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Quote by Eoin Colfer

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Artemis Fowl

In this fantasy-adventure novel, Artemis Fowl, a teenage genius and master criminal, discovers that a magical artifact has been stolen. He enlists the help of a fairy to track down the thief and recover the artifact, leading to a series of thrilling encounters and unexpected alliances. more

Author

Eoin Colfer
Eoin Colfer

Eoin Colfer is an Irish author best known for his children's literature. He gained international recognition as one of the authors of the 'Harry Potter and the Deathly Hallows' continuation series. Born on May 14, 1965, Colfer's works are celebrated for their humor and imagination, appealing to young readers. more

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“... I should wish to add, as a tribute to the great merits of your lordship's cellar, that, although I was obliged to drink a somewhat large quantity both of the Cockburn '68 and the 1800 Napoleon I feel no headache or other ill effects this morning. Trusting that your lordship is deriving real benefit from the country air, and that the little information I have been able to obtain will prove satisfactory, I remain, With respectful duty to all the family, their ladyships, Obediently yours, MERVYN BUNTER. "Y'know," said Lord Peter thoughtfully to himself, "I sometimes think Mervyn Bunter's pullin' my leg.”

“Yes, Jeeves?" The man had materialized on the carpet. Absolutely noiseless, as usual. "A note for you, sir." "A note for me, Jeeves?" "A note for you, sir." "From whom, Jeeves?" "From Miss Bassett, sir." "From whom, Jeeves?" "From Miss Bassett, sir." "From Miss Bassett, Jeeves?" "From Miss Bassett, sir." At this point, Aunt Dahlia begged us for heaven's sake to cut out the cross-talk vaudeville stuff. Always willing to oblige, I dismissed Jeeves with a nod, and he flickered for a moment and was gone.”

“Judith Butler ha definido agudamente el género como un sistema de reglas, convenciones, normas sociales y prácticas institucionales que producen performativamente el sujeto que pretenden describir. A través de una lectura cruzada de Austin, Derrida y Foucault, Butler ha identificado el género no como una esencia o una verdad psicológica, sino como una práctica discursiva y corporal performativa a través de la cual el sujeto adquiere inteligibilidad social y reconocimiento político.”

“Things are going up in fire and never been there." When she looked no wiser he said, "There was a warehouse in Finchley. Round between the bath shop and the Pizza Hut. I know there was because I used to go there and because I've seen it." He tap-tapped his eyepiece again. "But 'seen it' butters no bleeding parsnips these days. That warehouse burnt down, and now it didn't ever was there. The bath shop and the Pizza Hut are joined up now, and the only ash blowing around there's a charred bit of never.”

“El sexo, su verdad, su visibilidad, sus formas de exteriorización, la sexualidad, los modos normales y patológicos del placer, y la raza, su pureza o su degeneración, son tres potentes ficciones somáticas que obsesionan al mundo occidental a partir del siglo XIX hasta constituir el horizonte de toda acción teórica, científica y política contemporánea. Son ficciones somáticas no porque no tengan realidad material, sino porque su existencia depende de lo que Judith Butler ha denominado la repetición performativa de procesos de construcción política.”