su (The Plotters)
So, whenever the subject of Iraq came up, as it did keep on doing through the Clinton years, I had no excuse for not knowing the following things: I knew that its one-party, one-leader state machine was modeled on the precedents of both National Socialism and Stalinism, to say nothing of Al Capone. I knew that its police force was searching for psychopathic killers and sadistic serial murderers, not in order to arrest them but to employ them. I knew that its vast patrimony of oil wealth, far from being 'nationalized,' had been privatized for the use of one family, and was being squandered on hideous ostentation at home and militarism abroad. (Post-Kuwait inspections by the United Nations had uncovered a huge nuclear-reactor site that had not even been known about by the international community.) I had seen with my own eyes the evidence of a serious breach of the Genocide Convention on Iraqi soil, and I had also seen with my own eyes the evidence that it had been carried out in part with the use of weapons of mass destruction. I was, if you like, the prisoner of this knowledge. I certainly did not have the option of un-knowing it.
Christopher Hitchens (Hitch 22: A Memoir)
Based on what he had overheard, one of his classmates had placed second in the Putnam Competition, as a high school junior. He knew for a fact that one of the girls had managed to take over the plenary session of the national model UN and push through a motion sanctioning the use of nuclear weapons to protect a critically endangered species of sea turtle. This while representing Lesotho.
Lev Grossman (The Magicians (The Magicians, #1))
Baciarlo fu un sollievo. Farmi baciare fu una maledizione. Finalmente stavo assaggiando il suo sapore. Le sue labbra erano modellate per distruggere le mie. Terrore e crudeltà. Rimpianti e dolore. Tristezza e gioia. Quel tipo di gioia trattenuta a lungo. Ecco com’era baciare Samael De Falco.
Anya M. Silver (Piacere oscuro (Dark Souls, #1))
When history seems to offer no sanctuary for values (when history is assailed by wars and inhuman or immoral public actions), literature can provide a model, often as horrendous as that of history, but one which by virtue of its fictional nature is bound to keep an ironic, parodic, aesthetic or philosophical distance from what is at risk in immediate experience or direct reflection.
Beatriz Sarlo (Borges, un escritor en las orillas)
To conceive God as an all-powerful Person, or else, under the name of Christ, as a human person, is to exclude oneself from the true love of God. For this reason we must love the perfection of the heavenly Father even in the diffusion of sunlight. The divine and absolute model of that renunciation in us—which is obedience—is the creative and ordained principle of the universe, such is the fullness of being.
Simone Weil (Awaiting God: A New Translation of Attente de Dieu and Lettre a Un Religieux)
Y no había palabras, porque no había pensamiento posible para esa fuerza capaz de convertir jirones de recuerdo, imágenes aisladas y anodinas, en un repentino bloque vertiginoso, en una viviente constelación aniquilada en el acto mismo de mostrarse, una contradicción que parecía ofrecer y negar a la vez lo que Juan, bebiendo la segunda copa de Sylvaner, contaría más tarde a Calac, a Tell, a Hélène, cuando los encontrara en la mesa del Cluny, y que ahora le hubiera sido necesario poseer de alguna manera como si la tentativa de fijar ese recuerdo no mostrara ya que era inútil, que estaba echando paladas de sombra contra la oscuridad.
Julio Cortázar (62: A Model Kit)
Măsurăm valoarea individului după suma dezacordurilor sale cu lucrurile, după neputinţa de a fi indiferent, după refuzul de a deveni obiect. De aici declasarea ideii de Bine, de aici voga Diavolului. Cît timp am trăit în iadul unor angoase elegante, ne împăcăm de minune cu Dumnezeu. Cînd alte spaime, mai sordide, s-au abătut peste noi, ne-a trebuit un alt sistem de referinţă, un alt patron. Diavolul era personajul visat. Totul în el se potriveşte cu natura evenimentelor, pe care le generează şi guvernează: atributele lui coincid cu ale timpului. Să ni-l facem icoană, aşadar, de vreme ce, departe de a fi un produs al subiectivităţii noastre, o creaţie a nevoii de blasfemie ori de singurătate, el este demonul îndoielilor şi spaimelor noastre, instigatorul rătăcirilor omeneşti. Protestele, furiile sale nu-s totuşi lipsite de echivoc: acest „mare Nefericit" e un rebel care se îndoieşte. Dacă firea i-ar fi simplă, dintr-o bucată, nu ne-ar înduioşa defel; dar paradoxurile, contradicţiile lui sînt ale noastre: el strînge laolaltă neputinţele omului, serveşte de model revoltelor şi urii cu care ne înfruntăm noi pe noi înşine. Definiţia infernului? S-o căutăm în forma aceasta de revoltă şi ură, în supliciul orgoliului rănit, în senzaţia de a fi o înfricoşătoare cantitate neglijabilă, în chinurile „eului", ale acestui „eu" cu care începe sfîrşitul nostru.
Emil M. Cioran (The Temptation to Exist)
Avem o anume senzaţie că aparţinem acelui bărbat - partener de dans - care ne lasă să executăm paşii pe care-i ştim deja. Cu el şi nu cu altul, hotărâm să stabilim relaţia pe care s-o facem să meargă. Nu există o substanţă chimică mai atrăgătoare decât sentimentul de tainică familiaritate apărut când se întâlnesc un bărbat şi o femeie ale căror modele de comportament se îmbină perfect ca piesele dintr-un joc de puzzle. (...) cu cât a fost mai mare durerea în copilărie, cu atât e mai puternic impulsul de a o reconstitui şi stăpâni la maturitate.
Robin Norwood (Women Who Love Too Much: When You Keep Wishing and Hoping He'll Change)
„ ...dezamăgirea, precum toate modele, începută în straturile de vîrf ale societății, a coborît la cele de mai jos, care o și uzează complet, și că astăzi cei care, mai mult decât oricine, se plictisesc la o adică, se străduiesc să ascundă această nefericire a lor, ca pe un viciu.„
Mikhail Lermontov (Un erou al timpului nostru)
Préface J'aime l'idée d'un savoir transmis de maître à élève. J'aime l'idée qu'en marge des "maîtres institutionnels" que sont parents et enseignants, d'autres maîtres soient là pour défricher les chemins de la vie et aider à y avancer. Un professeur d'aïkido côtoyé sur un tatami, un philosophe rencontré dans un essai ou sur les bancs d'un amphi-théâtre, un menuisier aux mains d'or prêt à offrir son expérience... J'aime l'idée d'un maître considérant comme une chance et un honneur d'avoir un élève à faire grandir. Une chance et un honneur d'assister aux progrès de cet élève. Une chance et un honneur de participer à son envol en lui offrant des ailes. Des ailes qui porteront l'élève bien plus haut que le maître n'ira jamais. J'aime cette idée, j'y vois une des clefs d'un équilibre fondé sur la transmission, le respect et l'évolution. Je l'aime et j'en ai fait un des axes du "Pacte des MarchOmbres". Jilano, qui a été guidé par Esîl, guide Ellana qui, elle-même, guidera Salim... Transmission. Ellana, personnage ô combien essentiel pour moi (et pour beaucoup de mes lecteurs), dans sa complexité, sa richesse, sa volonté, ne serait pas ce qu elle est si son chemin n avait pas croisé celui de Jilano. Jilano qui a su développer les qualités qu'il décelait en elle. Jilano qui l'a poussée, ciselée, enrichie, libérée, sans chercher une seule fois à la modeler, la transformer, la contraindre. Respect. q Jilano, maître marchombre accompli. Maître accompli et marchombre accompli. Il sait ce qu'il doit à Esîl qui l'a formé. Il sait que sans elle, il ne serait jamais devenu l'homme qu'il est. L'homme accompli. Elle l'a poussé, ciselé, enrichi, libéré, sans chercher une seule fois à le modeler, le transformer, le contraindre. Respect. Évolution. Esîl, uniquement présente dans les souvenirs de Jilano, ne fait qu'effleurer la trame du Pacte des Marchombres. Nul doute pourtant qu'elle soit parvenue à faire découvrir la voie à Jilano et à lui offrir un élan nécessaire pour qu'il y progresse plus loin qu'elle. Jilano agit de même avec Ellana. Il sait, dès le départ, qu'elle le distancera et attend ce moment avec joie et sérénité. Ellana est en train de libérer les ailes de Salim. Jusqu'où s envolera-t-il grâce à elle ? J'aime cette idée, dans les romans et dans la vie, d’un maître transmettant son savoir à un élève afin qu a terme il le dépasse. J'aime la générosité qu'elle induit, la confiance qu'elle implique en la capacité des hommes à s'améliorer. J'aime cette idée, même si croiser un maître est une chance rare et même s'il existe bien d'autres manières de prendre son envol. Lire. Écrire. S'envoler. Pierre Bottero
Pierre Bottero (Ellana, l'Envol (Le Pacte des MarchOmbres, #2))
Entro de noche a mi ciudad, yo bajo a mi ciudad donde me esperan o me duelen, donde tengo que huir de alguna abominable cita, de lo que ya no tiene nombre, una cita con dedos, con pedazos de carne en un armario, con una ducha que no encuentro, en mi ciudad hay duchas, hay un canal que corta por el medio mi ciudad y navíos enormes sin mástiles pasan en un silencio intolerable hacia un destino que conozco pero que olvido al regresar, hacia un destino que niega mi ciudad donde nadie se embarca, donde se está para quedarse aunque los barcos pasen y desde el liso puente alguno esté mirando mi ciudad. Entro sin saber cómo en mi ciudad, a veces otras noches salgo a calles o casas y sé que no es mi ciudad (...).
Julio Cortázar (62: A Model Kit)
Daca ma gandesc bine, reprosul esential pe care il am de facut tarii si vremurilor este ca ma impiedica sa ma bucur de frumusetea vietii. Din cand in cand, imi dau seama ca traiesc intr-o lume fara cer, fara copaci si gradini, fara extaze bucolice, fara ape, pajisti si nori. Am uitat misterul adanc al noptii, radicalitatea amiezii, racorile cosmice ale amurgului. Nu mai vad pasarile, nu mai adulmec mirosul prafos si umed al furtunii, nu mai percep, asfixiat de emotie, miracolul ploii si al stelelor. Nu mai privesc in sus, nu mai am organ pentru parfumuri si adieri. Fosnetul frunzelor uscate, transluciditatea nocturna a lacurilor, sunetul indescifrabil al serii, iarba, padurea, vitele, orizontul tulbure al campiei, colina cordiala si muntele ascetic nu mai fac de mult parte din peisajul meu cotidian, din echilibrul igienic al vietii mele launtrice. Nu mai am timp pentru prietenie, pentru taclaua voioasa, pentru cheful asezat. Sunt ocupat. Sunt grabit. Sunt iritat, hartuit, coplesit de lehamite. Am o existenta de ghiseu: mi se cer servicii, mi se fac comenzi, mi se solicita interventii, sfaturi si complicitati. Am devenit mizantrop. Doua treimi din metabolismul meu mental se epuizeaza in nervi de conjunctura, agenda mea zilnica e un inventar de urgente minore. Gandesc pe sponci, stimulat de provocari meschine. Imi incep ziua apoplectic, injurand "situatiunea": gropile din drum, moravurile soferilor autohtoni, caldura (sau frigul), praful (sau noroiul), morala politicienilor, gramatica gazetarilor, modele ideologice, cacofoniile noii arhitecturi, demagogia, coruptia, bezmeticia tranzitiei. Abia daca mai inregistrez desenul ametitor al cate unei siluete feminine, inocenta vreunui suras, farmecul tacut al cate unui colt de strada. Colectionez antipatii si prilejuri de insatisfactie. Scriu despre mizerii si maruntisuri. Bomban toata ziua, mi-am pierdut increderea in virtutile natiei, in soarta tarii, in rostul lumii. Am un portret tot mai greu digerabil. Patriotii de parada m-au trecut la tradatori, neoliberalii la conservatori, postmodernistii la elitisti. Batranilor le apar frivol, tinerilor reactionar. Una peste alta, mi-am pierdut buna dispozitie, elanul, jubilatia. Nu mai am ragazuri fertile, reverii, autenticitati. Ma misc, de dimineata pana seara, intr-un univers artificial, agitat, infectat de trivialitate. Apetitul vital a devenit anemic, placerea de a fi si-a pierdut amplitudinea si suculenta. Respir crispat si pripit, ca intr-o etuva. Cand cineva trece printr-o asemenea criza de vina e, in primul rand, umoarea proprie. Te poti acuza ca ai consimtit in prea mare masura imediatului, ca nu stii sa-ti dozezi timpul si afectele, ca nu mai deosebesti intre esential si accesoriu, ca, in sfarsit, ai scos din calculul zilnic valorile zenitale. Dar nu se poate trece cu vederea nici ambianta toxica a momentului si a veacului. Suntem napaditi de probleme secunde. Avem preocupari de mana a doua, avem conducatori de mana a doua, traim sub presiunea multipla a necesitatii. Ni se ofera texte mediocre, show-uri de prost-gust, conditii de viata umilitoare. Am ajuns sa nu mai avem simturi, idei, imaginatie. Ne-am uratit, ne-am instrainat cu totul de simplitatea polifonica a lumii, de pasiunea vietii depline. Nu! mai avem puterea de a admira si de a lauda, cu o genuina evlavie, splendoarea Creatiei, vazduhul, marile, pamantul si oamenii. Suntem turmentati si sumbri. Abia daca ne mai putem suporta. Exista, pentru acest derapaj primejdios, o terapie plauzibila? Da, cu conditia sa ne dam seama de gravitatea primejdiei. Cu conditia sa impunem atentiei noastre zilnice alte prioritati si alte orizonturi.
Andrei Pleșu (Despre frumusețea uitată a vieții)
Tot ce există în noi şi nu ne obligă, din disperare, să ne sinucidem, se cheamă spirit. Cioran a scris în Franţa "Invitation au suicide". Ştiţi ce i s-a răspuns? "C'est à vous le prèmier, monsieur." Daţi exemplu, că începem şi noi. Ha, ha, ha. Daţi-ne un model dumneavoastră ca să-l imităm şi noi. Ce joc bizar al existenţei! A fi şi a nu fi. Între aceşti doi termeni ne mişcăm.
Petre Țuțea (Intre Dumnezeu si neamul meu)
There is nothing that the media could say to me that would justify the way they’ve acted. You can hound me. You can follow me, but in no way should you frighten those around me. To harm my wife and potentially harm my daughter—there is no excuse that could put any of you on the right side of morality. I met Rose when I was fifteen and she was fourteen, and through what she would call fate and I’d call circumstance of our hobbies, we’d cross paths dozens of times over the course of a decade. At seventeen, I attended the same national Model UN conference as Rose, and a delegate for Greenland locked us in a janitorial closet. He also stole our phones. He had to beat us dishonorably because he couldn’t beat us any other way. Rose said being locked in a confined space with me was the worst two hours of her life" They look bemused, brows furrowing. I can’t help but smile. “You’re confused because you don’t know whether she was exaggerating or whether she was being truthful. But the truth is that we are complex people with the ability to love to hate and to hate to love, and I wouldn’t trade her for any other person. So that day, stuck beside mops and dirtied towels, I could’ve picked the lock five minutes in and let her go. Instead, I purposefully spent two hours with a girl who wore passion like a dress made of diamonds and hair made of flames. Every day of my life, I am enamored. Every day of my life, I am bewitched. And every day of my life, I spend it with her.” My chest swells with more power, lifting me higher. “I’ve slept with many different kinds of people, and yes, the three that spoke to the press are among them. Rose is the only person I’ve ever loved, and through that love, we married and started a family. There is no other meaning behind this, and for you to conjure one is nothing less than a malicious attack against my marriage and my child. Anything else has no relevance. I can’t be what you need me to be. So you’ll have to accept this version or waste your time questioning something that has no answer. I know acceptance isn’t easy when you’re unsure of what you’re accepting, but all I can say is that you’re accepting me as me. I leave them with a quote from Sylvia Plath. “‘I took a deep breath and listened to the old brag of my heart.’” My lips pull higher, into a livelier smile. “‘I am, I am, I am.’” With this, I step away from the podium, and I exit to a cacophony of journalists shouting and asking me to clarify. Adapt to me. I’m satisfied, more than I even predicted. Some people will rewind this conference on their television, to listen closely and try to understand me. I don’t need their understanding, but my daughter will—and I hope the minds of her peers are wide open with vibrant hues of passion. I hope they all paint the world with color.
Krista Ritchie (Fuel the Fire (Calloway Sisters #3))
... acolo unde nu există aparat de stat și supramuncă, nu există nici model-Muncă. Există doar o variație continuă a acțiunii libere, trecând de la cuvânt la acțiune, de la o acțiune la alta, de la acțiune la cântec, de la cântec la cuvânt, de la cuvânt la întreprindere, într-un ciudat cromatism, cu momente de vârf sau de efort pe care observatorul extern nu poate decât să le ‘traducă’ în termeni de muncă, izbucnind intens și rar. E adevărat că întotdeauna s-a spus despre negri: ‘Nu muncesc, nu știu ce înseamnă munca.’ ... La fel de adevărat este că și indienii nici măcar nu înțelegeau despre ce este vorba, fiind total incapabili de vreun fel de organizare a muncii, chiar și sclavagistă: americanii nu vor fi importat atâția negri decât pentru că nu se puteau folosi de indieni, care preferau mai degrabă să moară. Anumiți etnologi remarcabili au pus o întrebare esențială. Au știut să întoarcă problema: societățile primitive nu sunt niște societăți de penurie sau de subzistență, dat fiindcă nu cunosc munca, ci, dimpotrivă, niște societăți ale acțiunii libere și ale spațiului neted, care nu au nicio nevoie de un factor-muncă , tot așa cum nici nu constituie stocuri. Aceste societăți nu sunt niște societăți ale lenei, chiar dacă diferența lor față de muncă poate să se exprime sub forma unui ‘drept la lene’. Și nu sunt niște societăți fără legi, chiar dacă diferența lor față de lege poate să se exprime sub aparența unei ‘anarhii’. Ele au mai curând legea nomos-ului, care reglează o variație continuă a activității, cu propria ei rigoare și propria ei cruzime (a te debarasa de ceea ce nu poți să transporți – batrâni sau copii...). (Gilles Deleuze et Félix Guattari)
Gilles Deleuze (A Thousand Plateaus: Capitalism and Schizophrenia)
Creăm modele în știință, dar și în viața de fiecare cu zi. Realismul dependent de model se aplică nu doar modelelor științifice, dar și modelelor mentale pe care ni le creăm cu toții, la nivel conștient sau subconștient, pentru a interpreta și înțelege lumea de zi cu zi. Nu putem elimina observatorul - noi înșine - din percepția noastră asupra lumii, percepție obținută prin procesarea senzorială și prin modul în care gândim și raționăm. Percepția noastră - deci și observațiile pe care se întemeiază teoriile noastre - nu este directă, ci e ajustată de un fel de lentile, structura interpretativă a creierului uman.
Stephen Hawking (The Grand Design)
I’m crossing our backyard to the Pearces’, trying to juggle the bag and the portable speakers and my phone, when I see John Ambrose McClaren standing in front of the tree house, staring up at it with his arms crossed. I’d know the back of his blond head anywhere. I freeze, suddenly nervous and unsure. I’d thought Peter or Chris would be here with me when he arrived, and that would smooth out any awkwardness. But no such luck. I put down all my stuff and move forward to tap him on the shoulder, but he turns around before I can. I take a step back. “Hi! Hey!” I say. “Hey!” He takes a long look at me. “Is it really you?” “It’s me.” “My pen pal the elusive Lara Jean Covey who shows up at Model UN and runs off without so much as a hello?” I bite the inside of my cheek. “I’m pretty sure I at least said hello.” Teasingly he says, “No, I’m pretty sure you didn’t.” He’s right: I didn’t. I was too flustered. Kind of like right now. It must be that distance between knowing someone when you were a kid and seeing them now that you’re both more grown-up, but still not all the way grown-up, and there are all these years and letters in between you, and you don’t know how to act. “Well--anyway. You look…taller.” He looks more than just taller. Now that I can take the time to really look at him, I notice more. With his fair hair and milky skin and rosy cheeks, he looks like he could be an English farmer’s son. But he’s slim, so maybe the sensitive farmer’s son who steals away to the barn to read. The thought makes me smile, and John gives me a curious look but doesn’t ask why. With a nod, he says, “You look…exactly the same.” Gulp. Is that a good thing or a bad thing? “I do?” I get up on my tiptoes. “I think I’ve grown at least an inch since eighth grade.” And my boobs are at least a little bigger. Not much. Not that I want John to notice--I’m just saying.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
How much more would I have longed for and needed to see myself in my books if I’d been disabled, gay, black, non-Christian or something else outside the mainstream message? By this time – the mid-1980s – writers’ and publishers’ consciousnesses of matters of sex, race and representation had started to be raised. The first wave of concern had come in the 1960s and 70s, mainly – or perhaps just most successfully – over the matter of heroines. There were some. But not many. And certainly not enough of the right – feisty, non-domestic, un-Meg Marchish – sort. Efforts needed to be made to overcome the teeny imbalance caused by 300 years of unreflecting patriarchal history. It’s this memory that convinces me of the importance of role models and the rightness of including (or as critics of the practice call it, ‘crowbarring in’) a wide variety of characters with different backgrounds, orientations and everything else into children’s books. If it seems – hell, even if it IS – slightly effortful at times, I suspect that the benefits (even though by their very nature as explosions of inward delight, wordless recognition, relief, succour, sustenance, those benefits are largely hidden) vastly outweigh the alleged cons. And I’m never quite sure what the cons are supposed to be anyway. Criticisms usually boil down to some variant of ‘I am used to A! B makes me uncomfortable! O, take the nasty B away!’ Which really isn’t good enough.
Lucy Mangan (Bookworm: A Memoir of Childhood Reading)
Celui qui éprouve de l'aversion pour les danseurs et veut les dénigrer se heurtera toujours à un obstacle infranchissable : leur honnêteté ; car en s'exposant constamment au public, le danseur se condamne à être irréprochable ; il n'a pas conclu comme Faust un contrat avec le Diable, il l'a conclu avec l'Ange : il veut faire de sa vie une oeuvre d'art et c'est dans ce travail que l'Ange l'aide ; car, n'oublie pas, la danse est un art ! C'est dans cette obsession de voir en sa propre vie la matière d'une oeuvre d'art que se trouve la vraie essence du danseur ; il ne prêche pas la morale, il la danse ! Il veut émouvoir et éblouir le monde par la beauté de sa vie ! il est amoureux de sa vie comme un sculpteur peut être amoureux de la statue qu'il est en train de modeler." (chapitre 6)
Milan Kundera (Slowness)
Cititul îl văd ca pe un dialog sufletesc extrem de personal, un proces de comunicare prin care mintea noastră (de adult sau copil) are posibilitatea de a întâlni și apoi a rumega idei, strategii și soluții la care noi singuri nu ne-am fi gândit. Chiar dacă în majoritatea timpului nu suntem conștienți de prezența acestor informații, puterea momentului prezent poate accesa din memoria noastră de lungă durată o informație citită, în baza căreia poate opera astfel încât să găsim variate răspunsuri comportamentale. Astfel, dacă vrem să ne îmbogățim repertoriul comportamental și suntem conștienți de necesitatea unor modele care să ne întregească existența, parcurgerea căților de dezvoltare personală, dar și a celor de beletristică sau știință, înseamnă mai mult decât o alegere înțeleaptă pentru o minte lucidă și o viață trăită din toată inima.
Gáspár György (Copilul invizibil)
I survived. Raped children are supposed to die. What would the culture of the individual white cisgender male straight genius do without us? We are the predicate of their sentences, material for their dispassionate dissections. We are supposed to die prettily and vacantly so our rage doesn’t tear down all their certificates and awards and case files, trash their analysis and ram their face in the privilege that allows them to side with our abusers in silencing and killing us. “He has sometimes likened his style of writing to that of a medic performing a post-mortem on a raped child-whose job is to analyze the injuries, not to give vent to the rage that is felt.” - Susie Mackenzie on J.G. Ballard, Guardian, Sept. 6th, 2003 If Ballard’s is the model for the experimental, political novel, how is the (un)dead raped child supposed to write, even if she survives?
So Mayer (Not That Bad: Dispatches from Rape Culture)
They bear down upon Westminster, the ghost-consecrated Abbey, and the history-crammed Hall, through the arches of the bridge with a rush as the tide swelters round them; the city is buried in a dusky gloom save where the lights begin to gleam and trail with lurid reflections past black velvety- looking hulls - a dusky city of golden gleams. St. Paul's looms up like an immense bowl reversed, squat, un-English, and undignified in spite of its great size; they dart within the sombre shadows of the Bridge of Sighs, and pass the Tower of London, with the rising moon making the sky behind it luminous, and the crowd of shipping in front appear like a dense forest of withered pines, and then mooring their boat at the steps beyond, with a shuddering farewell look at the eel-like shadows and the glittering lights of that writhing river, with its burthen seen and invisible, they plunge into the purlieus of Wapping. ("The Phantom Model")
Hume Nisbet (Gaslit Nightmares: Stories by Robert W. Chambers, Charles Dickens, Richard Marsh, and Others)
De-a lungul existenței am ajuns la mai multe opinii datorită profesiei mele, dar de fiecare dată mă simțeam ca un copil în fața unui ”lego”. Știți că aceste jocuri de construcții sunt însoțite de un carnețel de modele și simțeam mereu o satisfacție copilărească să copiez cât mai fidel posibil figurile, în același timp propuse, dar și hotărâte dinainte. Cu toate acestea, carnețelul de tipare, ca și viața, continua totodată să-mi sugereze și alte posibilități care ținteau mai departe. Este ceea ce n-am încetat niciodată să caut în jurul meu, în munca mea de zi cu zi și nici mai târziu la bătrânețe, atunci când n-am mai avut acces la construcțiile obișnuite. [...] Din păcate, problema insurmontabilă era că nu puteam renunța la piesele jocului, căci constituiau singura materie primă de care dispune omul dornic să construiască. Ele sunt însă astfel concepute - având în vedere însăși structura lor - încât să nu le poți folosi decât pentru modelele din carnețel, chiar și atunci când nu le mai ai în față.
Johan Daisne (De trein der traagheid)
You’re the expert at this!” “Expert? How am I an expert? If I was really any good, I’d still be in the game.” “There’s no way you could have known I’d be at Belleview,” I point out. “That was just your bad luck.” “We have a lot of coincidences. Belleview. You being at Model UN that day.” I look down at my hands. “That…wasn’t a total coincidence. It actually wasn’t a coincidence at all. I went there looking for you. I wanted to see how you turned out. I knew you’d be in Model UN. I remembered how much you liked it in middle school.” “The only reason I joined was so I could work on my public speaking. For my stutter.” He stops. “Wait. Did you say you went there for me? To see how I turned out?” “Yeah. I…I always wondered.” John’s not saying anything; he’s just staring at me. He sets down his glass abruptly. Then he picks it back up and puts a coaster under it. “You haven’t said what happened with you and Kavinsky that night after I left.” “Oh. We broke up.” “You broke up,” he repeats, his face blank.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
Tot ce-i tânăr îmbătrânește odată, tot ce-i frumos se veștejește, tot ce-i cald se răcește, tot ce-i strălucitor se stinge și orice adevăr devine banal și plat. Căci toate aceste lucruri au căpătat odată formă și toate formele sunt supuse influenței timpului; ele îmbătrânesc, se îmbolnăvesc, decad - dacă nu se transformă. Ele se pot tranforma, căci scânteia nevăzută care le zămislise odinioară este capabilă să creeze la infinit, datorită forței ei eterne. Nimeni nu trebuie să tăgăduiască pericolul coborârii, dar ea poate fi făcută cu îndrăzneală. Noi nu trebuie să avem această cutezanță, dar este cert că cineva tot va îndrăzni. Cel care trebuie să coboare e bine s-o facă cu ochii deschiși. Atunci este o jertfă care frânge însăși judecata zeilor. Orice coborâre este urmată de o ascensiune. Formele pe care de dispariție sunt modelate din nou, iar un adevăr este valabil pe termen lung numai atunci când se transformă și când depune din nou mărturie în imagini noi, în limbi noi, ca un vin nou care este pus în burdufuri noi.
C.G. Jung (Symbols of Transformation - An Analysis of the Prelude to A case of schizophrenia Volumes I and II (2 Volume Set))
Community Oriented Policing (under the Department of Justice) will encourage, if not require, people to watch their neighbors and report suspicious activity. More activity will be identified as ‘crime’--such as obesity, smoking, drinking when you have a drinking problem, name calling, leaving lights on, neglect (in someone’s perception) of children, elderly, and pets, driving when you could ride a bike, breaking a curfew, and failure to do mandatory volunteering. The ‘community’ will demand more law enforcement to restore order, and more rules and regulations will ensue. The lines between government and non-governmental groups will blur more and more as unelected local groups make policy decisions using the Delphi Technique to manufacture consensus. The Chinese and Russian models are instructive in what you can expect under Communitarianism. Read Nien Cheng’s Life and Death in Shanghai, and Alexsander Solzhenitsen’s The Gulag Archipelago for real world examples. The War on Terror is a Communitarian plan designed to terrorize YOU.
Rosa Koire (Behind the Green Mask: UN Agenda 21)
Do you know if John McClaren still does Model UN?” He gives me a funny look. “How should I know?” “I don’t know. I was just wondering.” “Why?” “I think maybe I’m going to go to the Model UN scrimmage this weekend. I have a feeling that he’ll be there.” “For real?” Peter hoots. “If he is, what are you going to do?” “I haven’t figured that part out yet. Maybe I’ll go up to him, maybe I won’t. I just want to see how he turned out.” “We can look him up online right now and I’ll show you.” I shake my head. “No, that would be cheating. I want to see him with my own eyes. I want to be surprised.” “Well, don’t bother asking me to go and keep you company. I’m not going to waste a whole Saturday on Model UN.” “I wasn’t planning on asking you to go.” Peter throws me a hurt look. “What? Why not?” “It’s just something I want to do by myself.” Peter lets out a low whistle. “Wow. The body ain’t even cold yet.” “Huh?” “You’re a little player, Covey. We aren’t even broken up yet and you’re already trying to talk to other guys. I would be hurt if I wasn’t impressed.” This makes me smile.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
The rules are: your house is a safe zone. School is a safe zone, but not the parking lot. Once you step out the door, it’s all fair game. You’re out if you get hit with a two-hand touch. And if you renege on your wish, your life is forfeit. Genevieve comes up with that last part and it gives me shivers. Trevor Pike shudders and says, “Girls are scary.” “No, girls in their family are scary,” Peter says, gesturing at Chris and Genevieve. They both smile, and in those smiles I see the family resemblance. Casting a sidelong glance at me, Peter says hopefully, “You’re not scary, though. You’re sweet, right?” Suddenly I remember something Stormy said to me. Don’t ever let him get too sure of you. Peter is very sure of me. As sure as a person could be. “I can be scary too,” I quietly say back, and he blanches. Then, to everyone else, I say, “Let’s just have fun with it.” “Oh, it’ll be fun,” John assures me. He puts his Orioles cap on his head and pulls the brim down. “Game on.” He catches my eye. “If you thought I was good at Model UN, wait till you see my Zero Dark Thirty skills.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
Multe persoane din societatea noastră sunt condamnate la dependență, deoarece nu există niciun recipient colectiv pentru nevoile lor spirituale naturale. Predilecția lor naturală pentru experiența transcendenței, pentru ritual, pentru conectarea la o anumită energie mai mare decât a lor este distorsionată într-un comportament dependent. Ritualurile de orice nivel sunt o parte foarte importantă a vieții de zi cu zi. Ne iubim micile noastre rutine care ne ajută să trecem peste zi. Ne imaginăm că suntem conștienți atunci când ne trezim. Trecem prin ritualurile noastre de abluțiune, facem mișcare, bem cafeaua, sucul de portocale și mâncăm pâinea prăjită. Trecem din dormitor în baie și apoi în bucătărie. Apoi, într-o dimineață, avem un oaspete în casă. Nu putem intra în baie. Mergem la bucătărie și scăpăm pe jos cana noastră preferată de cafea. Suntem morocănoși. Urâm să facem conversație la micul dejun. Pierdem autobuzul. Întreaga zi este ratată. Pe astfel de detalii ne construim ritualurile profane, ritualuri față de care suntem practic indiferenți până când nu mai merg cum trebuie. Atunci ne dăm seama cât de inconștienți putem rămâne atâta vreme cât avem aceste modele repetitive care nu permit lumii noastre să se dezintegreze.
Marion Woodman (Addiction to Perfection: The Still Unravished Bride: A Psychological Study (Studies in Jungian Psychology by Jungian Analysts, 12))
Lynum had plenty of information to share. The FBI's files on Mario Savio, the brilliant philosophy student who was the spokesman for the Free Speech Movement, were especially detailed. Savio had a debilitating stutter when speaking to people in small groups, but when standing before a crowd and condemning his administration's latest injustice he spoke with divine fire. His words had inspired students to stage what was the largest campus protest in American history. Newspapers and magazines depicted him as the archetypal "angry young man," and it was true that he embodied a student movement fueled by anger at injustice, impatience for change, and a burning desire for personal freedom. Hoover ordered his agents to gather intelligence they could use to ruin his reputation or otherwise "neutralize" him, impatiently ordering them to expedite their efforts. Hoover's agents had also compiled a bulging dossier on the man Savio saw as his enemy: Clark Kerr. As campus dissent mounted, Hoover came to blame the university president more than anyone else for not putting an end to it. Kerr had led UC to new academic heights, and he had played a key role in establishing the system that guaranteed all Californians access to higher education, a model adopted nationally and internationally. But in Hoover's eyes, Kerr confused academic freedom with academic license, coddled Communist faculty members, and failed to crack down on "young punks" like Savio. Hoover directed his agents to undermine the esteemed educator in myriad ways. He wanted Kerr removed from his post as university president. As he bluntly put it in a memo to his top aides, Kerr was "no good." Reagan listened intently to Lynum's presentation, but he wanted more--much more. He asked for additional information on Kerr, for reports on liberal members of the Board of Regents who might oppose his policies, and for intelligence reports about any upcoming student protests. Just the week before, he had proposed charging tuition for the first time in the university's history, setting off a new wave of protests up and down the state. He told Lynum he feared subversives and liberals would attempt to misrepresent his efforts to establish fiscal responsibility, and that he hoped the FBI would share information about any upcoming demonstrations against him, whether on campus or at his press conferences. It was Reagan's fear, according to Lynum's subsequent report, "that some of his press conferences could be stacked with 'left wingers' who might make an attempt to embarrass him and the state government." Lynum said he understood his concerns, but following Hoover's instructions he made no promises. Then he and Harter wished the ailing governor a speedy recovery, departed the mansion, slipped into their dark four-door Ford, and drove back to the San Francisco field office, where Lynum sent an urgent report to the director. The bedside meeting was extraordinary, but so was the relationship between Reagan and Hoover. It had begun decades earlier, when the actor became an informer in the FBI's investigation of Hollywood Communists. When Reagan was elected president of the Screen Actors Guild, he secretly continued to help the FBI purge fellow actors from the union's rolls. Reagan's informing proved helpful to the House Un-American Activities Committee as well, since the bureau covertly passed along information that could help HUAC hold the hearings that wracked Hollywood and led to the blacklisting and ruin of many people in the film industry. Reagan took great satisfaction from his work with the FBI, which gave him a sense of security and mission during a period when his marriage to Jane Wyman was failing, his acting career faltering, and his faith in the Democratic Party of his father crumbling. In the following years, Reagan and FBI officials courted each other through a series of confidential contacts. (7-8)
Seth Rosenfeld (Subversives: The FBI's War on Student Radicals, and Reagan's Rise to Power)
I think you’d be a really good Thomasina.” I smile. “Thanks but no thanks.” “Why not? It could be something good to put on your college apps.” “It’s not like I’m going to be a theater major or anything.” “It wouldn’t kill you to get out of your comfort zone a little bit,” he says, stretching his arms out behind his head. “Take a risk. Look at Margot. She’s all the way over in Scotland.” “I’m not Margot.” “I’m not saying you should move to the other side of the world. I know you’d never do that. Hey, what about Honor Council? You love judging people!” I make a face at him. “Or Model UN. I bet you’d like that. I’m just saying…your world could be bigger than just playing checkers with Kitty and riding around in Kavinsky’s car.” I stop highlighting midsentence. Is he right? Is my world really that small? It’s not like his world is so big! “Josh,” I begin. Then I pause, because I don’t know how I’m going to finish the sentence. So instead I throw my highlighter at him. It ricochets off his forehead. “Hey! You could have hit me in the eye!” “And you would have deserved it.” “Okay, okay. You know I didn’t mean it like that. I just mean that you should give people a chance to know you.” Josh points the remote control at me and says, “If people knew you, they would love you.” He sounds so matter-of-fact.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
The light turns green, and I throw my arms in the air. “Go fast, Johnny!” I shout, and he guns it and I let out a shriek. We zoom around for a bit, and at the next stoplight he slows and puts his arm around me, pulling me closer to his side. “Isn’t this how they did it in the fifties?” he asks, one hand on the steering wheel and the other around my shoulders. My heart rate picks back up again. “Well, technically we’re dressed for the forties--” and then he kisses me. His lips are warm and firm against mine, and my eyes flutter shut. When he pulls away just a fraction, he looks down at me and says, half serious, half not, “Better than the first time?” I’m dazed. He’s got some of my lipstick on his face now. I reach up and wipe his mouth. The light turns green; we don’t move; he’s still looking at me. Someone honks a horn behind us. “The light’s green.” He doesn’t make a move; he’s still looking at me. “Answer first.” “Better.” John pushes his foot on the gas, and we’re moving again. I’m still breathless. Into the wind I shout, “One day I want to see you make a Model UN speech!” John laughs. “What? Why?” “I think it would be something to see. I bet you’d be…grand. You know, out of all of us, I think you’ve changed the most.” “How?” “You used to be sort of quiet. In your own head. Now you’re so confident.” “I still get nervous, Lara Jean.” John has a cowlick, a little piece of hair that won’t stay down; it is stubborn. It’s this piece more than anything else that makes my heart squeeze.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
John’s hand is pressed against my back, leading me, and I think he’s forgotten all about the game. I’ve got him in my crosshairs now. “You’re not so bad,” I tell him. Song’s halfway over. I’d better hop to the beat. I’ve got you in five, four, three, two-- “So…you and Kavinsky, huh?” He’s distracted me completely, and I’ve forgotten all about the game for a moment. “Yeah…” Clearing his throat, he says, “I was pretty surprised that you guys were together.” “Why? Because I’m not his type?” I say it casually, like it’s nothing, a fact, but it stings like a little pebble thrown directly at my heart. “No, you are.” “Then why?” I’m pretty sure John’s going to say “because I didn’t think he was your type,” just like Josh did. He doesn’t answer right away. “That day you came to Model UN, I tried to follow you out to the parking lot, but you were already gone. Then I got your letter, and I wrote you back, and you wrote me back, and then you invited me to the tree-house thing. I guess I didn’t know what to think. You know what I mean?” He looks at me expectantly, and I feel like it’s important that I say yes. All the blood rushes to my face, and I hear a pounding in my ears, which I belatedly realize is the sound of my heart beating really fast. My body is still dancing, though. He keeps talking. “Maybe it was dumb to think that, because all that stuff was such a long time ago.” All what stuff? I want to know, but it wouldn’t be right to ask. “Do you know what I remember?” I ask suddenly. “What?” “The time Trevor’s shorts split open when you guys were playing basketball. And everybody was laughing so hard that Trevor started getting mad. But not you. You got on your bike and you rode all the way home and brought Trevor a pair of shorts. I was really impressed by that.” He has a faint half smile on his face. “Thanks.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
-jeez, these guys, with their on-again, off-again rela­tionships, lutgen said; -Yeah, Dave said: now you see them, now you see them once more; -They're virtual insects!, Jurgen said; -Virtually innumerable, said Dave; -I wonder, though, if we haven't got it wrong, Jurgen said: I mean, I wonder if maybe these guys' natural condition isn't to be lit up-if their ground state isn't actually when they're glowing; -Hm, said Dave: so what they're actually doing is turning off their lights­ -Right: momentarily going under; -Flashing darkness­ -Projecting their inner voids­ -Their repeating, periodic depressions ... -So then, I suppose, we should really call them douse bugs---;. -Exactly... -Or nature's faders---;. -Flying extinguishers­ -Buzzing snuffers-! -Or maybe­ -Or maybe, despite what it looks like, maybe they really are glowing constantly, Jurgen said: but, through some malign unknown mechanism, their everlasting light is peri­odically swallowed up by un-understood atmospheric forces; -So then they're being occluded­ -Rudely occluded­ -Denied their God-given right to shine ... -So that, I suppose, would make them-o horror-victims­ -Yeah: victims of predatory darkness­ -Of uncontrollable flares of night; -So it isn't bioluminescence, but eco-eclipsis­ -Exactly: ambient effacement­ -Nature's station-identification­ -Ongoing lessons in humility ... -In fact, that might explain the nits' efficiency factor, Jurgen Said: you know, these guys burn so cleanly that they produce what's known in the trade as cold light they put together this real slow oxidation reaction within these little cell-structures called photocytes, using a really weird enzyme and substrate that're, like, named for the devil; and the result is virtually 100% efficient: almost no heat is lost at all... -So, in fact, these folks should be our heroes­ -Exactly: our role models­ -Our ego ideals---;. -Hosts of syndicated talk shows­ -Spokes-things for massive advertising campaigns---;. -In fact, children should be forced to leave their families and go be raised by them­-MacArthur winners, all...
Evan Dara (The Lost Scrapbook)
Mr. Morales sidles up to the bar and says, “May I have this dance, Lara Jean?” “You may,” I say. To John I warn, “Don’t you dare come close to me.” He throws his hands out like he’s warding me off. “Don’t you come close to me!” As Mr. Morales leads me in a slow dance, I press my face against his shoulder to hide my smile. I’m really quite good at this espionage thing. John McClaren is sitting on a love seat now, watching Stormy play and chatting with Alicia. I’ve got him right where I want him. I can’t even believe how lucky I am. I’d been planning on showing up at his next Model UN meeting, but this is so much better. I’m thinking I’ll come up from behind him, take him by surprise, when Stormy stands up and declares she needs a piano break, she wants to dance with her grandson. I go turn on the stereo and cue up the CD we decided on for her break. John is protesting: “Stormy, I told you I don’t dance.” He used to try and fake sick during the square-dancing unit in gym--that’s how much he hates dancing. Stormy doesn’t listen, of course. She pulls him off the love seat and starts trying to teach him how to fox-trot. “Put your hand on my waist,” she orders. “I didn’t wear heels to sit behind a piano all night.” Stormy’s trying to teach him the steps, and he keeps stepping on her feet. “Ouch!” she snaps. I can’t stop giggling. Mr. Morales is too. He dances us over closer. “May I cut in?” he asks. “Please!” John practically pushes Stormy into Mr. Morales’s arms. “Johnny, be a gentleman and ask Lara Jean to dance,” Stormy says as Mr. Morales twirls her. John gives me a searching look, and I have a feeling he’s still suspicious of me and whether or not I have his name. “Ask her to dance,” Mr. Morales urges, grinning at me. “She wants to dance, don’t you, Lara Jean?” I shrug a sad kind of shrug. Wistful. The very picture of a girl who is waiting to be asked to dance. “I want to see the young people dance!” Normal yells. John McClaren looks at me, one eyebrow raised. “If we’re just swaying back and forth, I probably won’t step on your feet.” I feign hesitation and then nod. My pulse is racing. Target acquired.
Jenny Han (P.S. I Still Love You (To All the Boys I've Loved Before, #2))
Maybe nostalgia is itself the problem. A Democrat I met in Macon during a conversation we had about the local enthusiasm for Trump told me that “people want to go back to Mayberry”, the setting of the beloved old Andy Griffith Show. (As it happens, the actual model for Mayberry, Mount Airy, a bedraggled town in North Carolina, has gone all in on the Trump revolution, as the Washington Post recently reported.) Maybe it’s also true, as my liberal friends believe, that what people in this part of the country secretly long to go back to are the days when the Klan was riding high or when Quantrill was terrorizing the people of neighboring Kansas, or when Dred Scott was losing his famous court case. For sure, there is a streak of that ugly sentiment in the Trump phenomenon. But I want to suggest something different: that the nostalgic urge does not necessarily have to be a reactionary one. There is nothing un-progressive about wanting your town to thrive, about recognizing that it isn’t thriving today, about figuring out that the mid-century, liberal way worked better. For me, at least, that is how nostalgia unfolds. When I drive around this part of the country, I always do so with a WPA guidebook in hand, the better to help me locate the architectural achievements of the Roosevelt years. I used to patronize a list of restaurants supposedly favored by Harry Truman (they are slowly disappearing). And these days, as I pass Trump sign after Trump sign, I wonder what has made so many of Truman’s people cast their lot with this blustering would-be caudillo. Maybe what I’m pining for is a liberal Magic Kingdom, a non-racist midwest where things function again. For a countryside dotted with small towns where the business district has reasonable job-creating businesses in it, taverns too. For a state where the giant chain stores haven’t succeeded in putting everyone out of business. For an economy where workers can form unions and buy new cars every couple of years, where farmers enjoy the protection of the laws, and where corporate management has not been permitted to use every trick available to them to drive down wages and play desperate cities off one against the other. Maybe it’s just an impossible utopia, a shimmering Mayberry dream. But somehow I don’t think so.
Thomas Frank (Rendezvous with Oblivion: Reports from a Sinking Society)
Between 2003 and 2008, Iceland’s three main banks, Glitnir, Kaupthing and Landsbanki, borrowed over $140 billion, a figure equal to ten times the country’s GDP, dwarfing its central bank’s $2.5 billion reserves. A handful of entrepreneurs, egged on by their then government, embarked on an unprecedented international spending binge, buying everything from Danish department stores to West Ham Football Club, while a sizeable proportion of the rest of the adult population enthusiastically embraced the kind of cockamamie financial strategies usually only mooted in Nigerian spam emails – taking out loans in Japanese Yen, for example, or mortgaging their houses in Swiss francs. One minute the Icelanders were up to their waists in fish guts, the next they they were weighing up the options lists on their new Porsche Cayennes. The tales of un-Nordic excess are legion: Elton John was flown in to sing one song at a birthday party; private jets were booked like they were taxis; people thought nothing of spending £5,000 on bottles of single malt whisky, or £100,000 on hunting weekends in the English countryside. The chief executive of the London arm of Kaupthing hired the Natural History Museum for a party, with Tom Jones providing the entertainment, and, by all accounts, Reykjavik’s actual snow was augmented by a blizzard of the Colombian variety. The collapse of Lehman Brothers in late 2008 exposed Iceland’s debts which, at one point, were said to be around 850 per cent of GDP (compared with the US’s 350 per cent), and set off a chain reaction which resulted in the krona plummeting to almost half its value. By this stage Iceland’s banks were lending money to their own shareholders so that they could buy shares in . . . those very same Icelandic banks. I am no Paul Krugman, but even I can see that this was hardly a sustainable business model. The government didn’t have the money to cover its banks’ debts. It was forced to withdraw the krona from currency markets and accept loans totalling £4 billion from the IMF, and from other countries. Even the little Faroe Islands forked out £33 million, which must have been especially humiliating for the Icelanders. Interest rates peaked at 18 per cent. The stock market dropped 77 per cent; inflation hit 20 per cent; and the krona dropped 80 per cent. Depending who you listen to, the country’s total debt ended up somewhere between £13 billion and £63 billion, or, to put it another way, anything from £38,000 to £210,000 for each and every Icelander.
Michael Booth (The Almost Nearly Perfect People: Behind the Myth of the Scandinavian Utopia)
- Auzi domnule, cum domn'e?, as putea eu sa accept vreodata sau sa fiu obligat de acest Burtica sau chiar conditionat, auzi! conditionat! - La ce va referiti, Dom' Preda? - Cum ba, tu esti pe lumea cealalta de nu intelegi? Imi vorbea de parca eu as fi fost acolo sa stiu ce a vorbit el cu Burtica. Pana la urma s-a hotarat sa ma lamureasca si pe mine. - Uite ce mi-a zis, nea Tecu, cica, tov. Preda, dumneavoastra cunoasteti parerile noastre cu privire la puterea si capacitatea de gandire a tov Nicolae Ceausescu. Stiti cu totii ca dansul e un geniu, ca are gandire creatoare in politica tarii noastre, ca el e ctitorul neegalat de nimeni in privinta indicatiilor novatoare, de construire a socialismului, cum de altfel si a culturii, precum si a cunoasterii istoriei patriei noastre. De aceea m-am gandit ca impreuna sa ajungem la un acord si sa aratam ca in cartea pe care ati scris-o pana acum din romanul Delirul, dumneavoastra ati avut ca model persoana dansului. Descrierea actiunilor din timpul celui de-al doilea razboi mondial il infatiseaza ca un personaj principal, curajos, capabil, credincios comunismului si luptator pentru infrangerea fascismului si a Germaniei hitleriste. - Si dumneavoastra ce ati raspuns? - I-am zis ca nu pricep la ce se refera. Cum, tov Preda, n-ai inteles la cine ma refer eu? Te rog sa il prezinti ca personaj principal al romanului Delirul in volumul al doilea. Dupa cum mi-a povestit el in continuare, am inteles ca Preda ramasese inmarmurit pe scaun si nu-i venea sa creada ca tot ce auzise din gura lui Burtica era aievea. Si ca Burtica s-a ridicat in picioare si s-a proptit cu ambele maini in marginea biroului si i-a repetat: "Cred ca ne-am inteles sau, mai bine zis, ai inteles, domnu' Preda in privinta recomandarii mele prin aceea de a indeplini vointa sefului statului nostru de a il prezenta cu toate meritele in locul lui Niculae, personajul dumneavoastra din volumul I, inlocuindu-l discret cu Niculae Ceausescu, atribuindu-i lui toate meritele. Dupa ce s-a mai linistit a inceput sa-mi spuna mie cu vocea unui copil batut pe nedrept de parinti: - Vezi, ma, Dumitrescule, cum te obliga cizmarul asta nenorocit, care nu stie nici sa scrie, nici sa citeasca, si nici macar sa vorbeasca, te obliga sa il incluzi pe el in toate operele literaturii romane? El habar n-are de nimic, dar de, EL detine puterea si ce vrea el si cum vrea el noi trebuie sa executam. Inclusiv eu sa-l introduc in volumul doi al Delirului. Cum sa-l introduc in cartea mea cand nu stiu nimic despre el? Ba stiu ceva. Ca a facut politica asa de buna ca a dus tara de rapa. I-am zis lui Burtica sa ma scuze, dar nu pot scrie despre un om despre a carui viata si cultura nu stiu nimic. - Si tov. Burtica n-a zis nimic? - Cum sa nu zica? A zis. Si inca ce-a zis. Bine, tov. Preda, dar te avertizez, numai sa incepi sa scrii ceva din volumul al doilea al romanului Delirul si vorbim altfel. Trebuia sa il introduci si in volumul I, dar hai, treaca-mearga. Acum trebuie sa il bagi in vol. II. - Dom Burtica, dar v-am spus ca nu pot, nu pot. Ei, daca nu poti, cat voi trai eu si dumneata, acest volum II din Delirul sa stii de la mine ca nu va aparea.
Savu Dumitrescu (Marin Preda Între Viață și Moarte)
Abbiamo perso trent’anni. Con il Modell Deutschland, alti salari e forti diritti sindacali hanno costretto il capitalismo tedesco a investire nella ricerca, nell’innovazione, nella qualità, nell’ambiente. È l’unico modello serio che rappresenta un’alternativa alla «via cinese» verso la globalizzazione; un modello forte che dimostra come si possa competere puntando su più regole, e non in una corsa al ribasso per inseguire «Cindia» svuotando le nostre conquiste sociali e civili .
Anonymous
Per a la supervivència és molt important la comunicació. Podem pensar que el llenguatge pot ser inventat per ajudar a determinada gent a tenir el poder sobre altres éssers humans, i són precisament els éssers humans els que van inventar la forma de comunicar el record. En aquest àmbit, els generalitzadors van ser (i encara són) sostinguts per l'elit que els atorga un poder enorme. Contínuament s'inventen llenguatges compartits per "nosaltres" per excloure el terme "ells", i un mitjà efectius és fer molt grans les generalitzacions perquè tinguin fins i tot un poder diví; aleshores es converteixen en "llei de la naturalesa" o en "llei de Déu". Si agafem el tema de la dona, sempre es relaciona la diferència amb el sexe, i amb el llenguatge es consolida el poder dels homes sobre les dones. El llegat d'una generació acceptada té vigència com a veritat eterna i adquireix vida pròpia. El llegat de la generalització de gènere, estructurat i segellat en el llenguatge i en el costum, segueix assotant els éssers humans, encara avui, i distorsionant el pensament. Quan diem "ells són a classe", no sabem si és que tots són nois o també hi ha noies en el grup. Aquest tipus d'expressió, a la qual estem acostumats, construeix una idea de món on els homes són pensats com un model a seguir i les dones queden en un segon pla. Com veiem, en el llenguatge queda soldada la identitat de gènere, que polaritzar`els sexes i farà que es perdin les similituds humanes.
Ana Kipen (Maltractament, un permís mil·lenari. La violència contra la dona)
En aquesta societat, la dona ideal no és compatible amb el model d'ésser humà ideal. Si una dona està dotada d'acord amb el cànon cultural de gran feminitat, és incompetent, o si és competent no és femenina, i tot allò que faci haurà de ser el doble d'eficaç per ser reconeguda. Deixant de banda allò que la naturalesa estableix per al seu sexe, que és procrear, tota la resta serà posada en dubte,
Ana Kipen (Maltractament, un permís mil·lenari. La violència contra la dona)
Given this American interest, how might war between the United States and China develop? Assume the year is 2010. American troops are out of Korea, which has been reunified, and the United States has a greatly reduced military presence in Japan. Taiwan and mainland China have reached an accommodation in which Taiwan continues to have most of its de facto independence but explicitly acknowledges Beijing’s suzerainty and with China’s sponsorship has been admitted to the United Nations on the model of Ukraine and Belorussia in 1946. The development of the oil resources in the South China Sea has proceeded apace, largely under Chinese auspices but with some areas under Vietnamese control being developed by American companies. Its confidence boosted by its new power projection capabilities, China announces that it will establish its full control of the entire sea, over all of which it has always claimed sovereignty. The Vietnamese resist and fighting occurs between Chinese and Vietnamese warships. The Chinese, eager to revenge their 1979 humiliation, invade Vietnam. The Vietnamese appeal for American assistance. The Chinese warn the United States to stay out. Japan and the other nations in Asia dither. The United States says it cannot accept Chinese conquest of Vietnam, calls for economic sanctions against China, and dispatches one of its few remaining carrier task forces to the South China Sea. The Chinese denounce this as a violation of Chinese territorial waters and launch air strikes against the task force. Efforts by the U.N. secretary general and the Japanese prime minister to negotiate a cease-fire fail, and the fighting spreads elsewhere in East Asia. Japan prohibits the use of U.S. bases in Japan for action against China, the United States ignores that prohibition, and Japan announces its neutrality and quarantines the bases. Chinese submarines and land-based aircraft operating from both Taiwan and the mainland impose serious damage on U.S. ships and facilities in East Asia. Meanwhile Chinese ground forces enter Hanoi and occupy large portions of Vietnam.
Samuel P. Huntington (The Clash of Civilizations and the Remaking of World Order)
Bărbații buni sunt "slabi". Au sentimente, suferă, le pasă, se implică, se emoționează și , culmea, nici măcar nu se rușinează s-o arate. Ei nu au tupeu, nu știu să agațe, nu știu să se vândă, nu știu ce le place femeilor "adevărate" din ziua de azi... și parcă nici bani de buzunar nu par să aibă destui. Bărbații buni nu sunt corect semnalizați. Nu ți-i prezintă nimeni, pentru că nu sunt cool. Nu sunt populari, pentru că nu reprezintă un model macho. Sunt rezervați cu femeile, pentru că, în general, ele îi ignoră sau doar le tolerează prezența din motive bine întemeiate și, cel mai adesea, cât se poate de egoiste.
Anays M. (Confesiunile Unei Fete Rele, Vol 2)
Esbeltic Model es un Centro Médico Autorizado por la Consejería de Sanidad de la Comunidad de Madrid, Nº de registro: CS0742, siendo nuestros profesionales miembros de las sociedades médicas más prestigiosas.
Esbeltic
affiliation. I wouldn’t get into Stanford if I applied today. Not only because it would be creepy to have a forty-seven-year-old dude in your frosh dorm, but also because the vast array of people I’d be competing against would make my excellent work as vice president of my Model United Nations club seem less impressive. Elitism was so un-meritocratic in the 1960s that the University of Pennsylvania accepted Donald Trump.
Joel Stein (In Defense of Elitism: Why I'm Better Than You and You are Better Than Someone Who Didn't Buy This Book)
Îți vin în gând mari asemenea modele, vezi limpede că ești un om de nimic, că viața ți se irosește în bucurii și în tristeți mărunte, în discuții fără sens. „Rușine! Rușine!” strigi mușcându-ți buzele.
Nikos Kazantzakis (Zorba the Greek)
Antidemocratic and xenophobic movements have flourished in America since the Native American party of 1845 and the Know-Nothing Party of the 1850s. In the crisis-ridden 1930s, as in other democracies, derivative fascist movements were conspicuous in the United States: the Protestant evangelist Gerald B. Winrod’s openly pro-Hitler Defenders of the Christian Faith with their Black Legion; William Dudley Pelley’s Silver Shirts (the initials “SS” were intentional); the veteran-based Khaki Shirts (whose leader, one Art J. Smith, vanished after a heckler was killed at one of his rallies); and a host of others. Movements with an exotic foreign look won few followers, however. George Lincoln Rockwell, flamboyant head of the American Nazi Party from 1959 until his assassination by a disgruntled follower in 1967, seemed even more “un-American” after the great anti-Nazi war. Much more dangerous are movements that employ authentically American themes in ways that resemble fascism functionally. The Klan revived in the 1920s, took on virulent anti-Semitism, and spread to cities and the Middle West. In the 1930s, Father Charles E. Coughlin gathered a radio audience estimated at forty million around an anticommunist, anti–Wall Street, pro–soft money, and—after 1938—anti-Semitic message broadcast from his church in the outskirts of Detroit. For a moment in early 1936 it looked as if his Union Party and its presidential candidate, North Dakota congressman William Lemke, might overwhelm Roosevelt. Today a “politics of resentment” rooted in authentic American piety and nativism sometimes leads to violence against some of the very same “internal enemies” once targeted by the Nazis, such as homosexuals and defenders of abortion rights. Of course the United States would have to suffer catastrophic setbacks and polarization for these fringe groups to find powerful allies and enter the mainstream. I half expected to see emerge after 1968 a movement of national reunification, regeneration, and purification directed against hirsute antiwar protesters, black radicals, and “degenerate” artists. I thought that some of the Vietnam veterans might form analogs to the Freikorps of 1919 Germany or the Italian Arditi, and attack the youths whose demonstrations on the steps of the Pentagon had “stabbed them in the back.” Fortunately I was wrong (so far). Since September 11, 2001, however, civil liberties have been curtailed to popular acclaim in a patriotic war upon terrorists. The language and symbols of an authentic American fascism would, of course, have little to do with the original European models. They would have to be as familiar and reassuring to loyal Americans as the language and symbols of the original fascisms were familiar and reassuring to many Italians and Germans, as Orwell suggested. Hitler and Mussolini, after all, had not tried to seem exotic to their fellow citizens. No swastikas in an American fascism, but Stars and Stripes (or Stars and Bars) and Christian crosses. No fascist salute, but mass recitations of the pledge of allegiance. These symbols contain no whiff of fascism in themselves, of course, but an American fascism would transform them into obligatory litmus tests for detecting the internal enemy. Around such reassuring language and symbols and in the event of some redoubtable setback to national prestige, Americans might support an enterprise of forcible national regeneration, unification, and purification. Its targets would be the First Amendment, separation of Church and State (creches on the lawns, prayers in schools), efforts to place controls on gun ownership, desecrations of the flag, unassimilated minorities, artistic license, dissident and unusual behavior of all sorts that could be labeled antinational or decadent.
Robert O. Paxton (The Anatomy of Fascism)
Les dones, en tant que dones, hem estat objecte de discriminacions estructurals i històriques, però que no funcionem com un tot. Tenim dret a ocupar el poder en totes les formes de la manera que convenim, cadascuna d'acord amb les seves necessitats i els seus valors. I que, superada l'etapa de l'entrada massiva de les dones en els llocs de responsabilitat, cadascuna de nosaltres pugui trobar la seva manera de prendre les decisions, fugint del model únic o la confrontació de lideratge.
Jenn Díaz (Dona i poder)
the UN IPCC AR3 actually made the following admission:206   In climate research and modeling, we should recognize that we are dealing with a coupled non-linear chaotic system, and therefore that long-term prediction of future climate states is not possible.   So the IPCC agrees that climate is a “coupled, non-linear chaotic system” and “therefore that long term prediction of future climate states is not possible.” I regard this official statement by the IPCC as devastating but entirely appropriate. The climate system is chaotic and multivariate. So although climate is deterministic it is not determinable.
Alan Carlin (Environmentalism Gone Mad: How a Sierra Club Activist and Senior EPA Analyst Discovered a Radical Green Energy Fantasy)
No era difícil imaginar el diálogo, pero si hubiese estado solo con Hélène ella no me hubiera dicho eso, probablemente no me hubiera dicho nada, atenta y ajena; una vez más la incluía sin derecho, imaginariamente, como un consuelo por tanta distancia y tanto silencio. Ya nada teníamos que decirnos Hélène y yo, que nos habíamos dicho tan poco.
Julio Cortázar (62: A Model Kit)
La part dévolue à Génio Staglioffa dans la régence de hommes, ceux de son propre pays, faisait partie d'un plan supérieur et invisible. La réussite de ce plan se trouvait exiger le bonheur, le pouvoir et le succès de Génio Staglioffa. Mais cela ne parvenait pas à le calmer tout à fait. Briller, non seulement dans l'éloquence mais dans la politique a son degré concret, fécond, aménager au jour le jour la vitalité publique, modeler l'industrie lombarde, immeubles de trente étages pour la périphérie, réseaux de routes, ces inimitables journaux, ces orphelinats, ces laboratoires, les automobilistes invités à modérer leur klaxon bestial, le dégoût de l'immonde cigarette enfin communiqué aux citoyens, les mots étrangers éliminés de la langue nationale, fallait-il en tirer tant de gloire? Tant de fois, Tant de fois des hommes de valeur et de commandement avaient bâti et rebâti leur empire, leur peuple, leur cité! Ils étaient morts.
Jacques Audiberti (Le Maître De Milan)
Another aspect noticed in L1 acquisition is the low acquisition of multi- morphemic words (i. e., complex words composed of three or more morphemes) by preschool age English children. Preschool age English children acquire solely 0.5 multi-morphemic words per day and multi-morphemic words constitute 8% of the vocabulary first grade English children own (Anglin, 1993, 71-79). First to third grade English children acquire 2 multi-morphemic words per day. Multi-morphemic words constitute 12 % of the third grade English children’s vocabulary. Fourth to fifth grade English children acquire 7.1 multi-morphemic words per day and multi-morphemic words constitute 19% of the fifth grade English children’s vocabulary (1993, 71-79). The low acquisition rate of multi-morphemic words by preschool age English children can be explained in terms of lack of parsability of multi-morphemic words. In his ‘Complexity-Based Ordering’ Model, Hay (2000, 2002) upholds that Level 1 suffixes (usually being Non-neutral suffixes), which occur inside other suffixes, are not parsed out during the processing of a multi-suffixed word by native speakers. Level 2 suffixes (usually being Neutral suffixes), which occur outside another suffix, are parsed out during the processing of multi-suffixes words. Level 1 suffixes: -al, -an, -ant, -ance, -ary, -ate, -ic, -ify, -ion, -ity, -ive, -ory, -ous, -y, -ity, -ation. Level 1 prefixes: sub-, de-, in-. Level 2 suffixes: -able, -age, -en, -er, -ful, -hood, -ish, -ism, -ist, -ize, -ly, -ment, -ness. (Fab, 1988, 531). Level 2 prefixes: re-, un-, non-. Obviously, such lack of parsability obscures the semantic transparency of multi-morphemic words and impedes the analytical acquisition of multi-morphemic words by preschool age English children. A strenuous effort to acquire multi-morphemic words would result in acquisition of such words as a unit (as the Lexeme-Based Model suggests, see Aronoff, 1994), rather than analytically (as argued by Morpheme-Based Model). Such lack of parsability also obscures the semantic transparency of multi-morphemic words and impedes the analytical acquisition of multi-morphemic words by pre intermediate L2 learners. The degree of Morphological Translation Equivalence that L2 multi-morphemic words share with their counterparts in pupils’ L1 is also lower compared to bi-morphemic words. Consequently, multi-morphemic words will be acquired as a unit rather than analytically by pre intermediate L2 learners. Elementary books designed for pre intermediate L2 learners - in addition to the insertion of root words - should also comprise less multi-morphemic words; perhaps solely or less than 8% of their vocabulary.
Endri Shqerra (Acquisition of Word Formation Devices in First & Second Languages: Morphological Cross-linguistic Influence)
L'analyse typo-morphologique opérée par classification selon le dimensionnement et les caractères endogènes de ce patrimoine est comparable au travail d'un entomologiste ou d'un archéologue. Le corpus est ainsi appréhendé par le dessin et la classification afin de déceler les règles et de révéler les invariants qui en régissent la forme, tandis que l'analyse dimensionnelle et comparative cherche à en restituer la logique et l'efficience. Ce travail mené à toutes les échelles - tracés urbains, îlots, immeubles, jusqu'au langage ou vocabulaire de composition des bâtiments - révèle la logique fractal qui gouverne la fabrication de la forme urbaine haussmannienne.
Benoit Jallon (Paris Haussmann: A Model's Relevance)
Le modèle urbain parisien/haussmannien offrant un indice de marchabilité notablement élevé, les spécificités des tracés parisiens génèrent ainsi un urbanisme propice aux pratiques piétonnes, de courte distance. Pourtant, l'une des ambitions premières du modèle haussmannien était, par les percées, de créer un urbanisme de longue distance, C'est donc par le maintien d'une maille au découpage fin 'malgré' les percées, et par la hiérarchisation des voies de circulation, que le modèle haussmannien répond simultanément à un urbanisme de longues et de courtes distances.
Benoit Jallon (Paris Haussmann: A Model's Relevance)
À l'instar de Joël de Rosnay qui appelait en 1975 à la définition d'un nouvel outil pour observer et comprendre l'infiniment complexe, il nous semble opportun de développer un instrument de fabrique urbaine, à la fois conceptuel, méthodologique et opérationnel, pour mettre en musique ces différentes valeurs et répondre à cette exigence de 'faire ville'. À la question 'Citez un modèle de ville durable ou de bâtiment durable', que répondrions-nous? Très certainement, pour la ville, irions-nous chercher du côté du nord de l'Europe ou au Canada (avec Vancouver) et, pour le bâtiment, irions-nous puiser dans les projections idéalisées d'archétypes de bâtiments écologiques: une construction à 100% en bois, un bâtiment qui produit son énergie et recycle son eau, un immeuble sur lequel pousse une végétation luxuriante ou qui produit la nourriture nécessaire à ses occupants, etc Qui penserait à donner pour réponse 'le centre de Paris'? Qui penserait à l'immeuble haussmannien? Pourtant, il nous apparaît comme une évidence que le tissu parisien et l'immeuble constituent des sources d'inspiration pertinentes pour l'outil à concevoir.
Benoit Jallon (Paris Haussmann: A Model's Relevance)
That is of course a purely eighteenth-century, patriarchal, and un-Native American model of civilization. One might even call it European, if it were not that the monarchical European way, in Jefferson’s view, was ‘to keep [the people] down’ by hard labour, poverty, ignorance,
Anthony David Moody (Ezra Pound: Poet: Volume II: The Epic Years)
O, dacă ar fi să-l credem pe filozoful român, numai rața nu ratează, un om, adică, oricine ar fi el, are totdeauna ceva de ratat, totdeauna descoperă că a vrut ceva, chiar fără să știe precis ce anume, i-o spun alții la urmă când nu mai e nimic de făcut, chiar dacă el ar dori să nu știe. Au acest obicei scumpii noștri semeni, să înregistreze cum arătai tu odinioară, să ghicească, să intuiască acel lucru pe care ai dori să-l realizezi, să-l țină minte peste ani și într-o bună zi să-ți spună cu dispreț: ratatule! Ești un ratat! Chiar un ideal cu totul mărunt, foarte modest, aprinde pe chipul purtătorului lui o mică aură și când această aură piere, adică o anumită licărire a privirii, o anumită tinerețe a chipului, atunci se observă (fiindcă la cei ce reușesc le rămâne parcă veșnic pe chip tinerețea când au avut idealuri) și ratații sunt pierduți; chiar cei dragi nu se pot abține să nu spună soțului, fratelui sau prietenului: ești un om de nimic. Îi scapă într-o zi soției, care a acumulat multe nemulțumiri împotriva ta de-a lungul anilor, chiar dacă ai fost un soț model și ai muncit din greu să-i ții pe toți... Sau: n-a fost nimic de capul tău, alții au făcut și au dres. Aici, în mediile de jos, ratarea se confundă adesea cu nereușita, care poate foarte bine să țină în picioare un om fără noroc, care să nu se considere adică un ratat. Nu-i pasă. Nu e vina lui! Mai apropiată cauzei ratării e parabola cu talantul îngropat, când alte tentații decât acelea de a-ți fi urmat drumul pe care ți-era dat să-l urmezi te-au învins fără vina nimănui.
Marin Preda (Cel mai iubit dintre pământeni vol. 2)
Roma me mostró las sorprendentes hazañas que pueden llevar a cabo los hombres de fe. Orar ante las tumbas de los santos y mártires, y estar en un lugar donde tanta gente ha vivido y ha muerto antes de mí, me hizo reflexionar sobre los constantes avisos de Nuestra Señora respecto a la brevedad de la vida en la tierra. Cuando llegas a conocer el Cielo, miras el mundo de un modo diferente. Entiendes que la vida en la tierra es sólo temporal y que la muerte no es un final. «Liberáos de todo lo que os ata solamente a las cosas terrenas y permitid que lo que es de Dios modele vuestra vida a través de la oración y el sacrificio».
Mirjana Soldo (My Heart Will Triumph)
Utiliser son sac avec grace, c'est comme manger avec elegance, marcher avec prestance ou saisir un verre de champagne avec classe. La beaute se definit en general par la sobriete et l'economie des moyens, par l'adaptation des formes a leur fin, des formes simples, pures et primaires. Investir dans un sac de qualite, c'est non seulement se faire plaisir mais aussi se revolter contre la mediocrite et la consommation de masse grandissante qui peu a peu detruisent notre culture, notre civilisation et nos sens. Acheter de la qualite, c'est encourager une autre forme de commerce, respecter ce que nous possedons, vivre avec la lenteur d'un cuir qui se patine et pratiquer la simplicite: ne pas toujours chercher a acquerir plus tout en se contentant de ce que l'on a. Mon conseil est donc celui-ci: ne regardez pas les sacs exposes dans les magasins pour choisir un modele mais ceux portes par les femmes, dans la rue. C'est la meilleure facon de voir comment le cuir se drappe, la forme se bombe, la matiere se patine et s'ils ont, visuellement, une belle architecture une fois portes. L'argent devrait etre utilise pour vivre dans la qualite, y compris la qualite esthetique. Les belles choses apportent une joie durable. Le choix d'un sac pour longtemps ne serait-il pas le besoin d'une certaine forme de stabilite, d'harmonie et de confort dans ses besoins materiels? Affirmer son style, c'est exprimer par ses choix ses gouts et ses valeurs. Les exterioriser ensuite par le bon choix de vetements et de sacs est l'etape suivante. Etre chic, c'est savoir resister a la tentation. Faire des economies ce n'est pas acheter au meilleur prix l'objet convoite, c'est apprendre sereinement a s'en passer. Le voyage est sans doute la meilleure des situations pour apprecier les bienfaits du minimalisme et s'en inspirer pour l'appliquer au quotidien. Le voyage est l'occasion ideale de "refaire son bagage", c'est-a-dire de repenser la facon dont on vit sa vie et de l'ameliorer. On a tout son temps, en voyage, pour penser, reflechir a ce qui fait le "sel de la vie". C'est sur la route qu'on apprend a se passer du superflu: pas de television, de distractions, de consommation et de shopping. La vie est simplifiee au profit de la mobilite. On a egalement plus de temps pour soi-meme et/ou les rencontres. En voyage, on devient, comme le prescrit le zen, prepare a toutes les eventualites de la vie. le voyage est un retour vers l'essentiel. Proverbe tibetain Vivre avec peu est comme une invitation au voyage, a un vol interieur qui libere du reel et du poids de l'existence.
Dominique Loreau (Mon sac, reflet de mon âme. L'art de choisir, ranger et vider son sac (French Edition))
Model UN, filmmaking, lacrosse, choir, quilting, math club—it doesn’t actually matter what activities you choose to pursue. What colleges care about is the why and how of what you do.
Robin Mamlet (College Admission: From Application to Acceptance, Step by Step)
Toți oamenii seamănă întru Dumnezeu, însă între ei nu se aseamănă. Deloc. Pământul este foarte diferit, la fel ca și natura. Dumnezeu a creat oamenii adaptați locurilor în care trăiesc. La fel cum un fabricant de automobile adaptează același model deșertului de nisip ori ținuturilor de gheață, muntelui ori câmpiei. Aceeași mașină creată de unul și același inginer, montată în aceeași zi, după același model, dar care nu răzbate peste tot. Tot astfel și oamenii sunt diferiți. Ceea ce i se poate cere unuia nu i se poate cere altuia. Ceea ce îi face plăcere unuia îl întristează pe altul. Ceea ce este drept pentru unul poate fi o nedreptate fără margini pentru altul. Într-o zi oamenii vor fi egali între ei, însă nu vor fi niciodată la fel, iar cântarul măsurii dreptății, bogăției, durerii și bucuriei nu va fi niciodată peste tot același.
Constantin Virgil Gheorghiu (Casa de la Petrodava)
Voxalis à Thierry Moral, manifartiste éclectique J'aurais pu être le saltimbanque de l'âge de glace entrecoupant mes espiègleries avec l'ouragan Katrina plus au sud des marécages de La Nouvelle-Orléans, c'était peut-être pour moi plus approprié de jouer dans une pièce de théâtre muet avec des héros en pâte à modeler et papier mâché à Montmartre sur la scène d'un Cabaret du Néant. Le langage corporel trahit mon esprit hors-la-loi– je peux, mais je ne veux pas courir entre les cactus séniles, je peux, mais je ne veux pas entretenir la braise qui couve par amour du feu, je peux, mais je ne veux pas arborer l'étendard de l'étonnement par amour de la sensation. Je peux mais je ne sais pas ! Je peux mais je ne comprends pas ! Je peux mais je ne veux pas ! Le ridicule plane tel un aérostat au-dessus de l'œil d'Horus et moi je n'ai pas le temps de vivre les moulins à vent. [Voxalis lui Thierry Moral, manifartist eclectic Aș fi putut fi saltimbancul epocii de gheață întretăindu-mi giumbușlucăriile cu uraganul Katrina mai la sud de mlaștinile din New Orleans, poate era mai nimerit să joc într-o piesă de teatru mut cu eroi din plastilină și papier mâché în Montmartre, pe scena unui Cabaret du Néant. Limbajul corpului îmi trădează fărădelegea gândului - pot, dar nu vreau să alerg printre cactuși senili, pot, dar nu vreau să întrețin jarul mocnit de dragul focului, pot, dar nu vreau să arborez stindardul mirării de dragul senzației. Pot, dar nu știu! Pot, dar nu înțeleg! Pot, dar nu cred! Ridicolul planează ca un aerostat peste ochiul lui Horus și eu n-am timp să trăiesc morile de vânt.] (p. 32) Imperfectele emoții
Daniel Marcu
The lack of a functioning, trustful community also heightened the refugees’ fears of being abducted by the extremist organization Islamic State. Many initially refused to move to Azraq camp, and although the numbers have increased more recently, Azraq is still far below the 130,000 capacity for which it was built. It’s fitting then that this pop-up city, in real need of some functioning social capital, is now the scene of a radical experiment in new models of community governance, institution-building, and the management of resources. At the heart of that effort is blockchain technology, the decentralized ledger-keeping system that underpins the digital currency bitcoin and promises a more reliable, immediate way to trace transactions. The World Food Program (WFP), a UN agency that feeds 80 million people worldwide, is putting 10,000 Azraq refugees through a pilot that uses this system to better coordinate food distribution. In doing so, the WFP is tackling a giant administrative challenge: how to ensure, in an environment where theft is rampant and few people carry personal identifying documents, that everyone gets their fair share of food. Among those participating in this project was forty-three-year-old Najah Saleh Al-Mheimed, one of the more than 5 million Syrians forced to flee their homes as the brutal, ongoing civil war has all but destroyed their country. In early June 2015, with mounting food shortages and reports of girls being kidnapped by militias in nearby villages, Najah and her husband made the drastic decision to leave her hometown of Hasaka, where their families had lived for generations. “It was an ordeal that I pray to God no human will ever witness,” she said in an interview conducted on our behalf by WFP staffers working in the Azraq camp.
Michael J. Casey (The Truth Machine: The Blockchain and the Future of Everything)
1. La primera revolución es la industrialización, “afectando a la edificación con un mayor control de costes, con empleo de mayor valor añadido, certeza en los plazos, en la calidad, en el producto y en la reducción de residuos”. 2. La segunda es la digitalización, con herramientas como el BIM (Building Information Modeling), IA (Inteligencia Artificial), los análisis de datos, la realidad virtual o la impresión 3D entre otros, que afectan directamente a la competitividad del sector. 3. Y la tercera revolución es fruto de una demanda social y de moda como es la sostenibilidad, reflejada en el uso de materiales, diseños de proyectos más eficientes energéticamente o de bajo consumo, que son al mismo tiempo respetuosos con el medio ambiente.
Rita Marantos Peralta (Manual de Proptech: Startups, innovación y disrupción en la industria inmobiliaria. (Spanish Edition))
[...] poveștile de dragoste nu sunt cronologice, decât dacă vrei să le treci într-un carnețel, lăudându-te cu toate cuceririle făcute. Altminteri, ele au o curgere a lor aparte, de parcă s-ar țese pe fundalul altei lumi decât cea în care trăim. Pe spate, acolo unde nu ne e permis a vedea, povestea se așterne amestecată, haotică, parcă fără sens. Dar, când împunsătura iese pe fața lumii acesteia de-o trăim noi, ne apare ca un model frumos, unic și irepetabil, despre care habar n-avem că e legat cu fire invizibile de un altul, vechi de ani, ori de cel ce va să vină peste timp.
Lucian Dragoş Bogdan (Șase)
In 1984, I had another conversation that had underscored this point to me. Herb Okun, the deputy US ambassador to the UN, had come to his post after serving as US ambassador to communist East Germany. “What’s it like there, Herb?” I had asked him. “Oh, nothing much,” Herb answered. “They live in dilapidated housing, drive funny little Trabants, drink vodka all day while watching eight hours of West German television.” “What!” I asked in disbelief. “What did you just say?” “They watch eight hours of West German television every day and then drink themselves to sleep,” he repeated. “You mean to tell me that watching eight hours a day of West German television doesn’t have any effect on them?” I asked incredulously. “None that I can see,” Okun answered. “Herb,” I said, “that can’t be. It’s just a question of time until the cracks will appear.” The conversation made me recall an engineering course I took at MIT. We loaded a small model bridge with steadily increasing loads and photographed the process. The bridge held fine, until it suddenly collapsed. Yet upon closer examination of the film we could see tiny cracks propagating in the structure well before the fall.
Benjamin Netanyahu (Bibi: My Story)
Humans exert a growing, but physically small, warming influence on the climate. The deficiencies of climate data challenge our ability to untangle the response to human influences from poorly understood natural changes. •​The results from the multitude of climate models disagree with, or even contradict, each other and many kinds of observations. A vague “expert judgment” was sometimes applied to adjust model results and obfuscate shortcomings. •​Government and UN press releases and summaries do not accurately reflect the reports themselves. There was a consensus at the meeting on some important issues, but not at all the strong consensus the media promulgates. Distinguished climate experts (including report authors themselves) are embarrassed by some media portrayals of the science. This was somewhat shocking. •​In short, the science is insufficient to make useful projections about how the climate will change over the coming decades, much less what effect our actions will have on it.
Steven E. Koonin (Unsettled: What Climate Science Tells Us, What It Doesn’t, and Why It Matters)
God is the one who bends over us—we the afflicted ones, reduced to pieces of inert and bleeding flesh. But at the same time God is in some way also the afflicted One who appears to us as an inanimate body in some way—of Whom it seems all thought is absent—the afflicted One we know nothing about, without rank or name. The inanimate body is the created universe. The love we owe to God and would be our supreme perfection if we could reach it is the divine model of both gratitude and compassion.
Simone Weil (Awaiting God: A New Translation of Attente de Dieu and Lettre a Un Religieux)
Există în fiece lucru un aspect care este o părticică din universul nostru. Simetrie, eleganță, grație - însușiri pe care numai un artist adevărat știe să le redea. Le observăm în perindarea anotimpurilor, în alunecarea nisipului pe panta unei coline, în înfățișarea ramurilor unei tufe de creozot sau în forma frunzelor sale. În viețile noastre, în societatea noastră, noi încercăm mereu să copiem aceste modele, căutăm ritmurile, unduirile, formele care ne sunt prielnice. Și totuși, nu-i greu de întrezărit pericolul care există în dobândirea perfecțiunii totale. Căci, fără îndoială, modelul desăvârșit își are și el propria lui fixitate. La acest nivel al perfecțiunii, totul duce la moarte.
Frank Herbert (Dune (Dune, #1))
Cunosc un model adânc înrădăcinat, căruia oamenii îi neagă existența, prin cuvintele lor, în timp ce-l confirmă prin faptele lor. Ei spun că doresc securitate și liniște, starea de lucruri pe care o numesc pace. Dar chiar în vreme ce susțin asta, seamănă germenii dezordinii și ai violenței. Iar dacă li se întâmplă să obțină mult trâmbițata lor siguranță tihnită, se zbat în ea ca peștele pe uscat, găsind-o cumplit de plictisitoare.
Frank Herbert (God Emperor of Dune (Dune, #4))
What Mr. Albee most desires is for the Model UN, the entire group of them, all eleven, even the scoundrel Quinn, to be there waiting, when he gets home each dreary night, and there again when he awakes in the morning, all of them politely debating one another with their resplendent voices, their hearts—which have not yet been broken by anything more serious than an unrequited crush or an unfair grade—quietly aglow with everything.
Joe Meno (Demons in the Spring)
One only had to go to Kabul airport to see a classic example of the aid community helping itself rather than Afghans. The scariest part of going to Afghanistan was flying in from Dubai on the state airline Ariana. Its planes were in such bad condition that they were banned from most places on earth. Even the model plane in the sales office was held together by sticking plaster and elastic bands. The UN has its own airline to fly staff in and out of danger spots, so it quickly began its own service from Dubai or Islamabad to Kabul. As I stood nervously fiddling with my Ariana boarding pass, I would enviously watch the foreign aid workers and diplomats boarding the shiny UN planes. What I didn’t realise was that the millions of dollars to subsidise this service was coming from the money pledged to help Afghanistan. Ghani was indignant. ‘The first thing the UN system provided through the $1.6 billion of donor money channelled to UN agencies in 2002 was an airline devoted to serving UN staff, and occasionally (after much lobbying) some Afghan government officials.
Christina Lamb (Farewell Kabul: From Afghanistan to a More Dangerous World)
Plus la banque de données de l'enfant est riche, plus il pourra faire de connexions ensuite, donc assimiler de nouveaux savoirs. À l'inverse, un enfant peu stimulé, pas très curieux de nature, va se constituer une très petite banque de données et aura du mal à faire des ponts entre un nouvel apprentissage et son matériau personnel de base. […] L'enfant petit doit vivre des expérimentations qui vont lui permettre, des années plus tard, de passer de la pensée concrète à la pensée abstraite. En voici un exemple frappant. Le petit enfant aime jouer avec de la pâte à modeler. Vers 4-6 ans, il découvre un concept essentiel sans le savoir : la conservation de la quantité. C'est un test qui est fait chez l'orthophoniste pour un enfant en difficulté mathématique. Il joue avec sa pâte à modeler. Elle est en boule ; puis on lui propose de l'étaler et d'en faire un long serpentin. Si on lui demande : "Est-ce que tu as autant de pâte à modeler que tout à l'heure ?", il peut répondre par l'affirmative. Mais certains enfants n'imaginent pas que la même quantité puisse changer de forme. Donc, il répondent : "Pas du tout, là, il y en a beaucoup plus. Tu ne vois pas comment c'est long ?" Tant que l'enfant n'a pas compris ce concept de conservation de la quantité (ou du nombre), il ne peut pas faire des conversions ; il ne peut pas concevoir que des centimètres deviennent des mètres, et qu'une même quantité puisse s'appeler de différentes façons. Arrivé à l'âge des opérations concrètes, comme dirait Jean Piaget, il bute sur des concepts qu'il ne comprend pas, parce que le "terrain" n'a pas été préparé en lui pour qu'il les intègre. (p. 74-75)
Isabelle Peloux (L'école du Colibri: La pédagogie de la coopération (Domaine du possible) (French Edition))
L'importante è che le persone leggano, in quale formato non ci interessa. Se vai sulla nostra pagina web vedrai che abbiamo cercato di rendere neutrale la scelta tra libro cartaceo e libro digitale, ci siamo evoluti in questo senso. Il libro può essere fruito in tutti i modi: in hard over, in brossura, come eBook, come libro di Audible (il servizio di audiolibri non ancora diffuso in Italia), in abbonamento con Kindle Unlimited. L'obbiettivo è che il contenuto venga consumato, in che modo è una scelta che lasciamo al cliente ... Il modo di produrre e distribuire libri è cambiato, e di conseguenza è cambiato anche il modo di fare marketing, ed è diventato tutto più veloce, più economico. C'è stata una smaterializzazione che ha richiesto di ripensare come prezzare e come commerciare gli eBook e ha permesso la creazione di nuovi business model ... Ci siamo accorti che nel momento in cui un cliente passa dal fisico al digitale legge molto di più e compra molto di più. Quindi per noi, per gli autori, per gli scrittori, questa è stata una vittoria. Se l'obbiettivo è che più si legge meglio è, ovviamente è una vittoria anche per i lettori, quindi non solo per chi guadagna dalle vendite ...
Alessio Santarelli
hasta mucho despues hubiera queido creer, hubiera defendido desesperadamente que todo eso habia tenido el aire de un juego de infancia con los ojos cerrados, un gallo ciego golpeandose en los muebles y rechazando la idea de que fueran muebles, prolongando la ilusion del juego, pero era falso porque las cosas ocurrian por debajo o por encima de los parpados sin ejar de ser las mismas cosas
Julio Cortázar (62: A Model Kit)
A fi fericit înseamnă a-ţi schimba dramatic viaţa – căci nu mai ai timp de pierdut. Este nevoie de o schimbare bruscă, abruptă, de o discontinuitate. Asta înţeleg eu prin sannyas: o discontinuitate faţă de trecut. Un fulger subit, în urma căruia mori şi renaşti de la zero. Îţi începi din nou viaţa, ca şi cum nu ar fi existat niciodată un model impus de societate, de părinţi, de stat. Începi să faci ceea ce ar fi trebuit să faci demult, dacă nu te-ar fi distras alţii, ceea ce ai fost predestinat să faci. Trebuie să renunţi la modelele care ţi-au fost impuse şi să-ţi descoperi propriul model de viaţă.
Osho - Omul care iubea pescarusii
Da, e foarte greu, pare-se, să înțelegi o faptă criminală, judecând-o numai din anumite puncte de vedere, pe baza unei concepții prestabilite, căci filosofia unei asemenea fapte e cu multa mai dificilă decât s-ar crede. E limpede însă că nici temnițele, nici ocnele, nici sistemul muncii silnice nu-l corijează pe criminal; aceste pedepse nu pot decât să-l facă să sufere, ferind societatea de relele pe care le-ar mai putea încă săvârși. Temnița și munca silnică cea mai grea nu fac decât să dezvolte în sufletele acestor oameni o ură profundă, setea de bucurii oprite și o groaznică nepăsare față de tot ce se petrece în jurul lor. Pe de altă parte, sunt convins că faimosul sistem celular nu atinge decât un scop aparent și iluzoriu. El stoarce din criminal toată puterea și energia, îi zdruncină și-i vlăguiește sufletul, sădind în el spaima, pentru ca apoi să înfățișeze societății o mumie morală, un semidement în chip de model de îndreptare și căință. Ucigașul răsculat împotriva societății o urăște, desigur; el se crede în dreptul lui s-o facă și să considere societatea singura vinovată.
Fyodor Dostoevsky
When I talked ONLY about what I got right I wasn’t doing myself or anyone else any favors. I want to be a role model not an unattainable ideal, I want my story to inspire people, not make them feel like they haven’t accomplished enough or can’t measure up. I think about the people who have sat in the audience of my speeches in the past, probably wondering why they were messing up when I seemingly never did, why was it so easy for me to find success when it was so hard for them. I can’t help to think, did I un-inspire anyone, did anyone decide they weren’t cut out for owning a business or being a leader because they were comparing themselves with the one sided version of my story? I really hope not. If I could go back to the times when I told those filtered stories of everything I did right, I’d talk about the things I speak about now. The things I wrote about in this book. I’d talk about how I told people what to do, instead of empowering them. I’d talk about how my poor decisions as a leader led to my shutting down a whole branch of my company. I’d confess I learned the value of autonomy by being too controlling. I’d talk about the people I didn’t ask to leave when I should have, and all the people I missed out on because I didn’t hire them when I had the chance. I’d talk about the times I hurt and let my people down. The times I didn’t listen to them or make them feel valued. The times I failed them and they left. I’d admit there’s no guide that explains exactly what it is like to lead, and no one gets it right the first time. You don’t mess up a couple times and skip your way to success. You mess up, get a little closer to achieving something and then make another mistake that puts you 10 steps back again. Sometimes you make the same mistake twice. Sometimes you feel like you want to give up. Sometimes you go to bed crying. These are the things I wish someone had told me when I was first starting out. Things I wish more leaders would get comfortable acknowledging. Because lets face it, leadership is really hard. And I learned that if its not hard, chances are you aren’t doing it right.
Kristin Hadeed
Lo tuyo es un atributo natural, casi animal, como el caminar de una pantera, la gracia de una gacela. ¡Eres perfecta!
Oscar Montenegro (Confesiones de diván (Spanish Edition))
Ms. Christiana Figueres, executive secretary of the U.N. Framework Convention on Climate Change until [2016], openly stated in 2015 that the goal was to overturn capitalism — in her words, ‘to change the economic development model that has been reigning for at least 150 years, since the industrial revolution.
Joe Bastardi (The Climate Chronicles: Inconvenient Revelations You Won't Hear From Al Gore--And Others)
Our producers were always coming up with excuses to put big-boobed, hot women into our family show, and the gym scene in that episode was packed with models, in spandex no less. As a joke (and probably to make sure we girls didn’t start to become self-conscious about our bodies) Lori corralled Candace, the Olsen du jour, and me to stuff our shirts with huge balls of tissues. We all came walking out on set, little girls and Lori, with giant boobs. Jeff Franklin fell out of his chair laughing.
Jodie Sweetin (unSweetined)