Sentences with phrase «kinds of narratives in»

Is there any of that kind of narrative in your paintings?

Not exact matches

That's the kind of viral brand narrative that has propelled BioSteel into an intriguing market position in a relatively short period.

This narrative, in its most extreme version, says that cryptocurrencies today are like the internet in 1996: not just new technology but a radical new kind of technology, belittled or ignored by most, which has slowly and subtly grown in power and influence over the last several years, and is about to explode into worldwide relevance and importance with shocking speed and massive repercussions.

Plus, can't you see how people might even suspect that person was some kind of an official plant, sent there to disrupt the narrative, infuse insecurity, doubt, and fear in the victims, maybe even arouse sympathy for the rapists, and somehow dismiss their experience?

In particular, there is no space for either analytic philosophy or the traditional kind of literary criticism, practiced by Robert Alter or Harold Fisch, that concentrates on the poetic imagery and the narrative contours of the book.

In his book, A New Kind of Christianity, Brian McLaren suggests that our Christianity today, the six line narrative that we hold so dear, is the result of the influences of the Greek philosophy and Romans Empirical thinking and not the narrative of the Bible.

To create some kind of narrative of how Santorum's surge in Iowa is connected to the compassion of evangelicals is quite the reach.

They look and sound and feel like your average, everyday person — which is why the «stranger in a dark alley» narrative is kind of absurd.

She suggests the kind of narrative methodology that is needed in order to teach organically.

The question now is what kind of narrative methodology is needed in order to teach organically.

This is an infinite which expresses itself in a narrative vision, not a predetermined narrative nor one which intends to include only a particular kind of people or a particular reality, but a story which is much more open than the old story used to be — a story, indeed, with many strands rather than with one, and a story which is not going to any predetermined place but which is constantly open to the best possibility that is relevant for it.

This narrative gives a kind of «cavalcade» of human life through many centuries, beginning in the cloudy realms of myth and legend, and emerging into straightforward history.

The Hunger Games is the most important narrative of this kind in recent years.

In this way, a narrative of decline that ends on the absolute inevitability of decline is soothing because its fatalism provides the kind of certainty that absolves the subject from working to renovate and rebuild.

During the long period when these narratives were regarded as historically accurate, based, as it was thought, on the memories of the apostles, all kinds of ingenious explanations were offered in an attempt to fit all the stories into one composite and complete picture.

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.

Because the kind of testimonies we make room for in our pulpits, and the kind of narratives we privilege in our pedagogy, inextricably shape our conception of what an exemplary journey of faith (and doubt) looks like.

In A New Kind of Christianity, you often return to your original critique of the Greco - Roman narrative, which is found in Part OnIn A New Kind of Christianity, you often return to your original critique of the Greco - Roman narrative, which is found in Part Onin Part One.

It is not just the skepticism of intellectuals or the inadequacies of moral education but the structural and cultural realities of our society in this historical moment that make us doubt any kind of transcending narrative.

Even in the dim patriarchal age, while it may be true that some of the narratives really refer to tribal movements, there are others which lay all the stress upon religious experience of a strongly individual kind.

’14 Parables about God, in this view, are narratives offering a kind of imaginative model which, like Braithwaite's scientific models, have the status of psychologically helpful fictions.

I attempted to sketch the difficulties of relating the Resurrection narratives of the New Testament to the kind of world in which we live, and to show that, in spite of these, the Resurrection faith of the church can still have meaning for men who have left behind the world view of the first century.

This is precisely why this narrative of the Exodus and the wandering in the wilderness and the entrance into Canaan claims the attention of succeeding generations of those who, in varying kind and degree, espouse the life of faith.

An open mind must still engage in some process of choice and selection, and it would take a very rare kind of atheist to select Gregory's narrative, however persuasive it might be on its objective merits.

Now this kind of narrative is possible only because of the equation earthly Jesus = risen Lord and the consequent and subsequent equation: Situation in earthly ministry of Jesus = situation in early Church's experience, which equation is necessarily implied by the methodology of the synoptic evangelists.

In the narrative context of Genesis, this connection clearly looks forward to the patriarchal households of Genesis, where a man's belongings consist in living things (the kind of things listed in the 10th commandment) in an economy where the increase of wealth means the flourishing of living things in the household (the oikos, the Greek root of oikonomia, economicsIn the narrative context of Genesis, this connection clearly looks forward to the patriarchal households of Genesis, where a man's belongings consist in living things (the kind of things listed in the 10th commandment) in an economy where the increase of wealth means the flourishing of living things in the household (the oikos, the Greek root of oikonomia, economicsin living things (the kind of things listed in the 10th commandment) in an economy where the increase of wealth means the flourishing of living things in the household (the oikos, the Greek root of oikonomia, economicsin the 10th commandment) in an economy where the increase of wealth means the flourishing of living things in the household (the oikos, the Greek root of oikonomia, economicsin an economy where the increase of wealth means the flourishing of living things in the household (the oikos, the Greek root of oikonomia, economicsin the household (the oikos, the Greek root of oikonomia, economics).

This kind of prophesying indigenous to Canaan's culture (we will meet it again in the ninth century brilliantly described in the Elijah narratives) is certainly among the antecedents of the classical prophetism which emerges out of prophetic Yahwism.

Note Northrop Frye's similar estimation of the constructive function of narrative in Robert D. Denham, ed., Northrop Frye on Culture and Literature: A Collection of Review Essays (Chicago: Univ. of Chicago Press, 1978), 74 - 75: «Mathematics appears to be a kind of informing or constructive principle in the natural sciences; it continually gives shape and coherence to them without being itself involved in any kind of external proof or evidence.

Three kinds of material relating to Jeremiah and his times dominate the hook: (1) prophetic oracles deemed in their freshness and vitality to be authentic, in the sense in which we have used this word before; (2) historical - biographical narratives, conservatively attributed (and rightly, we think) in first origin to Baruch, the prophet's personal scribe (36:4 ff.)

We would want to know, for example, whether the use of the word abortion in a religious broadcast occurred only within narratives or in a wider variety of discursive forms, whether it was spoken by more than one narrator, whether it was spoken in the same «voice,» whether it occurred consistently in a particular kind of sentence structure, and so on.

but... kind of hard when actual moves line up with actual narrative (two NE guys now in control of DET).

Don't get caught up in a lot of personal accounts and blogs; you don't need that kind of personal narrative at this point.

I'm tempted to launch into a whole feminist analysis of how a female figure must always be sacrificed (or sacrifice herself) in order for the male hero to succeed in his quest, but my reaction to such narratives has taken on a different kind of emotional resonance now that I have a son.

I completely agree that the narratives in the broader culture and in our own minds about what kinds of lives moms have or don't have need to be flipped, revised, or completely re-written.

It must be said that it's kind of odd Cuomo would make this claim, given there's been plenty of off - narrative stories written before that have sometimes resulted in pre-emptive statements attacking the news organization's credibility.

What kind of a narrative could Mrs. Clinton and the Democratic Party thus employ to halt the «beast of Bethlehem» in its tracks?

By avoiding the national spotlight now, they say, Cuomo can craft his own narrative as an able governor — outgrowing his reputation as a brash political tactician — and, perhaps most important, avoid making the kinds of gaffes that have plagued him in the past.

The governor values this kind of hands - on management, both for its value in a political narrative and the experience it would give Hein if he actually had to run things.

«Companies should be asking, «What kinds of interventions can be put in place to really shift the narrative and reframe it?»»

In brief, there are no likable characters, the narrative is spotty and confusing, however, the show serves its purpose in that it only relates any kind of interesting story or characterization to girls between the ages of 14 and 1In brief, there are no likable characters, the narrative is spotty and confusing, however, the show serves its purpose in that it only relates any kind of interesting story or characterization to girls between the ages of 14 and 1in that it only relates any kind of interesting story or characterization to girls between the ages of 14 and 18.

If there is any kind of retribution and rebirth type of narrative in the coming seasons, I imagine it will fall short of being even slightly sincere.

As if it's not enough that the characters are kind of unlikable in certain areas, this narrative that does little outside of simply meditate upon the questionable leads is pretty thin, and that really undercuts much momentum, to where natural shortcomings play an instrumental role in bringing the final product to mediocrity, and yet, I won't go so far as to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguing.

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

This is the kind of movie where you desperately want to «feel» something, but the narrative pretensions and thematic ambitions consistently get in the way of you bringing out as much as you bring in.

The end result is a head - spinner to be sure — not only does it not make any sense in the traditional definition of the word, it doesn't even attempt to do so — and those who demand that their films offer up some kind of conventional narrative structure will no doubt throw up their hands and leave early on in the proceedings.

And though I'm often reticent to watch movies more than once or twice, Tully is the kind of cinematic treat — a cult classic well in the making — that you'll want to rewatch again the second it's over, not just to help piece together various narrative clues but to revisit the rib - tickling jokes and hang out with these characters for a little longer.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

«But we kind of also built a traditional game, like an entire traditional game, in the Cauldrons and in the bunkers [all underground], and it was a huge risk for us because we had to build completely new lighting technology and we had to design all these holograms too, to light those spaces and completely new art assets and gameplay and delivering narrative.»

Rather, there's the breezy compression of information, the casual throwing - away of character exposition and streamlining of plot progression that seems directly proportional to the kinds, and duration, of input one encounters in comic book narrative.

In place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and characteIn place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and charactein providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and character.