Sentences with phrase «in narrative texts»

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.

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

Might also be handy for character description in a narrative text: --RRB-

Part of the allure of the platform is the ability to easily create video and audio recordings — of older generations of the family, for example — and embed those in a narrative text before sharing the ebook with others through Pubsoft's HTML5 capabilities.

Not exact matches

Nunes goes on to criticize Strzok's political opinions as revealed in «text messages with his mistress,» but the admission that the Papadopoulos tip kicked off the investigation is a key one — and devastating for Nunes's narrative.

This is somewhat surprising in light of the fact that one of the key texts prompting the renewal of narrative theology, the philosopher Alasdair MacIntyre's After Virtue (1981), is seriously concerned with the narrative integrity of a given single life.

Knust shows absolutely no awareness of Biblical exegesis, hermeneutics, genre, social and historical context, or even a rudimentary understanding of what's prescriptive or descriptive text in some of the historical Biblical narratives.

What is less clear to me is why complementarians like Keller insist that that 1 Timothy 2:12 is a part of biblical womanhood, but Acts 2 is not; why the presence of twelve male disciples implies restrictions on female leadership, but the presence of the apostle Junia is inconsequential; why the Greco - Roman household codes represent God's ideal familial structure for husbands and wives, but not for slaves and masters; why the apostle Paul's instructions to Timothy about Ephesian women teaching in the church are universally applicable, but his instructions to Corinthian women regarding head coverings are culturally conditioned (even though Paul uses the same line of argumentation — appealing the creation narrative — to support both); why the poetry of Proverbs 31 is often applied prescriptively and other poetry is not; why Abraham, Isaac, and Jacob represent the supremecy of male leadership while Deborah and Huldah and Miriam are mere exceptions to the rule; why «wives submit to your husbands» carries more weight than «submit one to another»; why the laws of the Old Testament are treated as irrelevant in one moment, but important enough to display in public courthouses and schools the next; why a feminist reading of the text represents a capitulation to culture but a reading that turns an ancient Near Eastern text into an apologetic for the post-Industrial Revolution nuclear family is not; why the curse of Genesis 3 has the final word on gender relationships rather than the new creation that began at the resurrection.

Matthew's story of the transfiguration becomes a luminous narrative icon, a painting in words that points beyond the text to the true reality of Christ, the light of the world.

«One of the issues that came up frequently in the comments was the goal of the production was to remain faithful, or at least as faithful as possible, to the narrative and text of the Bible, as opposed to a historical critical approach,» he said.

It was by way of engaging with a woman taking a «feminist approach» (her words) to the abuse of women in the church using the rape of Tamar and the narrative about Lot asking those that wanted to rape the men to have the women instead as proof texts.

They think also that in the late fragment, from a spiritual narrative text, Jesus speaks of Jerusalem, his spiritual Wife, obviously!

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.

In opposition to narrative criticism, with its focus on the supposedly objective and stable text, and in opposition to structuralism's focus on impersonal and universal codes, reader - response criticism arose to argue for the essential role of the reader in the process of making meaninIn opposition to narrative criticism, with its focus on the supposedly objective and stable text, and in opposition to structuralism's focus on impersonal and universal codes, reader - response criticism arose to argue for the essential role of the reader in the process of making meaninin opposition to structuralism's focus on impersonal and universal codes, reader - response criticism arose to argue for the essential role of the reader in the process of making meaninin the process of making meaning.

In the present text of this narrative, Moses goes up and down Mount Sinai no less than three times, and for a man reputed in the biblical tradition to be in his eighties, that is no small chorIn the present text of this narrative, Moses goes up and down Mount Sinai no less than three times, and for a man reputed in the biblical tradition to be in his eighties, that is no small chorin the biblical tradition to be in his eighties, that is no small chorin his eighties, that is no small chore.

Although accurate historical dating can at times be of exegetical significance, the crucial interpretive task lies in determining the narrative function to which such texts have been assigned, rather than in supplying a reconstructed setting apart from its present literary (canonical) context.

The proper role for the study of the diachronic dimensions of the text lies not in fragmenting or in replacing the synchronic level, but in using a recovery of a depth dimension for increasing an understanding of the theological substance that constitutes the biblical narrative itself.

Perhaps he will take as the text for his sermon some incident in the gospels which tells of Jesus» doings or perhaps he will choose some bit of the teaching of Jesus as this is reported in the gospel narratives.

In The Fidelity of Betrayal, Rollins goes on to criticize the Western Church's almost frantic attempt at «closing over this traumatic rent in the text» by affirming some biblical narratives over others and by explaining away passages that are inconsistent with favored narrativeIn The Fidelity of Betrayal, Rollins goes on to criticize the Western Church's almost frantic attempt at «closing over this traumatic rent in the text» by affirming some biblical narratives over others and by explaining away passages that are inconsistent with favored narrativein the text» by affirming some biblical narratives over others and by explaining away passages that are inconsistent with favored narratives.

Maybe more than ever, the students displayed the «competency» about being able to argue intelligently based on their own reading of Hobbes, Locke, and Rousseau, and of being able to integrate particular arguments from the text in their own «comparative narratives.»

But the process of ecumenical and interreligious dialogue that Pope Benedict XVI has repeatedly endorsed may cause participants to question whether any canonical story of violence — such as the conquest narratives in Joshua and Judges, or functionally equivalent texts in the history of Islam — may legitimately be claimed to offer a religious warrant for continued violence in today's world.

First, it is not unimportant that the legislative texts of the Old Testament are placed in the mouth of Moses and within the narrative framework of the sojourn at Sinai.

«Listener to the Christian message, «2 occasional preacher, 3 dialoguer with biblical scholars, theologians, and specialists in the history of religions, 4 Ricoeur is above all a philosopher committed to constructing as comprehensive a theory as possible of the interpretation of texts.5 A thoroughly modern man (if not, indeed, a neo-Enlightenment figure) in his determination to think «within the autonomy of responsible thought, «6 Ricoeur finds it nonetheless consistent to maintain that reflection which seeks, beyond mere calculation, to «situate [us] better in being, «7 must arise from the mythical, narrative, prophetic, poetic, apocalyptic, and other sorts of texts in which human beings have avowed their encounter both with evil and with the gracious grounds of hope.

Again, the narrative itself, as read by the sympathetic and sensitive reader, constitutes its own best commentary; and again, therefore, we call brief attention to points in the biblical text which, in our judgment, ought to be specially noted:

This Caesarea Philippi narrative is linked by the gospel writer to the text in Mark 9:2 - 9.

These parables, this teacher who spoke in parables beside the sea, this gospel writer who meant well in his expunged explication of the text, this biblical narrative with a height and depth — all of this must be missed in a merely human grasp.

In his words, «Furthermore, since between 95 and 97 percent of the Jewish state was illiterate at the time of Jesus, it must be presumed that Jesus also was illiterate, that he knew, like the vast majority of his contemporaries in an oral culture, the foundational narratives, basic stories, and general expectations of his tradition but not the exact texts, precise citations, or intricate arguments of its scribal elites» (Ibid: 25 - 26In his words, «Furthermore, since between 95 and 97 percent of the Jewish state was illiterate at the time of Jesus, it must be presumed that Jesus also was illiterate, that he knew, like the vast majority of his contemporaries in an oral culture, the foundational narratives, basic stories, and general expectations of his tradition but not the exact texts, precise citations, or intricate arguments of its scribal elites» (Ibid: 25 - 26in an oral culture, the foundational narratives, basic stories, and general expectations of his tradition but not the exact texts, precise citations, or intricate arguments of its scribal elites» (Ibid: 25 - 26).

It is well, in such instances, to remember first of all the multiple sources and the long, fluid status of the developing text which underlie the present narratives.

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final forIn this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final forin its final form.

What if, in place of the passion narratives of the Gospels, Christians had instead the following text:

We have considered the importance of examining metaphor and narrative not as straightforward thematic content but as building blocks in the construction of texts.

Weissman preserves her artfully - paced narrative by placing the in - depth background information at the back of the book or in boxes, but still provides enough detail in the main text to clearly explain to readers unfamiliar with the coffee trade and the stakes involved.

«The medieval composer of the text certainly did not think in terms of social networks but, in recording a cast of hundreds with well over a thousand connections between them, he imprinted them into the narrative.

It's certainly not for lack of trying, as Strong adapts Slawenski's text (J.D. Salinger: A Life) by employing every narrative trick and trope we've ever witnessed in so - called prestige motion pictures.

Unfortunately, even though this film possesses a wonderful example of retroactive narrative structure in noir, it is almost completely ignored in Tyrer's text.

The only real issue is the size of the text on screen which, in these modes, becomes a bit too small to read at times often leading to missed narrative.

If, as she continues, «texts or figures that refuse to be redeemed disrupt not only the progress narrative of queer history but also our sense of queer identity in the present,» then there would seem to be nothing more of a drag to the savvy contemporary moviegoer than politically démodé gay cinema.

That knowledge makes the already graceful cinematic language of Lynne Ramsay's film adaptation (the Scottish director's third feature, and her first in a regrettable period of nine years) all the more remarkable: altering not a jot of narrative detail, Ramsay and co-writer Rory Kinnear have ingeniously hollowed out Shriver's wordy text into a largely tacit, imagistic memory collage that substitutes sound and vision for dialogue as extensively as possible.

For lovers of ancient literature, it doesn't come close to supplanting the baser pleasures of the original text, but from a modern standpoint, it does make for an interesting contrast in narrative elements to show how times have changed in terms of what audiences find appealing.

The Kozol text that struck me the most was Death at an Early Age: The Destruction of the Hearts and Minds of Negro Children in the Boston Public Schools that had been published in 1967 and was a narrative about Kozols first year teaching in that same very section of Boston - Roxbury.

In this case, the vendor - partner's ID will work with subject matter experts (SMEs) to identify content and draft text and narrative for the e-learning.

The guide, with its emphasis on comparing different texts and considering the author's (or screenwriter's) purpose in narrative choices, is also designed to work with the Common Core standards.

The Common Core writing standards call for students to focus on evidence - based writing — specifically argument and informative / explanatory texts in high school, with less time spent on writing «real or imagined» narratives (the elementary and middle school Standards (PDF) suggest that the split be roughly even between the three genres).

Video Description: Just as captioning provides additional text for the hearing impaired, an additional narrative track describing the on - screen action in videos enable blind and low - vision students to participate.

Online training tutorials explore every step in the process using visual representations, text, and audio narratives.

Ultimately it is important to show students how the skills they use to write a Narrative or Persuasive text in the classroom can be adapted to create other forms of text such as video blogs, speeches, advertisements, etc..

Created for A-Level students and includes the following key information in an easy to understand, but high level presentation: The narrative with key quotations from each section of the text; Poetic devices; Structure of the text and significance; Links to the Canterbury Tales as a whole and literary context; Settings and explanations; The Franklin and how he is significant in telling this tale; Genre and the Breton Lay; What some of the key critics say about The Franklin's Tale; Notes on Kittredge and the marriage group of tales.

At least 8 lessons worth of resources to support the teaching of creative writing (narrative and descriptive) and take stimulus from the following texts / events: - Castaway - The London riots - The Edge These resources provide opportunities to: - Describe using the senses - watch clips from Castaway and use as a stimulus for own writing - up level vocabulary - identify figurative and use in own writing - develop characterisation - develop narrative structure - assess against GCSE criteria - create tension and suspense

Whereas students in the past may have read something, then moved immediately to write personal responses and narratives, the Common Core pushes them and their teachers to stay with the text — to use the author's words and other evidence within the text to answer questions and to support analysis.

Our plan is grounded in the following two premises: 1) When purposefully synchronized with one another across multiple forms of media («cross-media»), children's and adolescents» exposure to high quality youth - oriented social and ethical story content, i.e. stories of substance specifically about character development, compassion, and courage (CCC), is a powerful way to promote youth academic achievement and ethical values; 2) Especially if these stories, told and «read» across media, in their various genres (human interest, biography, history and historical fiction, civic engagement, coming of age, social change, spiritual awakening, moral issues, etc.), are «taught» by «educators» (broadly defined) using an «evidence - based» pedagogy that A) makes use of peer to peer, and adult facilitated group discussion and debate as a primary form of instruction, and B) takes advantage of access to the texts of the story that are made available cross-media (narratives, scripts, videos, etc.) to foster students» critical thinking and ethical reflection skills.