Sentences with phrase «narrative story as»

Not exact matches

The narrative transportation theory, as it's called, states that people may feel like they have been teleported to the world of their character in a story they can identify with.

In public relations, setting a narrative for a brand's story or a company's announcement is just as important.

But, don't forget that narrative thread: When you have spent years devoting energy to creating, developing and finally launching a new product or service, you may find it difficult to turn past your company's «page» and look at its story as a whole.

With millennials consuming more and more of their media through mobile devices and social platforms, executives at Indigenous Media bet that Snapchat users would warm quickly to the idea of following a narrative story posted in regular installments to social media, as opposed to the traditional theatrical experience.

But as with the failure narrative, certain types of depression stories are more palatable than others.

Companies similar to Agolo include Automated Insights, which is using automation to analyze big data and transform it into stories, like sports reporting, while Narrative Science focuses on business intelligence for the enterprise, or «data storytelling,» as it puts it, enabling automated earnings reports created from data.

He sees it as a quintessential Gawker story — entirely true, about a celebrity who peddled a false narrative but brought public attention upon himself, and involving sex.

After the Journal published its story, Cohen initially dismissed reports of the payment as a «false narrative.»

But the human mind is made to fall for stories and miscalculate the odds when a good narrative is in place, as has been usefully described by the work of Nassim Taleb and Daniel Kahneman, among others.

When Jordan Bishop is not writing personal or company profiles, he contributes insights about the misunderstood to publications like Forbes, never - before - told travel narratives to a handful of in - flight magazines and enables international clients to tell transformative stories as a principal at STORIED Agency.

The triviality, even fatuousness, of many current ways of talking about «our stories» has led many thoughtful Christians to abandon the traditions of personal narrative or testimony as tokens of misbegotten «individualism.»

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].»

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.

I have been especially interested in the Creation and Fall stories in Genesis as well as the Flood Narrative.

In a narrative account, the historian offers events in a sequence designed to evoke in the reader's imagination the contrasting elements and potential configurations discussed above, with the expectation that the reader will hold them together in an emerging synthesis as the story progresses.

The relevant loci are the creation story, the Sixth Commandment, Ephesians 5 with its meditation on marriage as a sacramental sign of the union of Christ and his Church, the end of Revelation with its depiction of the marriage of the Lamb, and the whole narrative stream of Holy Scripture that assumes the heterosexual monogamous norm, despite the fact of royal and patriarchal polygamy.

Human imagination as a whole provides the particular idiomatic and narrative construction of a congregation; its members communicate by a code derived from the totality of forms and stories by which societies cohere.

Further, he insisted, a congregation's particular story, because it draws from a treasury of narrative elements available to all groups of people as they struggle for survival and meaning, is its channel to participation in the worldwide mission of establishing God's shalom.

Its narratives Contain many echoes of the stories in Mark and some of those which occur in Luke, and the evangelist has modified and added to the earlier traditions (his Gospel is generally agreed to be the latest of the four) in such a way as to make them the vehicle for a great body of deep religious truth.

I suggest that the whole biblical narrative, including Jesus, as well as all subsequent theology, is one vast story illustrating the simple fact that, in the end, we are all one, connected to each other and to our common Ground of Being.

You know all of that, but you're still able to hear these as true stories, as metaphorical narratives using ancient archetypal language to make, among other affirmations, that Jesus is the light coming into the darkness, to make the affirmation that the Herods of this world constantly seek to destroy that which is born of God.

Character can be construed as a reminder that the moral self is perduring in the way that a story is a narrative.

I think these stories are profoundly true, but I hear them as, profoundly true as metaphorical narratives, as symbolic narratives, not as factual reports.

Either approach loses sight of the way in which the stories function as realistic narratives.

To use familiar terminology, I see these stories as history metaphorized, that is, as metaphorical narratives.

More subtle is the use of narratives (e.g., the stories about Abraham, David or the wilderness generation) to serve as paradigms of moral or immoral behavior.

As in the Abraham stories, so too in the Jacob narratives, the sacredness and often the very name of ancient Canaanite sanctuaries are attributed to the visit of a patriarch to the scene, as witness, only for example, the stories of Bethel (28) and Peniel (32) This too contributes somewhat more subtly to the validation of Israel's claiAs in the Abraham stories, so too in the Jacob narratives, the sacredness and often the very name of ancient Canaanite sanctuaries are attributed to the visit of a patriarch to the scene, as witness, only for example, the stories of Bethel (28) and Peniel (32) This too contributes somewhat more subtly to the validation of Israel's claias witness, only for example, the stories of Bethel (28) and Peniel (32) This too contributes somewhat more subtly to the validation of Israel's claim.

Since we can not survey history from some universal, purely rational point of view, narrative theologians argue, we have no choice but to operate out of the historical narrative in which we find ourselves — and for the Christian theologian that means the Christian narrative, shaped by the story (ies) of Jesus Christ as found in the Bible.

Quite to the contrary, as Mircea Eliade has so skillfully shown us, a major effort of the archaic narrative vision was precisely to exclude the new from the story.

Biographies of outstanding women conforming to the traditional narrative of womanliness or to the spiritual narrative of service can not tell the stories of women's achievements as paradigmatic but only as exceptions to the rule, made possible by mere chance, inscrutable destiny or divine grace.

Since I am working from a collection of Jesus» sayings, I have to abstain from the narrative part of his biography, the stories of his birth, healings, Holy Week, and Easter, for, as we will see, they are not in the Sayings Gospel Q at all, or at most, present in a very indirect way.

The stories told in the first two chapters of Matthew and Luke are apologetic, or christological, in intent, and they can not be taken as historical narratives.

All through the narrative we are aware that men are coming up for judgement before Him; nowhere more clearly than in the story of His arrest, trial and execution as a criminal and a rebel.

It is not without significance that in the New Testament narratives of the resurrection of Christ, it is said (as in the story of the walk to Emmaus in St. Luke's Gospel) that «he was known to them in the breaking of the bread».

As long as anyone is alive to play a part or talk about it afterwards, the sacred narrative continues — at least until the day we wake from sleep to find that there is room in God's story for us alAs long as anyone is alive to play a part or talk about it afterwards, the sacred narrative continues — at least until the day we wake from sleep to find that there is room in God's story for us alas anyone is alive to play a part or talk about it afterwards, the sacred narrative continues — at least until the day we wake from sleep to find that there is room in God's story for us all.

Willimon cites a «classic article» by Richard Lischer, «The Limits of Story,» as testimony to «what story and narrative preaching can not do,» while failing to note Lischer's distinction between Craddock and those who equate preaching with storytelStory,» as testimony to «what story and narrative preaching can not do,» while failing to note Lischer's distinction between Craddock and those who equate preaching with storytelstory and narrative preaching can not do,» while failing to note Lischer's distinction between Craddock and those who equate preaching with storytelling.

Although in popular usage the word «myth» is taken as a falsehood or a fairy story, writers on religion use it to mean a traditional narrative involving supernatural or imaginary persons but which teaches significant moral or religious lessons.

Marcus could read and write — though he could not write well, and had no inclinations to authorship, even in that publishing center of the western Mediterranean in the days of Nero — and so, as one of the few in the local congregation of Christians who could both read and write, he was commissioned to put together in his free time — probably late evenings, after the assembly of the Christians had broken up — the fragmentary translations of narratives from the story of Jesus and his teaching which were in circulation in the Roman church.

The story, as Mark received it, was clearly a miracle, in spite of the absence of any note of astonishment or wonder in the narrative.

Christopher Morse cites Matthew's inclusion of the Old Testament figure of Rachel right in the midst of the Christmas story as an example of such cruciform narrative art.

Girard, however, fails to see the richness, multivalency, and ambiguity inherent in the language of sacrifice in Jewish and Christian thought; he fails to grasp, in particular, the conversion theology effects of the story of wrath into the story of mercy, or how it replaces the myth of sacrifice as economy with the narrative of sacrifice as a ceaseless outpouring of gift and restoration in an infinite motion exceeding every economy»

For just as we alone among the creatures are given the difficult gift of imagining our own death, we are also uniquely endowed with the ability to tell our stories to one another, to give ourselves away in narrative.

Unfortunately, other than the voiceover narrative as therapy motif, we see no representation of the audience for whom the story is told.

But the process of ecumenical and interreligious dialogue that Pope Benedict XVI has repeatedly endorsed may cause participants to question whether any canonical story of violence — such as the conquest narratives in Joshua and Judges, or functionally equivalent texts in the history of Islam — may legitimately be claimed to offer a religious warrant for continued violence in today's world.

Narratives are filled with a variety of experiences that need to be interpreted; this is true of Bible stories as well as personal testimonies.

This story, as I say, is a familiar one to students of art history, church history, or dogmatic history; and for the most part Besançon soberly follows the main contours of the narrative, adding to it only his prodigious learning and a pleasing narrative style.

Luke valued these synchronisms not only as a means of giving his narrative a chronological and geographical orientation, but also as a way of expressing his conviction that the story he is about to tell has a meaning for this world.

It was important to establish the fact that they knew who was crucified and where he was buried, before their discovery of an empty tomb could be of any significance, but the narrator has introduced these references in such a way as not to disturb the already existing forms both of the Passion narrative and of the burial story.

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.

Here the prevailing structure is narrative with important sayings interspersed in the story, as in the four Gospels and the Book of Acts.