Critique Quotes

Buddhism ... is not a culture but a critique of culture, an enduring nonviolent revolution or "loyal opposition" to the culture in which it is involved.

Effective self-government cannot succeed unless the people are immersed in a steady, robust, unimpeded, and uncensored flow of opinion and reporting which are continuously subjected to critique, rebuttal, and reexamination.

Mais enfin, bande de critiques, les livres que vous ne comprenez pas ne vaudraient-ils pas au moins que vous les signaliez? For heaven's sake, gang of critics, don't the books which you do not understand at least deserve recognition?

Most critics write critiques which are by the authors they write critiques about. That would not be so bad, but then most authorswrite works which are by the critics who write critiques about them.

The aim of critique is not the ends of man or of reason but in the end the Overman, the overcome, overtaken man. The point of critique is not justification but a different way of feeling: another sensibility

Failure to critique US empire allows feminist projects to be used and mobilized as handmaidens in the imperial project.

One of the principal motifs of Nietzsche's work is that Kant had not carried out a true critique because he was not able to pose the problem of critique in terms of values.

The ethos and critique are of poetry, which becomes a rich dark with a phosphorescence of lyric as witness.

Our critique of Israel has to be about the state, not culture or religion, but the state of Israel

A lot of politics in art is just institutional critique, which, in my opinion, is not all that political.

Allow the artist to finish the piece of work before you critique it.

In all of my encounters with voters, I have repeatedly been confronted with two points of critique. First: You politicians are all the same! Second: You politicians may be speaking German, but we still don't understand you!

Mel [ Bochner] held large-form meetings with students. But the stronger points came through when we had the one-on-one critiques. And that's the system that works at Yale. There's the group critiques, and then there's the one-on-one critiques that happen in studio.

I began demonstrating against serious culture. In hindsight, the actual course of events has been very humiliating for me, because no one picked up on the intellectual critique I made.

Insofar as the universities are free and independent, they will also be "subversive," in the sense that dominant structures of power and their ideological support will be subjected to challenge and critique, a counterpart to attitudes that are fostered in the hard sciences wherever they are taken seriously.

Once you begin to talk about wealth inequality, especially as it relates to corporations and big banks, or engage in an indictment of U.S. foreign policy, you are really getting at the center of a society that is very fearful of that kind of critique.

When you get a critique, people think you're criticizing them but it's really an intellectual conversation. You can't get emotionally attached.

The conditions of a true critique and a true creation are the same: the destruction of an image of thought which presupposes itself and the genesis of the act of thinking in thought itself. Something in the world forces us to think. This something is an object not of recognition but of a fundamental encounter

When we only name the problem, when we state complaint without a constructive focus or resolution, we take hope away. In this way critique can become merely an expression of profound cynicism, which then works to sustain dominator culture.

I don't say things straight into the other person's face. I kind of like to make a joke or a remark and make it digestible or just give a little comment that voices my concern, but is not meant to be a critique, but just a comment so that he understands that I am thinking.

I'm not going to critique the president's every utterance, but I do think America is exceptional. America is different. We don't operate in any way the Russians do. I think there's a clear distinction here that all Americans understand, and no, I would not have characterized it that way.

When you're a writer, you hear your internal critic, and that's really hard to get over. And then sometimes you hear critiques from classmates and stuff. But when a book comes out, it's just hundreds of opinions and you have to learn to separate out the ones you want to listen to or figure out many you want to listen to.

I want to be clear that when you mention the Republican critique of President Obama, that is not President-elect Trump's critique, right? So you have a real clash within the Republican Party, and I think within the Trump administration, about how to develop policy toward Russia.

The postmodernist critique of representation undermines the referential status of visual imagery, its claim to represent reality as it really is - either the appearance of things or some ideal order behind or beyond appearance.

The invocation of social necessity should alert us. It contains the seeds for Marx's critique of political economy as well as for his dissection of capitalism.

The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.

Campaigns and elections are not a game. They're not a game. They're about trying to change America. We're the wealthiest country in the history of the world. We should not be having Flint, Michigan, or African-American communities all over this country where schools are failing. Those are the issue we got to pay attention to and not at this as come kind of silly game. And that is the critique that bothers me. That's what bothers me about media coverage.

While [Bob] Dylan's folk fans thought he was selling out [in 1965-67], actually Dylan was lodging a stronger, deeper critique of American hypocrisy.

My black-and-white work is more of a celebration and the color work became more of a critique of society.

Not all bodies are born in male or female. There is a continuum of bodies and it seems to me that trying to persuade medical and psychiatrist establishments to deal with the intersex involves critique of the binary gender system. Similarly there continues to be extreme, sometimes very extreme violence against transgender people.

Has feminism made us all more conscious? I think it has. Feminist critiques of anthropological masculine bias have been quite important, and they have increased my sensitivity to that kind of issue

But anyone can write, right?'" Conner asked. "I mean, that's why authors get judged so harshly, isn't it? Because technically everyone could do it if they wanted to." "Just because anyone can do something doesn't mean everyone should," Mrs. Peters said. "Besides, anyone with an Internet connection feels they have the credentials to critique or belittle anything these days.

Besides, anyone with an Internet connection feels they have the credentials to critique or belittle anything these days.

I think there is a legitimate critique of reformism, as a politics that is content with making small changes in society without asking for bigger and deeper changes. And revolutionary reforms, meaning actions that we take in small ways to make the world a better place and disrupt some of the ways that capitalism is reproduced.

The point of recapitulation in the first movement of Beethoven's Ninth Symphony unleashes one of the most horrifyingly violent episodes in the history of music....The point is not to hold up Beethoven as exceptionally monstrous. The Ninth Symphony is probably our most compelling articulation in music of the contradictory impulses that have organized patriarchal culture since the Enlightenment. Moreover, within the parameters of his own musical compositions, he may be heard as enacting a critique of narrative obligations that is...devestating.

For me, places are articulations of 'natural' and social relations, relations that are not fully contained within the place itself. So, first, places are not closed or bounded - which, politically, lays the ground for critiques of exclusivity. Second, places are not 'given' - they are always in open-ended process. They are in that sense 'events'. Third, they and their identity will always be contested (we could almost talk about local-level struggles for hegemony).

The only way to make a criticism of something is to really participate in it. I'm a completely capitalist person. I participate in commodity culture and the fashion world. High art is a money-making vehicle. We're not making art in a vacuum. We're not shopping in the woods. These are all things that we do within the larger system of capitalism. For me to critique it, I'm also participating in it. That's obvious, I feel. In my work, I participate in the things that I critique. I satirize the things that I love and know well and find problematic.

Online media is the future, and younger feminists are already instrumental in using social media and multi-media platforms on the web to document street harassment, archive and critique the media, and create art.

The critiques I received from my father's community didn't actually have to do with any of the things I'd been afraid of - spiritual or cultural aspects - they were more annoyed that I'd killed off this character or those characters hadn't hooked up or I'd done an open ending and it didn't give them a sense of closure that they were expecting.

Look at Andrew Roe's The Miracle Girl from one angle and you'll see an incisive and insightful critique of America at the millennium and today, investigating where we put our faith and why. The greatest of Roe's achievements in this captivating debut is a memorable feat of intense empathy. Roe inhabits characters who are desperate to believe and reveals to us their needs and wounds and hopes, and he does so with kindness, generosity, and wisdom. This is a novel about what it means to be human, to seek connection and hope and maybe even transcendence in the world around us.

Institutional Christianity has had clear secular benefits to American life for hundreds of years. It's played both a prophetic role in terms of generating moral critiques of American excesses, and so on, and also a communal role, in terms of building community as the country moved westward to the role my own Catholic Church played in assimilating generations of immigrants.

DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous.

If the mystical lovers of the arts, who consider all criticism dissection and all dissection destruction of enjoyment, thought logically, an exclamation like "Goodness alive!" would be the best criticism of the most deserving work of art. There are critiques which say nothing but that, only they do so more extensively.

Margaret Thatcher in Britain and soon after Ronald Reagan in the United States - both hard-line advocates of market fundamentalism - announced that there was no such thing as society and that government was the problem not the solution. Democracy and the political process were all but sacrificed to the power of corporations and the emerging financial service industries, just as hope was appropriated as an advertisement for a whitewashed world in which the capacity of culture to critique oppressive social practices was greatly diminished.

Where these reduced (operational - E.W.) concepts govern the analysis of the human reality, individual or social, mental or material, they arrive at a false concreteness - a concreteness isolated from the conditions which constitute its reality. In this context, the operational treatment of the concept assumes a political function. The individual and his behavior are analyzed in a therapeutic sense - adjustment to his society. Thought and expression, theory and practice are to be brought in line with the facts of his existence without leaving room for the conceptual critique of these facts.

If philosophy is still necessary, it is so only in the way it has been from time immemorial: as critique, as resistance to the expanding heteronomy, even if only as thought's powerless attempt to remain its own master and to convict of untruth, by their own criteria, both a fabricated mythology and a conniving, resigned acquiescence.

I can be critical of Beyoncé and yet also appreciate aspects of her power and representation. I can especially critique the way white supremacist aesthetics more often than not informs her presentation of self and yet still acknowledge her beauty.

A modest critique of an age in which an actor is the President, in which fashion models are asked for their opinions, in which getting into a nightclub is seen as a significant human achievement.

I've long been a fan of Adrian Piper's work. I find her performance pieces moving in their willingness to lean toward the absurd. Yet, there's a social critique in her interaction with people who may or may not have understood that the artist was present.

Malcolm X represents the cutting edge of a kind of critique of globalization in the 21st century. In fact, Malcolm, if anything, was far ahead of the curve in so many ways.