Subtitles Quotes

I’m asking the questions tonight.” One day I was going to write a book: How to Dictate to a Dictator and Evade an Evader, subtitled How to Handle Jericho Barrons.

I decided, as I succumbed to sleep, that men should come with manuals, subtitles, and reset buttons.

Do you like foreign films?” “With subtitles?” “Yes.” “I hate those types of films.” “Me too,” Cliff says. “Mostly because - “ “No happy endings.

America is the original version of modernity. We are the dubbed or subtitled version. America ducks the question of origins; it cultivates no origin or mythical authenticity; it has no past and no founding truth. Having known no primitive accumulation of time, it lives in a perpetual present.

Ah, dear, sweet Eden. To quote the great Rhett Butler, you need to be fucked and by someone who knows how.” “What version of Gone with the Wind did you grow up watching?” “There are a lot of liberties taken with Spanish subtitles.

Guys generally need us to come with subtitles, cue cards, and liability waivers.

It is so strange, to encounter an ex. It's as if you're in a foreign film, and what you're saying face-to-face has nothing to do with the subtitles flowing beneath you. We are so careful not to touch, although once upon a time, I slept plastered to him in our bed, like lichen on a rock. We are two strangers who knows every shameful secret, every hidden freckle, every fatal flaw in each other.

Thinking, not for the first time, that life should come with a trapdoor. Just a little exit hatch you could disappear through when you´d utterly and completely mortified yourself. Or when you had spontaneous zit eruptions. “Good book?” he asked, taking it from her and reading the subtitle, “A Guide for Good Girls Who (Sometimes) Want to Be Bad,” out loud. But life did not come with a trapdoor.

The Swedish he knew was mostly from Bergman films. He had learned it as a college student, matching the subtitles to the sounds. In Swedish, he could only converse on the darkest of subjects.

Then the movie started. It was in a foreign language and had subtitles, which was fun because I had never read a movie before.

Men should come with manuals, subtitles, and reset buttons.

I laughed and shook my head. ‘I don’t think so. My mum doesn’t really go out. And it’s not my cup of tea.’ ‘Like films with subtitles weren’t your cup of tea?’ I frowned at him. ‘I’m not your project, Will. This isn’t My Fair Lady.’ ‘Pygmalion.’ ‘What?’ ‘The play you’re referring to. It’s Pygmalion. My Fair Lady is just its bastard offspring.

Well, of course I’ve tried lavender. And pulling my memory out, ribbonlike and dripping. And shrieking into my pillow. And writing the poems. And making more friends. And baking warm brown cookies. And therapy. And intimacy. And pictures of rainbows. And all of the movies about lovers and the terrible things they do to each other. And watching the ones in other languages. And leaving the subtitles off. And listening to the language. And forgetting my name. And feeling the dirt on my skin. And screaming in the shower. And changing my shampoo. And living alone. And cutting my hair. And buying a turtle. And petting the cat. And traveling. And writing more poems. And touching a different body. And digging a grave. And digging a grave. Of course, I’ve tried it. Of course I have.

pools of blood are not recreational even lifeguards drown when the undertow breaks bread with the underbelly demons disguised as sharks have not put enough thought into their costumes a wiseman stays ashore when pointed fins read like italian subtitles the end is near (...) the beginning

By age twelve I had memorized all the Qur’an’s words, yet understood few of them—a bit like repeatedly watching a foreign film without any subtitles, knowing the scenes in detail without comprehending the dialogue.

Death of the heart,' the subtitle says, Whose death? And even more important maybe, whose heart?

...the villagers had decided that 'practical' meant 'extremely magical and full of interesting objects' and had officially subtitled themselves, Winesap: A Pracktical Towne.

Cat's friends seemed like very sweet girls," Dad says. "They were the bomb," I say fervently, and he looks back at me with raised eyebrows. "'The bomb' is a good thing? Like 'sick'? "Duh," I reply, and Dad lets out a sigh. "Thirteen-year-olds should come with subtitles," he says, turning onto our street.

It’s entitled ‘Revenge.’ Subtitled ‘How to pay Duke back for using not only his ability but his exceptionally good looks against two unsuspecting, perfectly innocent girls.

I know why everyone in a false world would think a boy who spent his whole life doing nothing is God. I just don’t know how to give it decent subtitles yet.

I am asking Scribners to insert as a subtitle in everything after the eighth printing THE SUN ALSO RISES (LIKE YOUR COCK IF YOU HAVE ONE) A greater Gatsby (Written with the friendship of F. Scott Fitzgerald (Prophet of THE JAZZ AGE)

Saya berasal dari sebuah negeri yang resminya sudah bebas buta huruf, namun yang dipastikan masyarakatnya sebagian besar belum membaca secara benar—yakni membaca untuk memberi makna dan meningkatkan nilai kehidupannya. Negara kami adalah masyarakat yang membaca hanya untuk mencari alamat, membaca untuk harga-harga, membaca untuk melihat lowongan pekerjaan, membaca untuk menengok hasil pertandingan sepak bola, membaca karena ingin tahu berapa persen discount obral di pusat perbelanjaan, dan akhirnya membaca subtitle opera sabun di televisi untuk mendapatkan sekadar hiburan.

The French, it seems to me, strike a happy balance between intimacy and reserve. Some of this must be helped by the language, which lends itself to graceful expression even when dealing with fairly basic subjects.... And there's that famously elegant subtitle from a classic Western. COWBOY: "Gimme a shot of red-eye." SUBTITLE: "Un Dubonnet, s'il vous plait." No wonder French was the language of diplomacy for all those years.

...subtitled it 'Everything you Always Wanted to Know About Driving Out to Remote Locations in the Upper Midwest to Find your Childhood Imaginary Friend but Were Afraid to Ask.

His accent needs subtitles.

Spoiler: I didn't win the Main Event. You had suspicions, you say? For one thing, the subtitle of this book would be "The Amazing Life-Affirming Story of an Unremarkable Jerk Who Won the World Series of Poker!" instead of having the word "Death" in it. For another, do these sound like the words of a motherfucker who won a million goddamn dollars?

We were thirsty for some form of beauty, even in an incomprehensible, overintellectual, abstract film with no subtitles and censored out of recognition. There was a sense of wonder at being in a public place for the first time in years without fear or anger, being in a place with a crowd of strangers that was not a demonstration, a protest rally, a breadline or a public execution...For a brief time we experienced collectively the kind of awful beauty that can only be grasped at through extreme anguish and expressed through art.

Life is a silent movie. Society gives you subtitles (thoughts and words) which ruin the whole movie.

snapshots to remember in our mental scrapbooks and throw away the bad? Perhaps all photo albums should bear the subtitle “The Past—The Way You Want to Remember It.

I know you’re over there laughing at me, but I can’t look at you, because I have to read the subtitles.” “You are so weird.” “You have no idea.

The American biblical scholar Bart Ehrman, in a book whose subtitle is The Story Behind Who Changed the New Testament and Why, unfolds the huge uncertainty befogging the New Testament texts.

When a Quebecker is interviewed for French TV, he or she is often subtitled in ‘normal’ French, as if the language they speak in francophone Canada is so barbarous that Parisians won’t be able to understand

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Thus Spoke Zarathustra (German: Also sprach Zarathustra, sometimes translated Thus Spake Zarathustra), subtitled A Book for All and None (Ein Buch für Alle und Keinen), is a written work by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the Overman, which were first introduced in The Gay Science. Described by Nietzsche himself as "the deepest ever written", the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized Zarathustra. A central irony of the text is that the style of the Bible is used by Nietzsche to present ideas of his which fundamentally oppose Judaeo-Christian morality and tradition.

It's an odd fact of life that you don't really remember the good times all that well. I have only mental snapshots of birthday parties, skiing, beach holidays, my wedding. The bad times too are just impressions. I can see myself standing at the end of some bed while someone I love is dying, or on the way home from a girlfriend's after I've been dumped, but again, they're just pictures. For full Technicolor, script plus subtitles plus commemorative programme in the memory, though, nothing beats embarrassment. You tend to remember the lines pretty well once you've woken screaming them at midnight a few times.

[Women] are not even foreigners but we are constantly subtitled, because we don't know what we have to say. Or at least not as well as the dominant male, who has for centuries been writing books on the question of femininity and its implications.

So how do you stand up to a dictator? By embracing values, defined early—they’re the subtitles of the chapters you’ve read: honesty, vulnerability, empathy, moving away from emotions, embracing your fear, believing in the good. You can’t do it alone. You have to create a team, strengthen your area of influence. Then connect the bright spots and weave a mesh together. Avoid thinking in terms of 'us against them.' Stand in someone else’s shoes. And do unto others as you would have them do unto you.

broadcast or subtitled broadcast was established. Information security promotions programs that were aired on TV can be viewed

...and his kindness had a kind of teeth to it, had subtitles... he said it with so much sympathy too. Too much, in fact, his expression greasy with it.

like foreign movies with subtitles.

For some reason I'm more appreciated in France than I am back home. The subtitles must be incredibly good.

I've done a Russian movie," Claire said. "Thank God they're still stuck in realism, Zola-crazy. Subtitling their films is like captioning a child's picture book.

Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.

When he’d finished, he produced an unbranded packet of cigarettes: stubby, filterless, lethal. A health warning would have been like subtitles on a porn film. Utterly beside the point.

Yet in recent years I have witnessed a new phenomenon among filmgoers, especially those considered intelligent and perceptive. I have a name for this phenomenon: the Instant White-out. People are closeted in cozy darkness; they turn off their mobile phones and willingly give themselves, for ninety minutes or two hours, to a new film that got a fourstar rating in the newspaper. They follow the pictures and the plot, understand what is spoken either in the original tongue or via dubbing or subtitles, enjoy lush locations and clever scenes, and even if they find the story superficial or preposterous, it is not enough to pry them from their seats and make them leave the theatre in the middle of the show. But something strange happens. After a short while, a week or two, sometimes even less, the film is whitened out, erased, as if it never happened. They can’t remember its name, or who the actors were, or the plot. The movie fades into the darkness of the movie house, and what remains is at most a ticket stub left accidentally in one’s pocket.

Where this living death doesn't exist, life takes its place. Just as the person who loses his shadow becomes the shadow of himself. ('The shadow of himself - that would be a fine title. With the subtitle: 'Memoirs of a double life'.)

When dealing with the excessively rich and privileged, you’ve got your two basic approaches. One is to go in hard and deliberately working class. A regional accent is always a plus in this. Seawoll has been known to deploy a Mancunian dialect so impenetrable that members of Oasis would have needed subtitles, and graduate entries with double firsts from Oxford practise a credible Estuary in the mirror and drop their glottals with gay abandon when necessary. That approach only works if the subject suffers from residual middle-class guilt – unfortunately the properly posh, the nouveau riche and senior legal professionals are rarely prey to such weaknesses. For them you have to go in obliquely and with maximum Downton Abbey. Fortunately for us we have just the man.

there arises the possibility of returning to what Nature has always intended for us. Hence the “healing” in our subtitle: once we resolve to see clearly how things are, the process of healing—a word that, at its root, means “returning to wholeness”—can begin.

Burroughs doesn't want to be broken into explanations and reassembled into well-being. He wants to stand behind his subtitle: Unredeemed. The syllogisms of cause and effect dangle the prospect of transformation, but he's not interested in that kind of redemption.

The word is dissociate. There is no 'a' before the 'ss'. People invariably say dis-a-ssociate, which, if you're suffering Disso-ciative Identity Disorder/Multiple Personality Disorder, can be irritating. People then want to know how many personalities I have and the answer is: I don't know. The first book about Multiple Personality Disorder to make an impact was Flora Rheta Schreiber's Sybil, published in 1973, which carries the subtitle: The True and Extraordinary Story of a Woman Possessed by Sixteen Separate Personalities. Corbett H. Thigpen and Hervey M. Cleckley published the controversial The Three Faces of Eve much earlier in 1957, and Pete Townshend from The Who wrote the song 'Four Faces'. People seem to feel safe with numbers. The truth is more complicated. The kids emerged over time. Billy, the boisterous five-year-old, was at first the most dominant. But he slowly stood aside for JJ, the self-confident ten-year-old who appears when Alice is under stress and handles complicated situations like travelling on the Underground and meeting new people. The first entity to visit was the external voice of the Professor. But he had a choir of accomplices without names. So, how many actual alter personalities are there? I would say more than fifteen and less than thirty, a combination of protectors, persecutors and friends - my own family tree.

Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.

I can’t,” Zoe said. “But I can read French, and they’re related, so I can kind of put things together. From what I can tell, two people drowned in a freak scuba accident.” I watched the TV for a few moments, reading the subtitles. “Actually, this says two people were eaten by a crocodile.

Of course, if we all spoke a common language things might work more smoothly, but there would be far less scope for amusement. In an article in Gentleman’s Quarterly in 1987, Kenneth Turan described some of the misunderstandings that have occurred during the dubbing or subtitling of American movies in Europe. In one movie where a policeman tells a motorist to pull over, the Italian translator has him asking for a sweater (i.e., a pullover). In another where a character asks if he can bring a date to the funeral, the Spanish subtitle has him asking if he can bring a fig to the funeral.

Humboldt's early biographer, F.A. Schwarzenberg, subtitled his life of Humboldt What May Be Accomplished in a Lifetime. He summarised the areas of his subject's extraordinary curiosity as follows: '1) The knowledge of the Earth and its inhabitants. 2) The discovery of the higher laws of nature, which govern the universe, men, animals, plants, minerals. 3) The discovery of new forms of life. 4) The discovery of territories hitherto but imperfectly known, and their various productions. 5) The acquaintance with new species of the human race--- their manners, their language and the historical traces of their culture.' What may be accomplished in a lifetime---and seldom or never is.

It is immensely gratifying to hear from fans from around the world where being a gay or lesbian teen, having feelings for someone of your own gender is simply not acceptable. We noticed that our show fills a huge void for large audiences in many different countries. That’s why our choice of format for the show, the web series, is such a fortunate one as it allows viewers in those countries to feel acknowledged. While the series is not exclusively dealing with gay and lesbian issues, the fact that we don’t sanitize it gives us truly global appeal, especially with the gay and lesbian community. In fact, demand is such that we are subtitling the show in French and perhaps other languages to even better reach those audiences.

Didn’t know you liked K-dramas.” “Yeah, I’ve been waiting for this stupid guy to kiss this chick for about ten episodes, and if something doesn’t happen soon, I’m writing an email to the producers.” “It’s subtitled, and it’s a romance? Wow.” He takes in my open mouth. “I won’t judge you for eating a pound of bread when we met, and you don’t judge me for my K-dramas.

Death in Scarsadale. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Marlon R. Gain; 78 mm.; 39 minutes; color; silent w/ closed-captioned subtitles. Mann/Allen parody, a world-famous dermatological endocrinologist (Watt) becomes platonically obsessed with a boy (Bain) he is treating for excessive perspiration, and begins himself to suffer from excessive perspiration. UNRELEASED

If, when he disappeared through his portal, he went to Faery, time moves differently there.” “That’s what V’lane said.” I emptied the cash drawer, counted the bills into stacks, then began punching in numbers on an adding machine. The store wasn’t computerized, which made bookkeeping a real pain in the neck. He gave me a look. “The two of you are getting downright chatty, aren’t you, Miss Lane? When did you last see him? What else did he tell you?” “I’m asking the questions tonight.” One day I was going to write a book: How to Dictate to a Dictator and Evade an Evader, subtitled How to Handle Jericho Barrons. He snorted. “If an illusion of control comforts you, Ms. Lane, by all means, cling to it.” “Jackass.” I gave him a look modeled on his own. He laughed, and I stared, then blinked and looked away. I finished rubber-banding the cash, put it in a leather pouch, and punched the final numbers in, running the day’s total. For a moment there he hadn’t looked dark, forbidding, and cold, but dark, forbidding, and . . . warm. In fact, when he’d laughed he’d looked . . . well . . . kind of hot. I grimaced. Obviously I’d eaten something bad for lunch.

presence. Once in Italy, needing two hours of not talking to each other, we went to the movies, not realizing there wouldn’t be subtitles. We stayed and enjoyed the cinematography. On the walk home, we pitched each other ridiculous ideas to fill the gaps in the plot we hadn’t understood. Those weren’t dates, though. Dates hold intention. They’re not just occasions—they’re declarations. I’m interested

Extremely self-conscious in its craft, in many ways The Hand of Ethelberta is an exploration of fiction as illusion, which involves parody of the conventions it employs; romance, melodrama and farce, and a rejection of realism for absurdist and surrealistic effects. The ‘hand’ of Ethelberta is an obvious, ironic allusion to courtship, and the sub-title, ‘A Comedy in Chapters’, suggests the novel’s affinity with the conventions of Restoration and eighteenth-century comedy of manners.

On its first over was the famous picture of Earth taken from space; its subtitle was "Access to Tools." The underlying philosophy was that technology could be our friend. Brand wrote on the first page of the first edition, "A realm of intimate, personal power is developing- power of the individual to conduct his own education, find his own inspiration, shape his own environment, and share his adventure with whoever is interested. Tools that aid this process are sought and promoted by the Whole Earth Catalog.

The next seven months after his discovery, he set his ideas into a book he ponderously titled Prodomus Dissertationum Cosmographicarum, Continens Mysterium Cosmographicum, the Forerunner of the Cosmological Essays, Which Contains the Secret of the Universe. The subtitle was On the Marvelous Proportion of the Celestial Spheres, and on the True and Particular Causes of the Number, Size, and Periodic Motions of the Heavens, Established by Means of the Five Regular Geometric Solids.14 Arguably, no book title in the history of Western civilization has ever claimed more for itself than this one.

The character and the play of Hamlet are central to any discussion of Shakespeare's work. Hamlet has been described as melancholic and neurotic, as having an Oedipus complex, as being a failure and indecisive, as well as being a hero, and a perfect Renaissance prince. These judgements serve perhaps only to show how many interpretations of one character may be put forward. 'To be or not to be' is the centre of Hamlet's questioning. Reasons not to go on living outnumber reasons for living. But he goes on living, until he completes his revenge for his father's murder, and becomes 'most royal', the true 'Prince of Denmark' (which is the play's subtitle), in many ways the perfection of Renaissance man. Hamlet's progress is a 'struggle of becoming' - of coming to terms with life, and learning to accept it, with all its drawbacks and challenges. He discusses the problems he faces directly with the audience, in a series of seven soliloquies - of which 'To be or not to be' is the fourth and central one. These seven steps, from the zero-point of a desire not to live, to complete awareness and acceptance (as he says, 'the readiness is all'), give a structure to the play, making the progress all the more tragic, as Hamlet reaches his aim, the perfection of his life, only to die.

Christopher’s anti-God campaign was based on a fundamental error reflected in the subtitle of his book: How Religion Poisons Everything. On the contrary, since religion, as practiced, is a human activity, the reverse is true. Human beings poison religion, imposing their prejudices, superstitions, and corruptions onto its rituals and texts, not the other way around. “Pascal Is a Fraud!” When I first became acquainted with Christopher’s crusade, I immediately thought of the seventeenth-century scientist and mathematician, Blaise Pascal. In addition to major contributions to scientific knowledge, Pascal produced exquisite reflections on religious themes: When I consider the short duration of my life, swallowed up in the eternity before and after, the space which I fill, and even can see, engulfed in the infinite immensity of spaces of which I am ignorant and which know me not, I am frightened and astonished at being here rather than there; for there is no reason why here rather than there, why now rather than then. Who has put me here?4 These are the questions that only a religious faith can attempt to answer. There is no science of the why of our existence, no scientific counsel or solace for our human longings, loneliness, and fear. Without a God to make sense of our existence, Pascal wrote, human life is intolerable: This is what I see and what troubles me. I look on all sides, and I see only darkness everywhere. Nature presents to me nothing which is not a matter of doubt and concern. If I saw nothing there that revealed a Divinity, I would come to a negative conclusion; if I saw everywhere the signs of a Creator, I would remain peacefully in faith. But seeing too much to deny and too little to be sure, I am in a state to be pitied. . . .5 To resolve this dilemma, Pascal devised his famous “wager,” which, simply stated, is that since we cannot know whether there is a God or not, it is better to wager that there is one, rather than that there is not.

For the first time (but how long will it take us to acknowledge this?) in the history of ideas, a philosopher had dedicated a whole book to the question of atheism. He professed it, demonstrated it, arguing and quoting, sharing his reading and his reflections, and seeking confirmation from his own observations of the everyday world. His title sets it out clearly: Memoir of the Thoughts and Feelings of Jean Meslier; and so does his subtitle: Clear and Evident Demonstrations of the Vanity and Falsity of All the Religions of the World. The book appeared in 1729, after his death. Meslier had spent the greater part of his life working on it. The history of true atheism had begun.

Brand ran the Whole Earth Truck Store, which began as a roving truck that sold useful tools and educational materials, and in 1968 he decided to extend its reach with the Whole Earth Catalog. On its first cover was the famous picture of Earth taken from space; its subtitle was “Access to Tools.” The underlying philosophy was that technology could be our friend. Brand wrote on the first page of the first edition, “A realm of intimate, personal power is developing—power of the individual to conduct his own education, find his own inspiration, shape his own environment, and share his adventure with whoever is interested. Tools that aid this process are sought and promoted by the Whole Earth Catalog.” Buckminster Fuller followed with a poem that began: “I see God in the instruments and mechanisms that work reliably.

When we got back to Manhattan, Maeve took me to a men’s store and bought me extra underwear, a new shirt, and a pair of pajamas, then she got me a toothbrush at the drugstore next door. That night we went to the Paris Theater and saw Mon Oncle. Maeve said she was in love with Jacques Tati. I was nervous about seeing a movie with subtitles but it turned out that nobody really said anything. After it was finished, we stopped for ice cream then went back to Barnard. Boys of every stripe were expressly forbidden to go past the dorm lobby, but Maeve just explained the situation to the girl at the desk, another friend of hers, and took me upstairs. Leslie, her roommate, had gone home for Easter break and so I slept in her bed. The room was so small we could have easily reached across the empty space and touched fingers.

They were speaking in Arabic. I enjoyed the comfort of understanding the talk, while the interrogators had to put up with the subtitles. After a short conversation between UBL and the other guy, a TV commentator spoke about how controversial the tape was. The quality was bad; the tape was supposedly seized by U.S. forces in a safehouse in Jalalabad. But that was not the point. “What do I have to do with this bullshit?” I asked angrily. “You see Usama bin Laden is behind September 11,” ■​■​■​■​■​■​■​■​■​ said. “You realize I am not Usama bin Laden, don’t you? This is between you and Usama bin Laden; I don’t care, I’m outside of this business.” “Do you think what he did was right?” “I don’t give a damn. Get Usama bin Laden and punish him.” “How do you feel about what happened?” “I feel that I’m not a part of it. Anything else doesn’t matter in this case!

Psychologist Barry Schwartz demonstrated a similar, learned inflexibility among experienced practitioners when he gave college students a logic puzzle that involved hitting switches to turn light bulbs on and off in sequence, and that they could play over and over. It could be solved in seventy different ways, with a tiny money reward for each success. The students were not given any rules, and so had to proceed by trial and error.* If a student found a solution, they repeated it over and over to get more money, even if they had no idea why it worked. Later on, new students were added, and all were now asked to discover the general rule of all solutions. Incredibly, every student who was brand-new to the puzzle discovered the rule for all seventy solutions, while only one of the students who had been getting rewarded for a single solution did. The subtitle of Schwartz’s paper: “How Not to Teach People to Discover Rules

[Phone interview transcript between author Roorda & Vershawn A. Young, author of Your Average Nigga: Performing Race, Literacy, and Masculinity, a book based on his Ph.D dissertation] Now the subtitle, Performing Race, Literacy, and Masculinity, what does that cover? It covers the range of enactments in speech, in dress, in the way we behave, the way that we interact with other people. Basically, it is the range of enactments that black people have to go through to be successful in America. I call it the burden of racial performance that black people are required, not only by whites but by other blacks as well, to prove through their behaviors, their speech, and their actions the kind of black person that they are. Really, there are only two kinds you can be. In the words of comedian Chris Rock, you can either be a black person, which is a respectable, bourgeois, middle-class black person, or you can be a nigger. As Chris Rock says in his show, "I love black people, but I hate niggers." So . . . when a black person walks into a room, always in the other person's mind is the question "What kind of black person is this in front of me?" They are looking for clues in your speech, in your demeanor, in your behavior, and in everything that you do -- it is like they are hyperattentive to your ways of being in order to say, "Okay, this is a real black person. I can trust them. I'll let them work here. Or, nope: this is a nigger, look at the spelling of their name: Shaniqua or Daquandre." We get discriminated against based on our actions. So that is what the subtitle was trying to suggest in performing race. And in performing literacy, just what is the prescribed means for increasing our class status? A mind-set: "Okay, black people, you guys have no excuse. You can go to school and get an education like everybody else." I wanted to pay attention to the ways in which school perpetuated a structural racism through literacy, the way in which it sort of stigmatizes and oppresses blackness in a space where it claims it is opening up opportunities for black people.

Titles in business have been greatly overdone and business has suffered. One of the bad features is the division of responsibility according to titles, which goes so far as to amount to a removal altogether of responsibility. Where responsibility is broken up into many small bits and divided among many departments, each department under its own titular head, who in turn is surrounded by a group bearing their nice sub-titles, it is difficult to find any one who really feels responsible. Everyone knows what "passing the buck" means. The

The subtitle of this book is Spirituality and Strategies. In Reconciliation, I had proposed that reconciliation is more a spirituality than a strategy. It seemed to me that reconciliation had to be a way of living, had to relate to the profound spiritual issues that reconciliation raises and requires. To think of it only as strategy is to succumb to a kind of technical rationality that will succeed at best partially. Yet strategies cannot be dispensed with. Concrete experiences of struggling to achieve some measure of reconciliation require decisions, and those decisions must have some grounding. I still believe that reconciliation requires a certain spiritual orientation if it is to be successful. The challenge of reconciliation today is such that it requires an interreligious effort. Religious difference is sometimes the cause of social conflict; in all instances, religious people must find ways to work together to achieve reconciliation. What this book hopes to offer is the spirituality that will sustain Christians in their efforts to collaborate with others in that process.

The time is nearly upon us,” said one, and Arthur was surprised to see a word suddenly materialize in thin air just by the man’s neck. The word was LOONQUAWL, and it flashed a couple of times and then disappeared again. Before Arthur was able to assimilate this the other man spoke and the word PHOUCHG appeared by his neck. “Seventy-five thousand generations ago, our ancestors set this program in motion,” the second man said, “and in all that time we will be the first to hear the computer speak.” “An awesome prospect, Phouchg,” agreed the first man, and Arthur suddenly realized he was watching a recording with subtitles. “We are the ones who will hear,” said Phouchg, “the answer to the great question of Life …!” “The Universe …!” said Loonquawl. “And Everything …!” “Shhh,” said Loonquawl with a slight gesture, “I think Deep Thought is preparing to speak!” There was a moment’s expectant pause while panels slowly came to life on the front of the console. Lights flashed on and off experimentally and settled down into a businesslike pattern. A soft low hum came from the communication channel. “Good morning,” said Deep Thought at last. “Er … good morning, O Deep Thought,” said Loonquawl nervously, “do you have … er, that is …” “An answer for you?” interrupted Deep Thought majestically. “Yes. I have.” The two men shivered with expectancy. Their waiting had not been in vain. “There really is one?” breathed Phouchg. “There really is one,” confirmed Deep Thought. “To Everything? To the great Question of Life, the Universe and Everything?” “Yes.” Both of the men had been trained for this moment, their lives had been a preparation for it, they had been selected at birth as those who would witness the answer, but even so they found themselves gasping and squirming like excited children. “And you’re ready to give it to us?” urged Loonquawl. “I am.” “Now?” “Now,” said Deep Thought. They both licked their dry lips. “Though I don’t think,” added Deep Thought, “that you’re going to like it.” “Doesn’t matter!” said Phouchg. “We must know it! Now!” “Now?” inquired Deep Thought. “Yes! Now …” “All right,” said the computer, and settled into silence again. The two men fidgeted. The tension was unbearable. “You’re really not going to like it,” observed Deep Thought. “Tell us!” “All right,” said Deep Thought. “The Answer to the Great Question …” “Yes …!” “Of Life, the Universe and Everything …” said Deep Thought. “Yes …!” “Is …” said Deep Thought, and paused. “Yes …!” “Is …” “Yes …!!! …?” “Forty-two,” said Deep Thought, with infinite majesty and calm.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Hybrid warfare particularly appeals to China and Russia, since they are much more able to control the information their populaces receive than are their Western adversaries. A 1999 book, Unrestricted Warfare, written by two People’s Liberation Army colonels suggests that militarily, technologically and economically weaker states can use unorthodox forms of warfare to defeat a materially superior enemy – and clearly they had the United States and NATO in mind. Rather than focusing on direct military confrontation, the weaker state might succeed against the dominant opponent by shifting the arena of conflict into economic, terrorist and even legal avenues as leverage to be used to undercut more traditional means of warfare. The subtitle of their book, Two Air Force Senior Colonels on Scenarios for War and the Operational Art in an Era of Globalization, notes a core truth of the early twenty-first century: an increasingly globalized world deepens reliance upon, and the interdependence of, nations, which in turn can be used as leverage to exploit, undermine and sabotage a dominant power. The two colonels might not be happy with the lesson their book teaches Westerners, which is that no superpower can afford to be isolationist. One way to keep America great, therefore, is to stay firmly plugged into – and leading – the international system, as it has generally done impressively in leading the Western world’s response to the invasion of Ukraine. The siren voices of American isolationism inevitably lead to a weaker United States.

Postscript, 2005 From the Publisher ON APRIL 7, 2004, the Mid-Hudson Highland Post carried an article about an appearance that John Gatto made at Highland High School. Headlined “Rendered Speechless,” the report was subtitled “Advocate for education reform brings controversy to Highland.” The article relates the events of March 25 evening of that year when the second half of John Gatto’s presentation was canceled by the School Superintendent, “following complaints from the Highland Teachers Association that the presentation was too controversial.” On the surface, the cancellation was in response to a video presentation that showed some violence. But retired student counselor Paul Jankiewicz begged to differ, pointing out that none of the dozens of students he talked to afterwards were inspired to violence. In his opinion, few people opposing Gatto had seen the video presentation. Rather, “They were taking the lead from the teacher’s union who were upset at the whole tone of the presentation.” He continued, “Mr. Gatto basically told them that they were not serving kids well and that students needed to be told the truth, be given real-life learning experiences, and be responsible for their own education. [Gatto] questioned the validity and relevance of standardized tests, the prison atmosphere of school, and the lack of relevant experience given students.” He added that Gatto also had an important message for parents: “That you have to take control of your children’s education.” Highland High School senior Chris Hart commended the school board for bringing Gatto to speak, and wished that more students had heard his message. Senior Katie Hanley liked the lecture for its “new perspective,” adding that ”it was important because it started a new exchange and got students to think for themselves.” High School junior Qing Guo found Gatto “inspiring.” Highland teacher Aliza Driller-Colangelo was also inspired by Gatto, and commended the “risk-takers,” saying that, following the talk, her class had an exciting exchange about ideas. Concluded Jankiewicz, the students “were eager to discuss the issues raised. Unfortunately, our school did not allow that dialogue to happen, except for a few teachers who had the courage to engage the students.” What was not reported in the newspaper is the fact that the school authorities called the police to intervene and ‘restore the peace’ which, ironically enough, was never in the slightest jeopardy as the student audience was well-behaved and attentive throughout. A scheduled evening meeting at the school between Gatto and the Parents Association was peremptorily forbidden by school district authorities in a final assault on the principles of free speech and free assembly… There could be no better way of demonstrating the lasting importance of John Taylor Gatto’s work, and of this small book, than this sorry tale. It is a measure of the power of Gatto’s ideas, their urgency, and their continuing relevance that school authorities are still trying to shut them out 12 years after their initial publication, afraid even to debate them. — May the crusade continue! Chris Plant Gabriola Island, B.C. February, 2005

Antinomy, that is, the existence of two laws or tendencies which are opposed to each other, is possible, not only with two different things, but with one and the same thing. Considered in their thesis, that is, in the law or tendency which created them, all the economical categories are rational, — competition, monopoly, the balance of trade, and property, as well as the division of labor, machinery, taxation, and credit. But, like communism and population, all these categories are antinomical; all are opposed, not only to each other, but to themselves. All is opposition, and disorder is born of this system of opposition. Hence, the sub-title of the work, — “Philosophy of Misery.” No category can be suppressed; the opposition, antinomy, or contre-tendance, which exists in each of them, cannot be suppressed.

The virtuality of war is not, then, a metaphor. It is the literal passage from reality into fiction, or rather the immediate metamorphosis of the real into fiction. The real is now merely the asymptotic horizon of the Virtual. And it isn't just the reality of the real that's at issue in all this, but the reality of cinema. It's a little like Disneyland: the theme parks are now merely an alibi - masking the fact that the whole context of life has been disneyfied. It's the same with the cinema: the films produced today are merely the visible allegory of the cinematic form that has taken over everything - social and political life, the landscape, war, etc. - the form of life totally scripted for the screen. This is no doubt why cinema is disappearing: because it has passed into reality. Reality is disappearing at the hands of the cinema and cinema is disappearing at the hands of reality. A lethal transfusion in which each loses its specificity. If we view history as a film - which it has become in spite of us - then the truth of information consists in the postsynchronization, dubbing and sub-titling of the film of history.

impaired viewers by supporting broadcasters in the production of subtitled/sign language programs.

receivers to improve their right to view broadcast programs. 7,505 subtitled program receivers for the hearing impaired, 4,000

Now we have come full circle to the subtitle of this book: children learn by unlearning other languages. Viewed in the Darwinian light, all humanly possible grammars compete to match the language spoken in the child's environment. And fitness, because we have competition, can be measured by the compatibility of a grammar with what a child hears in a particular linguistic environment. This theory of language takes both nature and nurture into account: nature proposes, and nurture disposes.

decided, as I succumbed to sleep, that men should come with manuals, subtitles, and reset buttons.

Watching a movie without subtitles will teach you how to keep up with what a person is saying.

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who’s called Hal—like Falstaff’s prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al—Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. “But what shall I say to Hal—that I have never loved him?” Patricia says to Fred. Down below it says, “Et Al—qu’est-ce que je vais lui dire?

done to show that this is not so (which is not to say that there are no points of difference between Thomistic and Aristotelian metaphysics). The dominant form of neo-Platonism in medieval Christian thought was Augustinianism. It is little wonder that the Platonic tradition should have seemed agreeable to the early Church Fathers, for it is not difficult to map Christian beliefs and practices into central elements of neo-Platonism. Most fundamentally, just as the Christian distinguishes between the physical cosmos and the eternal kingdom of God, so Plato and his followers distinguish between the material world and the timeless and unchanging realm of immaterial forms. Similarly, Christians commonly distinguish between body and soul and look forward to life after death in which the blessed will enjoy forever the sight of God; while Platonists contrast the mortal frame and the immortal mind that will ascend to eternal vision of the forms. Supreme among these forms is that of the One whose principal aspects are those of truth, beauty and goodness; a trinity-in-unity ready-made to assist Christians struggling with the idea that God is three persons in one divinity. The lesser Platonic forms, including those corresponding to natures experienced in the empirical world, became the ideas out of which God created the world. Even Christian mysticism found its rational warrant in the idea that the most noble experiences consist in inexpressible encounters with transcendental realities. Aristotle came into his own as a philosopher through his rejection of the fundamental tenets of Platonism and through his provision of a more naturalistic and less dualistic worldview. It is hardly surprising, therefore, that the enthusiasm for Aristotelianism shown by Aquinas and by his teachers Peter of Ireland and Albert the Great was viewed with suspicion by the Augustinian masters of the thirteenth century. Even so, it is a serious mistake, still perpetrated today, to represent Aristotle as if he were some sort of scientific materialist. In one of the classics of analytical philosophy, Individuals: An Essay in Descriptive Metaphysics, Peter Strawson explains his subtitle by distinguishing between two types of philosophy, writing that ‘descriptive metaphysics is content to describe the actual structure of our thought about the world, [while] revisionary metaphysics is concerned to produce a better structure’.7 He goes on to point out that few if any actual metaphysicians have been wholly of one or other sort, but that broadly speaking Leibniz and Berkeley are revisionary while Aristotle and Kant are descriptive. In these terms Aquinas’s thought and thomist metaphysics are fundamentally ‘descriptive’, notwithstanding that they are at odds with the materialism and scientism which some contemporary philosophers proclaim as enlightened common sense. The words of G.K. Chesterton quoted at the outset of this chapter

Looking back on that time it seems to me that such rapture over Tarkovsky by an audience most of whom would not have known how to spell his name, and who would under normal circumstances have ignored or even disliked his work, arose from our intense sensory deprivation. We were thirsty for some form of beauty, even in an incomprehensible, overintellectual, abstract film with no subtitles and censored out of recognition. There was a sense of wonder at being in a public place for the first time in years without fear or anger, being in a place with a crowd of strangers that was not a demonstration, a protest rally, a breadline or a public execution.

The scholars of international relations look at the subject both from cooperative and conflictual aspects. International relations is generally not concerned with domestic developments of other countries, except to the extent the domestic politics of other countries affect international politics. The scope of international relations is often defined by subtitles, like 'questions of war and peace' as a subtitle of international security. Joshua S Goldstein wrote, 'the movements of armies and of diplomats, the crafting of treaties and alliances, the development and deployment of military capabilities—these are the subjects that dominated the study of IR in the past… and they continue to hold central position in the field.

February 5: The Los Angeles Herald and Express publishes “Studios Push Beauties in Glamor Derby,” subtitled “All Want Queen Marilyn’s Crown.” Marilyn is called Fox’s “M-bomb.

One of our great problems today is that we have gotten caught up in our culture-wide quest for authenticity. We want our jeans authentic (pre-ripped at the factory), we want our apples authentic (grown locally instead of somewhere else), we want our music authentic (underground bands nobody ever heard of), we want our lettuce authentic (organically manured), we want our literature authentic (full of angst), we want our movies authentic (subtitles), and we want our coffee tables authentic (purchased from a genuine peasant while we were on some eco-tour). In short, we are a bunch of phonies. We are superficial all the way down.

I have heard about your gifts myself, Miss Roth,' read the subtitle under Brentford's awkward mumble.

With no middle management and little staff, Teal Organizations dispense with the usual control mechanisms; they are built on foundations of mutual trust. Zobrist has written a book outlining FAVI’s practices that is subtitled: L’entreprise qui croit que l’Homme est bon (“The organization that believes that mankind is good”). The heart of the matter is that workers and employees are seen as reasonable people that can be trusted to do the right thing. With that premise, very few rules and control mechanisms are needed. Before

Some people require subtitles.

screeninterpreted broadcasting receivers and 8,584 subtitled broadcasting receivers will be provided to visually-impaired and he

Kinglake’s influential book Eothen (1844)—suggestively subtitled “Traces of Travel Brought Home from the East”—illustrates many of the enduring Eurocentric presumptions about others, starting from the fantasy that peoples with little reason to expect exemption from misfortune have a lessened capacity to feel misfortune. Thus it is believed that Asians (or the poor, or blacks, or Africans, or Muslims) don’t suffer or don’t grieve as Europeans (or whites) do. The fact that illness is associated with the poor—who are, from the perspective of the privileged, aliens in one’s midst—reinforces the association of illness with the foreign: with an exotic, often primitive place.

The real point is always buried in the subtitles.

It’s not about the fact of the matter as such, it is about the sentiment beneath. You can apply all the usual fact-checking tools to the literal claim, but the real point is always buried in the subtitles, and no amount of correction will belie that.

Product: •What is the product? •Who is it for? •What does it do? •How does it work? •How do people buy and use it? Benefits: •How does the product help people? •What are its most important benefits? Reader: •Who are you writing for? •How do they live? •What do they want? •What do they feel? •What do they know about the product, or this type of product? •Are they using a similar product already? Aim: •What do you want the reader to do, think or feel as a result of reading this copy? •What situation will they be in when they read it? Format: •Where will the copy be used? (Sales letter, web page, YouTube video, etc) •How long does it need to be? (500 words, 10 pages, 30 seconds, etc) •How should it be structured? (Main title, subtitles, sidebars, pullout quotes, calls to action, etc) •What other types of content might be involved? (Images, diagrams, video, music, etc) Tone: •Should the copy be serious, light-hearted, emotional, energetic, laid-back, etc? Constraints: •Maximum or minimum length •Anything that must be included or left out •Legal issues (regulations on scientific or health claims, prohibited words, trademarks, etc) •How this copy needs to fit in with other copy that’s already been written, or that will be written in the future •Whether the copy will form part of a campaign, so that different ideas along the same lines will be needed in future (see ‘Take it further’ in chapter 9) •Which countries the copy will appear in (whether in English, or translated) •SEO issues (for example, popular search terms that should feature in headings) •Brand or tone of voice guidelines (see ‘Tone of voice guidelines’ in chapter 15) Other background information about: •The product (development history, use cases, technical specifications, distribution, retail, buying processes, buying channels, marketing strategy) •The product’s market position (price point, offers and discounts, customer perceptions, competitors) •The target market (size, history, typical customer profile, marketing personas) •The client (history, current setup, culture, people, values) •The brand (history, positioning, values) Project management points: •Timescales (dates for copy plan, drafts, feedback, final copy, approval) •Who will provide feedback, and how •Who will approve the final copy, and how •How the copy will be delivered (usually a Word document, but not always) These are only suggestions.

Dan Ariely has a book calling us “Predictably Irrational", and the introduction tells us “we are pawns in a game whose forces we largely fail to comprehend. We usually think of ourselves [with] ultimate control over the decisions we make [but] this perception has more to do with our desires…than reality”. Cordelia Fine’s book “A mind of its own" has the subtitle “how your brain distorts and deceives”, whilst David McRaney doesn’t pull any punches with the title of his “You are not so smart".

EARL standing up, pointing to MRS. WOZNIEWSKI, addressing class Der Mann ist einen Kopf größer als ich. DAS KANN SICH ÄNDERN. [subtitle: That man is a head taller than me. THAT CAN CHANGE.]

We also should have added subtitles, because there is no way to tell what Earl is trying to say. “Ich haufen mit staufen ZAUFENSTEINNN,” for example.