Discover the most popular and inspiring quotes and sayings on the topic of Contextualized. Share them with your friends on social media platforms like Facebook, Twitter, or your personal blogs, and let the world be inspired by their powerful messages. Here are the Top 100 Contextualized Quotes And Sayings by 97 Authors including John Fiske,Marshall Mcluhan,Josiah Royce,Sarah Dessen,James Russell Lowell for you to enjoy and share.
The way we make sense of a realistic text is through the same broad ideological frame as the way we make sense of our social experience or rather, the way we are made sense of by the discourses of our culture.
Information and images bump against each other every day in massive quantities, and the resonance of this interfacing is like the babble of a village or tavern gossip session.
The world is a
progressively realized community of interpretation.
Conciseness is underrated
History is clarified experience.
Life is the pursuit of eternally broadening context.
In a world lit by data, street corners are painted with contextual information, automobiles can navigate autonomously, thermostats respond to patterns of activity, and retail outlets change as rapidly (and individually) as search results from Google.
Sometimes the grandest of all events are described in the poverty of a few simple words.
Words, when well chosen, have so great a force in them, that a description often gives us more lively ideas than the sight of things themselves.
Description is what makes the reader a sensory participant in the story.
articulate and define what has previously remained implicit or unsaid;
The text is merely one of the contexts of a piece of literature, its lexical or verbal one, no more or less important than the sociological, psychological, historical, anthropological or generic.
Amid chaos of images, we value coherence. We believe in the printed word. And we believe in clarity. And we believe in immaculate syntax. And in the beauty of the English language.
Everything comes to us in fifteen-second sound bites and photo opportunities. All possibility for ambiguity - the most precious trait of any adequate analysis - is erased.
Context is everything. - Prof Nick Fennimore
To know an object is to lead to it through a context which the world provides
Brevity is pivotal to clarity.
Striving to convey to this beloved audience of one what was going on around me during those five years, I learned the power of language to map a life, to overcome a distance, to focus attention on what matters most.
The deep map configures narratives. It is a matrix of intertexual storytelling, charting our movements through the landscape.
Seeing a play, listening to music - you'll always contextualize it in your own way. Whoever you are, wherever you are; I think that's really important.
If I can't see around my personal story, I'll have no way to see sit in context: This is one event in a life of events. It is whatever it is, but it is temporal. The pain is terrible, but it won't last. I can manage it. or this joy is incredible, but it won't last. Celebrate it now! [pp. 104-105]
being a summary and exact account
There are two conversations going on at the same time: the story and a conversation about how the story is being told.
Words make the intangible aspects of human experience communicable, and a single sentence can shatter our world view and assist us in the formulation of a new one.
Many experiments have shown that readers understand and remember material far better when it is expressed in concrete language that allows them to form visual images,
Even the uncaptioned art photograph is invaded by language in the very moment it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other.
The mind itself is an art object. It is a Mondrian canvas onto whose homemade grids it fits its own preselected products. Our knowledge is contextual and only contextual. Ordering and invention coincide: we call their collaboration knowledge.
Story has staying power. We remember the illustrations from Sunday's sermon for months afterward, but by coffee hour we're already struggling to recite the pastor's three main points, despite various acronyms meant to help us.
Things are not as easily understood nor as expressible as people usually would like us to believe. Most happenings are beyond expression; they exist where a word has never intruded.
The missional church will take context seriously, but will also work on recovering the biblical narrative with its richness and potency for today's world. When story and context are equally embraced, we are beginning to think and act missionally.
Lexicography is a chastening as well as an illuminating and fascinating art.
Now and again thousands of memories
converge, harmonize,
arrange themselves around a central idea
in a coherent form,
and I write a story.
It takes cognitive toil and literary dexterity to pare an argument to its essentials, narrate it in an orderly sequence, and illustrate it with analogies that are both familiar and accurate.
To be memorable and to have dramatic impact, informational detail must function actively within the dynamic of a story.
If you become a writer you'll be trying to describe the ?Thing all your life: and lucky if, out of dozens of books, one or two sentences, just for a moment, come near to getting it across.
The problem facing a comprehender is analogous to the problem that a detective faces when trying to solve a crime. In both cases there is a set of clues.
It's easy to criticize context (circumstances and situation) you've never experienced
In this way, metaphorically speaking, a strong lens applied to Mrs. Cadwallader's match-making will show a play of minute causes producing what may be called thought and speech vortices to bring her the sort of food she needed.
When I started to write, I realised that you need a bit of both: the overall context as well as the individual's experience.
Lapped in poetry, wrapped in the picturesque, armed with logical sentences and inalienable words.
Sentences take shape from the words that are stacked on top of one another in the dusty chambers of my mind, waiting to be used--words that now peel off my lips, trembling as they come to life.
It is commonplace to talk as if the world "has" meaning, to ask what "is" the meaning of a phrase, a gesture, a painting, a contract. Yet when thought about, it is clear that events are devoid of meaning until someone assigns it to them.
To a greater or lesser extent, every novel is a dialogized system made up of the images of "languages," styles and consciousnesses that are concrete and inseparable from language. Language in the novel not only represents, but itself serves as the object of representation.
I spend my days kneeling in the muck of language, feeling around for gooey verbs, nouns, and modifiers that I can squash together to make a blob of a sentence that bears some likeness to reason and sense.
It frequently happens that offenses are committed when the offender is not aware of it. Something he has said or done is misconstrued or misunderstood. The offended one treasures in his heart the offense, adding to it such other things as might give fuel to the fire and justify his conclusions ...
Actions may be judged according to time and place, and their values may change; but style, language (apart from content) are crystallized at the moment.
In trying to be concise I become obscure.
Narrative understanding is a large part of the ability to connect with, understand, and have compassion for all of us engaged in learning more about being human.
Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.
We are thus assisted by natural objects in the expression of particular meanings. But how great a language to convey such pepper-corn informations!
It should consist of short, sharply focused sentences, each of which is a whole scene in itself.
Every object holds a story.
You stand in a dark room and grow a tree in your chest.
The color pink is your national anthem.
You have fled the burning city, but your pocket smolders.
He bats his eyelids and dust flies.
You are a well trying to quench its own thirst,
a tiger licking its bloody paw.
Circumstances are the seeds of literature.
Every skillful writer foregrounds notable aspects of experience, details that might otherwise be lost in the mass of data that continuously bathes our senses - and in so doing prompts us to find and savour those in the world around us.
triumphantly digitized contemporaneity'?
One of underestimated tasks in nonfiction writing is to impose narrative shape on an unwieldy mass of material.
It is in the combination of words and visuals that the magic of understanding often happens.
In our private lives in the last decade, we've gone through enormous change that has affected everything, from the way we do business to how we view intelligence and attention. We have to rethink it all in a more interactive, networked, and collaborative way.
We binge on instant knowledge, but we are learning the hazards, and readers are warier than they used to be of nanosecond-interpretations of Supreme Court decisions.
The mention of one apartment in a building naturally introduces an enquiry or discourse concerning the others: and if we think ofa wound, we can scarcely forbear reflecting on the pain which follows it.
A story is time itself, boxed and compressed.
I wanted to present a sweep and scope of larger events, and a grander backdrop, but most important was to set against that a very singular, real and modest people struggling with every day and human struggles.
Details are the Life of Prose.
My effort and ability to learn was always contextualized within the framework of generational family experience. Certain behaviors, gestures, habits of being were traced back. Attending
Events are only the shells of ideas; and often it is the fluent thought of ages that is crystallized in a moment by the stroke of a pen or the point of a bayonet.
You're talking about meaning. I want to talk about the picture.
Although many texters enjoy breaking linguistic rules, they also know they need to be understood.
Multiple descriptions are better than one.
A police car went by with its siren going, a rotary slurping noise, it sounded like the blender in their kitchen - she made fruit shakes compulsively that they felt morally bound to drink.
You trip over a word while carrying
a tray of vocabulary out to the pool
only to discover that broken glass
is a good topic.
When the cook tastes the soup, that's formative: when the guests taste the soup, that's summative.
To name a thing is easy: the difficulty is to discern it before its appearance.
I jumped into a crowd full of "u"s they turned into underscores. Hit the pavement hard." visualization words
The life of a visual communicator should be one of systematic and exciting intellectual chaos.
When I write now I do not invent situation, characters, or actions, but rather structures and discursive forms, textual groupings which are combined according to secret affinities among themselves, as in architecture or the plastic arts.
Each person is a strand of story.
What renders a truth meaningful, worthwhile, & c. is its relevance, which in turn requires extraordinary discernment and sensitivity to context, questions of value, and overall point - otherwise we might as well all just be computers downloading raw data to one another.)
You can't tell a story linearly if you want people to understand.
Formal symbolic representation of qualitative entities is doomed to its rightful place of minor significance in a world where flowers and beautiful women abound.
Everyone today has a story; the world's an archive.
You don't want a diction gathered from the newspapers, caught from the air, common and unsuggestive; but you want one whose every word is full-freighted with suggestion and association, with beauty and power.
one of the worst things about electronic communication. Lacking facial expression, tone of voice, or context, words could be taken any number of ways. With only one cryptic word now, I was discouraged.
Our lives are co-authored in dialogue.
Objects are better than text at conveying narrative
Words are tools which automatically carve concepts out of experience.
I try to use all of my senses when describing a setting, and try to think of everything that would impact a character in any given scene.
As sculptors chip away the stone in order to find the statue, writers chip away extraneous verbiage so readers can see the shape of an idea clearly. My gift is to see through the confusion, to bring order and simplicity to a story.
Scenes which make vital changes in our neighbors' lot are but the background of our own, yet, like a particular aspect of the fields and trees, they become associated for us with the epochs of our own history, and make a part of that unity which lies in the selection of our keenest consciousness.
Allegories are told with a purpose whose possibility is lost
Until a potato-eater appears and eats potatoes
All throughout our lives, we selectively draw on selected shavings of life events and reflect upon them through consciousness, creating an arranged catalogue of senses, faculties, and mental activities that compose our personal life story.
I am an interpreter of interpretations
If you are forced to describe things for someone else, it sharpens your senses. And also your sense of how hard it is to make the translation from the vibrant, multi-faceted world to a sentence that distils it.
Unmentioned, what is can become as though it were not.
The individual member of the social community often receives his information via visual, symbolic channels." I went back and forth over it, and translated. You know what it means? "People read.
Learning the rules that govern intelligible speech is an inculcation into normalized language, where the price of not conforming is the loss of intelligibility itself.
Never was a Family more insistent on learning one another's movements than were the Bunch. All of them volubly knew, or indignantly desired to know, where all the others had been every minute of the week.
We tell you, tapping on our brows,
The story as it should be,
As if the story of a house
Were told or ever could be.
What is thematically posited is only what is given, by pure reflection, with all its immanent essential moments absolutely as it is given to pure reflection.
Story is a sacred visualization, a way of echoing experience.