1
" It follows from Schopenhauer’s analysis that evert genuine work of art must have its origin in direct perception; that is to say it does not originate in concepts, and concepts are not what it communicates. This is what more than anything else differentiates good art from bad, or more accurately authentic from inauthentic art. The latter often originates in a desire on the part of the artist to meet some demand external to himself – to win approval, say, or be in the fashion, or supply a market – or else to put over a message of some sort. Such an artist starts by trying to thin what it would be a good idea to do – in other words, the starting point of the process for him is something that exists in terms of concepts. The inevitable result is dead art, of whatever kind, whether imitative, academic, commercial, didactic or fashion-conscious. It may be successful in its day because it meets the demands of its day, but once that day is over it has no inner life of its own with which to outlive it. "
― Bryan Magee , The Philosophy of Schopenhauer
3
" In fact, in recent years I have become more and more didactic about pubic hair - to the point where I now believe that there are only four things a grown, modern woman should have: a pair of yellow shoes (they unexpectedly go with everything), a friend who will come and post bail at 4 a.m., a fail-safe pie recipe, and a proper muff. A big, hairy minge. A lovely furry moof that looks - when she sits, naked - as if she has a marmoset sitting in her lap. A tame marmoset, that she can send of to pickpocket things, should she so need it - like that trained monkey in Raiders of the Lost Ark. "
― Caitlin Moran , How to Be a Woman
5
" There are gentle souls who would pronounce Lolita meaningless because it does not teach them anything. I am neither a reader nor a writer of didactic fiction, and, despite John Ray's assertion, Lolita has no moral in tow. For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann. "
― Vladimir Nabokov , Lolita
8
" The original Christians regarded the deposit of faith, as finally inseparable from the very living substance of the Gospel in the saving event of Christ crucified, risen and glorified, but as once and for all entrusted to the church through its apostolic foundation in Christ, informing, structuring and quickening its life and faith and mission as the body of Christ in the world... While the deposit of faith was replete with the truth as it is in Jesus, embodying kerygmatic, didactic and theological content, but its very nature it could not be resolved into a system of truths or set of normative doctrines and formulated beliefs, for the truths and doctrines and beliefs entailed could not be abstracted from the embodied form which they were given in Christ in the apostolic foundation of the church without loss of their real substance. Nevertheless in this embodied form " the faith once for all delivered to the saints" constituted the regulative basis for all explicit formulation of Christian truth, doctrine and belief in the deepening understanding of the church and its regular instruction of catechumens and the faithful. app is "
11
" As the literary fairy tale spread in France to every age group and every social class, it began to serve different functions, depending on the writer's interests. It represented the glory and ideology of the French aristocracy. It provided a symbolic critique, with utopian connotations, of the aristocratic hierarchy, largely within the aristocracy itself and from the female viewpoint. It introduced the norms and values of the bourgeois civilizing process as more reasonable and egalitarian than the feudal code. As a divertissement for the aristocracy and bourgeoisie, the fairy tale diverted the attention of listeners/readers from the serious sociopolitical problems of the times, compensating for the deprivations that the upper classes perceived themselves to be suffering. There was also an element of self-parody, revealing the ridiculous notions in previous fairy tales and representing another aspect of court society to itself; such parodies can be seen in Jacques Cazotte's " A Thousand and One Follies" (1746), Jean-Jacques Rousseau's " The Queen Fantasque" (1758), and Voltaire's " The White Bull" (1774). Finally, fairy tales with clear didactic and moral lessons were approved as reading matter to serve as a subtle, more pleasurable means of initiating children into the class rituals and customs that reinforced the status quo. "
