Social Realities Quotes

A conservative is a liberal who got mugged the night before.

It's not easy for a film to tell a story of the experiences of an entire society. However, from an individual's perspective, it is possible to tell one aspect of an entire society's story.

The Church responds to antiquated social realities, and those realities remain much more current in Utah precisely because of the Church.

Idealism, unrealistic idealism, is always contrasted with the reality of the people, of the man in the street. The details of daily life are always more convincing than the political fantasies of the earlier generations.

Art imitates life. Life imitates high school.

The enormous social change involved in a sexual revolution is basically a matter of altered consciousness, the exposure and elimination of social and psychological realities underlying political and cultural structures. We are speaking, then, of a cultural revolution, which, while it must necessarily involve the political and economic reorganization traditionally implied by the term revolution, must go far beyond this as well.

I'm not talking about Russia in my music. I've never been to Russia. I'm not talking about Africa, Switzerland, China. I'm talking about me being American and growing up in a crazy world and helping to reflect all different sides of life.

Political, social and economic realities are shaped by a historical process.

My books are not 'political.' I don't make political demands. They actually describe life. But when we look at human life, politics creeps in everywhere.

I come from a protected environment of a Juhu house, and I wasn't exposed to life as shown in 'Highway'. It's not that I'm a snob, but I was cocooned from the reality of life. The film made me aware of life and myself.

We live in a funny time, a funny era, when desire, to be adult desire, has to be conceived as sexual. And that didn't used to be the case. Sexuality is a social construction as much as anything else and I think the realities of sexuality don't always fit into the social constructions that we have, and we live in a goal-oriented time - on all fronts.

People in third-world countries are less eager to see movies full of angst over existential problems, and who can blame them. They've got other fish to fry. They'd rather see a few great dance routines and the guy end up with the girl.

History asks us to imagine ourselves in a period, but it's a very different situation when you're in that period and faced with those situations.

Literature gives us models of living human beings who may not agree with us and even be our enemies. D. H. Lawrence said that the purpose of literature was to expand our sympathies. To be a human being is to be in a state of tension between your appetites and your dreams, and the social realities around you and your obligations to your fellow man. And this conflict cannot be easily reconciled. The tension is always there as a kind of a pain in the human condition.

To be a human being is to be in a state of tension between your appetites and your dreams, and the social realities around you and your obligations to your fellow man.

As the books grew bigger and more ambitious, the situations in question sometimes became political ones, and so it became necessary to start painting in the social background on a scale which eventually became panoramic.

What we are trying to do now, this new generation of African writers, is to write about what it is to be a human being living in a particular African country. These are stories that resonate with anyone, anywhere.

It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.

In this era of political correctness, some people seem unaware that being squeamish about words can mean being blind to realities.

It's not possible in this world to be friends with everybody. We have to choose friends and then stay with them.

I tend to write society as I see and understand it.

We made it known that we were trying to show the reality of France. People think of Paris as the city of love or the city of light, but where you got love you got hate, where you got light you got darkness.

My art will reflect not necessarily conscious politics but the unanalysed politics of my life.

I do find myself drawn more to pieces that I feel are wrestling with the way that we're living now, what we're all going through.

Only in imaginary experience (in the folk tale, for example), which neutralizes the sense of social realities, does the social world take the form of a universe of possibles equally possible for any possible subject.