Sentences with phrase «in narrative gaps»

Back in 2006 Hugh Macleod offered the following point on Gapingvoid: «If people like buying your product, it's because its story helps fill in the narrative gaps in their own lives.»

If people like buying your product, it's because its story helps fill in the narrative gaps in their own lives.

Flashbacks are used to fill in the narrative gaps, but only make the main story more confusing.

Not exact matches

What we are hearing here is a kind of gap in the story that Meir Sternberg shows is characteristic of the poetics of biblical narrative.

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.

I call it an unspoken event because, in one of those resounding gaps that (as Meir Sternberg has shown in his Poetics of Biblical Narrative) are characteristic of the artistry of biblical narrative, we learn that the man listened to the voice of his wife, but we are not told what she said (GeNarrative) are characteristic of the artistry of biblical narrative, we learn that the man listened to the voice of his wife, but we are not told what she said (Genarrative, we learn that the man listened to the voice of his wife, but we are not told what she said (Gen. 3:17).

It quotes skills minister David Lammy's admission that «Cameron has touched a nerve, reflecting a big gap in our political narrative».

«The truth is that the Tories» change in language has touched a nerve, reflecting a big gap in our own political narrative,» Mr Lammy says, before going on to attack the Tory leader's lack of depth.

Often, there are people within these companies who know that the skills gap narrative is false, but they're generally «pretty far down in the organization.

The extent of the film's social satire is its democratic nepotism, with Grant having enlisted family and friends to provide the awful (non-stop) soundtrack and the hate - crime performances, all of which are strung together in the sort of loose narrative (two families gather for the titular shindig) that allows Grant to play both slovenly, gap - toothed protagonist Ringworm and his evangelical brother Snake.

Then again, who am I to say that there isn't an audience of adult fans of the book who also want an overly simplified framing narrative to fill in the gaps between the poetry, as well as children who like their broad comedy to be interrupted by spiritualistic poems about life and death?

FIRST PLACE / NARRATIVE The Peculiar Abilities of Mr. Mahler, Paul Philipp, director FIRST PLACE / ANIMATION Negative Space, Max Porter & Ru Kuwahata, co-directors FIRST PLACE / NONFICTION Breaking the Cycle, Josephine Jackson & Vincent Augusto, co-directors FIRST PLACE / EXPERIMENTAL Gray Umbrella, Mohammad Poustindouz, director STUDENT AWARD It's Just a Gun, Brian Robau, director TEXAS AWARD Bodies of Water, David Lykes Keenan, director Jury Prize — Guan Xi, Dora Wu, director Jury Prize — The Driver is Red, Randall Christopher, director Jury Prize — The Modern Lives, Bill Plympton, director Performance Award — Michael Laskin, A Real Adventure Cinematography Award — Wasteland, Jakub Michnikowski, director Honorable Mention, Narrative — Counterfeit Kunkoo, Reema Sengupta, director Honorable Mention, Narrative — Mrs McCutcheon, John Sheedy, director Honorable Mention, Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,NARRATIVE The Peculiar Abilities of Mr. Mahler, Paul Philipp, director FIRST PLACE / ANIMATION Negative Space, Max Porter & Ru Kuwahata, co-directors FIRST PLACE / NONFICTION Breaking the Cycle, Josephine Jackson & Vincent Augusto, co-directors FIRST PLACE / EXPERIMENTAL Gray Umbrella, Mohammad Poustindouz, director STUDENT AWARD It's Just a Gun, Brian Robau, director TEXAS AWARD Bodies of Water, David Lykes Keenan, director Jury Prize — Guan Xi, Dora Wu, director Jury Prize — The Driver is Red, Randall Christopher, director Jury Prize — The Modern Lives, Bill Plympton, director Performance Award — Michael Laskin, A Real Adventure Cinematography Award — Wasteland, Jakub Michnikowski, director Honorable Mention, Narrative — Counterfeit Kunkoo, Reema Sengupta, director Honorable Mention, Narrative — Mrs McCutcheon, John Sheedy, director Honorable Mention, Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,Narrative — Counterfeit Kunkoo, Reema Sengupta, director Honorable Mention, Narrative — Mrs McCutcheon, John Sheedy, director Honorable Mention, Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,Narrative — Mrs McCutcheon, John Sheedy, director Honorable Mention, Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack,Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack, director

It touches on the #OccupyWallStreet protests of 2011, but seems uncertain of how to fold that event — along with a tripling in the national income gap over the past three decades - plus — into a narrative that breaks down along free trade versus protectionist lines.

A plausible, cinematic parable presuming to fill in gaps in the Biblical narrative of the Lord's early life.

Through extensive study in the areas of next generation learning, social and emotional learning, wellness, urban planning, Hip - Hop culture, Chicago history, the opportunity gaps that exist among marginalized students, economic mobility, arts education, and the at - risk communities on Chicago's South Side, Art in Motion has a solid research foundation upon which to build an innovative middle and high school that has the potential to change the narrative for many Southside youth.

The over-arching narrative of Induction (and Institute) is that lazy and / or cruel traditionally - trained teachers are responsible for the achievement gap (the evil, purple - sweatshirt wearing, veteran teacher in Ms. Laura's story, anyone?

He helped me find gaps in my story structure, and think through many ways to improve my narrative.

At another point, after composing maybe fifteen pages, I called my editor to ask if I might exaggerate a few incidents and invent other incidents to strengthen the narrative and to fill in the gaps of a faulty memory.

The narrative is a bare - bones affair, which makes it easy for your imagination to fill in the gaps, and it works well.

A 4D theme park ride, set in the same era as the start of Mass Effect 3 will supposedly be used to bridge a narrative gap between the original series and the new Andromeda title.

It's a neat way to chronicle your road trip, but it also pulls double duty by filling in otherwise assumed narrative gaps.

The culmination of the portable titles, a narrative gap lost in the shuffle of apps, and a brand new chapter...

DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New Paintings by Charles Schultz LOIS DODD New Panel Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler

Every so often, circumstances let you see through a gap in that narrative toward a social constellation with a practice at its center.

Her images lay the white gaze bare, unearth a genealogy of a racist visuality, and work in the gap between image and text to write against the grain of imperialist narratives.

Fallah left the sale with diaries, home movies, clothing and other objects chronicling the family's personal history; he then spent the course of the next year sifting through these fragments of the family's life, filling in the gaps where necessary, to create a narrative and build portraits of the family members through painting, sculpture and collage.

Berlin - based artist Mariana Castillo Deball (b. Mexico City, 1975) reveals gaps in the often unquestioned narratives of museology and archaeology in a new exhibition at San Francisco Art Institute's (SFAI) Walter and McBean Galleries this spring.

The practice often involves her reimagining absent or potential histories suggested by the source materials, filling in gaps to generate a strong sense of narrative.

These images are paired with elusive words, inviting the viewer to create their own narratives to fill in the gaps suggested by the composition.

This graph is from «Climate Risks: Linking Narratives to Action,» an important new essay in the Stanford Social Innovation Review on the gap between major environmental groups» messaging on human - driven global warming and the focus of their programs and spending.

I was pointing out that this is increasingly the challenge to the climate consensus that is voiced in public, per Carlson in the video, and that this approach will increasingly help expose the gap between the narrative of certain calamity (whatever its touted threshold du jour, which has changed over the years and may continue to do so) and the reality of what is knowable even in the way that the IPCC defines this knowability (let alone what is knowable when taking approaches to uncertainty such as that of our host here).

However that narrative is based on what we have actually observed over a period of 1000 years with the gaps filled in by deduction informed by known laws of physics.

You wrote, «However that narrative is based on what we have actually observed over a period of 1000 years with the gaps filled in by deduction informed by known laws of physics.»

This is unacceptable — proper investigations do not consist in police passively recording statements from complainants but rather pro-actively assessing their narratives for gaps, internal and external inconsistencies, and discerning when there is more that has been left unsaid.

Employers should draft their narrative carefully to set out their gender pay gap «story» - including early in the narrative key explanations for any gender pay gap and steps they are taking to narrow it.

If you're trying to set a narrative for your resume around a gap in employment, put your skills up front, taking care to spotlight ones that directly relate to the job at hand.

In separate speeches last week to both the ANMF conference and the CATSINaM professional development conference on the Gold Coast, Mohamed urged her colleagues to deeply examine their profession's history, for its gaps and biases, and colonial narratives.

Four distinct narratives of child maltreatment are used by Canadian media, each of which is found missing critical components, inviting the public to «fill in» these gaps with dominant understandings of child maltreatment.

Each of these narratives is missing critical components, however — thus allowing the public to «fill in» these gaps with dominant understandings of child maltreatment.

Addressing this gap, we studied negative emotion in romantic conflict narratives as a function of gender and associations with self - reports of conflict strategies.