Sentences with phrase «which kind of narrative»

Which kind of narrative is most commonly used?

Not exact matches

This narrative, in its most extreme version, says that cryptocurrencies today are like the internet in 1996: not just new technology but a radical new kind of technology, belittled or ignored by most, which has slowly and subtly grown in power and influence over the last several years, and is about to explode into worldwide relevance and importance with shocking speed and massive repercussions.

When it comes to «storyland,» which is where beliefs, theories, theologies, and ever other kind of narrative we tell ourselves and each other, atheists object to the ridiculousness of the Christian story.

They look and sound and feel like your average, everyday person — which is why the «stranger in a dark alley» narrative is kind of absurd.

I consider this an ambiguous gift: on the one hand, postmodern tendencies open up spaces for the new perspectives and voices mentioned above; on the other hand, as the social critic Jane Flax notes, a hard - core kind of postmodernity which would postulate the death of history, of the human being and of metaphysics undermines the kind of critical reason that is necessary to counter the «master narrative» constituted by capitalist globalization.

This is an infinite which expresses itself in a narrative vision, not a predetermined narrative nor one which intends to include only a particular kind of people or a particular reality, but a story which is much more open than the old story used to be — a story, indeed, with many strands rather than with one, and a story which is not going to any predetermined place but which is constantly open to the best possibility that is relevant for it.

In A New Kind of Christianity, you often return to your original critique of the Greco - Roman narrative, which is found in Part One.

1) I read A New Kind of Christianity on my Kindle on the treadmill, which means I contemplated the effects of the Greco - Roman narrative on atonement theory with a heavy dose of endorphins pumping through my bloodstream.

Even in the dim patriarchal age, while it may be true that some of the narratives really refer to tribal movements, there are others which lay all the stress upon religious experience of a strongly individual kind.

’14 Parables about God, in this view, are narratives offering a kind of imaginative model which, like Braithwaite's scientific models, have the status of psychologically helpful fictions.

I attempted to sketch the difficulties of relating the Resurrection narratives of the New Testament to the kind of world in which we live, and to show that, in spite of these, the Resurrection faith of the church can still have meaning for men who have left behind the world view of the first century.

Now this kind of narrative is possible only because of the equation earthly Jesus = risen Lord and the consequent and subsequent equation: Situation in earthly ministry of Jesus = situation in early Church's experience, which equation is necessarily implied by the methodology of the synoptic evangelists.

The second text, Exodus 15:22 - 25, 27 - 16:3 is the narrative reminder of the kind of behavior about which Stephen spoke.

This kind of prophesying indigenous to Canaan's culture (we will meet it again in the ninth century brilliantly described in the Elijah narratives) is certainly among the antecedents of the classical prophetism which emerges out of prophetic Yahwism.

Three kinds of material relating to Jeremiah and his times dominate the hook: (1) prophetic oracles deemed in their freshness and vitality to be authentic, in the sense in which we have used this word before; (2) historical - biographical narratives, conservatively attributed (and rightly, we think) in first origin to Baruch, the prophet's personal scribe (36:4 ff.)

On a purely narrative level, however, the introduction of some of the villains feels somewhat awkward, as the film has to abandon its point - of - view close to Ruth to show what kind of people they are before they are set onto a collision course with Ruth and Tony, which doesn't quite feel organic.

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.

For as convincing as Blunt manages to be as an alcoholic about to hit rock bottom (this is a far cry from more glamorous representations of functional boozehounds, Charlotte Rampling of The Verdict, for instance), her performance actually is responsible for creating an even wider rift between the initial semblance of narrative integrity and a shallow reveal which negates any kind of groundwork laid concerning Rachel.

Eventually Magic Mike seems to remember that, as a narrative feature film, it should have a story of some kind, which is how we come to focus on the struggles of Adam (Alex Pettyfer), a 19 - year - old college dropout who's landed on the couch of his more responsible sister Brooke (the enigmatically poker - faced beauty Cody Horn).

In a strict narrative form, most of Blue's main themes and actions reside just below the surface, so this is the kind of film that might be too slow for some impatient viewers, especially if they are watching it without the political, social, and artistic context from which it is created.

I've been sceptical about this film - maker's pictorial sense in the past, even in the widely admired Pan's Labyrinth from 2006, which called to my mind Tarantino's shrugging response to a certain kind of film infatuated with its own visuals: «Pretty pictures...» But Crimson Peak has more narrative sinew and black comic style than this.

Something like this, which doesn't have any kind of traditional narrative structure and is built to be open and meandering, will always have a high risk of dragging painfully in parts.

Jacques Rivette's dazzling 750 - minute Out 1 (1971)-- an eight - part serial in 16 - millimeter still unscreened in this country that remains one of the boldest experiments in film narrative ever attempted — was conceived as a kind of parody of Bazin's ideas in its deft mixture of documentary and fiction, its improvising actors working through a dense plot built around real and imagined conspiracies, and even its extended takes, one of which lasts 45 minutes as it records a theater group's exercise.

The narrative of these two movies, which both premiered at Sundance last January, has been that Beach Rats is not the kind of movie we need right now, as if the closet were something that could go out of fashion, rather than the enduring social condition that it is.

Also, the film takes place in Vegas, meaning we get the mandatory sweeping shots of the city, and while these kind of sweeping shots are a cliché, they're well executed enough that you still enjoy looking at the beautiful city in which the narrative takes place.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

Woody is addled with dementia and has settled into a kind of leave - me - alone stasis, but he's dead set on making the trip from Montana to Lincoln to claim it, which in turns leads to a stop in a place where he hasn't seen old acquaintances and relatives for decades — and which opens up the story to all sorts of narrative and thematic possibilities.

It all makes a certain kind of sense through the lens of the superhero narrative, in which the heroes are embodiments of some real idea and representatives of some aspirational ideal.

A novel or movie may depend on this linearity to convey the narrative arc, which is essential to its form, but this can present an impediment to more instructional kinds of media.

Narrative essays should a clear introduction in which you need to indicate what kind of narration you are writing: personal, past experience, analysis or observation.

Unlike in other kinds of essays, in narrative one you can freely use the first or second person singular, which is much easier way to convey personal experiences and observations.

There exist two kinds of essay writing which always puzzle students, as it is almost impossible to find a proper definition for them, these two kinds of essay are narrative expository essay and narrative literacy essay.

That being said, I think it is silly and kind of childish to expect to write a book like Goon Squad, which is idiosyncratic, does not follow a lot of the narrative conventions we've come to expect from contemporary novels, is not straightforward — I think one can't do all that and expect to be loved by everyone.»

How to Write a Narrative Essay Step By Step A narrative essay is a kind of essay writing which is more or less follows the outline of story writing and includes certain subjective, experimNarrative Essay Step By Step A narrative essay is a kind of essay writing which is more or less follows the outline of story writing and includes certain subjective, experimnarrative essay is a kind of essay writing which is more or less follows the outline of story writing and includes certain subjective, experimental and

Probably to get it really good I would have had to have spent a lot of time testing and replaying those puzzles, and doing that kind of iterative process you do for good games design, whereas I'm much more interested in the world explorational aspects, and the more narrative aspects of gaming, which makes sense because that's what I do.

By stripping the game of any kind of pre-determined narrative and emphasizing player involvement through gameplay alone, Pope also reminds us of the the sad reality that we often confront moral issues and attempt to resolve them because we feel a sense of obligation to do so only after our engagement in the practices which define our environment, and our recognition that they are actually the cause of these problems.

Interestingly enough I really enjoyed the narrative in the story mode however I do feel that it kind of ended a bit abruptly although it was done in a way which left things open for a sequel.

In the meantime, here are five questions to consider which will help you begin crafting the kind of project description language that will help make your grant narrative really sing.

This access, which has broadly democratized the field, has created not only a larger and more engaged audience for this kind of art, but has also created more opportunities for this work to be contextualized within the larger narratives of contemporary art, as can be seen in the various approaches of curators such as Lynne Cooke, Massimiliano Gioni and Daniel Baumann, for example, all of whom have, in different ways, framed the work of self - taught artists within their curatorial projects.

Storytelling, or the narrative structure itself, has served as a medium in its own right, providing artists with a new kind of raw material with which to craft their photographic and filmic imagery.

It is a kind of journalistic approach to the making of art, in which the artists visit a curatorialy defined narrative locus and, upon their return, produce works that refer to specific points of interest.

The popup is organized in a way which suggests a kind of historical narrative progression, in contrast with the nonlinear configuration of Vertical Elevated Oblique.

Lexicon juxtaposes quotidian manifestations of language — including fragments of vintage signage, scrolling LED texts, neon signs, printed posters, cartoon and diary - like narratives — to create a kind of visual «chorus,» a polyphony of voices, in which language becomes more elastic and open to multiple readings and interpretations.

So, as we pass through this collection of around 40 drawings and paintings, we're supposed to look for clues and hints of the later brilliance and construct a narrative or timeline that leads to its blossoming (which, here, comes in the form of At the Edge of Town (1986 - 8), a painting showing a figure emerging onto the kind of semiabstracted landscape for which Doig is best known).

Yet, Kahn's pointed concentration on hue and luminescence moves beyond the constraints of abstract expressionism, in which his teacher worked, to a kind of representation that artfully transcends overt description or narrative, even while maintaining a kind of painterly lyricism hinged entirely on color and its unique application.

In his series Figure Compositions, American artist Daniel Catalano's beautiful paintings consist of single and multi-figure compositions which reject any kind of narrative and instead experiment with multiple states of being, across many timeframes.

Each canvas is prepared with an undercoat of screen paint, the kind used by home movie enthusiasts, so that the support itself is literally a screen onto which the painting is materially «projected»; this material collapse of image, time, sound and narrative onto a fixed canvas - as - screen becomes a kind of «terminal projection» of the film, a «petrified cinema».

He just buys stuff that he is inspired by as the basic surface material for his stretcher, which gives his work a kind of history, a narrative.

The earnest «reflexivity» of the narration, which constantly draws attention to its modes of discourse; the smug female voice - over artist, who bizarrely mispronounces the numerous French words; the use of another medium — in this case dance — to create a kind of abstract demonstration of the film's content — these things all hark weirdly back to the «materialist» theory that influenced art school teaching in the Nineties, and further back to the frequently soul - destroying «deconstructed narrative» cinema of the late Seventies and early Eighties.

New Slideshow looks at the ways in which artists are using sequences of still images to make film with various kinds of narratives.