Creativity Of Language Quotes & Sayings

Twitter has already birthed an entire ecosystem of other sites that extend its power or interact with it. But Twitter isn't just a platform for technological innovation: It's showing signs as an engine of creativity for the language, too. — Erin McKean

Rabi-'ah's achievement built on a tradition of female literacy, scholarship and intellectual creativity reaching back to the dawn of thought. Countless ancient myths ascribe the birth of language to women or goddesses, in a ritual formulation of the primeval truth that the first words any human being hears are the mother's. In Indian mythology the Vedic goddess Vac means "language"; she personifies the birth of speech, and is represented as a maternal mouth-cavity open to give birth to the living word. The Hindu prayer to Devaki, mother of Krishna, begins, "Goddess of the Logos, Mother of the Gods, One with Creation, thou art Intelligence, the Mother of Science, the Mother of Courage ... — Rosalind Miles

...Religious observances, once so full of suffering and awe, have become accommodating and benign. Teachers go out of their way to avoid embarrassing, insulting, overworking, or otherwise vexing their students. Each year public language is further purged of impurities that might injure sensitive groups. Prime-time television series seem dedicated to the comforting message that things are really okay.
Indeed, modern society's war on pain has been vastly more successful than its war on pain's causes. — Robert Grudin

The reason for spiritual enlightenment is not to escape life, but to learn how to live it richly, to enjoy it.
The Language of Soul — Harold Klemp

There is no doubt about it: we are judged by our language as much as (perhaps more than) we are judged by our appearance, our choice of associates, our behavior. Language communicates so much more than ideas; it reveals our intelligence, our knowledge of a topic, our creativity, our ability to think, our self-confidence, et cetera. — Marlene Caroselli

Before he died in 2013, the great sociologist Robert Bellah said that his view of everything he'd studied across his life was tilted on its axis by this late recognition: when mammals began to bring forth offspring from the center of their bodies, spiritual life became possible. With apes and far more with humans, the period of necessary parental care - care in order for the offspring to survive - became longer and longer. The long helplessness of the child generated a sphere of softening, experimentation, and creativity in self-understanding and shared life. This is the biological groundwork for the axial move - stepping out of fear and into care beyond one's self. The religions apprehended this long ago and wove it into language; compassion in both Hebrew and Arabic derives from the word for womb. — Krista Tippett

Writers are not just writers, they are creators of worlds, sculptors of the mind, they are architects of language. — Jamie L. Harding

Language is an anonymous, collective and unconscious art; the result of the creativity of thousands of generations. — Edward Sapir

Any language is necessarily a finite system applied with different degrees of creativity to an infinite variety of situations, and most of the words and phrases we use are "prefabricated" in the sense that we don't coin new ones every time we speak. — David Lodge

I tried to think the same thought in as many different religions as possible, so the thought itself wouldn't be limited by any particular way of reasoning, the way words restrict
the whole eskimo-seventeen-words-for-snow idea. — Patricia Geary

Funambulist.' said Sophronia Temminnick, quite suddenly.
'Sophronia, such language!' Dimity Plumleigh-Teignmott reprimanded.
'Pardon?' said Agatha Woosmoss.
Sidheag Maccon, the final member of Sophronia's group, muttered, 'Bless you.'
'I wasn't sneezing, nor being indelicate, thank you all very much. I was thinking out loud.'
'As if thinking out loud weren't *decidedly* indelicate.' Dimity was not to be swayed out of disapproval when she felt it might exercise her creativity. — Gail Carriger

Madness and passion have always been interchangeable. Throughout the entire western literary tradition. Madness is an abundance of existence. Madness is a way of asking difficult questions. What did he mean, the powerless tyrant king? O Fool, I shall go mad.
Maybe madness is the excess of possibility, ... And writingis about reducing possibility to ne idea, one book, one sentence, one word. Madness is a form of self-expression. It is the opposite of creativity. You cannot make anything that can be separated from yourself if you are mad. And yet, look at Rimbaud
and your wonderful Christopher Smart. But don't harbour any romantic ideas about what it means to be mad. My language was my protection, my guarantee against madness and when there was no one to listen my language vanished along with my reader. — Patricia Duncker

The autobiographical self has prompted extended memory, reasoning, imagination, creativity and language. And out of that came the instruments of culture - religions, justice, trade, the arts, science, technology. — Antonio Damasio

Of all the words that exist in any language only a bare minority are pure, unadulterated, original roots. The majority are "coined" words, forms that have been in one way or another created, augmented, cut down, combined, and recombined to convey new needed meanings, The language mint is more than a mint; it is a great manufacturing center, where all sorts of productive activities go on unceasingly. — Mario Andrew Pei

When dealing with Arab society, [we are dealing with] a production system that is in competition with others (and not with a theoretical opposition between specific economic rationalities), a social structure that must at all times prove its viability in the world arena (and not with its inner logic, which is theoretically as total, as elegant, and plausible as that of any other society whatever), a practical politics that is in perpetual disequilibrium (and not with elaborate theories about the best form of government), a language that must constantly prove its creativity and capacity for adaptation in competition with other languages in an accelerating evolutionary situation (and not with a theory of the language at a given moment of its evolution). — Abdallah Laroui

American schools in Guam, both before 1941 and after 1945, were established to eradicate the Chamoru, tongue and person. To educate the old Chamoru out of the new American. The native out of the patriot...But the nastier lesson their schools taught was that their dreams were ours. That indigenous knowledge had no place in the new world...As vehicles for our assimilation, American schools have attached to our longings alien aspirations for material wealth, money and power. How much of our creativity and our vision has already been laid to waste for the sake of these? — Julian Aguon

To creative people, the compendium of the white man's dialect are unfashionable, because their creations are more than what the tongue could say. — Michael Bassey Johnson

This is why the shaman is the remote ancestor of the poet and artist. Our need to feel part of the world seems to demand that we express ourselves through creative activity. The ultimate wellsprings of this creativity are hidden in the mystery of language. Shamanic ecstasy is an act of surrender that authenticates both the individual self and that which is surrendered to, the mystery of being. Because our maps of reality are determined by our present circumstances, we tend to lose awareness of the larger patterns of time and space. Only by gaining access to the Transcendent Other can those patterns of time and space and our role in them be glimpsed. — Terence McKenna

Embrace Cursive Schools are downplaying - and even eliminating - the need to learn to write cursive, despite its necessity to engage highly complex cognitive processes and achieve mastery of a precise motor coordination. (It takes children years to master handwriting and some stroke victims relearn language by tracing letters with their fingers.) Writing in cursive also increases a sense of harmony and balance, and writing on paper provides creative options: to manipulate the medium in multidimensional, innovative, or expressive ways (such as cutting, folding, pasting, ripping, or coloring the paper). Also, when you write in longhand on paper and then edit, there'll be a visual and tactile record of your creative process for you and others to study. Learning to write (and writing) in cursive, on paper, fosters creativity and should not be surrendered. — Susan Reynolds

Susan Griffin describes it as a time when "there is no intrinsic authority to my words." "I ... clean off my desk. I make telephone calls. I know I am avoiding the typewriter. I know that in my mind, where there might be words, there is simply a blankness. I may try to write and then my words bore me." But when the time is right, the waiting will have been worth it. "Because each time I write, each time the authentic words break through, I am changed. The older order that I was collapses and dies. I lose control. I do not know exactly what words will appear on the page. I follow language. I follow the sound of the words, and I am surprised and transformed by what I record." Excerpt from "Thoughts on Writing: A Diary," in The Writer on her Work. — Judith Barrington

In chess the most unbelievable thing for me is that it's a game for everybody: rich, poor, girl, boy, old, young. It's a fantastic game which can unite people and generations! It's a language which you'll find people "speak" in every country. If you reach a certain level you find a very rich world! Art, sport, logic, psychology, a battlefield, imagination, creativity not only in practical games but don't forget either how amazing a feeling it is to compose a study, for example (unfortunately that's not appreciated these days but it's a fantastic part of chess!). — Judit Polgar

The most striking aspect of linguistic competence is what we may call the 'creativity of language,' that is, the speaker's ability to produce new sentences, sentences that are immediately UNDERSTOOD by other speakers although they bear no physical resemblance to sentences which are 'familiar. — Noam Chomsky

In the white man's world, language, too
and the way which the white man thinks of it
has undergone a process of change. The white man takes such things as words and literatures for granted, as indeed he must, for nothing in his world is so commonplace. On every side of him there are words by the millions, an unending succession of pamphlets and papers, letters and books, bills and bulletins, commentaries and conversations. He has diluted and multiplied the Word, and words have begun to close in on him. He is sated and insensitive; his regard for language
for the Word itself
as an instrument of creation has diminished nearly to the point of no return. It may be that he will perish by the Word. — N. Scott Momaday

In liminal space, one meets the unknown, the marginalized, the synchronistic, the other, the unconscious edge of one's former narratives. At this point, the possibility to try out new narratives, to reframe one's story, becomes critical. Through narratives of participation the center of gravity shifts from fear and defensiveness to curiosity, creativity, and celebration. One begins to take a stand to validate one own's affects and doubts while at the same time interrogating them. The effect of such a shift is that the area of questioning about the self, the world, and the use of narrative language begins to widen noticeably. We can no longer assume there will be an outcome of homogeneous accounts through dialogue. The frames of narratives of participation anticipate heterogeneity rather than accord. — Helene Shulman

Coding is today's language of creativity. All our children deserve a chance to become creators instead consumers of computer science. — Maria Klawe

Are you considering becoming a creative person? Too late, you already are one. To even call somebody "a creative person" is almost laughably redundant; creativity is the hallmark of our species. We have the sense for it; we have the curiosity for it; we have the opposable thumbs for it; we have the rhythm for it; we have the language and the excitement and the innate connection to divinity for it.
If you're alive, you're a creative person. You and I and everyone you know are descended from tens of thousands of years of makers. Decorators, tinkerers, storytellers, dancers, explorers, fiddlers, drummers, builders, growers, problem-solvers, and embellishers
these are our common ancestors. — Elizabeth Gilbert

When you're in love, you want to live forever. You want the emotion, the excitement you feel to last. Reading in Italian arouses a similar longing in me. I don't want to die, because my death would mean the end of my discovery of the language. Because every day there will be a new word to learn. Thus true love can represent eternity. — Jhumpa Lahiri

I once saw a small child go to an electric light switch as say, "Mamma, can I open the light?" She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation. — Ezra Pound

If there is anything in writing that comes easy for me it's making up metaphors. They just appear. I can't move two lines without all kinds of images. Then the problem is how to make the best of them. In its geological character, language is almost invariably metaphorical. That's how meanings tend to change. Words become metaphors for other things, then slowly disappear into the new image. I have a hunch, too, that the core of creativity is located in metaphor, in model making, really. A novel is a large metaphor for the world. — William Gass

The secret of mastering creativity in any field is knowing how to work with metaphor without getting caught in language ... — Martha N. Beck

An emigres artistic problem: the numerically equal blocks of a lifetime are unequal in weight, depending on whether they comprise young or adult years. The adult years may be richer and more important for life and for creative activity both, but the subconscious, memory, language, all the understructure of creativity, are formed very early; for a doctor, that won't make problems, but for a novelist or a composer, leaving the place to which his imagination, his obsessions, and thus his fundamental themes are bound could make for a kind of ripping apart. He must mobilize all his powers, all his artists wiles, to turn the disadvantages of that situation to benefits.
[ ... ] Only returning to the native land after a long absence can reveal the substantial strangeness of the world and of existence. — Milan Kundera

I'm feeling more and more thoughts that aren't songs, just reflections. I'm always been very shy and in some ways a prisoner in one language and I feel that the liberation of creativity has to be in all senses. So I've been deciding to publishing something very simple but very small at the same time, nothing egocentric. — Ana Tijoux