Motifs Quotes

The possibility seems to be that what we call styles, or what we call motifs, are actually categories in the unconscious. ~ Terence McKenna

While people are fairly young and the musical composition of their lives is still in its opening bars, they can go about writing it together and sharing motifs (the way Tomas and Sabina exchanged the motif of the bowler hat), but if they meet when they are older, like Franz and Sabina, their musical compositions are more or less complete, and every motif, every object, every word means something different to each of them. ~ Milan Kundera

The themes of metamorphosis (transformation-particularly
human transformation-and identity (particularly human identity) are drawn from the treasury of pre-class world folklore. The folkloric image of man is intimately bound up with transformation and identity. This combination may be seen with particular clarity in the popular folktale )skazkaj. The folktale image of man-throughout the extraordinary variety of folkloric narratives-always orders itself around the motifs of transformation and identity (no matter how varied in its turn the concrete expression of these motifs might be). ~ Mikhail Bakhtin

Then you have this other phenomena of the paranormal romance. It's all the benefits of being a vampire without the sacrifices. By the gods, Meyer's vampires walk around sparkling in the daylight and some are vegetarians. But this phenomenon is also tied to a lot of our communal fears. Fear of aging. Fear of fading youth. Fear of loneliness. But whereas the classic motifs are more concerned with confronting and overcoming our fears, the fears of the paranormal romance genre become twisted fantasies of denial. The idea of staying young, attractive and powerful for eternity feeds into the modern self-absorbed ethos. ~ Julie Ann Dawson

The natural world is built upon common motifs and patterns. Recognizing patterns in nature creates a map for locating yourself in change, and anticipation what is yet to come. ~ Sharon Weil

If you find yourself imitating another writer, that doesn't have to be a bad thing, especially if you are a young or a new writer. However, you should be conscious of exactly how you are imitating him - word choice, sentence structure, motifs? - and think about why you're doing it. ~ Poppy Z. Brite

I don't think you necessarily identify and believe in the motifs of the character, but you have to want to play it and want to commit to the lines. ~ Clive Owen

No dish in history has as many variations, colors, motifs, tastes, textures and subtleties as a dish of pasta. ~ Marc Vetri

But that wouldn't be honest. That wouldn't be real. That would give you the idea that a life is a simple thing to tell, that it's obvious where to start--BIRTH--and even more obvious where to stop--DEATH. Fade from black to black.
I won't have it. I won't be one of the hundreds telling you that being alive flows like a story you write consciously, deliberately, full of linear narrative, foreshadowing, repetition, motifs. The emotional beats come down where they should, last as long as they should, end when they should, and that 'should' come from somewhere real and natural, not from the tyranny of the theatre, the utter hegemony of fiction. Why, isn't living easy? Isn't it grand? As easy as reading aloud.
No.
If I slice it all up and stitch it back together, you might not understand what I've been trying to say all my life: that any story is a lie cunningly told to hide the real world from the poor bastards who live in it. I can't. I can't tell you that lie...
If I fixed it so time goes the way you expect, you might come away thinking I know what the hell I'm doing. ~ Catherynne M. Valente

Just as our ancient ancestors drew animals on cave walls and carved animals from wood and bone, we decorate our homes with animal prints and motifs, give our children stuffed animals to clutch, cartoon animals to watch, animal stories to read. ~ Diane Ackerman

When speaking of initiation, I mean engaging in practices that establish an exchange between conscious reflection and the unconscious material, and developing a form of analogical language: the acquisition of a poetic literacy. I believe this literacy of the imagination arises from a creative dialogue with the unconscious and involves recurring motifs or symbols that transform with time and seduce the initiate. And of course as conscious thought is not independent of the world, similarly the unconscious draws its ancient forms from all things around us in the this secret dialogue. New forms arise out of chaos. As the alchemists proclaimed, there can be no generation without decay. ~ Stephen J. Clark

For the machine meant the conquest of horizontal space. It also meant a sense of that space which few people had experienced before – the succession and superimposition of views, the unfolding of landscape in flickering surfaces as one was carried swiftly past it, and an exaggerated feeling of relative motion (the poplars nearby seeming to move faster than the church spire across the field) due to parallax. The view from the train was not the view from the horse. It compressed more motifs into the same time. Conversely, it left less time in which to dwell on any one thing. ~ Robert Hughes

I won't be one of the hundreds telling you that being alive flows like a story you write consciously, deliberately, full of linear narrative, foreshadowing, repetition, motifs. The emotional beats come down where they should, last as long as they should, end where they should, and that should come from somewhere real and natural, not from the tyranny of the theatre, the utter hegemony of fiction. ~ Catherynne M Valente

I believe that eyes are very important motifs. That's something that can discern the peace and love. ~ Yayoi Kusama

A search for justification and the impossibility of justification are recurrent motifs in the philosophy of Sartre. His philosophy is one of the incarnations of problematism and of the ambiguity of contemporary thought (for Man does seem, to the contemporary mind, to be ambiguous). ~ Jean-Paul Sartre

This is about objects, not motifs. The photo is only a substitute for an object; it is unsuitable as a picture in its customary sense. ~ Bernd Becher

In the Chauvet Cave, there is a painting of a bison embracing the lower part of a naked female body. Why does Pablo Picasso, who had no knowledge of the Chauvet Cave, use exactly the same motif in his series of drawings of the Minotaur and the woman? Very, very strange. ~ Werner Herzog

If you look at U.S. history through religious history, there is very much a motif that shows the importance religion has played in the U.S. We're a very religious country and it affects the way we look at various political issues. ~ Madeleine Albright

The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story. ~ Keanu Reeves

Carl Orff's Carmina Burana has the ability to take you from placidity to power in one sonic breath. It is music of dignity and strength, with primitive, energetic passages, evoking absolute beauty from the simplest of phrases. It brings up something that has everything to do with significance - squeezing joy and motif that you just can't drop - it stays with you. ~ Robert Genn

Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have "really happened,"or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths. ~ Northrop Frye

Nevertheless, the potential and actual importance of fantastic literature lies in such psychic links: what appears to be the result of an overweening imagination, boldly and arbitrarily defying the laws of time, space and ordered causality, is closely connected with, and structured by, the categories of the subconscious, the inner impulses of man's nature. At first glance the scope of fantastic literature, free as it is from the restrictions of natural law, appears to be unlimited. A closer look, however, will show that a few dominant themes and motifs constantly recur: deals with the Devil; returns from the grave for revenge or atonement; invisible creatures; vampires; werewolves; golems; animated puppets or automatons; witchcraft and sorcery; human organs operating as separate entities, and so on. Fantastic literature is a kind of fiction that always leads us back to ourselves, however exotic the presentation; and the objects and events, however bizarre they seem, are simply externalizations of inner psychic states. This may often be mere mummery, but on occasion it seems to touch the heart in its inmost depths and become great literature. ~ Franz Rottensteiner

The 'squaring of the circle' is one of the many archetypal motifs which form the basic patterns of our dreams and fantasies. But it is distinguished by the fact that it is one of the most important of them from the functional point of view. Indeed, it could even be called the archetype of wholeness. ~ Carl Jung

But ever since, more than a year before, discovering to him many of the riches of his own soul, the love of music had, for a time at least, been born in him, Swann had regarded musical motifs as actual ideas, of another world, of another order, ideas veiled in shadow, unknown, impenetrable to the human mind, but none the less perfectly distinct from one another, unequal among themselves in value and significance. ~ Marcel Proust

When we work with history, to a very great degree we are all guessing. But by using motifs of time and history in a fantasy setting, we are acknowledging that this educated guesswork, invention, fantasy underlie our treatment of the past and its peoples - and we are not claiming a right to do with them as we will. ~ Guy Gavriel Kay

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat
patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well
the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell."
Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot
death, lives destroyed or the horror of the settings
a crazy, chaotic, emotional house, the sinister movie theater. ~ Arundhati Roy

Parents are supposed to pass down physical traits to their children, but it's my belief that all sorts of other things get passed down, too: motifs, scenarios, even fates. ~ Jeffrey Eugenides

For me a work of art must be an elevated interpretation of nature. The search for the ideal has been the purpose of my life. In landscape or seascape, I love above all the poetic motif. ~ William-Adolphe Bouguereau

As I read more and more fairy tales as an adult, I found massive collusion between their 'subjects' and those in my fiction: childhood, nature, sexuality, transformation. I realized that it wasn't by accident that I was drawn to their narrative structure and motifs. ~ Kate Bernheimer

The literary fairy tale became an acceptable social symbolic form through which conventionalized motifs, characters, and plots were selected, composed, arranged, and rearranged to comment on the civilizing process and to keep alive the possibility of miraculous change and a sense of wonderment. ~ Jack D. Zipes

I have brought many artifacts back with me from the steppe. My favourite is a 90-year-old Kazakh saddle decorated with silverwork in traditional motifs. It symbolises the deep relationship between man and horse on the Eurasian Steppe. ~ Tim Cope

In general, the main themes emerge early for each book, even before the storyline and characters, as I research the time and place I want to draw upon. Having said that, every single book so far has offered me surprises en route, and these include motifs that come forward as I am writing. ~ Guy Gavriel Kay

And more than once in the course of time, the same theme reappears: among the mystics of the fifteenth century, it has become the motif of the soul as a skiff, abandoned on the infinite sea of desires, in the sterile field of cares and ignorance, among the mirages of knowledge, amid the unreason of the world - a craft at the mercy of the sea's great madness, unless it throws out a solid anchor, faith, or raises its spiritual sails so that the breath of God may bring it to port. ~ Michel Foucault

Motif, n.
You don't love me as much as I love you. You don't love me as much as I love you. You don't love me as much as I love you. ~ David Levithan

The poetic act consists of suddenly seeing that an idea splits up into a number of equal motifs and of grouping them; they rhyme. ~ Stephane Mallarme

In religions which have lost their creative spark, the gods eventually become no more than poetic motifs or ornaments for decorating human solitude and walls. ~ Nikos Kazantzakis

I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs. ~ DJ Spooky

The way the knowledge of the spectator is drawn upon in constructing the scene, through the stylized performance, ritual motifs and auditory address that arise from a host of Indian aesthetic and performance traditions. ~ Anonymous

It goes without saying that these effects do not suffice to annul the necessity for a "change of terrain." It also goes without saying that the choice between these two forms of deconstruction cannot be simple and unique. A new writing must weave and interlace these two motifs of deconstruction. Which amounts to saying that one must speak several languages and produce several texts at once. I would like to point out especially that the style of the first deconstruction is mostly that of the Heideggerian questions, and the other is mostly the one which dominates France today. I am purposely speaking in terms of a dominant style: because there are also breaks and changes of terrain in texts of the Heideggerian type; because the "change of terrain" is far from upsetting the entire French landscape to which I am referring; because what we need, perhaps, as Nietzsche said, is a change of "style"; and if there is style, Nietzsche reminded us, it must be plural. ~ Jacques Derrida

Someone had found a pair of blankets that had American flag motifs and covered both Chris and Chad with them. It was a thoughtful gesture, but it also meant I couldn't see my husband's face, or more than the bare outlines of his body as he was carried past.
"Give us five minutes," said someone as I started to follow the gurneys inside. "Five minutes."
"I don't want him prepared," I said. "I don't want him cleaned up."
"Five minutes."
I stepped back.
We waited-I don't know, probably less than five minutes, but it was all I could stand. I went inside, determined, unstoppable.
The funeral director met me. "I didn't do as much as I wanted. His hands are dirty from the fingerprinting."
"His hands were always dirty," I said.
Inside the room, Chris lay on the gurney, chest covered with the blanket. I bent to his face, tears pouring from my eyes, and kissed him.
How many times? A thousand. Not enough.
Never enough again. ~ Taya Kyle

Casiopea, meanwhile, looked at a heavy silver bracelet with black enamel triangles, of the "Aztec" style, which was much in vogue and meant to attract the eye of tourists with its faux pre-Hispanic motifs. It was a new concoction, of the kind that abound in a Mexico happy to invent traditions for mass consumption, eager to forge an identity after the fires of revolution--but it was pretty. ~ Silvia Moreno-Garcia

We've tried to use some visual motifs [in Beauty and the Beast]. As far as the cinematography and the lensing and all that, we are presenting a different view into that world. It's a little sleeker, but we're keeping the gothic feel underneath it. ~ Brian Wayne Peterson

An image system is a strategy of motifs, a category of imagery embedded in the film that repeats in sight and sound from beginning to end with persistence and great variation, but with equally great subtlety, as a subliminal communication to increase the depth and complexity of aesthetic emotion. ~ Robert McKee

She merely wiped the floor with paper towels and said nothing, brushing her free hand against my shoulder blade - my shoulder blade! - as she carried the soaked paper to the trash can, never holding me fast, refraining not out of lack of humanity but out of fear of being drawn into a request for further tenderness, a request that could only bring her face-to-face with some central revulsion, a revulsion of her husband or herself or both, a revulsion that had come from nowhere, or from her, or perhaps from something I'd done or failed to do, who knew, she didn't want to know, it was too great a disappointment, far better to get on with the chores, with the baby, with the work, far better to leave me to my own devices, as they say, to leave me to resign myself to certain motifs, to leave me to disappear guiltily into a hole of my own digging. When the time came to stop her from leaving, I did not know what to think or wish for, her husband who was now an abandoner, a hole-dweller, a leaver who had left her to fend for herself, as she said, who'd failed to provide her with the support and intimacy she needed, she complained, who was lacking some fundamental wherewithal, who no longer wanted her, who beneath his scrupulous marital motions was angry, whose sentiments had decayed into a mere sense of responsibility, a husband who, when she shouted, "I don't need to be provided for! I'm a lawyer! I make two hundred and fifty thousand dollars a year! I need to be loved!" had silently ~ Joseph O'Neill

On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another. ~ DJ Spooky

Most [Shetland patterns] are fairly small and simple, as textile patterns go. Almost all are symmetrical, with eight smaller parts. As a result, most are geometric rather than representational. ...
One last feature, less easy to define but easy enough to recognise ... is the liking for little motifs and for a pattern to be 'finished'. ~ Sheila McGregor

I should like to take the wind and water and sand as a motif and work with them, but it has to be simplified in most cases to colour and force lines, just as music has done with sound. ~ Arthur Dove

In literature, questions of fact or truth are subordinated to the primary literary aims of producing a structure of words for its own sake, and the sign-values of symbols are subordinated to their importance as a structure of interconnected motifs. ~ Northrop Frye

Ever since I first read Midori Snyder's essay, 'The Armless Maiden and the Hero's Journey' in The Journal of Mythic Arts, I couldn't stop thinking about that particular strand of folklore and the application of its powerful themes to the lives of young women. There are many different versions of the tale from around the world, and the 'Armless Maiden' or 'Handless Maiden' are just two of the more familiar. But whatever the title, we are essentially talking about a narrative that speaks of the power of transformation – and, perhaps more significantly when writing young adult fantasy, the power of the female to transform herself. It's a rite of passage; something that mirrors the traditional journey from adolescence to adulthood.

Common motifs of the stories include – and I am simplifying pretty drastically here – the violent loss of hands or arms for the girl of the title, and their eventual re-growth as she slowly regains her autonomy and independence. In many accounts there is a halfway point in the story where a magician builds a temporary replacement pair of hands for the girl, magical hands and arms that are usually made entirely of silver. What I find interesting is that this isn't where the story ends; the gaining of silver hands simply marks the beginning of a whole new test for our heroine. ~ Karen Mahoney

By 1970, the first stirrings of the revolt against Modernist orthodoxy in architecture had been felt, although it would be several years more until Postmodernism was widely accepted and made classical motifs permissible in high-style building design for the first time in decades. ~ Martin Filler

The room was small, lit by two naked bulbs in wall recesses, and bare of anything except for two solid wooden posts the height of a man and four feet apart. In each post, at just below shoulder height, was set a large iron ring. There were two other men already waiting, both leathermen. Len indicated each in turn. 'Rick and Sam.' The two men regarded Mike with arms folded.

Rick was in his late twenties, a tall, blond biker, his hair hanging down well past his shoulders. Under his leather waistcoat he was bare-chested, his spare, pale flesh covered with tattoos of skulls, burning angels and other biker motifs, the twining reds, blues and blacks extending along both arms as well. He was wearing black leather gloves and impenetrable black shades. Shaven-headed Sam was older, shorter and stockier, built like a rugby player. A leather harness stretched across the barrel of his chest, its steel circlet buried in wiry hair. Through his leather chaps Mike could see a sizeable pouch, heavy with its contents. ~ Jack Stevens

I am well aware that there is such a great craving in man for heroism and the heroic, and that hero worship forms not a small motif in his complex. I am also aware that, unless man believes in his own heroism and the heroism of others, he cannot achieve much or great things. We must, however, take proper care that we do not make a fetish of this cult of hero-worship, for then we will turn ourselves into votaries of false gods and prophets. ~ Aung San

Even one's own home is a kind of anthology of advertisers, manufacturers, motifs and presentation techniques. There's nothing 'natural' about one's home these days. The furnishings, the fabrics, the furniture, the appliances, the TV, and all the electronic equipment - we're living inside commercials. ~ J.G. Ballard

D.H. Lawrence had the impression – that psychoanalysis was shutting sexuality up in a bizarre sort of box painted with bourgeois motifs, in a kind of rather repugnant artificial triangle, thereby stifling the whole of sexuality as a production of desire so as to recast it along entirely different lines, making of it a 'dirty little secret', a dirty little family secret, a private theater rather than the fantastic factory of nature and production ~ Gilles Deleuze

Obsession with self is the motif of our time. ~ Charles Krauthammer

I know that to paint the sea really well, you need to look at it every hour of every day in the same place so that you can understand its way in that particular spot; and that is why I am working on the same motifs over and over again, four or six times even. ~ Claude Monet

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so. ~ Gerhard Richter

One of the metaphors of the book is the carpet. Not just the flying carpet, but the carpet as a woven surface in which many repetitions and motifs recur and mirror one another. This is very much reflected within the stories: they have borders within borders, repeated motifs which change. They have their feet in oral conventions, and for the mnemonics, the storyteller needs to have a structure in order to remember the stories. ~ Marina Warner

Directors who have inspired me include Billy Wilder, Federico Fellini, lngmar Bergman, John Ford, Orson Welles, Werner Herzog, Stanley Kubrick, Alfred Hitchcock, Francis Ford Coppola and Ernst Lubitsch. In art school, I studied painters like Edward Hopper, who used urban motifs, Franz Kafka is my favorite novelist. My approach to film stems from my art background, as I go beyond the story to the sub-conscious mood created by sound and images. ~ David Lynch

This gesture is one of the motifs of modernity's turn against the principle of imitating nature, that is to say, imitating predefined morphological expectations. It is still capable of perceiving message-totalities and autonomous thing-signals when no morphologically intact figures are left - indeed, precisely then. The sense for perfection withdraws from the forms of nature - probably because nature itself is in the process of losing its ontological authority. The popularization of photography also increasingly devalues the standard views of things. As the first edition of the visible, nature comes into discredit. It can no longer assert its authority as the sender of binding messages - for reasons that ultimately come from its disenchantment through being scientifically explored and technically outdone. After this shift, 'being perfect' takes on an altered meaning: it means having something to say that is more meaningful than the chatter of conventional totalities. Now the torsos and their ilk have their turn: the hour of those forms that do not remind us of anything has come. Fragments, cripples and hybrids formulate something that cannot be conveyed by the common whole forms and happy integrities; intensity beats standard perfection. ~ Peter Sloterdijk

It's true the punk fashion itself was iconographic: rips and dirt, safety pins, zips, slogans, and hairstyles. These motifs were so iconic in themselves - motifs of rebellion. ~ Vivienne Westwood