Quotes About Analysis

The polls told us that Hillary Clinton was going to win, and she didn't. I wasn't fooled by the polls.

Win or lose, I'm up all night. I've been that way since college - I'm going over everything in my head: woulda, coulda, shoulda.

If you clean it up, get analytical, all the subtle joy and emotion you felt in the first place goes flying out the window.

In making theories, always keep a window open so that you can throw one out if necessary.

The velocity and knee-jerk response to events happening in real time that television brings us precludes any kind of reflection or contemplation and therefore analysis. And that's been one of the greatest political dangers in the post-war era. The idea of the reasoned, thoughtful response goes out of the window.

The detached observer's view is one window on the world.

Honestly, I find the analysis of dreams is one of the dullest things. I say this as a therapist kid. I find them deeply uninteresting, as a window to the soul.

The FCC's job is not to put a finger in the wind and decide which way the winds are blowing; it's to look at the facts and make a sober judgment based on what the law is.

If I've learned anything as an economic analyst, it is that the stock market and economic winds can shift by the hour.

A painstaking course in qualitative and quantitative analysis by John Wing gave me an appreciation of the need for, and beauty of, accurate measurement.

That's what the right-wing is good at: figuring out the left wing.

When we analyze this war in a materialistic way and ask when is it going to end and who will be the winner and the loser, it means that we do not see the endgame.

Winning races is very difficult - actually, it's not: you just have to qualify in front, and then it's much easier, from what we've analysed!

Look, No Limit Texas Hold 'em is a game of reads, deduction and logic, and Allen Cunningham excels in each.

I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.

I think what matters most in literary work is the context, not the text.

If it is true that there is always more than one way of construing a text, it is not true that all interpretations are equal.

In Count Julian I simply proposed to create a text which would allow for diverse levels of reading.

I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.

You sit there, and you argue and you argue, and you sort of bully the hell out of the text until you're quite sure what it's revealing, and then you perform it.

You get to crack the code of the play. You get to really pick at it and see, 'What is the story that we're telling?' 'What are the clues in the text that I can find that will help inform what story we're telling?' It's almost like a detective mystery.

Deep reading refers to a whole continuum of processes that include some of the most important things about thinking and how we connect thought to what we read - critical analysis, analogical reasoning, how we infer from the text, how do we take another's perspective.

At the beginning of my sophomore year at Princeton University, I took my first economics course; our textbook was the first edition of Samuelson's 'Economics: An Introductory Analysis.'

I'm an old English major from way back, so I do have fun tearing apart texts and trying to find the hidden secrets and the subtexts in there.