Sentences with phrase «narrative does»

Just as a narrative does not repeat the play, your cover letter must not repeat what is already written in your resume.

It's interesting when you look at market share, the iPhone is meant to complete against the entire Android market (from the $ 25 to $ 16,000 Android phones) but once in awhile when the narrative doesn't fit, the post is moved elsewhere.

That said, it's mandatory to note that the economic freedom narrative does have caveats.

The defending narrative doesn't expressly consider any of those costs because, from the perspective of its proponents, those costs have already been factored into society's decision to enshrine the presumption of innocence into the legal system — that's a decision that has already been made for them.

We should not give any attention to those whom have formulated this claim, however it is a moot point the narrative does not stack up against the actual response or the verified data, it is purely emotive.

Because it is a broad narrative it does not (and need not) make point by point listings of names, sins, heroes and villains.

The narrative does a fine job of showing just how the emails clarified what was happening: Mosher and Fuller match emails from the files with events in the timeline, interpreting each of the emails in context.

Stephen, your narrative doesn't even address the coupled bundle illustrated in figure 4 of WKT2011.

The narrative does not exist as an objective stake, only as a recollection or a thing heard amiss, like the sounds of a lecture that are transformed in the ears of an absent minded student, who at the same time scratches his desk, into something illogical but simultaneously essentially real.

, you are lying on the floor of your place looking up, a small draft runs through the room, between the door and the window, and all things seem perfectly still, wind only disturbs concrete in imperceptible ways, or it may take millions of years to be noticed and, as the air runs through the space, all your plants move and all is animated and all is alive somehow, and here are the thoughts of all men in all ages and lands, they are not original with me, and that wind upon your plants is the common air that bathes the globe, and we have no ambitions of universalism, and I'm glad we don't, but the particles of air bring traces of pollen and are charged with electricity, desert sand, maybe sea water, and these particles were somewhere else before they were dragged here, and their route will not end by the door of this house, and if we tell each other stories, one can imagine that they might have been bathed by this same air, regrouped and recombined, recharged as a vehicle for sound, swirling as it moves, bringing the sound of a drum, like that Kabuki story where a fox recognizes the voice of its parents as a girl plays a drum made out of their skin, or any other event, and yet I always felt your work never tells stories, I tend to think that narrative implies a past tense, even if that past was just five seconds ago, one second ago was already the past, and human memory is irrelevant in geological time, plants and fish know not what tomorrow will bring, neither rocks nor metal do, but we all live here now, and we all need visions and we all need dreams, and as long as your metal sculptures vibrate they are always in the Present, and their past is a material truth alien to narrative, but well, maybe narrative does not imply a past tense at all and they are writing their own story while they gently move and breathe, and maybe nothing was really still before the wind came in, passing through the window as if through an irrational portal to make those plants dance, but everything was already moving and breathing in near complete silence, and if you're focused enough you can feel the pulse of a concrete wall and you can feel the tectonic movements of the earth, and you can hear the magma flowing under our feet and our bones crackling like a wild fire, and you can see the light of fireflies reflected in polished metal, and there is nothing magical about that, it is just the way things are, and sometimes we have to raise our voice because the music is too loud and let your clothes move to a powerful bass, sound waves and bright lights, powerful like the sun, blinding us if we stare for too long, but isn't it the biggest sign of love, like singing to a corn field, and all acts of kindness that are not pitiful nor utilitarian, that are truly horizontal as everything around us is impregnated with the deadliest violence, vertical and systemic, poisonous, and sometimes you just want to feel the sun burning your skin and look for life in all things declared dead, a kind of vitality that operates like corrosion, strong as the wind near the sea, transforming all things,

This exercise will help ensure that your narrative doesn't stray too far from your goals.

For some contemporary Chinese artists, narrative does not only come from objects, but also from Chinese traditions.

Though the narrative does follow a bit after the first game, the sequel really shines due to the multiplayer element.

It's a negative, but not to the point where it invalidates all that the narrative does well.

The narrative doesn't stand out because of the new Nordic setting — though it certainly complements it — but because of the presence of Kratos» son Atreus.

Rather it be someone hearing about in in an over the top fashion or it might just be Silas exaggerating a bit, but the game play changes as the narrative does.

Another interesting angle is that the narrative doesn't have an individual focus, opting to shift the spotlight across an ensample of its nine party members.

's narrative does truly well.

On a thematic level, it all works, and revenge's relationship with The Phantom Pain's relationship with phantom pain stands out as one of the few things Metal Gear Solid V's narrative does truly well.

While the narrative does eventually build into a grand tale as expected of most Ys experiences, the bulk of the games story is anything but.

Both instances result in you being dumped on a zombie - infested island with very boring characters to interact with, and the overall narrative doesn't really do anything all that interesting in either scenario.

For someone that doesn't know where his family is, or even if they are alive, the narrative does not communicate any feelings associated with such.

Checkers, sports, etc are PvP games — narrative doesn't come into play as the objective is to beat your opponent.

I'm not saying that I want more lewdness, but considering the narrative doesn't do anything interesting like Trillion: God of Destruction did, it feels more like a tease here than anything else.

The narrative doesn't exactly reinvent the wheel, but a liberal dose of campy humor permeates the entire affair and Jon St. John, the voice of Duke Nukem himself, does an excellent job of bringing John Rochard's gruffly bad - ass personality to life.

Before we start delving into why the narrative doesn't work let's talk about what does work.

There is a little first - novel shyness on some issues but nothing the rest of the narrative doesn't make up for.

Because of these disparate plotlines, the narrative does at times have a patchwork feel, and it is much less seamless than the first two books.

Although acts of violence are inevitable in the novel, the narrative does not depend on them for impact.

But the inert interview framing narrative does no favors to the film or Natalie Portman's straining lead performance, and Larraín's attempts to convey the spirit of the era feels like watered - down Todd Haynes, minus the fascination with mystique, glamour, and forms that can make Haynes» work enticing.

Much of it is interesting and Anton Chigurh is a truly memorable «bad ass dude» but the narrative does not flow easily and the film seriously loses its way in the final half hour.

The narrative does nothing to paint its crooked cops tied to the mob as anything but despicable human beings that no one will be able to relate to.

The casting of a caucasian lead caused a «whitewashing» controversy that's continued to plague the film, but the narrative does at least provide a reason for the change [withheld for now to prevent spoilers] that may or may not offer some placation.

The action set pieces are great, but there's too few of them; the voice acting is exemplary, but the narrative doesn't do it justice; the touch and motion controls work well for some actions, but they ruin others.

I was far more interested in Rebecca (Alexa Davies), but the narrative doesn't do her character justice at all.

While the film starts off with a promise, by mid-point the film ceases to exist as the dialogues are sort of campy and lazily written and the narrative doesn't much bother with logic or reason either.

A weak ending might sound like a total turn - off, but the narrative doesn't rely on resolution in this movie as much as one might think.

Farrant has stated that the story is inspired by her overwhelming grief at her father's death and while Kidman and Fiennes provide credible character studies on two opposing reactions to loss, the framing of the narrative does not gel with its anticipated plot.

The narrative does lag the slightest bit at the midpoint when Carl decides to leave LA behind for a quick trip to Miami and the script loses its focus, but as soon as he gets his hands on that food truck and he's back to being a man on a mission, the film takes off with even more momentum than before.

The narrative does descend into absurdity, but this is part of what makes the film enjoyable.

And what the narrative does with Johansson's Barbara isn't quite expected either, providing an honest - to - god talking point between couples who caught the film upon release.

Sadly, the narrative doesn't reach these heights; and with a sparse overworld and some tedium in place, it doesn't reach its full potential.

Unfortunately, the non-linear narrative doesn't so much unfold as flop around, sometimes annoyingly, serving to create tedium more than tension.

At the centre of Skyfall is her relationship with 007, and this portion of the narrative doesn't disappoint.

The Kings of Summer's narrative doesn't stand up to much thought or scrutiny, but this artsy indie film's exploration of adolescence still holds considerable appeal.

While it's fantastic to see these characters escaping the tactical trappings of their long - running franchise, the main narrative does away with the relationships and events of the Fire Emblem series, having it sit uncomfortably outside the established canon.

Infinity Runner's boasts an attractive premise - a werewolf must escape a space station - but its thinly sliced narrative doesn't contain any satisfactory hooks and its moments of player agency rarely reach any sort of plateau.

The wise - cracking droid is thrown into the mix of jaw - droppingly apocalyptic vignettes and the dichotomy of the light heartedness and the dark, lethal nature of its narrative doesn't always coalesce.

And even though the split narrative doesn't quite cohere, Coppola wins an amazingly high proportion of his risky bets, including a finale that takes off into total abstraction.

The fractured and elliptical narrative does make for tough going at times but viewers who hang in there are duly rewarded with moments of true inspiration.