In the United States, to an unprecedented degree, the individual's social role has come to be determined not by who he is but by what he can accomplish.
When you're an immigrant, you're at the bottom of the ladder. You might not be at the bottom of the ladder economically. Those contradictions led me to feel that the role in society I was given didn't jive with my sense of myself. I think, in fact, that is the case with most people. Everybody feels themselves to be in an original relationship to creation, and feels confined by their social role.
Fear arises through identification with form, whether it be a material possession, a physical body, a social role, a self-image, a thought, or an emotion. It arises through unawareness of the formless inner dimension of consciousness or spirit, which is the essence of who you are. You are trapped in object consciousness, unaware of the dimension of inner space which alone is true freedom.
... social roles vary in the extent to which it is culturally permissible to express ambivalence or negative feelings toward them.Ambivalence can be admitted most readily toward those roles that are optional, least where they are considered primary. Thus men repress negative feelings toward work and feel freer to express negative feelings toward leisure, sex and marriage, while women are free to express negative feelings toward work but tend to repress them toward family roles.
Modern cosmetic surgeons have a direct financial interest in a social role for women that requires them to feel ugly. They do not simply advertise for a share of a market that already exists: Their advertisements create new markets. It is a boom industry because it is influentially placed to create its own demand through the pairing of text with ads in women's magazines. The industry takes out ads and gets coverage; women get cut open. They pay their money and they takes their chances. As surgeons grow richer, they are able to command larger and brighter ad spaces.
The most urgent domestic challenge facing the United States at the close of the 20th century is the re-creation of fatherhood as a social role for men.
Our main reasons for fearing males having sex with males is that you really had to construct a more powerful social role to keep men in their place than you did to keep women in their place.
We are social animals and we have a hierarachical and unequal society. It is a class society, and the class system creates and perpetuates the social role of consumption. We display our class membership and solidify our class positioning in large part through money, through what we have. Consumption is a way of verifying what you have and earn.
Theatre, in which actors take on changing roles, has among its many functions the examination of identity. For the individual, theatre is a kind of identity laboratory in which social roles can be examined vicariously.
We read off the many signals that our companions' clothes transmit to us in every social encounter. In this way, clothing is as much a part of human body language as gestures, facial expressions and postures.Even those people who insist that they despise attention to clothing, and dress as casually as possible, are making quite specific comments on their social roles and their attitudes towards the culture in which they live.
The most important domestic challenge facing the U.S. at the close of the twentieth century is the re-creation of fatherhood as avital social role for men. At stake is nothing less than the success of the American experiment. For unless we reverse the trend of fatherlessness, no other set of accomplishments--not economic growth or prison construction or welfare reform or better schools--will succeed in arresting the decline of child well-being and the spread of male violence. To tolerate the trend of fatherlessness is to accept the inevitability of continued social recession.
Defining and celebrating the New Father are by far the most popular ideas in our contemporary discourse on fatherhood. Father as close and nurturing, not distant and authoritarian. Fatherhood as more than bread winning. Fatherhood as new-and-improved masculinity. Fathers unafraid of feelings. Fathers without sexism. Fatherhood as fifty-fifty parenthood, undistorted by arbitrary gender divisions or stifling social roles.
The artist is not responsible to any one. His social role is asocial... his only responsibility consists in an attitude to the work he does.
We are dominated by everything with which our self is identified. We can dominate and control everything from which we disidentify ourselves. The normal mistake we all make is to identify ourselves with some content of consciousness rather than with consciousness itself. Some people get their identity from their feelings, others from their thoughts, others from their social roles. But this identification with a part of the personality destroys the freedom which comes from the experience of the pure “I”.
Balance and control come from healthy anger. This is just as aggressive as the unhealthy kind. But it is based on a belief and hope for change in social roles and institutions. Healthy anger demands change and creates the confrontations needed for change to occur. It also gives the other an opportunity to help make that change. “Our task, of course, is to transmute the anger that is affliction into the anger that is determination to bring about change. I think, in fact, that one could give that as a definition of revolution.
The tale of the Monkey Girl gave me wat I needed most at a critical time in my life: the image of the creative and complex woman, unique to herself but willing to share those considerable gifts with a man capable of intuiting the wealth of her worth hidden beneath the skin. But more than that, the Monkey Girl also suggested that I need not be afraid of the fragile happily-ever-after, that I had resources of my own, and that I would not have to contort myself into a restrictive social role for fear of losing that fairytale ending.
On the other hand, I think that the family, the traditional family, has a fundamental social role, because it's there that children are born and the investment in children is the greatest investment a country can make. The benefits of this investment go to everyone.
Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.
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