Home > Topic > this image
1 " A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect? "
― Guy Kawasaki , The Art of Social Media: Power Tips for Power Users
2 " The creative process, so far as we are able to follow it at all, consists in the unconscious activation of an archetypal image, and in elaborating and shaping this image into the finished work. By giving it shape, the artist translates it into the language of the present, and so makes it possible for us to find our way back to the deepest springs of life. Therein lies the social significance of art: it is constantly at work educating the spirit of the age, conjuring up the forms in which the age is most lacking. "
― C.G. Jung
3 " I like what I do. Some writers have said in print that they hated writing and it was just a chore and a burden. I certainly don't feel that way about it. Sometimes it's difficult. You know, you always have this image of the perfect thing which you can never achieve, but which you never stop trying to achieve. But I think ... that's your signpost and your guide. You'll never get there, but without it you won't get any "
4 " The archetypal image of the redeemer serpent is certainly placed here in opposition to the serpents of evil that battle with it. But why do they both have the same form if there is only oppositIOn between them? What does it mean that they both dwell in the same place, the depth of the great abyss? Are they not possibly two aspects of the same thing?We know this image of the redeemer serpent not only from Gnosis and from the Sabbataian myth, but we know of the same serpent rising from below, redeeming and to be redeemed, as the Kundalini serpent in India, and finally from alchemy as the serpens Mercurii, the ambiguous serpent whose significance was first made clear to us by Jung's researches.Since Jung's work on alchemy we know two things. The first is that in its " magnum opus" alchemy dealt with a redemption of matter itself. The second is that pari passu with this redemption of matter, a redemption of the individual psyche was not only unconsciously carried out but was also consciously intended. As we know, the serpent is a primeval symbol of the Spirit, as primeval and ambiguous as the Spirit itself. The emergence of the Earth archetype of the Great Mother brings with it the emergence of her companion, the Great Serpent. And, strangely enough, it seems as though modern man is confronted with a curious task, a task which is essentially connected with what mankind, rightly or wrongly, has feared most, namely the Devil. "
5 " There comes a moment when the image of our life parts company with the life itself, stands free, and, little by little, begins to rule us. Already in The Joke: “I came to realize that there was no power capable of changing the image of my person lodged somewhere in the supreme court of human destinies; that this image (even though it bore no resemblance to me) was much more real than my actual self; that I was its shadow and not it mine; that I had no right to accuse it of bearing no resemblance to me, but rather that it was I who was guilty of the nonresemblance; and that the nonresemblance was my cross, which I could not unload on anyone else, which was mine alone to bear.”And in The Book of Laughter and Forgetting: “Destiny has no intention of lifting a finger for Mirek (for his happiness, his security, his good spirits, his health), whereas Mirek is ready to do everything for his destiny (for its grandeur, its clarity, its beauty, its style, its intelligible meaning). He felt responsible for his destiny, but his destiny did not feel responsible for him. "
― Milan Kundera , The Art of the Novel
6 " The human eye is restricted to see the useen, because there’s a price to be paid to the rulers of this image and if this image is seen by you, you’ll dare not divulge it to others, for others must pay a price "
― Michael Bassey Johnson
7 " I wished, first of all, to buy my way into people's good graces with my book so that, in subsequent personal contact, I would find the ground already prepared, and, I reasoned, if I succeeded in implanting in their soules a favorable image of me, this image would in turn shape me; and so, willy-nilly, I would become mature. "
― Witold Gombrowicz , Ferdydurke
8 " The earthly form of Christ is the form that died on the cross. The image of God is the image of Christ crucified. It is to this image that the life of the disciples must be conformed; in other words, they must be conformed to his death (Phil 3.10, Rom 6.4) The Christian life is a life of crucifixion (Gal 2.19) In baptism the form of Christ's death is impressed upon his own. They are dead to the flesh and to sin, they are dead to the world, and the world is dead to them (Gal 6.14). Anybody living in the strength of Christ's baptism lives in the strength of Christ's death. "
― Dietrich Bonhoeffer , The Cost of Discipleship
9 " What Althusser does… is to rethink the concept of ideology in terms of Lacan’s ‘imaginary’. For the relation of an individual subject to society as a whole in Althusser’s theory is rather like the relation of the small child to his or her mirror-image in Lacan’s. In both cases, the human subject is supplied with a satisfyingly unified image of selfhood by identifying with an object which reflects this image back to it in a closed, narcissistic circle. In both cases, too, this image involves a misrecognition, since it idealizes the subject’s real situation. The child is not actually as integrated as its image in the mirror suggests; I am not actually the coherent, autonomous, self generating subject I know myself to be in the ideological sphere, but the ‘decentred’ function of several social determinants. Duly enthralled by the image of myself I receive, I subject myself to it; and it is through this ‘subjection’ that I become a subject. "
― Terry Eagleton , Literary Theory: An Introduction
10 " The person identifies with the image the others have created of him on Facebook, and this image in turn guides his life and actions. He comes to believe that his public image (with the comments underneath it) is who he is. "
11 " How vigilant we must be to ensure that we don’t allow our impression of Jesus to be held captive by the prevailing mores of our secular culture! Rather, it is essential that we continue to return to the Gospels to ensure that the reverse occurs: to allow Jesus to hold our hearts and imaginations captive in response to the dominant thinking of our time. For exiles trying to live faithfully within the host empire of post-Christendom, the Gospel stories are our most dangerous memories. They continue to fire our imaginations and remind us that it’s possible to thrive on foreign soil while serving Yahweh, but it’s the kind of thriving that often rejects popular wisdom. These stories are the standard by which we judge all other stories, all other descriptors of life today. If, after reading these dangerous biblical stories, you can’t imagine Jesus the Messiah as a televangelist, strutting around on stage in a flashy suit, playing it up for the cameras, then you are forced to reject this image and seek another mode of being Christ today. "
― Michael Frost , Exiles: Living Missionally in a Post-Christian Culture
12 " After reading the Qur'an, I realized that I couldn't possibly endorse Islam as a religion, as a philosophy, as a moral standard, as an ethical code, or even as useful fiction. I determined that these philosophies and this image of Allah could only come from an extremely warped and disturbed person who suffered from an aggregation of the most severe and profound human weaknesses. "
― , Why We Left Islam: Former Muslims Speak Out
13 " What is personal death?Asking this question and pausing to look inward - isn't personal death a concept? Isn't there a thought-and-picture series going on in the brain? These scenes of personal ending take place solely in the imagination, and yet they trigger great mental ad physical distress - thinking of one's cherished attachments an their sudden, irreversible termination.Similarly, if there is 'pain when I let some of the beauty of life in' - isn't this pain the result of thinking, 'I won't be here any longer to enjoy this beauty?' Or, 'No one will be around and no beauty left to be enjoyed if there is total nuclear devastation.'Apart from the horrendous tragedy of human warfare - why is there this fear of 'me' not continuing? Is it because I don't realize that all my fear and trembling is for an image? Because I really believe that this image is myself?In the midst of this vast, unfathomable, ever-changing, dying, and renewing flow of life, the human brain is ceaselessly engaged in trying to fix for itself a state of permanency and certainty. Having the capacity to think and form pictures of ourselves, to remember them and become deeply attached to them, we take this world of pictures and ideas for real. We thoroughly believe in the reality of the picture story of our personal life. We are totally identified with it and want it to go on forever. The idea of " forever" is itself an invention of the human brain. Forever is a dream.Questioning beyond all thoughts, images, memories, and beliefs, questioning profoundly into the utter darkness of not-knowing, the realization may suddenly dawn that one is nothing at all - nothing - that all one has been holding on to are pictures and dreams. Being nothing is being everything. It is wholeness. Compassion. It is the ending of separation, fear, and sorrow.Is there pain when no one is there to hold on?There is beauty where there is no " me" . "
14 " It hadn't occurred to me that my mother would die. Until she was dying, the thought had never entered my mind. She was monolithic and insurmountable, the keeper of my life. She would grow old and still work in the garden. This image was fixed in my mind, like one of the memories from her childhood that I made her explain so intricately that I remembered it as if it were mine. She would be old and beautiful like the black-and-white photo of Georgia O'Keeffe I'd once sent her. I held fast to this image for the first couple of weeks after we left the Mayo Clinic, and then, once she was admitted to the hospice wing of the hospital in Duluth, that image unfurled, gave way to the others, more modest and true. I imagined my mother in October; I wrote the scene in my mind. And then the one of my mother in August and another in May. Each day that passed, another month peeled away. "
― Cheryl Strayed , Wild: From Lost to Found on the Pacific Crest Trail
15 " In this image (watching sensual murder through a peephole) Lorrain embodies the criminal delight of decadent art. The watcher who records the crimes (both the artist and consumer of art) is constructed as marginal, powerless to act, and so exculpated from action, passive subject of a complex pleasure, condemning and yet enjoying suffering imposed on others, and condemning himself for his own enjoyment. In this masochistic celebration of disempowerment, the sharpest pleasure recorded is that of the death of some important part of humanity. The dignity of human life is the ultimate victim of Lorrain's art, thrown away on a welter of delighted self-disgust. "
― Jennifer Birkett
16 " Picture your worst fear or most shameful experience becoming associated with an area of your body, and then magnify this image many times over. Within the construct of body dysmorphic disorder, a body part takes on an identity of its own. The body area of concern becomes profoundly associated with the individual's sense of self: The individual with BDD misses the forest through the trees, and rather than seeing many different body parts that together shape outward appearance, the despised physical feature becomes the focal point of their existence. It can easily become the singular element within the person's life and a gauge that determines the entirety of their self-worth. "
― , Face to Face with Body Dysmorphic Disorder: Psychotherapy and Clinical Insights
17 " Dragon's treasure burning bright,In the darkness of this night.Once again it gives us lightAnd speaks to us of its might.Dragon's treasure burning brightOn this black and fateful night.Kings will never use its lightNor boast again of its might.Dragon's treasure burning brightSear this image in their sightRoyal sons much reach the heightTo rule with love, not with might. "
― B.L. Sauder , Year of the Golden Dragon
18 " The marketing people are always talking about something called 'consumers'. I have this image of a fat little man in baggy Bermuda shorts, a Hawaiian shirt, and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars. "
― Robert James Waller , The Bridges of Madison County
19 " For Death must be somewhere in a society; if it is no longer (or less intensely) in religion, it must be elsewhere; perhaps in this image which produces Death while trying to preserve life. Contemporary with the withdrawal of rites, Photography may correspond to the intrusion, in our modern society, of an asymbolic Death, outside of religion, outside of ritual, a kind of abrupt dive into literal Death. "
20 " Each life is formed by its unique image, an image that is the essence of that life and calls it to a destiny. As the force of fate, this image acts as a personal daimon, an accompanying guide who remembers your calling.The daimon motivates. It protects. It invents and persists with stubborn fidelity. It resists compromising reasonableness and often forces deviance and oddity upon its keeper, especially when neglected or opposed. It offers comfort and can pull you into its shell, but it cannot abide innocence. It can make the body ill. It is out of step with time, finding all sorts of faults, gaps, and knots in the flow of life - and it prefers them. It has affinities with myth, since it is itself a mythical being and thinks in mythical patterns.It has much to do with feelings of uniqueness, of grandeur and with the restlessness of the heart, its impatience, its dissatisfaction, its yearning. It needs its share of beauty. It wants to be seen, witnessed, accorded recognition, particularly by the person who is its caretaker. Metaphoric images are its first unlearned language, which provides the poetic basis of mind, making possible communication between all people and all things by means of metaphors "
― James Hillman