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M Quotes

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All M Quotes

“Metallica lives in a little bubble. We just do our own thing. We're not part of any trends or waves or fads. We can just do our own thing, all the time. It's a great luxury. I don't think we were really appreciative of it until recently, and really understood that it is what keeps us alive. It's great to be able to have the freedom to run around and do all this crazy stuff, and at all cost, avoid making another record, just to piss our managers off.”

“Metamodernism is a sensibility motivated primarily by a need to safeguard the individual’s interior, subjectivebfelt experience against the potential degradations of postmodern ironic relativism and modernist reductionism; and, also from the ontological inertia of pre-modern tradition. It is expressed through and is an influence upon cultural artifacts found in areas such as the visual arts, television, film, music, literature, design and even philosophy, religion, and politics. As an episteme, metamodernism is periodized historically, beginning around or a little before 2000, and also can be conceived of independent of chronology.”

“Metaphor: «Al arrullo de truenos de famélico instinto, ajeno sois al remordimiento, imberbe avechucho, ¿tan exento andáis de cuitas que trocáis tiempo por sobrado amor?» Answer: Es un cuestionamiento de la naturaleza del amor y de la madurez. Sugiere que el amor puede ser una fuerza poderosa que puede llevar a la gente a tomar decisiones imprudentes. La cita puede interpretarse como una crítica a la inmadurez del joven amante.”

“Metaphor: «Barbado y entre sábanas de dislocado espectro, osa ahuyentar las olas, cual mal comediante la patraña del despropósito, pues antes que fraile barbero fue la mar, loada de pocos lobos y burla de los muchos necios» Answer: La cita es una descripción irónica o sarcástica de alguien que pretende dominar o escapar de una situación que le supera, como el mar o la vida. El hablante le compara con un hombre barbudo y envuelto en sábanas blancas, que parece un fantasma o un loco, y que intenta espantar las olas con gestos ridículos, como un mal actor que representa una farsa o una mentira. El hablante le recuerda que el mar es más antiguo y poderoso que él, y que solo merece el respeto de unos pocos valientes y el desprecio de muchos necios.”

“Metaphor: «Dicen que cuando encanecen los afanes con la senectud, es allá donde emerge la prontitud, la del desafuero repentino, donde todo yace en un ayer tan distante e incomprendido» Meaning: Sugiere que cuando las preocupaciones de la vida se vuelven menos urgentes con la edad avanzada, puede surgir una sensación de urgencia y desenfreno repentino. Todo lo que sucedió en el pasado puede parecer distante e incomprensible.”

“Metaphor does not explain; it does not define; it draws us away from being outsiders into being insiders, involved with all reality spoken into being by God’s word. . . . Metaphor sends out tentacles of connectedness. As we find ourselves in the tumble and tangle of metaphors in Scripture we realize that we are not schoolboys and schoolgirls reading about God, gathering information or “doctrine” that we can study and use; we are residents in a home interpenetrated by spirit – God’s Spirit, my spirit, your spirit. The metaphor makes us part of what we know. (Eat This Book)”

“Metaphor: «El espectro de coerción tiende a lo inevitable, y los herrumbrosos engranajes de esta imprudente metáfora no son consecuentes con la tácita evidencia. Pues, bajo estos sólidos cimientos tan impregnados de acción y epicidad, no hay lapso ni ápice redentor que transmita a fe ciega tan agria tesitura en pos de la buena ventura.» Answer: En el contexto de la obra "Odysseus", la cita se puede interpretar como una reflexión sobre la guerra. La guerra es una forma de coerción, y el hablante sostiene que la guerra es inevitable y destructiva. No hay lugar para la esperanza o la fe ciega en un mundo gobernado por la guerra. En conclusión, la cita es una reflexión poderosa sobre la naturaleza de la coerción y su inevitable tendencia a la violencia. El hablante sostiene que la coerción es incompatible con la buena ventura, y que las sociedades que se basan en la coerción están destinadas al fracaso.”

“Metaphor: «Entre escudos de malvivir, hizo al sayo su mal vestir» Answer: La cita sugiere que el antagonista, aunque ha acumulado riqueza y poder a través de actos sin escrúpulos, sigue siendo un ser vil y corrupto. Su "mal vestir" es un reflejo de su alma, manchada por la avaricia y el engaño, mostrando que, a pesar del oro que ha obtenido, no ha logrado escapar de la miseria moral que define su existencia.”

“Metaphor: «Fatalidad, desasosiego y mal augurio, esos son hijos de la misma rama, la de la muerte, pues en la balanza de su propio criterio, ahora equilibra nuestro peso, con concienzudo ministerio» Answer: La cita evoca una sensación de destino ineludible, inquietud y presagios negativos, todos derivados de la inevitabilidad de la muerte. Se sugiere que la muerte equilibra nuestras vidas con atención meticulosa, evaluando nuestro peso en la balanza de algún criterio reflexivo y concienzudo. La balanza puede sugerir el peso de la mortalidad en nuestras vidas.”

“Metaphor is one of the mechanisms by which our imaginations assimilate the world. We give sense to things through comparison. We theorise about things we are trying to understand and describe by alluding to characteristics they share with other things. We create new things by emulating the familiar. The attraction of metaphor is not exclusive to our attempts to make sense of the world through words. Thousands of years ago, architectural construction originated in metaphor. Sometime in the distant past, we began consciously constructing places as lasting metaphors for those ephemeral places we make just by being in the world or adopt in our natural surroundings.”

“Metaphor is the dreamwork of language and, like all dreamwork, its interpretation reflects as much on the interpreter as on the originator. The interpretation of dreams requires collaboration between a dreamer and a waker, even if they be the same person; and the act of interpretation is itself a work of the imagination. So too understanding a metaphor is as much a creative endeavour as making a metaphor, and as little guided by rules.”

“Metaphor is the only possible language available to religion because it alone is honest about Mystery. The underlying messages that different religions and denominations use are often in strong agreement, but they use different images to communicate their own experience of union with God. That should not shock or disappoint anyone, unless they are still kids shouting, "This is my toy, and the rest of you can't touch it!" Jesus who is always using metaphors, says, for example, " There are other sheep I have that are not of this fold, and these I have to lead as well. They too listen to my voice" (John 10:16a). He is quite obviously talking metaphorically by calling people sheep. He is also saying that sometimes the outsider to the "flock" hears as well as the insider. Furthermore, he says that he cares about and he respects the "other sheep," which means that we should too. These are crucial points, and who refuse to mine the metaphor will miss them.”

“Metaphor isn't just a fancy turn of speech. It shapes our thoughts and feelings, reaches out to grasp new experience, and even binds our five disparate senses. James Geary's fascinating and utterly readable I is an Other brings the news on metaphor from literature and economics, from neuroscience and politics, illuminating topics from consumer behavior to autism spectrum disorders to the evolution of language. As a writer, as a teacher, and as someone just plain fascinated by how our minds work, I've been waiting years for exactly this book.”