Sentences with phrase «narrative form so»

We don't want to diminish the traditional narrative form so much as we want authors to have the ability to add to it,» said Heather Wied, Marketing Director for Pubsoft.

Not exact matches

excerpt: «First of all, if you did not do so yesterday, please take the time to read Kevin Carmichael's look at the trip, and in particular how pack journalism narratives have formed, but he makes very relevant points about the political dynamics and the regional politics of India that the Canadian media is completely ignoring.»

Even the various forms of theological activity can be redescribed in narrative terms, as when Newbigin writes of «the congregation as hermeneutic of the gospel»: interpretation of Scripture for Newbigin is not so much what a particular scholar writes as what a particular community of believers enacts.

The obvious problem of dealing with such contrasts in the linear form of narrative can be alleviated by pointing out explicitly what sorts or contrasts are being integrated, so that even if readers lose sight of the particular information involved, they can still appreciate the aesthetic transformation of elements.

One can certainly detect, for instance, a growing skepticism toward «modernity» in the form of master narratives and instrumental reason, possibly because Latin America has so often had a painful experience of these narratives and the exercise of such reason — experiencing them from the «reverse side of history,» to use Gutiérrez's apt phrase.

As the Cold War was rooted in a conflict of ideologies and visions, so it was a drama unfolding in narrative form, and nobody could equal John Paul as a master of the dramatic arts.

Alternatively, one might say that religious symbols (or myths or narratives or languages) so shape the way we understand the world that they quite fundamentally form what we value for human beings and the cosmos.

Others are not quite so enamored with stories but continue to speak of narrative sermonic form.

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.

We have approached the problem of demythologizing so far on the assumption that there is a real distinction between the form of the New Testament narratives, a form conditioned by the contemporary mythology, and the actual content which the form enshrines.

I cover a lot of ground and do so in the form of a narrative, and so the information below will be helpful for you as you seek to follow along.

The individual actions caught up in the Trinity story were each irregular or apparently spontaneous, but the overall narrative form of the story is a pattern of meaning so regular that we term the pattern a myth.

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, if the game is so devoid of any form of cutscenes, or narrative breaks, the game will also suffer.

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.

Tarantino movies are so cherished these days that they have become their own form of event movie, and so, the writer / director has seemingly earned the right to do whatever he pleases, narrative conventions be damned.

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.

Granted, the latter comes in the form of some occasionally cloying sentimentality that drowns events in contrived narrative beats piling on top of one another, but they so vividly bring these characters to life that it's able to make up for the faults in the writing.

He added, «The movie works so well for several reasons, and they don't all have to do with the spectacular special effects... [«Star Wars»] relies on the strength of pure narrative, in the most basic storytelling form known to man, the Journey.»

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.

In a strict narrative form, most of Blue's main themes and actions reside just below the surface, so this is the kind of film that might be too slow for some impatient viewers, especially if they are watching it without the political, social, and artistic context from which it is created.

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.

Scene after scene demonstrating how awful he is (how about that post-coital bedroom scene, acted so well by McDonald) play out with little to no relevance to the ongoing narrative and aren't done in any particularly nuanced way as to help form more than a one dimensional perception of this character.

We all know that the movie biopic is one tired narrative form, so trust the great Christine Molloy and Joe Lawlor to breath new life on to its haggard old bones.

Anderson's work may not have a lot of narrative substance, but his visual sensibility is so well - developed that it often doesn't matter; form is substituted for theme.

What makes the film so surprising, though, is its lack of narrative form.

I haven't seen a moment in another film from this year that achieves the kind of wary transcendence, through narrative and form (switching from celluloid to the digital of an iPhone), that so perfectly captures the allure of fantasy.

Gialli (the plural form) didn't so much defy narrative logic as wander dreamily away from it.

However, the most accurate precedents for «Happy - Go - Lucky» date farther back still: the film is not so much a new direction for Leigh as a throwback to the gentle character - oriented comedy and wispy, free - form narrative of his breakthrough features «High Hopes» and «Life is Sweet.»

The narrative, which is repeated over and over, is a form of the salvation stories so popular in mythology, but leaves out the psychological brutality that has been part of «Being Noble» from the year of the school's founding by former Wells High School math teacher Michael Milkie.

When asked about the inspiration for Gossamer she replies, «I'm so interested, always, in how the bits and pieces of our lives go together, how they form a narrative, and how important they are to us.

You're using a borrowed language (English), with a borrowed form (narrative), amplified by borrowed tropes (genres), made fresh by borrowed subversions (humor, genre bending, etc.), magnified by a borrowed audience (you do not own your readership), and I could go on and on for days about paper pulp and the evolution of your genre and the publishing industry and so forth.

The writing doesn't really impress so far, delivering a dry slice of narrative that very clearly was never intended to be delivered in episodic form, but the quality of the cinematics and the excellent voice was superb.

The fact that videogames have come so far in the subjects they can tackle and the quality of the narratives they can tell never ceases to amaze and delight me, but there's something to be said for games like Saints Row IV as well, games that hark back to what this form of media has always been about at its very core: fun.

About linear narrative being the oldest form of telling stories, I see how you get there, but I am not so sure about it.

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

So, as we pass through this collection of around 40 drawings and paintings, we're supposed to look for clues and hints of the later brilliance and construct a narrative or timeline that leads to its blossoming (which, here, comes in the form of At the Edge of Town (1986 - 8), a painting showing a figure emerging onto the kind of semiabstracted landscape for which Doig is best known).

Just as the figurative paintings of Giorgio Morandi, whom he admires, are not about merely depicting vessels, so Sean Scully's definitive abstract works have narrative structures when they evoke associations of figure and landscape, of window and mirror, or of religious forms and themes such as altar or resurrection.

I love Gerda Wegener for her whimsical sexuality, Frank Duveneck for the mastery of brush work and planes of form, Peter Doig for his deceptively complex poetic «un - narratives», Alma Tadema for his simply astounding craft (look close at at Tadema if you want the top of your head blown off), and Alice Neel and Jim Shaw and Walter Robinson and Inka Essenhigh and so many more.

Hayes felt so strong a connection to Bourgeois's organic forms charged with sexuality and personal narrative that she impulsively phoned the septuagenarian artist, and was invited to pay her a visit in New York.

The grounds and the scale of his operation are amazing, and so is his studio, where the «First Marks» series is receding behind newer works, where chicken coops are migrating off the farm directly onto his canvases, and narratives take the form of the artist wrestling with Abe, his 800 - pound aging great boar who has fathered most of his heritage - line pigs while serving as a complicated alter - ego and muse to the artist.

These forms are rendered so abstract, however, that explicit narrative readings of these works are impossible.

But he consciously makes a distinction between his work and that of his close circle of peers on the West Coast: «Bruce [Nauman] was very much concerned with process, and Chris [Burden] was not so interested in video as he was in the single iconic moment, but I was immediately intrigued by how the videotape itself could be an art object, a form that when watched would not be a surrogate explanation for some previous event, but a narrative body itself.»

So then the science becomes weak because it is constantly constrained to steer towards an impossible position (the story formed by the core narratives).