Sentences with phrase «life narratives from»

Not exact matches

From a personal standpoint, poetry has a way of making me remember life's beauty, something mere prose or narrative storytelling can not do with the same grace.

Humans have been telling tales for thousands of years, which is why it's a great idea for the flow of your demo to follow a narrative pattern, whether it's a live walkthrough of your product or via a slide deck using visually appealing templates from solutions like Slidebean.

From its beginnings, it's been a place where narrative artists — writers, filmmakers and the like — welcome the discipline of structure in their work lives, and build a community of peers.

Yet this personal narrative prevents us from reaching our true potential and transforming the quality of our lives.

From Stories to ads to live video, Instagram offers a variety of strategies that marketers can use to craft a brand narrative that produces measurable results.

U nder the influence of western painters who settled in Bali in the 1930s - Balinese artist started painting single scenes instead of narratives tales, using images from everyday life as their theme,

This essay is adapted from his book Life Genres: The Personal Dimension of Narrative Theology (forthcoming from Eerdmans).

Also, the order of creation in the genesis narrative is directly contradicted by the available physical evidence, e.g. Gen — seed / fruit trees before fish v. fossil record — seed / fruit trees long after marine life; Gen — birds before land animals v. fossil record — birds evolved from land animals, etc..

But, in the biblical narrative, the spirit of the individual lives on in heaven in communion with God and others or eternally separated from the Creator.

121:8.13 The memoranda which I have collected, and from which I have prepared this narrative of the life and teachings of Jesus — aside from the memory of the record of the Apostle Andrew ---- embrace thought gems and superior concepts of Jesus» teachings assembled from more than two thousand human beings who have lived on earth from the days of Jesus down to the time of the inditing of these revelations, more correctly restatements.

Some sociologists and anthropologists have begun to study community life from the perspective of narrative and dramaturgy.

In the Synoptic Gospels the framework of the narrative is in a measure provided by the movement of the Lord from Galilee to Jerusalem, from life to death.

But while I am not political, I am very wary of philosophies of life or technique built on straightforward narratives drawn from situations of great moral complexity and insoluble tragic dilemmas.

Craddock, too, in Overhearing the Gospel (1978), endorsed «narrative» sermons — not that narrative should replace logic, or that sermons consist only of stories, but that the sermon has «the scope that ties it to the life of a larger community» and touches «intellectual or emotional or volitional» concerns while «conveying the sense of movement from one place to another» and «thinking alongside the hearers.»

It has always been an insoluble problem for harmonists and writers of the life of Christ; and it is clear from the way Matthew — and perhaps John — and even Luke used the materials of the Gospel of Mark that they, who were its earliest editors and commentators, did not view the Marcan order as chronological or final and unalterable — save in one section, the passion narrative, though even here they did not hesitate to make some changes in order.

From Thucydides down, they all try to write speeches that fit the character of the speaker and the situation; it gave life and color to their narratives, and no one questioned the practice.

It has affected how man understands the origin of life (including his own) on this planet, and Christianity has had to contend with, account for, and reconcile its implications with the biblical narrative of creation and purpose as stemming from God.

And that historical life was, from before birth, a living forth into a narrative which was beset by danger, by risk.

This paradigm shift is transforming or «converting» these activities away from modern ideological distortions which dichotomized objectivity and subjectivity, facts and values, science and morality, industry and environment, system and life - world, bureaucracy and autonomy, analysis and narrative, technology and art, truth and freedom (TW, LL, SAFT, SL).

The narrative collapses from the universal point of view into the particular lives of a mundane, inauspicious couple.

Many scholars have consequently interpreted it as a resurrection narrative which has been read back into the earthly life of Jesus.34 Whether it stems from an actual experience of the disciples, or whether it is a symbolic account of the much more complex spiritual experience of the disciples after the crucifixion, it is very difficult to determine.

Modern moral philosophy becomes part of the problem, for its stress on autonomy, like its corresponding attempt to free ethics from history, produces people incapable of living lives that have narrative coherence.

You wouldn't know it from the mass media, because a living, positive faith doesn't fit into the media narrative.

They were transformed from abstractions (that I affirmed so that I could keep belonging to my tribe) into meaning - rich narratives that I had to wrestle with to understand if and how they informed my life.

Do we only criticize scientists who draw inferences for the meaning and purpose of human life from their larger visions of the cosmos and our place in the grand narrative?

And God graciously restores our ability to live in community as He reveals what has been missing from our life's narrative.

But the biblical narrative, the great critic Erich Auerbach wrote, depicted «something which neither the poets nor the historians of antiquity ever set out to portray: the birth of a spiritual movement in the depths of the common people, from within the everyday occurrences of contemporary life.»

In our narratives of conversion we saw how the world might look shining and transfigured to the convert, (See Lecture 9) and, apart from anything acutely religious, we all have moments when the universal life seems to wrap us round with friendliness.

This could be poetic reference to an artist (creator God) simply washing off the canvas and starting over with Noah, a symbolic picture of how those who believe in the Hebrew God of that day are carried away above the storms of life in the protective hands of God, symbolic of judgment for those not created in the image of God, a narrative of why the Hebrew race is the chosen race, prophecy of end time judgment or literal in that the babies and people resulting from $ ex with the nephlium produced evil beyond that imaginable and God was showing mercy.

The author chooses an interpretation of the Transfiguration narrative in which the time on the mountain is like a spiritual retreat — from which Jesus and the disciples must return to the life of active obedience.

Unlike the experiential - expressivist model, Lindbeck claimed that the law of believing is not derived from individual religious experience, but from how a religious community speaks and lives a «narrative» over time.

For this reason, Evans counsels Christians to avoid the «embryonic life» narrative, which holds innocent human life to be inviolable from conception to natural death, because invoking the value of unborn life pushes people into pugilistic abortion - rights corners.

In the present chapter, I have argued that idiom is primarily conveyed in story form, as the parish apprehends its corporate experience and as its members communicate their common life and draw resources from the narrative structures of the world.

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

I think that my blog has got me in the habit of writing from a life - in - progress, rather than sharing a narrative that was all tied up in a bow long ago.

Though shalt support the narrative that your son fell to Earth from the heavens above and has no living parents to speak of (with the caveat that thou shalt miraculously appear when your child needs money... and then quickly dissipate into oblivion once more).

Once children develop the linguistic skills to create narratives, they can «place their own personal recollections into a framework of time, place, and causality, ensuring that their memories survive the transition from childhood to later life.»

The complex political narrative is mirrored by an unpredictable plot, reflecting the story's real - life origin from the early 2000's.

From humans» earliest notions of everlasting life to the science that went into a $ 200 thimble of resveratrol eye cream, Gollner deftly weaves a narrative as amusing as it is smart.

Together, therapist and survivor create a narrative of the survivor's life from birth to the present, putting the most disturbing events, discussed in detail, in a broader context.

Though fears about the impacts may be exaggerated, the pro-technology forces will not be able to erase fears from the public because genomics is becoming integrated into the collective narrative we share about technology and its place in our lives.

The Departed marked director Martin Scorsese's return to modern - day gangster movies after an eleven year break, and while it possesses the brutality and violent tension of earlier classics such as GoodFellas (1990) and Casino (1995), it also differed from his previous explorations of the gangster life by following a more linear narrative and eschewing a spoken narration.

Adapted from the 1924 novel by Ernest Perochon, the narrative covers several years in the life of the Paridier farm in rural France, beginning in 1915 and running through the end of World War I. With husbands, sons and brothers all shipped off to combat, it's up to the matriarch Hortense (Baye) to run the show, plowing the fields and reaping the crops with the help of her daughter, Solange (Laura Smet), and a brand - new farmhand, Francine (Bry), whom she brings on during the harvest season.

The fantastic narrative structure jumps from a pre-historic era, when apes first discovered using bones as tools and as weapons, to a futuristic space - age when man discovers proof of intelligent alien life in the form of a gigantic black monolith on the moon.

Its free - flowing narrative (from a screenplay by screenwriter Joan Tewkesbury) revealed the shallowness of American life - political emptiness and show - business commercialism are equated.

Wringing every sweat - bead of tension from its fiercely concentrated narrative, acclaimed TV director Yann Demange's debut feature covers one night in the life (and potential death) of a young British soldier stranded by his unit in a riot - blasted IRA stronghold at the zenith of the Northern Ireland nationalist conflict.

Imagine a cinematic equivalent of a Picasso cubist portrait, but instead of showing multiple perspectives of an object in an image, it presents experiences from different periods in a life in a single narrative.

As the narrative weaves back and forth between the 1980s, and present day, we come to learn how 30 - year - old Katie (Amanda Seyfried) battles the demons that stemmed from her troubled childhood and simultaneously watch how Jake fights to hold on to the thing he loves most — his daughter, at the cost of his fortune, sanity, and ultimately even his own life.

This docu - drama from director Jeff Unay plays like a feature film with a narrative following the real - life story of a fighter named Joe Carman.

The second gimmick, and the one that is confusing from a narrative perspective, is the fact that we're shown the accident that has Mia fighting for her life and her subsequent predicament before we're shown most of the details of her life in the months prior to the accident occurring.