Sentences with phrase «from narrative point»

This follows his participation in the gallery's fourth themed group exhibition WOOD, whichgathered four artists who all sculpt with wood, yet use the medium in diverse ways, both technically and from a narrative point of view.

Around Drawing is rosenfeld porcini's fifth themed exhibition, following WOOD, which grouped four artists who all sculpt with wood, yet use the medium in diverse ways, both technically and from a narrative point of view.

There's also the matter of how, from a narrative point of view, most of the main missions seem to focus on Jacob doing all the killing, and Evie cleaning up his mess.

Though it doesn't do anything too impressive from a narrative point of view, the high quality visuals, top - notch animations, and intimate battle system makes this a must - own title, whether you're a fan of the series or not.

From a narrative point of view, however, this doesn't always make for an engaging ride.

Not exact matches

Smith points to the threats the pipeline poses to British Columbia's tourism industry, rising floodwaters in Bangladesh and the Maldives, drought in sub-Saharan Africa and Mexico, the homes that will be lost in future forest fires, respiratory health impacts in communities from Vancouver to Kamloops and Quesnel, and future hurricanes in the Caribbean and Gulf states as climate impacts that are left out of the narrative about the project.

Outfitting their teams, as well as those of sales, service, and support, with specifically designed customer, end - user, and buyer personas culled from the persona - based narrative to ensure customer understanding is the focal point.

Your discomfort stems from the fact you don't feel this forum is controllable enough, and as has been pointed out, silence or threatened silence is another way to attempt to control the narrative.

The Acts of the Apostles, also simply referred to as the «book of Acts» or «Acts», is a narrative of the apostles» ministry after Christ's death and resurrection, from which point it resumes and functions as a sequel to the Gospel of Luke.

See the answer above — I see the Genesis narratives as God graciously reaching down to an ancient culture in order to communicate to them that he is their creator, that they are alienated from him, and that he desires that they be restored to fellowship through his offer of covenant with him (ultimately pointing to the need for God to step into history himself as the One who can keep the covenant on our behalf).

It is not, as James Hester argues, a digression from the narrative that brings the reader back to the conflict that might have gotten lost in the irenic settlement of 2.9 - 10.33 The conflict is a negative illustration following what has up to this point been a positive illustration of unity in the circumcision free gospel.

Since we can not survey history from some universal, purely rational point of view, narrative theologians argue, we have no choice but to operate out of the historical narrative in which we find ourselves — and for the Christian theologian that means the Christian narrative, shaped by the story (ies) of Jesus Christ as found in the Bible.

Bartholomew points out that to return from that exile to our «native land» or «home»» to a state of implacement, in his preferred terminology» provides the narrative framework of the entire Old Testament, with sin constantly presenting an obstacle to that achievement.

In the first place, and I believe that from the point of view of a religious interpretation of narrative this is exceedingly important, process thinking opens the way for a new grasp of infinity or totality as a religious concept.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

My point is that a close reading suggests a multiplicity of ideas and beliefs that we are priviliged to witness while it's under construction, the Jerusalem controversy being one good example.Furthermore, the fact that we're able to understand that each of the synoptics significantly differ from each other and we can observe contrast and similiarity between them and John's gospel, as well as Paul's letters suggests a process that speaks loudly of how religious narrative develops in communities that seek the meaning of the «core events».

The narrative collapses from the universal point of view into the particular lives of a mundane, inauspicious couple.

Father Gabriel's narrative may have been an important plot point to keep the story moving, but it's a far cry from what you will find inside the walls of the average church on a Sunday morning.

And so adequate a transcript of the event itself is this «remembering» community that the Resurrection of Jesus is not a datum of faith but a postulate of the community's experience, and the apostolic narratives of resurrection are superfluous, from the point of men of faith.

Hundreds of years of Christian preaching have taken place in such a context; and while it is properly asserted that the erosion from the mind even of the church of the rich referents traditionally clustered about the Easter narratives makes dependence upon them questionable, it must nevertheless be pointed out that a process can be reversed.

Our chief aim in preaching must be to expose the meaning for redemptive history in all the narratives of the New Testament which are written from a mythological point of view.

Although the maternity of Mary is accentuated in the ambiguity of verse 16 and its elucidation in verse 18b, the narrative of 1:18 - 25 is told from the point of view of Joseph.

We should begin to see at what point the notion of God's design — as may be suggested in different ways in each instance, it is true, by narrative, prophetic, and prescriptive discourse — is removed from any transcription in terms of a plan or program; in short, of finality and teleology.

The element which most clearly distinguishes myth from an historical narrative is the reference at some point to God.

And appropriately now the narrative points sharply back to the situation from which Moses is a sojourner, to the place and task which he can not avoid.

Kuhn reaches the point of recognizing the gospels as kerygma, i.e. as proclamations of Jesus the Messiah in his significance for faith; but whereas the later Protestant view was that the kerygmatic element was in the service of a post-Easter view of Jesus as risen Lord, read back into the narratives by the later community, Kuhn's view is that this element was present in the tradition from the very beginning, part of the gospel before the gospels, part of the message of the apostles from the very first days, part of the very fabric of the ministry of Jesus itself.

He points out that «the rhetorical structure of this narrative is calculated to hold the reader within the tale and, from within the tale, to confront the reader with the possibility of believing in the resurrection.

there is some suggestion that wenger is backtracking on his fervent stance regarding what players would be staying at the club for the remainder of the season... some might deduce that this is all part of a much bigger, more elaborate plan... by shifting the blame wenger is attempting to, not so slyly, flip the narrative... by doing so he hopes to evoke empathy from his most ardent supporters, while attempting to rally any fence - sitters, whose faith was waning unless a more legitimate agent of blame emerges... unfortunately, and incredibly insulting to the fans, when wenger attempts to spin a tale and / or tries to eat his own words, he doesn't seem to play it all the way through in his head, so invariably gaping holes emerge... say we believed his version of the truth, would that not make him either an incredibly well - paid custodian of destruction or a spineless jellyfish because what manager worth his weight in salt would stay at a club that didn't give him final say after 20 years of supposed «success»... no matter the answer, neither bodes well for us... how ironic, in a way, since many pundits claim this team has lacked a «spine» for some years now... so whether we win, lose or draw on Sunday is frankly immaterial, as the problems will remain, and although it will be easier to digest if we left the Pool with 3 points, it might just be the worst result for the betterment of this club... a fact that both breaks my heart and baffles the mind

We absorb the narratives for each team, but those narratives sometimes end up with holes, and we sometimes forget to figure out how we got from Point A to Point B. And the narrative for 2016 Penn State seems to have neglected one important question.

Recreational bettors bought into the narrative that New England would do everything in their power to make a statement (who could blame them given what we'd seen from the Patriots this season) while professionals stuck to their guns looking to take the points every time the number ticked through 8.

It made the point that the Democrats moved on from the notion of the narrative last year (not sure I quite accept that but moving on...).

I must admit, it stretches incredulity that Labour should get all worked up about a politician «lying» - this is not to defend Hague from what he may or may not have done, but to point out that there is an (ever - present) case of Pot Kettle Black here, for which reason the narrative is unlikely to gain much traction beyond titillating SW1 and its acolytes.

Two v. brief points: The constant clamour for reform as the silver bullet that will cure the frustration of the electorate mischievously shifts blame from individual MPs and toward a narrative of establishment as culprit.

And it goes back to my point from yesterday, that part of the goal here on the issue that the mayor sees as a legacy item is to reclaim the narrative and centralize the messaging back at City Hall in the final three years of his term.

The center point of this screenshot on the Sandy tracker map built on data from the NHC has this narrative:

«Through parents» extended narratives, the study tells the story of school closings from the point of view of parents whose children were affected,» Lipman said.

Yes, it happens and certainly works well in this story, but it is far from the main action beat or narrative high point.

At the same point, Blomkamp ratchets up the intimacy: in one startling moment, he drops from his mockumentary style into an omniscient narrative mode.

While she keeps the action hopping from one flash point to the next and cooks up a couple of exciting sequences in the last 30 minutes, she doesn't develop the narrative momentum needed to sustain a two - hour story.

On the other hand, the game suffers from a bad narrative and wrong division to acts, despite its great plot, and the many side missions begin to feel repetitive at some point.

There reaches a point, however, at which Killer's Kiss begins to morph into an unexpectedly compelling film noir, as the narrative begins revolving around Davey and Gloria's efforts at escaping from Vincent's increasingly nefarious clutches.

Amos becomes a bit of a town pariah, and a further narrative - overkill death comes at just the point where we're starting to suffer from compassion fatigue — bad things just won't stop happening to these fundamentally good people.

It's clear, however, that Snowden begins its slow - but - steady nosedive into mediocrity as it moves into its seriously repetitive midsection, as scripters Stone and Kieran Fitzgerald shift the focus to an intense emphasis on the minutia of the protagonist's top - secret work - with the narrative's structure, past a certain point, doggedly following Snowden as he moves from one assignment to the next.

In fact, it's probably a little overdone — the two parts of the narrative can't be more than 6 years apart, surely — but it certainly drives home the point that they're completely different people from when they first met.

Rather amusingly, the movie jumps into exposition centered on Van Pelt (returning villain from the original movie now played by Bobby Cannavale) which, again, Spencer is able to point out as a cutscene (non-playable moments involving playable and non-playable characters alike meant to steer the narrative along its predetermined course by the developers).

Reduced to its essential narrative elements, Hardware is an elaborate «stalk and slash» movie, with a relentless killer as its antagonist, onscreen sexual encounters shown from the killer's point of view, ineffectual authority figures, and an androgynous heroine who eventually succeeds in killing the killer (9).

Despite these shortfalls, the film does successfully manage to explore some interesting themes of diplomacy and leadership along the way, and even though it could be argued that the narrative itself is bland and unimaginative, barely moving from its starting point to its conclusion, the weight, intensity and emotional journey Caesar and his comrades evoke, more than make up for its few short comings.

With its gorgeous widescreen compositions and sophisticated look at American male obsession, this stripped - down narrative from maverick director Monte Hellman is one of the artistic high points of 1970s cinema, and possibly the greatest road movie ever made.

The cinematography from emergent crackpot DP Adam Arkapaw (True Detective, Macbeth) is on point throughout — and Cianfrance affords him many a pensive gawk at nature's inimitable beauty — layering the stormy narrative turbulence with adroit visual symmetry.

Because there's so much ground to cover from a storytelling point of view — and it's one with twists and turns around every corner — Flanagan wastes no time digging right into the narrative.