Sentences with phrase «narrative vision»

The apocalyptic literature represents just such a crisis of narrative vision.

But this is precisely the central point of the current crisis in narrative vision.

Much has happened between the emergence of the sequential narrative vision running through a history which offered genuinely new occasions, and the situation of the writers we have so briefly described.

There are good reasons for these attacks on traditional narrative vision.

The modern crisis of narrative vision has much in common with the apocalyptic crisis.

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.

The new linguistic and phenomenological methods of interpretation do deal with narrative, but so far they have not done much to clarify the major narrative visions which are relevant for theology.

It is only a short step from this to the breakdown of narrative vision altogether, which happens in gnosticism.

A genuine narrative vision transcends this dichotomy of freedom in the moment on the one hand, and objectification and striving to control the future on the other.

A return to narrative vision via process theology will not give us an end to the «big story» which will, in a process vision, have to be without beginning and end.

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.

The nostalgia seemed to cause a bit of revisionism in the art world, according to The New York Times which said, «What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self - deprecating illustrator...» [109]

Nevertheless, process has been singularly aware of the requirement of being open to the new, and it does offer several important possibilities for a new narrative vision.

Still, the comparison has weight, since in both cases the loss of narrative vision is a form of loss of anchorage in the world.

Now, narrative vision or seeing the world in the form of a story is out of fashion in our world.

The ancient apocalyptic story thus shows a real tension in its narrative vision.

Furthermore, the particular kind of sequential enrichment of experience which is so central for our narrative vision is not necessarily a fundamental characteristic of reality as such.

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

The world - vision which can receive, and within which we can respond to the new, and ourselves create and work for novelty, is some sort of «narrative vision,» in which we see ourselves in the world as part of a story.

Thus, ancient apocalyptic brings into focus some of the issues that a narrative vision struggles with today.

When the present is almost totally alienated, the narrative vision, it seems, can be endured only temporarily.

But in both cases a hard - won and precarious narrative vision is threatened because it is an oversimplification and because it promises more than people can experience in it, and in both cases the loss or threatened loss of narrative vision exposes and brings to the surface an archaic vision, an unformed totality which offers itself instead of the sequential story - like vision.

The narrative vision in which unique, unrepeatable things do take place is a difficult vision; its power of dignifying the unique event is threatened by the frequent inability of the community which shares this vision to correlate their actual historical experiences with the pattern of meaning provided by the vision.

The other world - vision which contrasts with narrative vision is that of the moment as carrying the total weight of meaning.

The people who have gotten things done have almost always had a narrative vision of self - understanding.

Thus the narrative vision, which in archaic religion located men in a stable and unchanging story which their little story could repeat, came to be open to the new and unique events and situations in which men struggled with their creativity and their God — a shift particularly clear in the Jewish and Christian visions of existence.

Such a narrative vision can be contrasted with two other options which are much more popular theologically.

This is an infinite which expresses itself in a narrative vision, not a predetermined narrative nor one which intends to include only a particular kind of people or a particular reality, but a story which is much more open than the old story used to be — a story, indeed, with many strands rather than with one, and a story which is not going to any predetermined place but which is constantly open to the best possibility that is relevant for it.

What makes the narrative so fruitful as a vehicle for a world - vision is that a narrative vision can be something which we do not simply observe or listen to.

Ancient apocalyptic represented a crisis in which it was a question whether the narrative vision could survive, and now, in the world of imaginative writing, it is equally or even more questionable whether narrative vision can survive.

This power to enable participation, so that the new is not only what comes to us but a new reality which we ourselves make as we express our own creativity and purpose, is one of the great functions of narrative vision, and it must be an aspect of any future - oriented vision which is really open to the new.