Sentences with phrase «narrative works by»

Narrative works by a large group of female artists including Lubaina Himid and Maud Sulter sit alongside more formalist works by Claire Barclay and Hayley Tompkins.

Not exact matches

When they didn't work, the narrative of the policy community — unsubstantiated by any facts — was to say Canadians have a lack of fire in the belly.

In this new course, Raja aims to teach students to improve their work by examining their writing on four separate levels: narrative, paragraph, sentence, all the way down to individual words.

I'll be quite happy if at least stocks are being held by those who understand the full narrative of the recent half - cycle, and have seen, considered, and discarded our work.

But the human mind is made to fall for stories and miscalculate the odds when a good narrative is in place, as has been usefully described by the work of Nassim Taleb and Daniel Kahneman, among others.

He also worked on the firm's investments in SumoLogic, JFrog, Cyphort (acquired by Juniper), Looker and Narrative Science.

It is further bound together by Hopewell's strong theological convictions about how narrative functions as God's work with congregations.

Like most of these works, The Whole Harmonium offers a restrained narrative that cleaves closely to documentary evidence and ventures little by way of either critical interpretation or unifying assessment.

Ultimately this elliptical, even eccentric involvement of biblical themes, figures, and narratives does not make for a work of superior accomplishment in either religious or literary terms, whether by comparison to masterworks of the past or the finer novels in Coetzee's own oeuvre.

Miller builds her narrative around physical, sweaty work on the house, a growing intimacy between Lottie and Elizabeth during coffee - break conversations, and Lottie's discovery that her brother's obsession is being exploited by Elizabeth to fill her lonely summer months.

In speaking of «parts» of the Galilean ministry we refer not to successive phases of Jesus» work but merely to more or less distinct portions of the narrative, sometimes marked by the insertion of collections of sayings and sometimes arbitrarily divided for convenience in presentation.

Modleski concludes: «By working on a variety of fronts for the survival and empowerment of women, feminist criticism performs an escape act dedicated to freeing women from all male captivity narratives, whether these be found in literature, criticism, or theory.»

Thus, if we use the now standard symbol of «J,» «E,» and «P» to designate the three most conspicuous narrative strands inter-woven in Exodus (as well as in Genesis and Numbers), we will think of «J» as the recording of early traditions which remained current and fluid down to the tenth century B.C., when the J - work was done by a single man (in this respect probably unique among the three primary sources).

A collection of narratives originating for the most part independently of one another among tribal groups in Canaan later embraced in Israelite monarchy — a collection wrought and edited by DH (Deuteronomic historians responsible for the substantial present form of Deuteronomy - Kings).

Female slave narratives, imaginative literature by black women, autobiographies, the work by black women in academic disciplines, and the testimonies of black church women will be authoritative sources for womanist theologians.

Harvard - Westlake's 2017 - 18 Narrative Involves Several Storylines — But The Wolverines Are Still Working On The Most Important One • Story by...

But by assigning the complaint to the new paradigm — by blaming the new style of play for his problem instead of making a direct appeal to get more free throws himself — he shapes the narrative in a certain way that may make it more likely for the league or individual officials to work him more fairly (in his eyes).

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

Each worked out its own matters of redemption and justice and human limits and then took its place in a larger narrative, race by race, meaning by meaning.

A lengthy, well - researched, and powerful article in the Spring 2015 issue of the NCAA's Champion magazine, not only reports the belief of many top concussion experts that the media narrative about sports - related concussion trace has been dominated by media reports on the work of Dr. Ann McKee, which was the centerpiece of PBS Frontline's League of Denial, but Dr. McKee's, however belated, mea culpa that «There's no question [that her autopsies finding evidence of CTE in the brains of most of the former athletes were] a very biased study,» that they involved «a certain level of... sensationalism», that there were «times when it's overblown» and went «a little too far.»

My work is inspired by narratives, usually my surroundings, the environment or social issues — nearly all of my work has evolved from these.

2012 Reviewed for Ethnos, At Work in the Field of Birth: Midwifery Narratives of Nature, Tradition, and Home, by Margaret MacDonald.

While I think mothers work hard to carve out their own boundaries, we've fallen into the conditioning of leaving ourselves out of the narrative, when it is a relationship... Anyway, this has been expressed by mothers far better at expressing than I am.

So let's celebrate electoral success, but also recognise that we need to work on new policies and a narrative that captures the imagination of a majority of Scots by 2016.

«This government which is a government of change must be prepared to change the narrative by ensuring that teachers are motivated and the condition in which they work are conducive at all levels, so that they can deliver on their professional calling,» he said.

It's embodied by the white picket fence and a narrative that you can achieve anything as long as you work hard enough.

«By setting aside the «national interest» narrative in favour of emphasising that of «coalitions can work» we unwittingly manoeuvred ourselves into a position of appearing content to be willing appendages to our coalition partners.

«There is the lopping off narrative of George Osborne and then there is the narrative of making people less reliant on the welfare state by making work pay.

The results deepen our understanding of how the brain functions, how narratives work in film, and memory mechanisms impaired by conditions such as Alzheimer's disease.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

No longer tied to a beaten down, tawdry medium of images chained to unworthy narratives, Malick's work destroys false complacency engendered by overemphasis on continuity and reality.

It's a low - key premise that's employed to almost prototypically deliberate effect by director Julie Lopes Curval, as the filmmaker, working from a script cowritten with Sophie Hiet, offers up an uneventful narrative revolving around the central character's subdued exploits (eg Alice goes to school, Alice deals with her mother, etc, etc).

It's fairly tedious stuff that's compounded by a lack of narrative momentum and an almost aggressively deliberate pace, with, in terms of the latter, the movie's slowness ultimately preventing the viewer from working up any interest in (or enthusiasm for) the protagonist's feel - good antics.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

When the dance is finally beat, Robert Baker... or Alabama, there's something endearing enough about the pretty points in cinematography and score work, touching occasions in entertainingly well - paced direction, interesting spots in a colorful story, and across - the - board decent performances - especially the one by Evan Rachel Wood - for the final product to border on decent, ultimately falling under the overwhelming weight of the glaring tonal and narrative incoherencies, flat humor, dramatic contrivances, problematic themes, even more problematic leads, ridiculous story and onslaught of clichés which render Andrew Fleming's «Barefoot» an occasionally charming, but mostly mediocrely misguided romantic dramedy.

It's a seemingly foolproof premise that's employed to distinctly (and consistently) underwhelming effect by director Johannes Roberts, as the filmmaker, working from a screenplay cowritten with Noel Clarke, Dave Fairbanks, and Marc Small, offers up a narrative that's been jam - packed with generic, hackneyed elements that slowly - but - surely drain one's interest - with, for example, the movie's absence of sympathetic characters growing more and more problematic as time progresses.

It's ultimately clear that The Finest Hours is at its best in its relatively propulsive first half, as director Craig Gillespie, working from a script by Scott Silver, Paul Tamasy, and Eric Johnson, does a nice job of establishing the the central characters and the dangerous circumstances in which they find themselves - with the screenplay, which also emphasizes the ongoing exploits of Bernie's girlfriend (Holliday Grainger's Miriam), generally juggling the various narrative threads to seamless effect.

Filmmaker James Foley, working from a script by Niall Leonard, delivers a blandly - attractive production that delivers everything one might've expected, admittedly, with the smattering of thriller - oriented elements compensating for a narrative that's occasionally just a little too lackadaisical for its own good.

(This is not the first time that Denis has created a fiction narrative by working from a philosopher's work — her 2006 L'Intrus was inspired by an essay by Jean - Luc Nancy.)

But working from a script by Gregory Burke, Padilha employs a back - and - forth narrative structure that frustratingly keeps the movie from attaining its potential momentum.

It's convoluted, to say the least, but Johnson, working with editor Bob Ducsay, gives the rush of these jumps in time a remarkable, lively flow that at once helps form the backbone of the narrative and exude the confusion felt by both Joes.

«Trapped» gets its narrative from the current state of affairs, in that it is more about the stagnant, daily chaos wrought by these bills (the struggle of a Tuscaloosa clinic to stay open while not able to serve anyone does provide a small arc).

Here's what I hope it's not about: women doing all the narrative and emotional heavy lifting while the man looks on, by turns exasperated and admiring, as his «wives» work it out.

Beautifully lensed by Darius Khondji, masterfully directed by Haneke, boasting two great performances and a commitment to the narrative that might be too much for some, «Amour» is nevertheless the work of a filmmaker who isn't afraid to ask the big questions about human nature, and coming out of «Amour» it seems the director has hope for us yet.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It's those narrative conveniences that make «In Darkness» feel slick and worked over - the sense that an immensely powerful story of survival has been cut to fit the cloth of a by now well - established genre.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

Kindly and almost unbearably intellectual and autodidactic, Seligman listens as Joe lays out the narrative of her sexual awakening, budding promiscuity, and compulsion, the two often digressing into literary, musical, and fly - fishing references that provides Joe's story a contour, unfolding (as in much von Trier's recent work) in discrete chapters marked by their own title cards and sets of aesthetic choices.

If you see a moody pattern emerging on the type of films they've worked on, you'd be on the money; the pair, influenced by folks like Krzysztof Penderecki, Terry Bozzio and even later - day dark and doomy Scott Walker, traffic largely in droney and disquieting soundscapes, specializing in that sweet spot where discordant sounds subtly burn in the back of the frame rather than overpowering the narrative.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.