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Read through the most famous quotes by topic #oral
So you think money is the root of all evil? Have you ever asked what is the root of money? Money is a tool of exchange, which can't exist unless there are goods produced and men able to produce them. Money is the material shape of the principle that men who wish to deal with one another must deal by trade and give value for value. Money is not the tool of the moochers, who claim you product by tears, or of looters, who can take it from you by force. Money is made possible only by the men who produce. Is this what you consider evil? ↗
Commitment is a word invented in our abstract modernity to signify the absence of any real motives in the soul for moral dedication. ↗
There is a sense in which all cognition can be said to be motivated. One is motivated to understand the world, to be in touch with reality, to remove doubt, etc. Alternately one might say that motivation is an aspect of cognition itself. Nevertheless, motives like wanting to find the truth, not wanting to be mistaken, etc., tend to align with epistemic goals in a way that many other commitments do not. As we have begun to see, all reasoning may be inextricable from emotion. But if a person's primary motivation in holding a belief is to hue to a positive state of mind, to mitigate feelings of anxiety, embarrassment, or guilt for instance. This is precisely what we mean by phrases like "wishful thinking", and "self-deception". Such a person will of necessity be less responsive to valid chains of evidence and argument that run counter to the beliefs he is seeking to maintain. To point out non-epistemic motives in an others view of the world, therefore, is always a criticism, as it serves to cast doubt on a persons connection to the world as it is. ↗
It follows that the one thing we should not do to the men and women of past time, and particularly if they ghost through to us as larger than life, is to take them out of their historical contexts. To do so is to run the risk of turning them into monsters, whom we can denounce for our (frequently political) motives—an insidious game, because we are condemning in their make-up that which is likely to belong to a whole social world, the world that helped to fashion them and that is deviously reflected or distorted in them. Censure of this sort is the work of petty moralists and propagandists, not historians (p. 5). ↗
Two wrongs' create an additional problem. 'A wrong' plus 'A right' creates a remorse. 'Two rights' create a solution. ↗
In the moral realm, there is very little consensus left in Western countries over the proper basis of moral behavior. And because of the power of the media, for millions of men and women the only venue where moral questions are discussed and weighed is the talk show, where more often than not the primary aim is to entertain, even shock, not to think. When Geraldo and Oprah become the arbiters of public morality, when the opinion of the latest media personality is sought on everything from abortion to transvestites, when banality is mistaken for profundity because [it's] uttered by a movie star or a basketball player, it is not surprising that there is less thought than hype. Oprah shapes more of the nation's grasp of right and wrong than most of the pulpits in the land. Personal and social ethics have been removed from the realms of truth and structures of thoughts; they have not only been relativized, but they have been democratized and trivialized. ↗
#morality #oprah #pluralism #the-church #the-twentieth-century
But the thing I remember most about the screening in October twenty years ago was the moment Julian grasped my hand that had gone numb on the armrest separating our seats. He did this because in the book Julian Wells lived but in the movie's new scenario he had to die. He had to be punished for all of his sins. That's what the movie demanded. (Later, as a screenwriter, I learned it's what all movies demanded.) When this scene occurred, in the last ten minutes, Julian looked at me in the darkness, stunned. "I died," he whispered. "They killed me off." I waited a bit before sighing, "But you're still here." Julian turned back to the screen and soon the movie ended, the credits rolling over the palm trees as I (improbably) take Blair back to my college while Roy Orbison wails a song about how life fades away. ↗
She sang, as requested. There was much about love in the ballad: faithful love that refused to abandon its object; love that disaster could not shake; love that, in calamity, waxed fonder, in poverty clung closer. The words were set to a fine old air -- in themselves they were simple and sweet: perhaps, when read, they wanted force; when well sung, they wanted nothing. Shirley sang them well: she breathed into the feeling, softness, she poured round the passion, force: her voice was fine that evening; its expression dramatic: she impressed all, and charmed one. On leaving the instrument, she went to the fire, and sat down on a seat -- semi-stool, semi-cushion: the ladies were round her -- none of them spoke. The Misses Sympson and the Misses Nunnely looked upon her, as quiet poultry might look on an egret, an ibis, or any other strange fowl. What made her sing so? They never sang so. Was it proper to sing with such expression, with such originality -- so unlike a school girl? Decidedly not: it was strange, it was unusual. What was strange must be wrong; what was unusual must be improper. Shirley was judged. ↗
