A Quote by Cass Sunstein

My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules. — © Cass Sunstein
My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
Everybody's always living in fiction just as much as children, but the way our stories are faked is curtailed by all sorts of narratives we take into our own lives about what are the true narratives and what's not.
I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.
I believe in broken, fractured, complicated narratives, but I believe in narratives as a vehicle for truth, not simply as a form of entertainment, though I love entertainment, but also a way of conveying what needs to be conveyed about the works that I care about.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
We normally think of history as one catastrophe after another, war followed by war, outrage by outrage - almost as if history were nothing more than all the narratives of human pain, assembled in sequence. And surely this is, often enough, an adequate description. But history is also the narratives of grace, the recountings of those blessed and inexplicable moments when someone did something for someone else, saved a life, bestowed a gift, gave something beyond what was required by circumstance.
If one writes the rules then one can contradict oneself. It's all about rhetoric, about official narratives.
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
North Korea aside, most authoritarian governments have already accepted the growth of the Internet culture as inevitable; they have little choice but to find ways to shape it in accord with their own narratives - or risk having their narratives shaped by others.
I studied African American studies, and I read these slave narratives and the escape narratives of people that were able to escape slavery and always found those stories intriguing and powerful and inspiring.
Even within single sentences, there are sudden changes of register. And when the travellers go to Venice, they see a play by Voltaire! This is a novel [Candid] which has narratives within narratives, such as when Cunégonde recounts her story.
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