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“With demands for special education or standardized test prep being shouted in their ears, public schools can't always hear a parent when he says: 'I want my child to be able to write contracts in Spanish,' or, 'I want my child to shake hands firmly,' or, 'I want my child to study statistics and accounting, not calculus.”

“The only place where you could see life and death, i. e., violent death now that the wars were over, was in the bull ring and I wanted very much to go to Spain where I could study it. I was trying to learn to write, commencing with the simplest things, and one of the simplest things of all and the most fundamental is violent death.”

“I like to be aware of a book as a piece of writing, and aware of its structure as a product of mind, and yet I want to be able to see the represented world through it. I admire artists who succeed in dividing my attention more or less evenly between the world of their books and the art of their books . . . so that a reader may study the work with pleasure as well as the world that it describes.”

“If it is your assignment to write copy for a product or service that you really don’t have a feel for, then you have a great deal of studying to do to make sure you understand who your customer is and what motivates him or her.”

“Until recently we’ve only been able to speculate about story's persuasive effects. But over the last several decades psychology has begun a serious study of how story affects the human mind. Results repeatedly show that our attitudes, fears, hopes, and values are strongly influenced by story. In fact, fiction seems to be more effective at changing beliefs than writing that is specifically designed to persuade through argument and evidence.”

“The more I read, the less I admire modern theology. the more I study the productions of the new schools of theological teachers, the more I marvel that men and women can be satisfied with such writings. There is a vagueness, a mistiness, a shallowness, an indistinctness, a superficiality, an aimlessness, a hollowness about the literature of the 'broader and kinder systems', as they are called, which to my mind stamps their origin on their face. They are of the earth, earthy.”

“Study your reader first - your product second. If you understand his reactions, and present those phases of your product that relate to his needs, then you cannot help but write a good letter.”

“Philosophical studies are beset by one peril, a person easily brings himself to think that he thinks; and a smattering of science encourages conceit. He is above his companions. A hieroglyphic is a spell. The gnostic dogma is cuneiform writing to the million. Moreover, the vain man is generally a doubter. It is Newton who sees himself in a child on the sea shore, and his discoveries in the colored shells.”

“But this same process of the old teaching the young can also cause errors and false conclusions to accumulate with the passage of time. One should therefore study ancient writings, not so much in the hope of finding lost wisdom as in the hope of locating the origin of errors that have been, and still are, accepted truths.”

“I flew into a small airport surrounded by cornfields and pastures, ready to carry out the two commands my father had written out for me the night before I left Calcutta: Spend two years studying creative writing at the Iowa Writers Workshop, then come back home and marry the bridegroom he selected for me from our caste and class.”

“I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine.”

“Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge.”

“Whatever I may be, I want to be elsewhere than on paper. My art and my industry have been employed in making myself good for something; my studies, in teaching me to do, not to write. I have put all my efforts into forming my life. That is my trade and my work.”

“The idea of childhood as a social invention, in retrospect, is hardly credible. In the Bible, in writings of the Greeks and Romans, and in the works of the first great educator of the modern era, Comenius, children were recognized as being both different from adults and different from one another with respect to their stages of development. To be sure, the scientific study of children and the increased length of life in modern times have enhanced our understanding of age differences, but they have always been acknowledged.”

“[On the New Testament:] I ... must enter my protest against the false translation of some passages by the men who did that work, and against the perverted interpretation by the men who undertook to write commentaries thereon. I am inclined to think, when we [women] are admitted to the honor of studying Greek and Hebrew, we shall produce some various readings of the Bible a little different from those we now have.”

“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.”

“Pretty much at the age of 16, I realized acting wasn't going to be the vocation for me...too political not enough creative control. But I loved the craft and my father wanted me to get a college degree. Seemed natural to study what I loved and Marymount Manhattan has a wonderful theatre program, I highly recommend it! A lot of what I learned there I apply to my comicbook writing and pacing.”

“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.”

“I hope any poem I've ever written could stand on its own and not need to be a part of biography, critical theory or cultural studies. I don't want to give a poetry reading and have to provide the story behind the poem in order for it to make sense to an audience. I certainly don't want the poem to require a critical intermediary - a "spokescritic." I want my poems to be independently meaningful moments of power for a good reader. And that's the expectation I initially bring to other poets' writing.”

“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.”

“For someone who is starting out on developing their critical skills, just being aware of its existence is great: it can make the difference between trying to write a story around a cliche or an original idea, and better still, studying it can eventually clue you in on how to breathe new life into tired tropes.”

“Beware of advice. Consider your sources carefully. Look them up. See if you respect what they've made. Get educated. Be informed about who's real and who isn't. Study your craft and your industry, practice all the time, challenge yourself - write things you think you can't, try things you have been told you shouldn't try - leave room for surprises, and learn how to collaborate.”

“The most ignorant person, at a reasonable charge, and with a little bodily labour, might write books in philosophy, poetry, politics, laws, mathematics, and theology, without the least assistance from genius or study.”

“My book, Oral History: Understanding Qualitative Research is about how researchers use this method and how to write up their oral history projects so that audiences can read them. It's important that researchers have many different tools available to study people's lives and the cultures we live in. I think oral history is a most needed and uniquely important strategy.”

“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.”

“I recently found myself going through a period of uncertainty about my future as a performer, my status as a personality, the believability of my Christian witness and the knowledge of God's will in my life. I felt a force bigger than myself saying, 'Lay back. Take it easy. Study hard. Read your bible. Think, write and keep your mouth shut for awhile.'”