Sentences with phrase «narrative visions which»

Not exact matches

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

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.

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.

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.

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.

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

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.

Confessional postmodernism, with its emphasis on images and narrative — which are more evocative and efficacious than concepts, touching deeper recesses of our psyches — fleshes out what tends to be rather abstract in the process - relational vision which, on the other hand, provides the former with a cosmological complement.

Radosh argues that her «aggressive counter vision» to the old leftist narrative, in which witch - hunting McCarthyism was the real problem and the Soviet Union never sent spies, drew them approval, and understandably enough.

(2) «Confessional postmodernism, with its emphasis on images and narrative, which are more evocative and efficacious than concepts, touching deeper recesses of our psyches, fleshes out what tends to be rather abstract in the process - relational vision which, on the other hand, provides the former with a cosmological complement» (90).

The real myth, in other words, may be that there can be religious freedom at all in the modern state without a strong religious tradition acting both as a curb to the state's power on behalf of believers and nonbelievers alike and also as an alternative narrative within which people can work out their individual visions of the good life.

What drives his narrative, however, is a vision of the Persian Wars as a clash of civilizations, which he presents as possessing significant parallels to the conflicts of our own day.

I can only hope that this attempt is taken more seriously than the largely muted and clearly unsuccessful protests of late last season... although the plane writing escapade brought some much - needed attention to the matter, it failed to resonate with fence - sitters and those who had just recently fell off the Wenger truck... without a big enough showing of support the whole endeavor appeared relatively weak and poorly organized, especially to the major media outlets, whose involvement could have significantly changed what was to follow... but I get it, few wanted to turn on their club, let alone make a public display of their discord... problem is, they are preying on that vulnerability, in fact, their counting on you to keep your thoughts to yourself... who are you to tell these fat cats how to steal your money... they have worked long and hard to pull the wool over your eyes... they even went so far as to pay enormous sums of cash to your once beloved professor to be their corporate spokesmodel so that the whole thing would be more palatable... eventually the club made it appear as if this was simply a relatively small fringe group of highly radicalized supporters, which allowed the pro-Wenger element inside the club hierarchy to claim victory following the FA Cup win... unfortunately what has happened to this club can't be solved by FA Cups or a few players coming in, the very culture of this club needs to be changed and that starts at the top... in order to change the unhealthy and dysfunctional narrative that has absorbed this club we need to remove everyone who presently occupies a position of power... only then can we get back to the business of playing championship caliber football, which should always be the number one priority of this organization... on an important side note, one of the most devastating mistakes made in the final days of this hectic and poorly planned transfer window didn't have to do with the big name players like Sanchez or Lemar, but the fact that they failed to secure Jadon Sancho, who might even start for Dortmund this season... I think they might seriously regret this oversight... instead of spending so much time, energy and manpower pretending that they were desperately trying to make big moves, they once again lost the plot due to their all too familiar tunnel vision

The particular way in which John and Beatrice Henderson occupy and control space figures as much of the film's vision of success and happiness as its narrative and dialog.

His vision for Lost River is the biggest accomplishment, it's a fairly simple narrative which is complicated by mythology in the story telling and highly contrasted visuals.

Emblematic of the festival's initiative to spotlight films on a global scale is its «Global Visions» section, which boasts an array of narrative and documentary films from Japan (Wonderful World End), Brazil (The Second Mother), Germany (Stations of the Cross), China (Red Amnesia), the United Kingdom (Luna), South Korea (A Hard Day), France (Fidelio: Alice's Odyssey), New Zealand (The Dark Horse), and many more countries with exciting, emerging filmmakers and films worthy of our undivided attention.

As narratives they unravel, offering up only visions of a world operating according to rules that are obscure and by extension frightening, which isn't to say that world isn't our own.

Moreover, if one considers the alternate history of Schapiro's having continued to work in this vein of geometric abstraction, given the typical narratives of the time, her career would likely have plateaued in relation to a colleague like Held, in part because he was a male artist, with all the privileges that brought, and in part because he was, in that mode, perhaps a stronger artist: as impressive as «Byzantium» is, it can't compete with the impact of Held's paintings as paintings, their literal physicality — the extra thick stretchers and larger size and the paint handling, which manages to be worked even when flat — and their composition, which bends vision into sci - fi space but also retains the power of the overall ground.

A mix of personal realities and epic narratives, the artist's rich vision of the rural landscape is a lens through which she explores the intersection of agricultural, environmental, and social histories that continue to inform the present.

The landscape first appeared in Adams» previous solo exhibition Second Life which featured A Mire of Epiphany at its narrative core, as it spoke to the artist's temporary loss of vision.

And in the hey day of Modernism, critics like Clement Greenberg pursued a narrative which saw Modernist painting as a «peculiar form of tunnel vision leading away from pictorial depth and compositional complexity towards flatness, all - overness and the absence of association.»

Her work, which fuses indigenous and Western art histories into a unique vision that bridges Native and non-Native cultures with elegant narratives, has been exhibited around the world.

A star almost straight out of art school, and a Turner Prize nominee (2001), Nelson's vision is a complex interplay between an imagined narrative and its physical installation, often inspired by literature, sci - fi or pulp fiction (J.L. Borges to H.P. Lovecraft), in which he invents characters and then creates their environments.

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]

The broad range of vision engages one with its formal and narrative authority — from elegant self - contained cerebral works like On Kawara's «Today» series, in which the artist paints only a date of the year against a background of color, and Roni Horn's wall - sized photographic series composed of 36 progressive clown portraits of perceptual ambiguity, both artists neatly isolating individual permutations of life's sequential narrative, to Peter Fischli and David Weiss» collaborative film, «Der Lauf der Dinge (The Way Things Go),» in which the unconstructed imagery is punctuated by bursts of random narrative that addresses life's impermanence.

b. 1954, Santender, Spain Although influenced by ideas ranging from philosophy to multiculturalism, Juan Uslé's lyrical abstract works do not aim to be in any way representational, rather they convey his personal vision of the world, which is poetic rather than narrative.

Many of Sendor's works begin as visions, which coalesce into fictional narratives and scripts, as he hires actors and other artists to play his characters» roles.