Quotes 561 till 580 of 1572.
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In Copenhagen, there's a long-term commitment to creating a well-functioning pedestrian city where all forms of movement - pedestrian, bicycles, cars, public transportation - are accommodated with equal priority.
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In England the practice of virtual representation provided reasonably well for the actual representation of the major interests of the society, and it raised no widespread objection.
The Ideological Origins of the American Revolution Ch. V, TRANSFORMATION, p. 167 -
In every age of well-marked transition, there is the pattern of habitual dumb practice and emotion which is passing and there is oncoming a new complex of habit.
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In fact, words are well adapted for description and the arousing of emotion, but for many kinds of precise thought other symbols are much better.
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In general I do not draw well with literary men - not that I dislike them but I never know what to say to them after I have praised their last publication.
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In high school I had B's and C's, not too many A's, but I must have done well on that medical school test, and I must have had some charisma in the interview, so I ended up in medicine. Being a general practitioner was all I aspired to.
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In levying taxes and in shearing sheep it is well to stop when you get down to the skin.
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In Miami, I was studying improv as well as acting. Improv is a great tool to have, just for the comedic timing that you get. When I moved to L.A., I started taking classes with The Groundlings, and I loved it. I'm definitely in love with improv and comedy.
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In music, you can use metaphors with ease - if a person doesn't understand the parable, they can still enjoy the melody of the music. If, however, a person reads a book and misses the meaning of its metaphors, this will be extremely disheartening for both the reader as well as the author.
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In my conscience I believe the baggage loves me, for she never speaks well of me herself, nor suffers any body else to rail at me.
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In old days books were written by men of letters and read by the public. Nowadays books are written by the public and read by nobody.
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In order to be a really good investor, you need to be a little bit of a philosopher as well.
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In order to stand well in the eyes of the community, it is necessary to come up to a certain, somewhat indefinite, conventional standard of wealth.
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In our fast-forward culture, we have lost the art of eating well. Food is often little more than fuel to pour down the hatch while doing other stuff - surfing the Web, driving, walking along the street. Dining al desko is now the norm in many workplaces. All of this speed takes a toll. Obesity, eating disorders and poor nutrition are rife.
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In questioning initially whether I am a great investor, I open the door to question whether other similarly esteemed public icons like Bill Miller are as well. It seems, perhaps, that the longer and longer you keep at it in this business the more and more time you have to expose your Achilles heel - wherever and whatever that might be.
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In sitcoms, the women are so beautiful, understanding and well-bred. They have humor, but sort of display it with a twinkle of the eye and not a guffaw. But there's no juice in that for me.
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In terms of a narrative nonfiction book, when you're describing scenes that you have multiple sources for, and that you have differing sources for, and you decide to choose a path that puts all that information together, well yeah, there's definitely going to be a little bit of the author in that. But there's nothing wrong with that.
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In the beginning, I wanted to enter what was essentially a man's field. I wanted to prove I could do it. Then I found that when I did as well as the men in the field I got more credit for my work because I am a woman, which seems unfair.
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In the economic sphere, the program demanded thorough decentralization and managerial independence of enterprises, as well as legalization of small-scale private enterprise, especially in the service sector.
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In the fabric of space and in the nature of matter, as in a great work of art, there is, written small, the artist's signature.
Contact (1985) Ch. 24 (p. 431)
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