When my opponent's clock is going I discuss general considerations in an internal dialogue with myself. When my own clock is going I analyse conctrete variations.
There cannot be forgotten the great possibilities of mass media in promoting dialogue, becoming vehicles for reciprocal knowledge, of solidarity and of peace. They become a powerful resource for good if used to foster understanding between peoples, a destructive 'weapon' if used to foster injustice and conflicts.
We are intent on building a movement. The next step is grassroots town meetings. We must keep alive the dialogue around the covenants.
Health care is at the beginning of a dialogue with the world... as health care providers, we have to ask ourselves this question: What stories are we not hearing?
Violence is immoral because it thrives on hatred rather than love. It destroys community and makes brotherhood impossible. It leaves society in monologue rather than dialogue. Violence ends by defeating itself. It creates bitterness in the survivors and brutality in the destroyers.
The price that has to be paid for finding truly personal life is a very high one. It is a price in terms of the acceptance of responsibility. And the awareness of responsibility inevitably leads either to despair or to confession and grace.
The spirit of International Geneva is not only a catchword. It stands for Switzerland's commitment to advance international cooperation and dialogue - and we make every effort to ensure that the dynamics of the Geneva spirit are real.
The line of dialogue belongs to the character; the verb is the writer sticking his nose in.
Dialogue should show the relationships among people.
It is extremely important that mass media, having freed from the relics of the Cold War, served for peace and dialogue between nations and religions, the rich and the poor, countries and continents.
Plato's dialogues bear at least some similarities to the classical plays.
The extremists are talking too loudly, and everyone is convinced that only he is on the right side. It’s not just Jews against Arabs. It’s the Orthodox versus those who don’t think they can keep all six hundred and thirteen commandments of the Bible. It’s rich people versus poor people. At some point, something came over Israel so that everyone has his own ideas—and everyone else is an enemy. It’s a dialogue among deaf people and it is getting more and more serious.
An up-close portrait of middle-class Nigeria exploring the boundaries of morals and public decorum. Pitched between humor and despair, with stripped-down, evocative prose, A Bit of Difference bristles with penknife-sharp dialogue, but its truths are more subtle, hiding in the unspoken. Ultimately, A Bit of Difference explores – with a hint of mischief–the problem of how to look like you have no problems when you have abundant problems–the universal problem of the socially-motivated classes.
To be a mentor you need to understand what's going on in a young person's life and you just want to have an internal dialogue that says, 'How can I help? Because I really care.'
Many writers struggle with exposition in their novels. Often they heap it on in large chunks of straight narrative. Back story – what happens before the novel opens – is especially troublesome. How can we give the essentials and avoid a mere information drop? Use dialogue. First, create a tension-filled scene, usually between two characters. Get them arguing, confronting each other. Then you can have the information appear in the natural course of things.
Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It’s always the unspoken word and what’s happening behind someone’s eyes that makes it so rich.
There is no trick to writing a believable love story, a heartbreaking scene or real-sounding dialogue. All you need is to tell the truth. It’s always heartbreaking.
I remain convinced that most human conflicts can be solved through genuine dialogue conducted with a spirit of openness and reconciliation.
It is neither a culture of confrontation nor a culture of conflict which builds harmony within and between peoples, but rather a culture of encounter and a culture of dialogue; this is the only way to peace.
Artists can help re-imagine a conflict and start a dialogue.
Jihad and the rifle alone. NO negotiations, NO conferences and NO dialogue
When we face problems or disagreements today, we have to arrive at solutions through dialogue. Dialogue is the only appropriate method. One-sided victory is no longer acceptable. We must work to resolve conflicts in a spirit of reconciliation and always keep in mind the interests of others.
One must not be afraid of a little silence. Some find silence awkward or oppressive. But a relaxed approach to dialogue will include the welcoming of some silence. It is often a devastating question to ask oneself, but it is sometimes important to ask it - 'In saying what I have in mind will I really improve on the silence?
There is a quality of lightness, easiness, and in some sense blatant unseriousness that pervades Classical Christianity's dialogue with modernity. The Christian intellect has no reason to be intimidated in the presense of later-stage modernity. Christianity has seen too many 'modern eras' to be cowed by this one.
In solitude a dialogue always arises, because even in solitude there are always two.
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