Sentences with phrase «narrative of his life story»

The titles conveyed what was finally the truthful narrative of his life story.

However, I believe that development is a life long journey and the narrative of life stories can be expanded therapeutically through restorative retelling to become your preferred self.

Not exact matches

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.

Wells describes his massive tome as «an attempt to tell, truly and clearly, in one continuous narrative, the whole story of life and mankind so far as it is known to - day [sic].»

But regarding the creation story, it makes specific factual claims (albeit, internally contradictory when comparing the two different creation narratives) regarding the order of creation which are directly contradicted by observable, physical evidence, e.g. earth before sun, the order of the appearance of particular forms of life, etc..

His strongest apostrophes of rage, guilt, and frustration occur midway through a narrative interspersed with background stories: tales about his ancestors and their adventures in Europe, his mother's education, the lives of his friends and neighbors, his grandmother's obsession with cleanliness, and his grandfather's eccentricities.

If the story of Jonah should not be a fact, even if Jonah had never lived, still would the profound truth of this narrative, the love of God for Nineveh and the so - called heathen, be none the less precious in the eyes of all those who love their fellow men.

To counteract that perspective, Hahn teaches that the gospel is a narrative that connects all of history together, and that people's lives have a place in that story.

Fundamental to the narrative vision is the «story of my life,» the life story or the little story.

We all feel at least a slight anxiety about dementia because these dreaded symptoms seem to assault our very identities, to dissolve the autobiographical narratives that constitute the very story of our lives.

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.»

We live in a culture that privileges stories of conflict, so it's understandable that this narrative would gain traction — with or without billboards.

Those ubiquitous network news stories about the «common people» whose lives are destroyed by out - of - touch policy wonks inside the Beltway do not meet any reasonable criteria for the appropriate political use of emotion and narrative particularity.

On one hand, «life story» versions of theology point to the narrative character of human experience and thereby connect theology to the drama of suffering and hope.

When a parish lacks a narrative sense of its corporate identity, it will probably assume that its nature is the aggregate of personal stories of individuals prominent in its life.

Furthermore, stories surrounding women like Tamar of Genesis, Dinah, Hagar, the dismembered concubine of Judges 19, Jephthah's daughter, Tamar of the Davidic narrative, and so on reveal the profound inequity that characterized day - to - day life for women living in the ancient Near East.

We listen to the story that provides a narrative shape and meaning to a life of following Jesus in the conditions of the world.

The folks living when the christian story was forming were more aware than we are of the similarities to other religious narratives.

For a fuller exposition of the consonance between the Zeus myth and the Wiltshire story, see James F. Hopewell, «The Jovial Church: Narrative in Local Church Life,» in Dudley, Building Effective Ministry, 68 - 83.

The story of what happened on that January day in 1956 - first told in newsweeklies and Life magazine and then in numerous books and documentaries - became a primary narrative for the young evangelical movement, reinforcing and illustrating to the world our core ideals.

(In the context of a pedagogical endeavor I recently argued the plausibility of John Howard Yoder's account of the New Testament narrative of Jesus» life and teachings, but my narrative - sensitive audience contended that Yoder got the story all wrong.)

Not only does narrative convey the experience of corporate existence, it also characterizes the continuing form of symbolic interchange among members.14 The rich discourse that constitutes congregational life occurs almost entirely in story form.

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.

Later, it's clear the historical narrative was getting in the way of telling the story of the aged Thatcher's modern life.

«I believe that the narrative of my life — the story of who I am — just speaks to the mission of the office,» she explained.

«One appeal of stage theories is that they tell a story — they give us a narrative to live by («you feel this now, but soon...»).

A Yezidi woman receiving psychological treatment in Germany ritually represents her life story, using stones to mark traumatic events and flowers to show happy events, as part of Narrative Exposure Therapy.

Testimony therapy included individual counselling, whereby the clients told their life stories, including traumatic events, and counselors provided support and documented the details of the narratives.

Taking a real - life story that is complicated and unsettling, Steven Spielberg uses all of his technical prowess to propel the narrative but also allows this very human story to touch the audience on a personal level.

The film is a religious avant - garde film trapped inside a narrative story line about a boy who learns the reality of life and faith.

... does an adequate job telling Coltrane's life story, successfully using animation to embellish its narrative, it ultimately can't live up to its subject's stature as an artist, nor fully convey the magnitude of his musical contributions...

As every story becomes interwoven with the next, the boundaries between fiction and real life starts to blend in this cerebral thriller pushes the limits of cinema narrative.

To tell this story, Aitken decided to do away with a traditional narrative in favor of a series of one - minute segments that capture slices of life along the way.

Where the 1998 movie, also directed by Shekhar Kapur and starring Cate Blanchett, painted a compelling portrait while also telling a riveting narrative, the sequel simply takes a chunk out of Elizabeth's life and says, «Here's what happened during these years,» without bothering to shape it into a story.

Through Hannah and Clay's dual narratives, 13 Reasons Why weaves an intricate and heart wrenching story of teenage life that will deeply affect viewers.

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.

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.

Sarah Polley's new film, Stories We Tell, is an exploration of the functions of narrative as they relate to the telling of our life sStories We Tell, is an exploration of the functions of narrative as they relate to the telling of our life storiesstories.

Also among the 9 Oscar nominees for best picture Thursday: the old - age love story «Amour»; the Iran hostage thriller «Argo»; the independent hit «Beasts of the Southern Wild»; the slave - revenge narrative «Django Unchained»; the musical «Les Miserables»; the shipwreck story «Life of Pi»; the lost - souls romance «Silver Linings Playbook»; and the Osama bin Laden manhunt chronicle «Zero Dark Thirty.»

The story of «Batkid» Miles Scott, the 5 - year - old leukemia patient who got to live his dream to be a superhero courtesy of the Make - A-Wish Foundation and much of San Francisco, is both the subject of a documentary, Batkid Begins: The Wish Heard Round the World, and an upcoming narrative feature film in which Julia Roberts is set to star and produce.

For her second narrative feature Los Perros, which premiered in Le Semane de Critique at this year's Cannes Film Festival, Marcela tells the story of an upper - class housewife whose complicated relationship with her horse - riding instructor forces her to confront her family's complicity in the oppressive regime that gave her a life of privilege.

It updates the story to the modern age, transports the setting from big city suburbia to the desert - based developments outside of Las Vegas, and shakes the narrative structuring up to avoid that lived - in feel.

The fashion, the mystery, the story of the lives ravaged by the war seem to be competing for attention instead of being part of the same narrative.

Since it's based on true events (from the life of journalist Simon Carr), this story is rather un-cinematic, lacking a driving narrative.

As visually fascinating as anything Greenaway has done, this film's narrative is so convoluted that it's virtually impossible to follow unless you know the life story of Rembrandt.

The legendary composer's story then unfolds in a series of flashbacks depicting key scenes from his life, using his lyrics he wrote to provide much of the narrative.

We Can't Live Without Cosmos, a clever, heartbreaking and efficiently told story of best friends and possible lovers training to become cosmonauts, is easily the best of these silents, all clean visual and narrative lines.

A narrative game that tells the story of how a young woman's life is changed when she and a musician meet -LSB-...]

Unless you make a living in front of a camera, many people would balk or tighten up in front of a million flashing lights, microphones and screaming people wanting to get a 15 - second sound bite of you saying something to take it out of context for the sake of a story»» to control the narrative.