Sentences with phrase «about narrative voice»

I don't give a damn about narrative voice, as long as Team ICO is involved it is going to engrossing, engaging and entertaining regardless of the point of view.

I'm a book reviewer who for 20 years has been decrying and pounding the table and worrying about the narrative voice that Hillary Clinton uses in her books.

Not exact matches

These hopes are often voiced as narratives about success on the Little League field or in the sixth - grade spelling bee.

Quid showed that while the media narrative was focused on corporate control and Washington corruption, people were talking about fairness, diversity of public voices and what it means to be American.

Not only has 2K Marin returned to a fantastic and gripping narrative, the gameplay, combat, environments and voice acting will draw you in and keep you thinking about rapture when you're not playing it.

An atmospheric narrative - platformer about a service robot stranded on a mysterious planet, Planet of the Eyes features a stunning visual mix of puzzle and platforming challenges, an original musical score, and fully voiced audio logs left by another survivor.

There's nothing worse than having a well - crafted narrative sold short by shoddy voice work and thankfully you don't need to worry about that here.

There's no need for his boring, overly familiar learning - what - really - counts narrative arc, when the business of the film is really about getting to the darn stable via a host of celebrity voices (Oprah!

13 Reasons depicts an almost - empowered Hannah Baker with a strong voice and sardonic humor sharing her narrative about why she chose to take her life.

Brown, who rejects the narrative that he is «too smart» for basketball, will visit the Askwith Forums on Thursday, March 1, to speak with Associate Professor Jal Mehta about education, race, and institutionalized sport, and how athletes can use their public voices to advocate for change.

Voices from the Middle: Narrative Inquiry By, For and About the Middle Level Community 2010 Kathleen F. Malu, William Paterson University

Volume VIII: Voices from the Middle: Narrative Inquiry By, For and About the Middle Level Community

These views chime with those of Education Secretary Michael Gove who has voiced concerns about the lack of a «connected narrative» in the teaching of British history, with some notable figures such as Winston Churchill, Horatio Nelson and Florence Nightingale not mandatory in the current curriculum.

Presentations at the NCTE Conference were about narrative as a way of fostering student engagement and motivation, narrative as a way to understand other people's cultures or environments, narrative as a way to create student voice, narrative as a spur to innovative thinking, narrative as a way to learn any academic discipline, narrative as a form of persuasion, narrative as a way to create personal meaning and new knowledge, narrative as an impetus for social change, narrative as a way to inspire creativity, narrative as the beginning of inquiry, narrative as an expression of imagination, narrative as a reflection on one's own process of learning, and narrative as the basis of collaboration among those with multiple perspectives.

Recently, an article in a national publication about her former district led her to give voice to hers and others» experiences: «The problem is that by picking one distinct tree in the middle of an unruly forest of reasons, the district leadership has been able to shape the narrative.»

The theme of the conference is about raising student voice and student narratives and this is core to UrbEd's mission as well.

That project was so interesting and enjoyable that it set me thinking about historical narratives, and I wondered if I could tell a story not just in one character's voice, but in a host of voices — «a chorus of ghosts,» to quote XX.

Candace asks Edoardo Ballerini 5 questions about his life and shares 5 audiobooks he narrated in his characteristically silky smooth narrative voice.

«Developmental editors offer specific suggestions about the core intentions and goals of the book, the underlying premise, the story, character development, use of dialogue and sensory description, the polish, narrative voice, pacing, style, language — the craft and literary art of the book.»

It is initially fun for the first hour but quickly loses its appeal because of repetitive gameplay, repetitive level design, dull non existent narrative and an underwhelming visual presentation and the less said about the voice acting the better.

I don't really play Sonic games for a deep narrative, and while the presentation and cutscenes, along with voice acting, were good, I never felt connected to the story or cared about it.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

Her voice is fabulous and her words, like her photography, communicate a narrative that is necessary and often missing from conversations about artistic practice.

Standouts include Carrie Mae Weems» holographic narrative about race, sex, and politics portrayed by ghostly characters on a burlesque stage; The Propeller Group's video that draws parallels between funeral practices in Vietnam and New Orleans, along with the collective's sculptures of tricked - out musical instruments, which were also photographed with members of Louisiana marching bands; Glenn Kaino's installation of water tanks that turn military machines into coral reefs; Jean - Michel Basquiat's paintings and works on paper that reference the cultural legacy of the Mississippi Delta and the South; Camille Henrot's video exploration of the universe by way of the storage rooms of the Smithsonian Institution; Tavares Strachan's 100 - foot long neon sign declaring «You belong here» from a barge on the Mississippi River; and Andrea Fraser's monologue, in which she recreated a heated debate by New Orleans city council members during a 1991 vote to racially integrate the Mardi Gras krewes — changing her voice and expression as she dynamically alternated between speakers, both black and white.