“ I will live in thy heart, die in thy lap, and be buried in thy
eyes—and moreover, I will go with thee to thy uncle’s. ” — William Shakespeare

“ - Som bohatá ako škriatok, - odvetila Pippi. - Cirkus si môžem vždy kúpiť. Hoci o nič nebudem bohatšia, keď budem mať viacej koní. Klaunov a pekné paničky môžem zatvoriť do skrine, ale s koňmi to bude horšie.
- Trdlo, - povedal Tommmy. - Cirkus si nekúpiš. Ale musíš zaplatiť za vstupenku, keď sa ta chceš ísť pozrieť, rozumieš?
- Ježiškove husličky! - zhrozila sa Pippi a zavrela oči. - Za pozeranie sa musí platiť? A ja pozerám celé dni! Ktovie, koľko peňazí som už prekukala! ” — Astrid Lindgren

“ Harman was right: those pictures were worse. But, leaving aside the fact that photographs of death and nudity, however newsworthy, don't get much play in the press, the power of an image does not necessarily reside in what it depicts. A photograph of a mangled cadaver, or of a naked man trussed in torment, can shock and outrage, provoke protest and investigation, but it leaves little to the imagination. It may be rich in practical information while being devoid of any broader meaning. To the extent that it represents any circumstances or conditions beyond itself, it does so generically. Such photographs are repellent in large part because they have a terrible reductive sameness. Except from a forensic point of view, they are unambiguous, and have the quality of pornography. They are what they show, nothing more. They communicate no vision and, shorn of context, they offer little, if anything, to think about, no occasion for wonder. They have no value as symbols.

Of course, the dominant Harman was right: those pictures were worse. But, leaving aside the fact that photographs of death and nudity, however newsworthy, don't get much play in the press, the power of an image does not necessarily reside in what it depicts. A photograph of a mangled cadaver, or of a naked man trussed in torment, can shock and outrage, provoke protest and investigation, but it leaves little to the imagination. It may be rich in practical information while being devoid of any broader meaning. To the extent that it represents any circumstances or conditions beyond itself, it does so generically. Such photographs are repellent in large part because they have a terrible reductive sameness. Except from a forensic point of view, they are unambiguous, and have the quality of pornography. They are what they show, nothing more. They communicate no vision and, shorn of context, they offer little, if anything, to think about, no occasion for wonder. They have no value as symbols.

Of course, the dominant symbol of Western civilization is the figure of a nearly naked man being tortured to death⁠—or more simply, the torture implement itself, the cross. But our pictures of Christ's savage death are the product of religious imagination and idealization. In reality, with his battered flesh scabbed and bleeding and bloated and discolored beneath the pitiless Judean desert sun, he must have been ghastly to behold. Had there been cameras at Calvary, would twenty centuries of believers have been moved to hang photographs of the scene on their altarpieces and in their homes, or to wear an icon of a man being executed around their necks as as an emblem of peace and hope and human fellowship? Photography is too frank to allow for the notion of suffering as noble and ennobling... ...more ” — Philip Gourevitch