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“We can no longer communicate with the apes by direct language, nor can we understand, without special study, their modes of communication which we have long since replaced by more elaborate forms. But it is at least presumable that they could still detect in our speech, at least when it is public and elaborate, the underlying tone values with which it began. Thus if we could take a gibbon ape to a college public lecture, he would not understand it, but he would "get a good deal of it." This is all the students get anyway.”

“Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.”

“I put myself in the student's place and remember the frustrations, doubts, determination, and desires I felt when I was going through the initial learning process. The things we now do automatically, such as perspective, pencil control, values and composition were as unfamiliar and intimidating as a foreign language.”

“I believe that we can still have a genre of scientific books suitable for and accessible alike to professionals and interested laypeople. The concepts of science, in all their richness and ambiguity, can be presented without any compromise, without any simplification counting as distortion, in language accessible to all intelligent people. I hope that this book can be read with profit both in seminars for graduate students and if the movie stinks and you forgot your sleeping pills on the businessman's special to Tokyo.”

“Economic analysis is the first principle of Marxism. Professors who were genuine leftists would have challenged the entire economics-driven machinery of American academe the wasteful multidepartmental structure, the divisive pedantry of overspecialization, the cronyism and sycophancy in recruitment and promotion, the boondoggling ostentation of pointless conferences, the exploitation of graduate students and part-time teachers, the subservience of faculty to overpaid administrators, the mediocrity and folly of the ruling cliques of the Modern Language Association.”

“I try to teach my students style, but always as a part of life, not as ornament. Style has to come out of communicating coherent thought, not in sticking little flowers on speeches. Style and substance and a sense of life are the things literature is composed of. One must use one's own personality in relationship to life and language, of course, and everyone has such a relationship. Some people find it, some don't find it, but it's there.”

“The radicals...want speech regulated by codes that proscribe certain language. They see free speech as at best a delusion, at worst a threat to the welfare of minorities and women....The most obvious (and cynical) explanation for the switched positions is the switched situations. Protesting students became established professors and administrators. For outsiders, free speech is bread and butter; for insiders, indigestion. To the new academics, unregulated free speech spells trouble.”

“The extraordinary language of Nonviolent Communication is changing how parents relate to children, teachers to students, and how we all related to each other and even to ourselves. It is precise, disciplined, and enormously compassionate. Most important, once we study NVC we can't ignore the potential for transformation that lies in any difficult relationship - if we only bother to communicate with skill and empathy.”

“Now that Stevenson is dead I can think of but one English- speaking author who is really keeping his self-respect and sticking forperfection. Of course I refer to that mighty master of language and keen student of human actions and motives, Henry James.”

“It is clear that everybody interested in science must be interested in world 3 objects. A physical scientist, to start with, may be interested mainly in world 1 objects--say crystals and X-rays. But very soon he must realize how much depends on our interpretation of the facts, that is, on our theories, and so on world 3 objects. Similarly, a historian of science, or a philosopher interested in science must be largely a student of world 3 objects.”

“I didn't speak a single word of English when I was told that I was one of the lucky students been selected to go to study at the Houston Ballet Academy. I knew I had to study hard in every aspect, in both language and dance, which I did. I put my whole heart and soul into each minute of my day while in America and what an experience those six weeks gave me.”

“I feel like God has moved me into a different way of doing things. I teach basic on-camera acting class called Acting 101...In my classroom, the students get every ounce of encouragement and craft and anything I'm able to give them.We have some rules. We don't take the name of The Lord in vain. We don't use foul language when we mess up on camera...There's a climate of safety...They feel very protected.”

“One of my favorite tricks was taking a page and having the first student translate it from English into whatever language he or she was working on, and the next one would translate it back into English and then into the foreign language, and we'd go around the room and compare the two English versions at the end, and it would be amazing how much survived.”

“It's now up to the states to figure out how they implement that definition of a well-rounded education, in other words, where they spend federal funds. The new law, the Every Student Succeeds Act, has suggestions like computer science, health, foreign language and geography. So there's no guarantee the arts will now flourish. Arts advocates are ready to help states and school districts with their plans.”

“Writers are outsiders, and usually not by their own choosing. It’s why they’re writers. If they didn’t feel alienated from human experience, they wouldn’t feel so drawn to writing to make sense of their lives. It’s not the outsider’s facility for language that makes her a writer — many a student body president or homecoming queen can turn a phrase — but her ability to howl at the moon, on the page.”

“One of my unsung heroes is Erich Mendelsohn. I met him when I was a student and he was a cranky old man and very unpleasant. But if you go to his Einstein Tower in Potsdam, Germany you see an enormous intellect at work with a language that was personal and new. It has a sense of urban design and of theater and procession I hadn't seen before.”

“You [young people] all are just much more internationally-minded and traveled and knowledgeable in languages than any other previous generation. So many of you are already doing a lot of international relations, I think. I so believe in student networks, and people that either study abroad or come to the United States to study, and the relationships that you all develop. You learn a lot from each other, but you all will see each other again in jobs along the way. And I think that makes a big difference. I so believe in what students can do.”

“I was a regular kind of academic music student. I was at Juilliard. I had to study all the contemporary music of the time, and changing that language very radically was just a sign or a signal that I was going to try to do something very different. I find that that's what I feel closest to. I found no real inner response in me in a non-tonal language.”

“Sometimes I see my students, especially the ones with a gift for the lyrical, reaching far outside the realm of their own experience for language and images. I understand this impulse. We think, in the beginning, that striking exotic words together will create something entirely new. That we must be worldly in our vocabulary. We idolize the styles of other writers and don't trust or perhaps yet know our own.”

“With my students I give them lots and lots of guided writing. Part of it is as simple as writing a lot but not toward anything. The mind floats. Then I help them see where the language has heat. If we do this a lot in class, students eventually relax into this writing practice and enjoy it. Even just that - writing pleasure without the anxiety of "audience" or "grade" or "success" - is a kind of impetus toward the unfamiliar.”

“I like being connected to young people, or younger people who are trying to figure out the language of film, bringing theorists from the dawn of the art in the 20th century. There is a way you find a synthesis. You read texts by the Soviets who are discussing montage, and you have students figuring out how to put scenes together and tell stories visually. The theory becomes relevant in daily practice. It's free labor, which is pretty cool too. I think we all learn from each other and benefit from the collaborations.”