Sentences with phrase «as narrative characters»

She considers historical figures, such as the eighteenth - century explorer Jeanne Baret, as well as narrative characters, like Sycorax, the mother Caliban in Shakespeare's The Tempest.

Not exact matches

The narrative transportation theory, as it's called, states that people may feel like they have been teleported to the world of their character in a story they can identify with.

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

But our time, as Beardsiee admits, is not one of narrative order — our novels lack plots, resolutions, and developed characters.

Angels, visible in human form, appear as characters in the narrative and address the chief actors; an angel descends from heaven, rolls away the stone which sealed the rock tomb and sits upon it.

Character can be construed as a reminder that the moral self is perduring in the way that a story is a narrative.

For the use of opening formulas and connecting particles by the Gospel writers in the Greek New Testament, there is no consistent renderings in any of the English as well as in most of the Indian versions.60 Therefore, the Indian versions, which are translated from English, lag behind to reflect the artistic mind of the author as well as the literary character of the narratives in the original source.

This tripartite organization makes the overall narrative disjointed, with Beecher fading to the background as ever more characters crowd onstage and the work becomes a survey of 19th - century history.

In this modern vision, as in ancient gnosticism, the decline of real narrative has gone hand in hand with a blurring of the dialogical or event - character of man's existence and of the relation between God and Man.

Barth insisted that to hear scriptural narrative as God's Word has nothing necessarily to do with defending its historical character or some particular historical element within it.

But it is evident that these did not satisfy the demands of the Christian community, for the four writings which were selected as authoritative have the character of narratives into which sayings are inserted at suitable or significant points.

The most popular understanding of myth is as a narrative of a purely fictitious character concerning supernatural beings.

There are plenty of new names — like Gwendoline Christie's Captain Phasma and Lupita Nyong» o's Maz Kanata — who don't get fleshed out as much, but half the fun of Star Wars has always been the deeply detailed narratives such side characters acquire over time.

The Abraham - Isaac - Jacob and David cycles are brought back in Chapter Four as evidence that Biblical narrative together with lyric is in fact rich in figures of speech and can afford insight into characters» internal and external features.

In The Art of Biblical Narrative, Robert Alter suggests a key to characters» inner thoughts and motivations which would be helpful even to the inexperienced reader of Scripture: first, external details (appearance, clothing, gestures); second, «one character's comments on another»; third, «direct speech by the character»; fourth, «inward speech... quoted as interior monologue»; and fifth, «statements by the narrator about the attitudes and intentions of the personages» (pp.116 - 117).

It is through the re-reading and reappropriation of texts from the early period of the formation and quest for identity of the church that one can reclaim, question, and integrate the experiences of women, recognising that - then as now - the «universalizing effect of the Christian master narrative... concealed the subaltern status of many of its characters.»

Because of our contemporary awareness of the evolutionary, narrative character of the universe, and the growing sense of our species» continuity with this emergent process, we are now in a position to interpret the long search of religion as a prolongation of the cosmic struggle toward more intense beauty.

Even many of today's Christians, who in other respects may be regarded as being very liberal in their outlook, have been inclined to rest their faith on the historical reliability of the resurrection narratives, as pointing to at least one incontestable miracle of a supernatural character, and they have been alarmed when the «Empty Tomb» stories came to be regarded as legendary.

The inspired writers introduced dramatic roles as a way of allowing the most significant characters of Scripture to manifest themselves and to speak, and so to progress the Biblical narrative from within.

Thus, through its narrative character, experience contains the sense of both before and after as well as the distinctions among past, present, and future, enabling us to comprehend our persistence through time.

How Character - Driven Labels Are Driving Wine Sales: As the wine aisles swell with an ever - rising sea of brands, wine producers are looking to increasingly rich and imaginative narratives on which to build their brands...

As the reader follows the main characters through the narrative, children can note the value of self reliance, connection to family and of being part of a history — personal, familial as well as culturaAs the reader follows the main characters through the narrative, children can note the value of self reliance, connection to family and of being part of a history — personal, familial as well as culturaas well as culturaas cultural.

Revati Crater is named for the main character in the Hindu epic narrative Mahabharata — widely regarded as the first in history (circa 400 BC) to include the concept of time travel.

Down a catwalk planted with up - ended mannequin legs, the collection itself continued the kind of character - driven narrative that Westwood is built on, as diverse bodies owned a chaos of ruffled prom gowns, buttoned «habit» hoods, floral and flowing hair prints, and wonky tailoring.

Tropper's screenplay, however, leaves the various performers with too little to do, as the scattered narrative results in a disappointing absence of satisfying character arcs for many of the movie's protagonists.

As a result, there's a sense that important events are glossed over, relationships are truncated, and the central character becomes lost in the rapid progression of the narrative.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

As the multiple narrative strands move from character to character — a sympathetic insurance assessor (John Ortiz), a curmudgeonly pack rat (Bruce Dern), a widow (Burstyn) picking through the remnants after a house fire — the would - be medley quickly devolves into a series of actorly monologues on a thesis.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

City of Light is a good season - finale, which concludes all narrative lines of the previous episodes and introduces a new way to look at Bruce Wayne as a character.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

But as the character is braying for attention, he's stuck in his stall, while genuine dark horse Donna Murphy carries the narrative load as the middle - aged co-worker who prances into Abe's daydreams.

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).

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

But as each and every player engages in debates - concerning, among other things, art, the artist's perspective, and male - female dynamics - Guerín focuses as much attention on the slippery boundary between documentary and fiction, in turn engaging with an evolving narrative, increasingly complex character dynamics, and an endlessly vivid emotional journey.

A Most Wanted Man, like such other le Carré adaptations as The Tailor of Panama and Tinker Tailor Soldier Spy, has been hard - wired with an impenetrable narrative that holds the viewer at arms length from start to finish, with the convoluted, confusing atmosphere compounded by a total absence of interesting or sympathetic characters.

Its a narrative from start to finish and you don't get side quests for rewards and extra characters because its a story without that as its features.

As this film progresses in its short narrative, we find out deeper elements of the real addiction of the few characters that we get to know.

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).

Like the characters mentioned earlier, the narrative is not very interesting and mostly served as a way to push me to different parts of the map.

The narrative splinters as Charley and Pete encounter many rough - hewn characters — including ones played by Steve Zahn and by Canadian Indigenous actor Justin Rain — but Plummer's understated intensity seizes our attention and holds it.

The narrative's not quite as propulsive early enough as a result, but the character work largely compensates for it.

As a result of VanderMeer's deliberately cryptic play with narrative, it isn't revealed until «Authority,» the second book in the trilogy, that the character who inspired Lena is of Asian descent, while the character who inspired Dr. Ventress is half Native American and half white.

Rather than a cohesive narrative, Avengers: Infinity War resembles the penultimate sequence of every Marvel Studios production that has come before, an exhausting series of ultimately futile action scenes that endlessly proclaim the goodness and importance of the supposedly heroic characters as they engage in battle against an all - powerful foe.

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 just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

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.

Paul Bettany's crime boss Dryden Vos might be the first major player in a «Star Wars» movie to make no impression at all, but the actor was probably doing the best he could under the circumstances; he replaced Michael Kenneth Williams, who was not available for reshoots and was originally cast as a CGI character, so he was probably playing somebody who had to be rewritten on the fly without damaging the surrounding narrative architecture.

As a single entry in the MCU, Avengers: Infinity War is as good as anything Marvel Studios has released in the last decade, but what makes it truly special is how it elevates everything that came before and makes every character and narrative development even more meaningfuAs a single entry in the MCU, Avengers: Infinity War is as good as anything Marvel Studios has released in the last decade, but what makes it truly special is how it elevates everything that came before and makes every character and narrative development even more meaningfuas good as anything Marvel Studios has released in the last decade, but what makes it truly special is how it elevates everything that came before and makes every character and narrative development even more meaningfuas anything Marvel Studios has released in the last decade, but what makes it truly special is how it elevates everything that came before and makes every character and narrative development even more meaningful.

The characters were solid enough to lead the narrative, but the the story as a whole was quite disconnected.