Short Aesthetic Quotes & Sayings

The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness
too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth. — Edith Wharton

Then there are the fully intentional pleasures, which, although in some way tied up with sensory or perceptual experience, are modes of exploration of the world. Aesthetic pleasures are like this. Aesthetic pleasures are contemplative - they involve studying an object OUTSIDE of the self, to which one is GIVING something (namely, attention and all that flows from it), and not TAKING, as in the pleasure that comes from drugs and drinks. Hence such pleasures are not addictive - there is no pathway to reward that can be short-circuited here, and a serotonin injection is not a cheap way of obtaining the experience of PARISFAL or THE MERCHANT OF VENICE. — Roger Scruton

We are devastated to learn of the death of Alexander McQueen, one of the greatest talents of his generation. He brought a uniquely British sense of daring and aesthetic fearlessness to the global stage of fashion. In such a short career, Alexander McQueen's influence was astonishing - from street style, to music culture and the world's museums. His passing marks an insurmountable loss. — Anna Wintour

They are forever, a brief and mortal forever, a forever that will grow into their bones and be held inside them after it ends, intact, indestructible. — Tana French

upon a time. Gripping her shirt at the — Melissa Cutler

A crucial point here is that understanding is not only a matter of reflection, using finitary propositions, on some preexistent, already determinate experience. Rather, understanding is the way we "have a world," the way we experience our world as a comprehensible reality. Such understanding, therefore, involves our whole being - our bodily capacities and skills, our values, our moods and attitudes, our entire cultural tradition, the way in which we are bound up with a linguistic community, our aesthetic sensibilities, and so forth. I short, our understanding is our mode of "being in the world." It is the way we are meaningfully situated in our world through our bodily interactions, our cultural institutions , our linguistic tradition, and our historical context. Our more abstract reflective acts of understanding (which may involve grasping of finitary propositions) are simply an extension of our understanding in this more basic sense of "having a world. — Mark Johnson

Most American view World War II nostalgically as the "good war," in which the United States and its allies triumphed over German Nazism, Italian fascism, and Japanese militarism. The rest of the world remembers it as the bloodiest war in human history. By the time it was over, more than 60 million people lay dead, including 27 million Russians, between 10 million and 20 million Chinese, 6 million Jews, 5.5 million Germans, 3 million non-Jewish Poles, 2.5 million Japanese, and 1.5 million Yugoslavs. Austria, Great Britain, France, Italy, Hungary, Romania, and the United States each counted between 250,000 and 333,000 dead. — Oliver Stone

I must pack my short lifer full of interesting events and creative activity. Philosophy and aesthetic contemplation are not enough. I intend to do everything possible to broaden my experiences and allow myself to reach the fullest development. Then, and before physical deterioration obtrudes, I shall go on some last wilderness trip to a place I have known and loved. I shall not return. — Everett Ruess

He who receives money in trust to administer for the benefit of its owner, and uses it either for his own interest or against the wishes of its rightful owner, is a thief. — Jose Marti

What the young writer needs to develop, to achieve his goal of becoming a great artist, is not a set of aesthetic laws but artistic mastery. He cannot hope to develop mastery all at once; it involves too much. But if he pursues his goal in the proper way, he can approach it much more rapidly than he would if he went at it hit-or-miss, and the more successful he is at each stage along the way, the swifter his progress is likely to be. Invariably when the beginning writer hands in a short story to his writing teacher, the story has many things about it that mark it as amateur. But almost as invariably, when the beginning writer deals with some particular, small problem, such as description of a setting, description of a character, or brief dialogue that has some definite purpose, the quality of the work approaches the professional. Having written some small thing very well, he begins to learn confidence. — John Gardner

Be happy or die. — Rob Cohen