A Quote by Sheena Iyengar

The phantasmagoria, the actual experience that we try to understand and organize through narrative, varies from place to place. No single narrative serves the needs of everyone everywhere.
We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the 'ideas' with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
We tell ourselves stories in order to live. We live entirely by the impression of a narrative line upon disparate images, the shifting phantasmagoria, which is our actual experience.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
I, as a person, make anything a narrative experience because I experience things linearly. The biggest question for me, is will I go through a transformation? Will I be bored or not? Is it a good or bad narrative experience?
I can't see much purpose in archaeology unless you can find out the narrative about that place, or even realise that nobody actually knows what the narrative was.
A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.
The point is that the reader's journey through our site is a narrative experience. Our job is to make the narrative satisfying.
We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.
We tell ourselves stories in order to live...We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the "ideas" with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.
And journaling became the place that I was able to find a sense of narrative control at a time when I had to cede so much control to others. It really - it became the place where I began to interrogate my predicament and to try to excavate some meaning from it.
You have to understand: the narrative that people have about business and capitalism is that they are fundamentally selfish, greedy, and exploitative. Of course, I don't agree with that narrative.
Everyone needs a place to live. Everyone needs a place to come home to every night. I don't understand why our society, our government, can think that you can lock a person away for months or years... and then release them back after they pay their debt without any support and expect it to be okay.
The simple circumstantial narrative (did such a narrative exist) of the ruin of a single town, of the misfortunes of a single family, might exhibit an interesting and instructive picture of human manners; but the tedious repetition of vague and declamatory complaints would fatigue the attention of the most patient reader.
I do think that narrative is very important - I think that we use narrative to organize the world around us, and so it does matter a lot what kinds of narratives we have in our inventories and which ones are reinforced so often and so strongly that we habitually reach for them without thinking.
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