Terry Eagleton (Terence Francis "Terry" Eagleton) Quotes
Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.
Quotes to Explore
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The Arab world also won the Nobel with me. I believe that international doors have opened, and that from now on, literate people will consider Arab literature also. We deserve that recognition.
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The terrifying and edible beauty of Art Nouveau architecture.
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Movie making is not like other art forms, like painting, or writing a novel, because that can be digested or interpreted... It takes two years to make each one of these, and it's always judged on money.
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Any art communicates what you're in the mood to receive.
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We must not show to all and sundry the secrets of the waters flowing in ocean and river, or the devices that work on these waters. Let there be convened a council of experts and masters in mechanical art to deliberate what is needed to compose and construct these works.
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But the business side of it, as with most creative things, there is no room for business. It is about art. It's not about marketing.
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The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
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An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.
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If I'm creating a free-form piece of art, I can make it look like anything I want, and nobody will say it's wrong.
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It's kind of an art, going out and performing. I'd like fans to remember me as a guy who would go out and entertain them, give them quality matches, and not just the same old garbage every week.
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The people who make art their business are mostly imposters.
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We know from many experiences that this is what the work of art does: its life - in which we have shared the alien existences both of this world and of that different world to which the work of art alone gives us access - unwillingly accuses our lives.
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The work of art is, after all, an act of faith in our ability to communicate symbolically.
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Appropriation is the idea that ate the art world. Go to any Chelsea gallery or international biennial and you'll find it. It's there in paintings of photographs, photographs of advertising, sculpture with ready-made objects, videos using already-existing film.
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A lot of times, politics, global issues are very black and white. There is a place for that, but it's also fantastic to have art side by side, from different viewpoints, open for interpretations.
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You should be able to be influenced by art no matter where it comes from.
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I'm from a very violent city. I'm from New Orleans, Louisiana, and it's good to see me be able to express my art, have a good opportunity for my life, make history and say something, without being violent.
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I had passed through the entire British education system studying literature, culminating in three years of reading English at Oxford, and they'd never told me about something as basic as the importance of point of view in fiction!
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Children's books are looked on as a sideline of literature. A special smile. They are usually thought to be associated with women. I was determined not to have this label of sentimentality put on me so I signed by my intials, hoping people wouldn't bother to wonder if the books were written by a man, woman or kangaroo.
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You know who has done a lot of questioning of generals? President Trump.
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I know a lot of Americans in Paris who have married Frenchmen. They keep bringing up their experience, the clash of civilizations, the clash of personalities.
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It just felt like the right time to focus on solo material.
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Short-term market and economic prognostication is largely a fool’s errand, we invest according to a strategy that makes the need to rely on short-term market or economic assessments largely irrelevant.
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Because subjects like literature and art history have no obvious material pay-off, they tend to attract those who look askance at capitalist notions of utility. The idea of doing something purely for the delight of it has always rattled the grey-bearded guardians of the state. Sheer pointlessness has always been a deeply subversive affair.
