Supposing the Mechanical Phase to have lasted 300 years, from 1600 to 1900, the next or Electric Phase would have a life equal to ...(the square root of 300), or about seventeen years and a half, when--that is, in 1917Mit would pass into another or Ethereal Phase, which, for half a century, science has been promising, and which would last only (the square root of 17.5), or about four years, and bring Thought to the limit of its possibilities in the year 1921. It may well be!LESSATTRIBUTION DETAIL »
Adolescence has been recognised as a stage of human development since medieval times--long, long before the industrial revolution-...-and, as it is now, has long been seen as a phase which centers on the fusion of sexual and social maturity. Indeed, adolescence as a concept has as long a history as that of puberty, which is sometimes considered more concrete, and hence much easier to name and to recognize.LESSATTRIBUTION DETAIL »
It is not however, adulthood itself, but parenthood that forms the glass shroud of memory. For there is an interesting quirk in th...e memory of women. At 30, women see their adolescence quite clearly. At 30 a woman's adolescence remains a facet fitting into her current self.... At 40, however, memories of adolescence are blurred. Women of this age look much more to their earlier childhood for memories of themselves and of their mothers. This links up to her typical parenting phase.LESSATTRIBUTION DETAIL »
The Americans are violently oral.... That's why in America the mother is all-important and the father has no position at all--isn'...t respected in the least. Even the American passion for laxatives can be explained as an oral manifestation. They want to get rid of any unpleasantness taken in through the mouth.LESSATTRIBUTION DETAIL »
Printed prose is historically a most peculiar, almost an aberrant way of telling stories, and by far the most inherently anestheti...c: It is the only medium of art I can think of which appeals directly to none of our five senses. The oral and folk tradition in narrative made use of verse or live-voice dynamics, embellished by gesture and expression--a kind of rudimentary theater--as do the best raconteurs of all times. Commonly there was musical accompaniment as well: a kind of one-man theater-of-mixed-means.LESSATTRIBUTION DETAIL »
After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I'd rea...d, I started relying on the expert advice of other mothers--especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.LESSATTRIBUTION DETAIL »
Homer sweeps us away by the irresistible movement of lines through a whole passage to a splendid climax. What counts is the single...ness of his effect, the unbroken maintenance of a heroic or tragic mood, the concentration on some action vividly imagined and clearly portrayed without irrelevance or second thoughts or even those hints that lure into bypaths of fancy and suggest that there is more in the words than is obvious at first sight. But in Virgil, great though the paragraphs are, compelling though the climax is when it is reached, we are more concerned with the details, with each small effect and each deftly placed word, than with the whole. We linger over the richness of single phrases, over the "pathetic half-lines," over the precision or potency with which a word illuminates a sentence or a happy sequence of sounds imparts an inexplicable charm to something that might otherwise have been trivial. Of course, Homer has his magical phrases and Virgil his bold effects, but the distinction stands. It is a matter of composition, of art, and it marks the real difference between the two kinds of epic, which are not so much "authentic" and "literary" as oral and written.LESSATTRIBUTION DETAIL »
The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it... to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.LESSATTRIBUTION DETAIL »
When we study human language, we are approaching what some might call the 'human essence,' the distinctive qualities of mind that ...are, so far as we know, unique to man and that are inseparable from any critical phase of human existence, personal or social. Hence the fascination of this study, and, no less, its frustration. The frustration arises from the coming to grips with the core problem of human language, which I take to be this: having mastered a language, one is able to understand an indefinite number of expressions that are new to one's experience, that bear no simply physical resemblance and are in no simple way analogous to the expressions that constitute one's linguistic experience; and one is able ... to produce such expressions on an appropriate occasion, despite their novelty.... The normal use of language is, in this sense, a creative activity. This creative aspect of normal language use is one fundamental factor that distinguishes human language from any known system of animal communication.LESSATTRIBUTION DETAIL »