Sentences with phrase «in narrative character»

Barrish creates sculptural assemblages from found object and recycled materials, with basis in narrative character and storytelling.

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.

His signature style is to create elaborate narratives and histories for the characters in his video - game videos to make them «like a movie.»

The tag line, in one concise sentence, has a sort of narrative arc, featuring a character who transforms from being a non-Starbucks drinker to a new, enlightened coffee connoisseur.

Retirees who want to pull up stakes to flee high prices and cold weather are familiar characters in the American narrative.

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.

His signature style is to create elaborate narratives and histories for the characters in his video games to make them «like a movie.»

John McAteer's study of ambiguity in narrative along with Phil Tallon's witty dialogue between three fictional characters on a Tarantino set illustrate this ambivalence quite well.

The editorial process allows for a refinement of narrative that is like a surgeon's scalpel, paring away extraneous information and laying bare the characters in the starkest of terms.

To be contingent is to recognize that our lives are intelligible only to the extent that we discover we are characters in a narrative we did not create.

Vivid multidimensional characters become mere prefigurations instead of figures in their own right, and complex narrative situations are reduced to a single theological point.

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.

The most obvious manifestation of the illicit, involving the crossing of boundaries set by social mores and norms, is found in the persistent adulterous character of the narrative.

So if what Jesus said to Philip can't be used to teach us about the nature and character of God because it's historical narrative, then this same argument applies to every text in the Bible, and you can also not use anything from the Law, the Writings, the Prophets, the Gospels, or the Epistles.

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.

In relation to narratives, one could say that each character and event is a detail that can reveal some important aspect of reality and touch deep feelings in the hearer or readeIn relation to narratives, one could say that each character and event is a detail that can reveal some important aspect of reality and touch deep feelings in the hearer or readein the hearer or reader.

Narratives remain on the «objective» plane, and it is indeed precarious to read into them what we think the characters in the narrative might have been thinking or feeling.

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 MaIn 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 Main 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 Main hand with a blurring of the dialogical or event - character of man's existence and of the relation between God and Man.

«Incalculable and unaccountable», I say, for the narratives constantly betray a baffled wonderment; but not magical or irrational, because they are congruous with the account which Jesus gave of the character of God: the «Father in heaven», who is «good» with a goodness beyond justice, (Mark 10:18; Matthew 5: 45; Luke 6: 35; Matthew 20: 1 - 15) supported by sufficient power; (Mark 10: 27, 14:36) and who persistently takes the initiative in giving good gifts to His creatures.

But following the triumph of evolutionary theory in the past century, the narrative character of nature's unfolding has become ever more conspicuous.

This confessional postmodernism is based on a «tripod,» three interrelated legs: (1) an ethics of character and virtue, (2) the cultivation and shaping of character and virtue through an ongoing participation in the Christian story and narrative, and (3) a separatist understanding of the relationship between the church and the world.

The present - day narrative alternates with passages set before, during, and after World War II, and it was in the depiction of the atrocities perpetrated by my Nazi characters that I shocked myself.

The role and importance of the Christian story and narrative in shaping character and virtue in the thought of Stanley Hauerwas is no less subtle and nuanced than his view of the self.

But in Niebuhr's view, the narratives of scripture not only render characters and circumstances, they also refer to experienced realities.

Whether the other early attempts to «compose a narrative of the facts that were accomplished among us,» to which Luke refers in his preface, had the same character, it is impossible to say.

Their focus is not on imaginative construction but on what they call the «realistic narratives» in scripture that render characters and circumstances in mutual interaction.

This temptation to touch all the bases is especially keen in narrative texts that present a number of characters.

Do you think it might have anything to do with the apparent irrationality and pathology of the central character in the Christian narrative?

But in this larger sense, they are interchangeable characters in a single cultural narrative.

In this world, we can be our idiosyncratic selves, right alongside our favorite characters and their huge world - hopping narratives.

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).

So while Gladwell himself isn't a character in the narrative, its construction proved to be a remarkable personal journey for him.Aside from the section on David, three chapters of the book deal with the stories of people who drew on the extraordinary reserves of their Christian faith to defeat seemingly insurmountable odds.

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.

These purposes, and the narrative in which they are embedded, translate character into destiny.

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.

With the exquisite literary attentiveness characteristic of the best recent work in theological exegesis, Sacks shows us that each of these narratives harbors a counter-narrative, which teaches us to sympathize with the character who is not God's elect or chosen one.

In reading such a narrative, we realize the gap between the thirteenth and the twentieth century, and we feel that saintliness of character may yield almost absolutely worthless fruits if it be associated with such inferior intellectual sympathies.

From this early evolved attribution, the term again developed in range and meaning and in time came to encompass also the characters portrayed in narrative texts.

All religions contain narratives of such courage, and it is in these heroic accounts that the character of a religion is most vividly represented.

If the character of Ahab comes off rather poorly in the Elijah narratives (I Kings 17 - 19, 21), I Kings 20 and 22 return the impression of an administrator of considerable ability and power and a man of stature.

He writes that «in the Bible we find a vast array of competing stories concerning the character of God that are closely connected to the concrete circumstances of those who inhabit the narrative.

In telling us the story of Trinity Church, the persons who had left the course were primarily recounting their social character, knitting into narrative form its significant elements.

A narrative form of analogy frequently found in religious teachings is the parable, a short fictional story whose characters are taken from everyday life.

It was not too long ago that Luis Suarez's character was in question, yet even with his international ban still in full effect, the narrative around him has completely changed.

Research finds that player behavior in narrative role - playing games reflects specific character roles — even if the game tells players nothing about the character's role.

New research from North Carolina State University finds that player behavior in narrative role - playing games (RPGs) reflects specific character roles — even if the game tells players nothing about the character's role.

His big idea — which has been called «narrative Lego» — is to shuffle a character's motivations like toy building blocks, so that a fresh story unfolds in every session of a game even though the characters are the same.

But the lack of a set narrative and the heightened investment that players have in their characters have produced some of the most emotionally charged experiences in gaming.