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1 " One salutary development in recent ethical theorizing is the widespread recognition that no short argument will serve to eliminate any of the major metaethical positions. Such theories have to weave together views in semantics, epistemology, moral psychology and metaphysics. The comprehensive, holistic character of much recent theorizing suggests the futility of fastening on just a single sort of argument to refute a developed version of realism or antirealism. No one any longer thinks that ethical naturalism can be undermined in a single stroke by the open question argument, or that appeal to the descriptive semantics of moral discourse is sufficient to refute noncognitivism. "
2 " We write, edit, and rewrite the story of our own life employing descriptive words, metaphors, and symbols. Our lives are full of symbols including those supplied by nature and religion, which touch upon the mystical and spiritual aspects of life. Symbols inspire enduring hope by formulating idealist expectations. "
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3 " I am developing new coping mechanisms for lost words and lost negatives, as here for instance: compensate by describing the episode instead. When something is lost, redirect energy, follow the derivé, the chance and flow of what life tosses us, and make something new instead. Remember that I'm often struck by certain passages of descriptive writing, writing that is not about driving home a point but about providing detail, background, setting the scene (it's tempting to call this the stadium of writing). It has a " something from nothing" quality: a pleasurable experience has been had, and no one has paid a price. Remember that writing does not have to be torture (107). "
4 " [Y]ou were too alert to the figurative possibilities of words not to see the phrase [angle of repose] as descriptive of human as well as detrital rest. As you said, it was too good for mere dirt; you tried to apply it to your own wandering and uneasy life ... I wonder if you ever reached it. "
― Wallace Stegner , Angle of Repose
5 " And one day Amber takes her troll’s dinner down to the cave and finds him—” Rock waved his hands in vague yet thoroughly descriptive motions “—with another lady troll. So she go home and get her club and come back and beat him to death, thump, thump, thump. ’Cos he was her troll and he done her wrong. Is very romantic song. "
6 " we may experience an absolute positive change and do the undone if we shift our thoughts from descriptive thinking to prescriptive thinking "
7 " You don’t need to know the purpose as you write, but when you read over something you’ve written, you should be able to point to any given element—be that a line of dialogue, a descriptive phrase, a plot point—and say why it’s there. "
― Diana Gabaldon , "I Give You My Body . . .": How I Write Sex Scenes
8 " Critics who treat 'adult' as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. And in childhood and adolescence they are, in moderation, healthy symptoms. Young things ought to want to grow. But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up. "
― C.S. Lewis
9 " Normative statements about " women's roles" and girls' and women's behaviour being " appropriately feminine" were replaced with more neutral statements about what women and girl versus boys and men do and think and say they want. In this way, conventionally gendered behaviour was taken out of the context of prescription and presented as simple description. This had the possibly unanticipated consequence, though, of taking these behaviours out of the context of the social world. The descriptive approach significantly deemphasised the role of norms, social structures, and modelling in developing gendered traits. Instead, disembodied as " naked facts" of sex differences, they began to look more and more like simple reflections of male and female behaviour. "
10 " Pierre Janet, a French professor of psychology who became prominent in the early twentieth century, attempted to fully chronicle late- Victorian hysteria in his landmark work The Major Symptoms of Hysteria. His catalogue of symptoms was staggering, and included somnambulism (not sleepwalking as we think of it today, but a sort of amnesiac condition in which the patient functioned in a trance state, or " second state," and later remembered nothing); trances or fits of sleep that could last for days, and in which the patient sometimes appeared to be dead; contractures or other disturbances in the motor functions of the limbs; paralysis of various parts of the body; unexplained loss of the use of a sense such as sight or hearing; loss of speech; and disruptions in eating that could entail eventual refusal of food altogether. Janet's profile was sufficiently descriptive of Mollie Fancher that he mentioned her by name as someone who " seems to have had all possible hysterical accidents and attacks." In the face of such strange and often intractable " attacks," many doctors who treated cases of hysteria in the 1800s developed an ill-concealed exasperation. "
11 " Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice. "
― , The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France
12 " Weight Watchers holds as a descriptive axiom the transparently true fact that for each of us the universe is deeply and sharply and completely divided into for example in my case, me, on one side, and everything else, on the other. This for each of us exhaustively defines the whole universe... And then they hold by a prescriptive axiom the undoubtedly equally true and inarguable fact that we each ought to desire our own universe to be as full as possible, that the Great Horror consists in an empty, rattling personal universe, one where one finds oneself with Self, on one hand, and vastly empty lonely spaces before Others begin to enter the picture at all, on the other. A non-full universe... The emptier one’s universe is, the worse it is... Weight Watchers perceives the problem as one involving the need to have as much Other around as possible, so that the relation is one of minimum Self to maximum Other... We each need a full universe. Weight Watchers and their allies would have us systematically decrease the Self-component of the universe, so that the great Other-set will be physically attracted to the now more physically attractive Self, and rush in to fill the void caused by that diminution of Self. Certainly not incorrect, but just as certainly only half of the range of valid solutions to the full-universe problem... Is my drift getting palpable? Just as in genetic engineering... There is always more than one solution... An autonomously full universe... Rather than diminishing Self to entice Other to fill our universe, we may also of course obviously choose to fill the universe with Self... Yes. I plan to grow to infinite size... There will of course eventually cease to be room for anyone else in the universe at all. "
― David Foster Wallace , The Broom of the System
13 " As I mentioned briefly on the phone, the best thing about the Air Chrysalis is that it's not an imitation of anyone. It has absolutely none of the usual new writer's sense of 'I want to be another so-and-so'. the syle, for sure, is rough,and the writing is clumsy. She even gets the title wrong: she's confusing 'chrysalis' and 'cocoon'. You could pick it apart completely if you wanted to. But the story itself has real power: it draws you in. the overall plots is a fantasy, but the descriptive details is incredibly real.The balance between the two is excellent. I don't know if words like 'originality' or Inevitability' fit here, and I suppose I might agree if someone insisted it's not at that level, but finally, after you work your way through the thing, with all its faults, it leaves a real impression- it gets to you in some strange, inexplicable way that may be a little disturbing. "
14 " Socially interacting with a storyteller can be a frustrating challenge because a portion of her awareness is constantly sorting through the details of a developing book. And while you may successfully engage in a meaningful conversation with her, an additional part of her mind is frantically sifting through descriptive lines to be used if ever she were to write this exchange down. The trouble with writers is that they are ALWAYS writing! "
― Richelle E. Goodrich
15 " Fiery red curls catch my attention. I’ve never seen hair like hers. It’s long and hangs to just above her ass, but it’s not trashy looking. The curls are large and thick. If I were a descriptive man, I’d almost call her hair luscious. But, I’m not so I’ll leave it at fiery and thick. "
16 " The word “consciousness,” it seems to me, can only refer to what one might define provisionally as “the knowing that cannot know itself without intermediary and that cannot function in experience (of which it is an indispensable component) except negatively.”To the question “What is consciousness,” then, a low level provisional answer might be “It is the pure subjective” or “It is the bare knowing of what it is not that constitutes (orders) experience and allows it being.” It must be added that, when consciousness is, it seems to be individualized by what it knows. But on another (higher) level the “is” in the question has still to be questioned, and so the low-level (and logical) answer is only a conventional makeshift, a conventional view, nothing more. And this qualification applies not only to logically inductive and deductive statements necessitating use of the word “is,” but also to descriptive statements that appear in “logical” form, using that term, or any equivalent. "
17 " [L]anguage functions best when we mediate between the descriptive and prescriptive influences, changing the rules to better suit some things, but sticking to them for others. "
18 " Science, as long as it limits itself to the descriptive study of the laws of nature, has no moral or ethical quality and this applies to the physical as well as the biological sciences. "
19 " The Relationship Between God And I Is Beyond Human Comprehension, Therefore, Pay No Attention To Any Descriptive Section About My Religious Affiliation, Otherwise, You Would Be Accused Of Reading The Seventh Books Of Moses. "
20 " There were a million things, everything, I didn't know. I was stupid, the official descriptive phrase for happy. I took this thing I'm giving you back, this thing you gave me as the star we were waiting for finally emerged. "
― Daniel Handler , Why We Broke Up