Цитаты о любви

Цитаты о любви, мысли, афоризмы, высказывания, красивые Цитаты о любви, Цитаты о любви великих людей,цитаты на тему Amor

#343811 Серебряные яйцеглавы

Toward the end of the Twentieth Century, most fiction was written by a few top editors-in the sense that they provided the themes, the plot skeletons, the styling, the key shocks; the writers merely filled in the outlines. Naturally a machine that could be owned and kept in one place was incomparably more efficient than a stable of writers galloping around, changing publishers, organizing unions and guilds, demanding higher royalties, having psychoses and sports cars and mistresses and neurotic children, exploding their temperaments all over the lot, and even trying to sneak weird notions of their own into editor-perfected stories. In fact, wordmills were so much more efficient than writers that the latter could be kept on as a harmless featherbedded glamor-asset-and of course by then the writers unions were so strong that some such compromise was inevitable. All this simply underlines my main point: that the two activities involved in writing are the workaday unconscious churning and the inspired direction or programming. These two activities are completely separate and its best when they are carried out by two distinct persons or mechanisms. Actually the name of the directive genius (today called a programmer rather than an editor, of course) ought always in justice to have appeared on each paperback or listen-tape alongside the names of the glamorauthor and the wordmill...

Серебряные яйцеглавы
#349324 Имя розы

Ubertino: Cos’è l’amore? Non v’è nulla al mondo né uomo né diavolo, né alcuna cosa, che io non consideri così sospetto come l’amore, ché questo penetra l’anima più di qualunque altra cosa. Non esiste nulla che tanto occupi e leghi il cuore come l’amore. Perciò, a meno di non avere quelle armi che la governano, l’anima precipita per l’amore in una immensa rovina.

Имя розы
#349330 Имя розы

Perché ancora oggi non so se in costoro prevalga un amore orgoglioso per la verità in cui credono, che li porta alla morte, o un orgoglioso desiderio di morte, che li porta a testimoniare la loro verità, qualsiasi essa sia.

Имя розы
#349354 Имя розы

Causa dell’amore è il bene e ciò che è bene si definisce per conoscenza, e non si può amare se non ciò che si è appreso come bene.

Имя розы
#349396 Имя розы

Remigio: Eravamo presi da un desiderio smodato di giustizia, si pecca anche per eccesso d’amor di Dio, per sovrabbondanza di perfezione.

Имя розы
#349416 Имя розы

Guglielmo: L’amore vero vuole il bene dell’amato.

Имя розы
#349480 Имя розы

Guglielmo: In quel viso devastato dall’odio per la filosofia, ho visto per la prima volta il ritratto dell’Anticristo, che non viene dalla tribù di Giuda come vogliono i suoi annunciatori, né da un paese lontano. L’Anticristo può nascere dalla stessa pietà, dall’eccessivo amor di Dio o della verità, come l’eretico nasce dal santo e l’indemoniato dal veggente. Temi, Adso, i profeti e coloro disposti a morire per la verità, ché di solito fan morire moltissimi con loro, spesso prima di loro, talvolta al posto loro.

Имя розы
#350819 Дон Кихот (роман)

Amor, cuando yo pienso en el mal que me das, terrible y fuerte, voy corriendo a la muerte, pensando así acabar mi mal inmenso; mas, en llegando al paso que es puerto en este mar de mi tormento, tanta alegría siento, que la vida se esfuerza y no le paso. Así el vivir me mata, que la muerte me torna a dar la vida. ¡Oh condición no oída, la que conmigo muerte y vida trata!

Дон Кихот (роман)
#353595 Звёзды — моя цель

It was apparent that the 1980s genre [cyberpunk] owed an enormous debt to Bester — and to this book in particular. The Stars My Destination is, after all, the perfect cyberpunk novel: it contains such cheerfully protocyber elements as multinational corporate intrigue; a dangerous, mysterious, hyperscientific MacGuffin (PyrE); an amoral hero; a supercool thief-woman ...

Звёзды — моя цель
#354151 Сын человеческий (Силверберг)

He lies on his back in a field of scarlet grass; a soft gust of wind comes by, ruffling the blades, and they melt into a stream of blood. The sky is iron-blue, an intensely transparent color that briefly sets up a desperate clamor in his skull. He finds the sun: low in the heavens, larger than it ought to be, looking somewhat pale and vulnerable, perhaps flattened at top and bottom. Pearly mists rise from the land and swirl sunward, making vortices of blue and green and red lacings as they climb. A cushion of silence presses against him. He feels lost.

Сын человеческий (Силверберг)
#356900 Сумма технологии

Kanony moralne winny patronować dalszym naszym poczynaniom, jako doradcy w wyborze spośrуd alternatyw, ktуre ukazuje i producent, amoralna technologia. Ona dostarcza środkуw i narzędzi; zasługą lub winą jest dobry albo zły sposуb ich użycia.

Сумма технологии
#356902 Сумма технологии

... oceny moralne czynуw zależą przede wszystkim od ich nieodwracalności. Gdybyśmy mogli wskrzeszać umarłych, zabуjstwo, nie przestając być czynem złym, przestałoby być zbrodnią, jak nie jest nią wymierzeni drugiemu człowiekowi w gniewie uderzenie. Technologia jest bardziej agresywna, aniżeli zazwyczaj sądzimy. Jej ingerencje w życie psychiczne, prуbie! my związane z syntezą i metamorfozą osobowości, ktуrym poświęcimy osobną uwagę, aktualnie tylko są klasą zjawisk pustą. Wypełni ją dalszy postęp. Sczeźnie wуwczas wiele nakazуw moralnych, dziś uważanych za niewzruszone, wyłonią się za to nowe zagadnienia, nowe dylematy etyczne!

Сумма технологии
#358008 Кутёж на триллион лет

After the hectic production of the sixties, Philip K. Dick slowed his pace in the seventies. It was understandable. The late sixties had been dark years for Dick. He had experienced the ugly side of the drug scene — an experience vividly retold in A Scanner Darkly (1977). In those years he produced another masterpiece, the eloquent and frightening Flow My Tears, the Policeman Said (1974). … One common factor in both books was Dicks obsession with streetwise, dark-eyed girls — products of an amoral, punk society he might enter by means of drugs and self-abasement. Both novels were, in some respects, novels about possession, and had echoes of Dostoevsky, treading the same back-alleys of human degradation. Dick had become the SF poet of the streets.

Кутёж на триллион лет
#362420 Логика Азимов

“Look,” clamored Donovan, suddenly, writhing out from under Cutie’s friendly, but metal-heavy arm, “let’s get to the nub of the thing. Why the beams at all? We’re giving you a good, logical explanation. Can you do better?” “The beams,” was the stiff reply, “are put out by the Master for his own purposes. There are some things” — he raised his eyes devoutly upward “that are not to be probed into by us. In this matter, I seek only to serve and not to question.”

Логика Азимов
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