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“Teaching Black Studies, I find that students are quick to label a black person who has grown up in a predominantly white setting and attended similar schools as "not black enough." ...Our concept of black experience has been too narrow and constricting.”

“The museum is full of interesting things. All kinds of paintings are there. And then paintings too thick to put in a frame, that they call sculpture. And then there are spectators. with their scorecards, rooting for culture. And spectators of the spectators, looking for love's introduction. And art students taking notes. And old women trying to remember the past. And old men with too much to forget. And tourists, thinking that a museum represents a city. And loafers so poor, they study their soberness here.”

“I didn't study writing in school, I studied biology as an undergraduate and graduate student. So I think that I write fiction in the scientific way. I love invention, obviously; I love creation of character. But I do feel very rooted in the real world, even in the way that I create characters.”

“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.”

“Because my graduate academic training at law school was not one that included most of the intellectual traditions I find useful for understanding the conditions and problems that most concern me - anti-colonial theories, Foucault, critical disability studies, prison studies and the like are rarely seen in standard US Law School curricula, where students are still fighting on many campuses to get a single class on race or poverty offered - I developed most of my thinking about these topics through activist reading groups and collaborative writing projects with other activist scholars.”

“So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.”

“I went to Oberlin College, and they don't have a film major, but they do have what's called an individual major, where you can sort of pitch to a committee your own course study, and if they approve it, you have essentially just designed your own major. So Oberlin doesn't have a film major; they do have a film minor... And then my spring semester of my junior year, I went off to NYU film school as a visiting student - they have a program for kids from other schools to come in for a semester.”

“A schoolchild should be taught grammar - for the same reason that a medical student should study anatomy. Having learned about the exciting mysteries of an English sentence, the child can then go forth and speak and write any damn way he pleases.”

“Casals says music fills him with the wonder of life and the 'incredible marvel' of being a human. Ives says it expands his mind and challenges him to be a true individual. Bernstein says it is enriching and ennobling. To me, that sounds like a good cause for making music and the arts an integral part of every child's education. Studying music and the arts elevates children's education, expands students' horizons, and teaches them to appreciate the wonder of life.”

“If we study learning as a data science, we can reverse engineer the human brain and tailor learning techniques to maximize the chances of student success. This is the biggest revolution that could happen in education, turning it into a data-driven science, and not such a medieval set of rumors professors tend to carry on.”

“Create sacred spaces in the workplace as well. Classrooms, five years ago, professors would say, I don't want be a nanny to my students. They can do whatever they want. Now professors are saying, put away that laptop, because studies show that it not only takes away the attention of the person who's on the laptop from the class, but everyone around them. There's like a circle around that person that's distracted and not paying attention.”

“When the good student chooses the honest path, free of perfectionism and faking, music study becomes something refreshingly new: a calm oasis of self-acceptance for those who are so used to driving themselves and trying to please others.”

“Everything we know has its origin in questions. Questions, we might say, are the principal intellectual instruments available to human beings. Then how is it possible that no more than one in one hundred students has ever been exposed to an extended and systematic study of the art and science of question-asking? How come Alan Bloom did not mention this, or E. D. Hirsh, Jr., or so many others who have written books on how to improve our schools? Did they simply fail to notice that the principal intellectual instrument available to hu­man beings is not examined in school?”

“I think the big turning moment was when I joined the student political action club and started studying nonviolent civil disobedience in response to the Iraq War. The first anti-Bush protest in Atlanta was the first protest that I'd ever been to, and I helped organize the school walkout when I was a junior. It was a really solidifying moment.”

“I think it's okay that there's digital music out there, because that does mean more people have access. I mean, you're a student, and you're studying music, and you want to find a CD of a whole work, but there's one piece that intrigues you. It's easy to get that piece for a dollar for the most part. And it's so easy for people to carry around music digitally.”

“It is worthwhile to engage in something that is close to one's heart. I had a scholarship. So if I donate money to give brilliant Chinese students an opportunity to study abroad, then this embodies everything I believe in: education, globalization, social mobility. I am an example of social mobility.”

“There is too much ideological conformity in gender studies. The true-believers fashion the theories, write the textbooks and teach the students. When journalists, policymakers, and legislators address topics such as the wage gap, gender and education, or women's health, they turn to these experts for enlightenment. For the most part, they peddle misinformation, victim politics, and sophistry. They claim that their teachings represent the academic consensus, but that is only because they have excluded all dissenters.”

“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.”

“When students are first at the Kerouac School we harp on Gertrude Stein's very basic poetic insistence that words are things . Not to invalidate your experience or all the great feelings you have, I tell them. Although poetry may be good for you, it's not therapy. You're making something with words which are visceral, muscular, active, not just markers of how you feel. And we have classes studying William Blake, Ezra Pound, Charles Olson, Robert Duncan, Stein.”

“I teach a graduate seminar called "Theorizing Improvisation" that is pretty interdisciplinary, but really makes students deal with black studies seriously. A lot of authors of color, a lot of women of color - those become central to the intellectual trajectory. It considers music, but it also considers areas of thought that might seem unrelated to music. That's partly because we're expanding the notion of what music is beyond objects, beyond scores, beyond things.”