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“Membership finds its ceremonial endorsement through the dance. In almost all tribal communities dancing has had an important role in reinforcing the communal spirit, and in particular in ceremonies of initiation and marriage. It represents a supreme act of surrender to the tribe and its ruling deities. In dancing we set all purpose aside and are governed by the spirit of the dance. At the same time, dancing has a peculiar social intentionality – in the normal case dancing is a ‘dancing with’, a fitting of one’s steps and gestures to the steps and gestures of others. In the old culture of Europe dancing was therefore a part of courtship – a kind of stylised intimacy in which the sexual allure of the body could be displayed and enjoyed without social catastrophe. For young lovers, dancing was a way of going ‘part-hog’, as Harold Pinter would put it, while behaving with proper decorum and with an excited consciousness of their embodiment. But it was not only young lovers who danced. Traditional dances were formation dances, like the minuet, the jig and the saraband, in which you changed partners, to find yourself dancing with someone (your grandmother perhaps) in whom you had no sexual interest whatsoever. In the Mediterranean, it was even unheard of for the sexes to dance together: the men performed in a troupe, and then the girls, each sex with an eye for the other but decorously removed from physical contact. In this way dancing became a ceremony, in which the community’s bid for eternity was enacted beneath the stars. Love, sex and the body are perceived differently by young people today; courtesy and courtship have disappeared from their dancing, since they have disappeared from their lives. The idea of dancing as an orderly affirmation of community is dead. Dancing has become a social and sexual release, among people who expressly represent themselves, in the dance, as sexual objects, even when, and especially when, they dance without a partner. Indeed the concept of the partner – of the one with whom you are dancing, and who agrees to dance after an exchange of courtesies – hardly engages with the new reality. You all dance together, and every step or shake or gesture is right just so long as it feels right. Nor is this new kind of dancing of marginal significance. On the contrary, it is the central episode in the youth culture, the moment when the individual renews his attachment to the group and is raised to a heightened level of excitement and a sense of the rightness of being what he is and doing what he does.”

“Membership in the European Community, now the European Union, has enabled Ireland to re-find its sense of participation - cultural, political, social - at the European level. I think that also opens up possibilities for Ireland as a European country to look outward - to look particularly, for example, at countries to which a lot of Irish people emigrated, to our links - our human links - with the United States, with Canada, with Australia, with New Zealand. And to look also, because of our history, at our links to the developing countries.”

“MEMED'E SON MEKTUBUMDUR ... Ölmekten, oğlum korkmuyorum, ama ne de olsa iş arasında bazan, irkilip ansızın, yahut yalnızlığında uyku öncesinin günleri saymak biraz zor. Dünyaya doymak olmuyor, Memet doymak olmuyor... Dünyada kiracı gibi değil, yazlığına gelmiş gibi de değil, yaşa dünyada babanın eviymiş gibi... Tohuma, toprağa, denize inan, insana hepsinden önce. Bulutu, makinayı, kitabı sev, insanı hepsinden önce. Kuruyan dalın sönen yıldızın sakat hayvanın duy kederini, ama hepsinden önce de insanın. Sevindirsin seni cümlesi nimetlerin sevindirsin seni karanlık ve aydınlık, sevindirsin seni dört mevsim, ama hepsinden önce insan sevindirsin seni. ...”

“Memento mori - remember death! These are important words. If we kept in mind that we will soon inevitably die, our lives would be completely different. If a person knows that he will die in a half hour, he certainly will not bother doing trivial, stupid, or, especially, bad things during this half hour. Perhaps you have half a century before you die-what makes this any different from a half hour?”

“Memikirkan kepentingan diri sendiri selalu saya pandang sebagai kejahatan yang paling jahat dan yang sangat jijik. Demikian juga halnya dengan rasa tiada terimakasih dan yang sejenisnya. Cita-cita kami, menjadi satu dengan kehidupan kami. Kami tidak dapat hidup tanpa cita-cita. Demikian pula, tanpa cinta kami tidak dapat memperlakukan orang-orang yang kami sayangi.”

“Memikirkan kepentingan diri sendiri selalu saya pandang sebagai kejahatan yang paling jahat dan yang sangat jijik. Demikian juga halnya dengan rasa tiada terimakasih dan yang sejenisnya. Cita-cita kami, menjadi satu dengan kehidupan kami. Kami tidak dapat hidup tanpa cita-cita. Demikian pula, tanpa cita-cita kami tidak dapat memperlakukan orang-orang yang kami sayangi.”

“Memo. Ne güzel çocuğumuz var. Elif daha güzel olacak. Sesi de güzel olur mutlaka. Çünkü sen. Sen ne can kadınsındır sen. Kirpiklerinin ucuyla şarkı söylersin. Buram buram tütersin Cemal Süreya'nın yüreğinde. Sen yanımda ol, gam kasavet çeker gider. Türkülenirim. Mutluluk gelir ılım ılım. Sevda sözlerinin bini bir para.”