Sentences with phrase «into narrative form»

As young children become verbal, more and more sensory input is organized by the brain into narrative form.

The auteur again twisting his most recent obsession (volcanoes) into narrative form to varying success.

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.

Not exact matches

Indeed, as early as Origen in the third century it was being pointed out that we must not think of the Ascension as a movement in space; and in fact Luke seems to have translated into mythical form, i.e. a pictorial narrative, the universal belief of the early Church that Jesus has ascended to the throne of God, not in a physical manner but in the sense that he has been exalted to Lordship over all the world.

Some attention to the story form in apocalyptic can show us some of the reasons why the narrative form is in trouble, while process theology has some fundamentally useful hints about how we may re-imagine the story, or grasp a new narrative vision of the world, which will enable us to set the new into a meaningful framework and respond to it with hope.

In fact, experience is inchoate even to the subject until it is captured first at the level of mythic expression, much of which is nonverbal, then in mythologies which cast myth into the form of narrative, then in fully conceptualized systems.

Narrative theology came into vogue, followed by narrative preaching — understood variously as preaching about narratives, preaching with narratives and giving sermons narratNarrative theology came into vogue, followed by narrative preaching — understood variously as preaching about narratives, preaching with narratives and giving sermons narratnarrative preaching — understood variously as preaching about narratives, preaching with narratives and giving sermons narrativenarrative form.

... the city and the book are opposed forms: to force the city's spread, contingency, and aimless motion into the tight progression of a narrative is to risk a total falsehood.

Let us set down three observations: (a) Mark 15:40 - 16:8 possesses several features which divide it so sharply from the Passion narrative that it could hardly have been the natural continuation of that in the stage of oral tradition, (b) this pericope, however, could not have existed in its present form as an independent tradition, (c) the pericope itself falls naturally into two parts, the first of which can exist as an independent story, but the second of which can not, for it depends upon the first.

It is not a catechism thrown into narrative, poetic, or legal form.

With Gutenberg's printing press the story of creation, fall and redemption was put into linear form, and Protestants have always been proud of their control over the biblical narrative of redemption.

Everything of enduring significance that ancient Israel became, believed, and proclaimed is ultimately influenced not only by what actually occurred in the time of the exodus, but by the story of the exodus — the story as it was first remembered and repeated; the story as it assumed relatively fixed classical forms in different areas, in the North or South; the story as its multiple versions, written and oral, were compared, mutually «corrected,» and finally composed into the single, unified narrative that is before us now.

These passages are all narratives of a synoptic type and include the Miracle at Cana (2:1 - 11), the Cleansing of the Temple (2:14 - 16), the Healing of the Nobleman's Son (4:46 - 53)» the Anointing at Bethany (12:1 - 8) and the Triumphal Entry into Jerusalem (12:12 - 15); it is at least possible that the evangelist was here using a written source or oral tradition that had become comparatively «fixed» in form.

Mind and imagination are capable of recollecting the narrative materials of experience into non-narrative forms.

But the narrative form puts these fears into a manageable series of events.

From its opulent falling - into - decay manor, to the pulsating reds and barren whites of its visual palette, it's a thing of rich, malevolent aesthetic majesty — and an illustration of how a movie's form can be so overpoweringly evocative that it enlivens its narrative.

So good is Cable that you wish the film would've allowed more room for growth with his inclusion into the story and while he plays a key role in proceedings, you still can't escape the feeling that the film would've grown as a whole had Brolin been allowed more spotlight, ditto for Dennisen and Reynolds budding mateship, that despite forming the core of the narrative thrust is never properly built up, making Wilson's mission as a whole less engaging than it could've been.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.

Refn's latest film, Only God Forgives, reunites him with Drive's star, Ryan Gosling, but it moves even further away from traditional narrative and into a near abstract, near hallucinogenic, near nihilistic subversion of traditional narrative and with it, the usual visceral, emotional, and intellectual pleasures associated with that form.

Ultimately, these digressions circle back on one another, and Linklater forms them into a coherent narrative that resembles an updated American Graffiti for a new generation.

Where so many docs are content to fit into simple categories, often attempting to mimic the narrative formulas of fiction films, Stories We Tell embraces the form and then reaches beyond its usual confines.

It is typical of Desplechin's eclecticism and openness to stylistic and narrative bricolage that this should take the form of a subtle appropriation of Japanese Noh theatre, from which he borrows the distinctive ornamental flute that permeates the score, as well as its precise formality (like most of Desplechin's films, La Sentinelle is broken into chapters, of which the first, «The Ghost», echoes the Noh repertoire's predilection for the supernatural).

Ego's relationship with Star - Lord forms one of the emotional cruxes of the film while his goal, assimilating the rest of the universe into himself, makes up most of the actual narrative.

In an effort to appease us, the brain trusts behind these mega-budget blockbusters have ripped into the chest of classic narrative form and pulled out its heart, throwing it in a jar full of dirt so they can ignore it for long spells to amuse us with clownish characterizations and trivial distractions.

This is the heart of Weerasethakul's work; taking old forms that have been suppressed or forgotten (as in the animist folk tales of Thailand) and re-forming them into narratives that speak with renewed urgency to the contemporary cultural climate.

The new teaser trailer doesn't delve into the feature's narrative, but rather offers a little taste of the world through a tremendously adorable short form standoff between a snowman and moose.

Swearing, screwing, stealing, slandering, shooting, sabotaging and sleaziness are merely the beginning; if an act — be it coercing a victim into providing a sexual favour, or framing a friend for harassment — crosses the boundaries into the realm of sociopathic behaviour, it likely forms part of the narrative.

A narrative formed, one that cemented Nancy as an ice princess and Tonya as a trashy outsider who brought the tabloid circus to a refined sport like a dog tracking mud into the house.

Of course, this poses a bit of a problem that, seeing as it's a Deadpool movie, spirals out into wacky hijinks — forming a team, begrudgingly protecting a kid and running into a time - traveling cyborg, all with the core of the narrative being Wade grappling with his own self - destructive urges.

Lee learns that he has a virtually unconquerable form of cancer, forcing him to reevaluate his relationships in a methodical, repetitive, one - by - one process that only highlights the limitations of name - heavy indie filmmaking (i.e., you're forced to incorporate the limited availability of in - demand supporting cast members like Nick Offerman and Krysten Ritter into the narrative).

While Camp Long - Form is mounting masterful drones about the joys of deep reads and rich narrative immersion, the Don't Blink squad presents a pizzicato counterpoint, talking to us (very fast) about how the «chunking» of bigger works into small pieces is the pathway to our fragmented future.

Matthew Cavnar, VP of business development at Vook, stated in the press release: «The New York Times produces some of the best journalism in the world, and e-books are the perfect way to curate and collect great reporting and commentary into compelling long - form narratives, easily accessible by readers on mobile devices and e-readers.

I was into video games, movies and comics, all these different narrative art forms and things that were centered on creativity and somehow music wasn't part of that.

There are a lot of problems inherent to Dragon Quarter's minimalist approach to narrative, but let's cut to most important one, the one that brings the game's credibility most deeply into question: the whole idea of the «Dragon Form As Built In Cheat Code» itself ends up being the first in a long list of ideas that end up reinforcing meritocracy.

I thought about those games where the mechanics and the interactions form the «narrative», but I decided that that didn't fall into the definition of narrative.

Emergent narrative is still a fairly unexplored technique, one that I think is particularly promising, since it delves so deeply into forming personal experiences.

In my eyes, the narrative is split into two forms, the moment to moment battle against the machine lifeforms and the existential search for the truth behind the origins of androids and machines; every now and then these two threads overlap creating some excellent and disturbing highlights, but for the most part the latter element is stronger than the former.

He has boundless passion and energy for his craft and tries to convey this into each and every piece, which bristle with subtle narratives, eclectic form and playful colours.

Reid Kelley's video not only presents humor through intelligent word play and entendres («I know you care by these Marx on my Lenin»), the physical humor of language through written forms and complicated narratives — letters physically come alive to swirl, jump, and reform into new phrases and puns — but through self - reflexive references and jokes that only find completion through a full, stayed viewing.

Since the late 1960s, Jonas has intermeshed various practices to investigate notions of gender, narrative and the concept of experience and space, as an act of translation and critical interaction with sculptural concepts and forms, translated into performances and installations.

Lines and markings from basketball and indoor futbol courts, freehand signage, and milk crates are just a few of the forms that find their way into Quevedo's transcriptions; allowing the work to simultaneously serve as an homage to the narratives of historically marginalized peoples, and a platform for dialogue and community engagement on continued practices of marginalization.

A sphere made of colored strips of fabric torn from a plethora of unraveled paintings, The Painting Ball performs the undoing of painting in its traditional form to mark a tabula rasa moment that inscribes Saban's project firmly into the canonical narrative of painting's many deaths and resurrections.

Cridler uses drawing as a practice of «noticing,» and this directly informs her recent work, in which the steel wire or rod becomes a line of inquiry into form, content, and the potential of narrative.

Important examples from each of Natkin's major bodies of work are on view to celebrate the artist's fifty - year commitment to pushing beyond the rigid boundaries of form and brushstroke and into the realm of what the artist himself referred to as the «inner narrative» of a work.

Inserted into the modern ruins of damaged homes, collapsed infrastructure, and piles of detritus is a free - form narrative — part science fiction, part video game, part real - life experiences like stop - and - frisk interrogations — enacted by members of the self - taught Brooklynbased dance troupe Ringmaster Crew.

With these works she discusses a lost vision of land, voice, and agriculture, translating politically and personally compelling narratives into forms that question misperceptions of belonging in the United States.

Smith weaves memory and potentiality into forms that shimmer between safety net and open sky; private and public narrative; the smoothness of solace and the terror of sublimity.

Whether they are borrowed from the everyday world or sculpted into new forms, art objects are often tasked with approximating the narrative descriptions that accompany them.

The resulting works thus collapse the distinction between sculpture and other art mediums, such as painting and poetry, into a complete corporal, temporal, and narrative form.

This exhibition goes on from there to span two decades of work that weaves together personal and political narratives; reflects Barrada's ongoing research into displacement and dislocation, modes of education, and forms of abstraction; and embraces the resistance and strategies of autodidacts.