Sentences with phrase «narrative form with»

Not exact matches

Missouri Synod theologians had traditionally affirmed the inerrancy of the Bible, and, although such a term can mean many things, in practice it meant certain rather specific things: harmonizing of the various biblical narratives; a somewhat ahistorical reading of the Bible in which there was little room for growth or development of theological understanding; a tendency to hold that God would not have used within the Bible literary forms such as myth, legend, or saga; an unwillingness to reckon with possible creativity on the part of the evangelists who tell the story of Jesus in the Gospels or to consider what it might mean that they write that story from a post-Easter perspective; a general reluctance to consider that the canons of historical exactitude which we take as givens might have been different for the biblical authors.

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.

To begin with, there was the narrative of Jesus» death — the longest continuous narrative in the traditions about him and the earliest to take fixed form, according to modern form critics.

More obviously than in other parts of the Synoptic Gospels there is much material which is evidently a casting back, in the form of a narrative about Jesus, of the thought and experience of the Church in later years, and of its controversies with opponents.

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.

His point was not that scriptural narrative contains no historical elements, but rather that the Bible's historical elements are always mixed with myth, saga and related forms of expression as vehicles of the Word.

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.

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

They share their unique perspective on the joys and challenges of ministry in alternating segments, forming a collective narrative that illuminates the inner workings of a clergy marriage, even as it inspires with heartfelt tales of life in ministry.

One of the doubled - edged gifts of the enlightenment is that we've dispensed with a lot of superstitious thinking, but we've also dismissed the more useful side of myth - forming and cultural narratives.

It was this stream of thought that came to expression in the Passion narrative where Luke recorded Jesus as saying to the penitent thief; «today you shall be with me in Paradise».5 We must be careful to do justice to the fluid nature of the forms in which the resurrection hope was expressed, and to recognize that they were alternatives which could not be easily reconciled with each other.

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.

A narrative of a Lenten meditation in poetic form written from the standpoint of the apostle Thomas: And if it were not for his love, his grace that sought me out behind locked doors, called me to touch and then believe, I would not be here at your humble table ready now with you, to break the bread and pour the wine as he did years ago.

The form of this strange little narrative of Moses» near brush with death probably reaches back to a time not far removed from the exodus era.

Religious literature in general tends either to be basically historical narrative, interwoven with elements of interpretation due to later insights, overlaid with legend, but consciously intended to be historical; or to be pure myth: a concept clothed in narrative form, and consciously only clothed in that form.

We are concerned with their effort to be metaphoric in their reflection, staying close to the parabolic form with its insistence on using common language in novel ways to evoke insight, with its emphasis on the narrative quality of believing, its foundation in experience, and with both language and belief rooted in a total life - style.

In this respect, his approach is very different from that of another distinguished literary critic, Robert Alter, author of The Art of Biblical Narrative, who deprecates what he calls the excavative techniques of professional biblical scholarship and works with the text as it is, in its final form.

In the post resurrection gospel narratives describing Jesus» appearance to his disciples we notice again and again that the accounts speak of him in terms of the solid bodily form of Jesus: He eats with them, invites Thomas to place his hand in his wounds, he breaks bread with the disciples on the road to Emmaus, he eats breakfast by the lakeside.

I don't know if this will change anyone's mind, probably won't, but for me, I at least want to call out hypocrisy among other fans and the laziness of trotting out the narrative when I can still vividly remember Cincinatti fans throwing beer bottle at officials, remember 49ers fans forming a «Ring» around my wife and me and threatening us with physical violence (never mind the assault of the Dodgers fan by Giants fans).

Stories however have emerged stating that the Chilean forward sits alone during meal times at United's training ground Carrington, which inevitably has cast a sad and lonely narrative over Sanchez's opening months at United accompanied with recent poor form.

Yet more than the transformation of the international order following the Cold War, or the role of television in the emergence of global forms of mobilization, it is this fundamentally Christian narrative that continues to provide the defenders of free expression with a template by which to understand events like the Rushdie Affair.

When possible, staff should map out email narrative arcs in advance, with each message forming part of the stream while also able to stand on its own.

But with the media narrative cemented by the exit poll, it will significantly complicate Miliband's argument that he can legitimacy form a government based on the failure of Cameron to command a majority, despite the constitutional legitimacy of that argument.

People with dyslexia frequently prefer thinking in narrative form, a proclivity that makes them natural storytellers, and they tend to have exceptional spatial navigation skills, visualizing 3 - D structures with ease.

«The earliest video games really had very little in common with other forms of narrative entertainment,» said Bowman.

It's convoluted, to say the least, but Johnson, working with editor Bob Ducsay, gives the rush of these jumps in time a remarkable, lively flow that at once helps form the backbone of the narrative and exude the confusion felt by both Joes.

Two years ago Noah Baumbach charmed Toronto audiences with Frances Ha, although fans of the whimsical free - form narrative in his last film might be disappointed with the concise structure and fastened script found in his latest film While We're...

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.

On the contrary: in adapting André Aciman's 2007 novel, Guadagnino and screenwriter James Ivory have produced a film that simultaneously analyzes and dramatizes issues of sexuality, religious identity, and, once again, privilege — with enough well - read bourgeois lazing about in the sun to give Michael Haneke hives — and yet without straining against its clearly marked narrative boundaries as a coming - of - age romance, or exploding its form as an accessible, fundamentally pleasing upper - middlebrow entertainment.

Using traditional research methods (reading old books) and non-traditional film processes (boiling old books) Gatten's films trace the contours of private lives and public histories, combining philosophy, biography, and poetry with experiments in cinematic forms and narrative structures.

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.»

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.

But where Hong relentlessly deconstructs his narratives, laying bare their artifices and exposing the lonely needs that drive us to invent them, Bogdanovich the classicist is content to faithfully recreate the form of the old (his zooms are subtle and patient, not Hong's wild, drunken lurches), with nothing but a sly wink to the audience to remind us of the precariousness of our ideals.

But he also takes some cues form a very different American master of narrative uncertainty, David Lynch, playing with ominous and surreal currents through the character of Joe Kennedy (Bruce Dern), the overbearing elderly patriarch and Mabuse-esque mastermind of the Kennedy clan.

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.

However, the theme of family is explored in great detail, with the widely - explored «sins of the father» cinema trope forming a major part of the film's narrative.

As with her previous work, Lynne Ramsay leaves her cinematography and editing to do any heavy lifting that the narrative calls for, the richest and most telling moments always coming in the form of an image rather than a line of dialogue.

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.

Chanel will partner with Tribeca Enterprises for the third annual «Through Her Lens: The Tribeca Chanel Women's Filmmaker Program,» which works to support and promote emerging American women screenwriters and directors of short - form narrative film.

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.

Auteurist critics who mined these strata have rejected Zinnemann because his is a literal - minded cinema of the spectator, where the images and narrative are displayed with craft and artistry, but which do not ask the viewer to participate in completing the equation of form and content.

While Porterfield's aesthetic gambit with Putty Hill — utilizing documentary techniques to convey a fictional narrative — resulted in a remarkable hybrid form of experiential cinema, I Used To Be Darker arguably ups the ante by pairing a similarly observational naturalism (sans interviews) with more traditionally - plotted melodrama.

Film criticism and scholarly studies often rely on narrative conventions and form rather than style however with Godard this is a major neglect.

But as the film goes on, a narrative starts to form, one that chronicles with heartbreaking detail the sorts of dilemmas that poor parents and their children face in America, and the broken systems that try to add structure to impossible situations.

But as The Florida Project goes on, a narrative starts to form, one that chronicles with heartbreaking attention the sorts of dilemmas that poor adults and their children face in America, and the broken systems that try to cope with impossible situations.

From a purely narrative standpoint, it has to be admired for its sheer audacity and sense of assuredness in recreating the kind of intricate, multi-modal, long - form storytelling that comic books have been utilizing for decades; a wrong step at any point could have brought the whole thing down, as we witnessed last summer with Universal's «Dark Universe» non-starter The Mummy (2017) and, to a lesser extent, rival DC's fitfully successful, but mostly disappointing attempt to do the same thing with its stable of comic book characters.

In eloquent vignettes, Karnit Goldwasser and her family and acquaintances describe the effect of living with such unknowns, forming an overall narrative that demonstrates significant insight.

Regardless, the infusion of half - formed side characters and walking plot devices (Dawn & Sunny) detract from the real core of the narrative, which is Marianne's quest for independence and her strange flirtations with the Bog King.

Varda has experimented with all forms of filmmaking from shorts to documentaries to narrative feature films during her more than 60 - year career, including such works as the New Wave classic Cleo from 5 to 7, and Le Bonheur.