Sentences with phrase «not narrative writing»

Not exact matches

«All your clear and pleasing sentences will fall apart if you don't keep remembering that writing is linear and sequential, that logic is the glue that holds it together, that tension must be maintained from one sentence to the next and from one paragraph to the next and from one section to the next, and that narrative — good old - fashioned storytelling — is what should pull your readers along without their noticing the tug.»

And while journalists scrutinize the oil, finance and agricultural industries, tourism is generally considered a pleasant, frivolous pursuit — an aspirational hobby relegated to a newspaper's Travel pages, where breezy first - person narratives are written with a journalistic looseness that wouldn't make it past the editors in the Sports or Arts sections.

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.

Even the various forms of theological activity can be redescribed in narrative terms, as when Newbigin writes of «the congregation as hermeneutic of the gospel»: interpretation of Scripture for Newbigin is not so much what a particular scholar writes as what a particular community of believers enacts.

The problem we face is that we are not writing or even reading the narrative.

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.

What Mark put together was a narrative of the mighty works and death of Jesus — a book largely devoted to explaining why Jesus had died — and he had to write it in haste in the midst of danger, not for Jews, but for Gentile converts.

Nor did it occur to Marcus to write his book for Jewish readers anyway; what he put together was a narrative of the mighty works and death of Jesus — a book largely devoted to explaining why Jesus had died — and he wrote it, not for Jews, but for Gentile converts and «listeners to the word.»

These narratives were written not as scripts but as pronouncements of God's actions in history.

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.

«How stupid the Jewish theologians were who wrote this narrative and did not even understand what an explosive concept they included in their own representation of God.

Oral epic song is narrative poetry, composed in a manner evolved over many generations by singers of tales who did not know how to write.

Given the prominence of these motifs, it is not surprising that Sacks writes what might be called «narrative neurology.»

«By the time of the writing of the gospels,» notes C. F. Evans, «it had disappeared, leaving behind no more than an echo, and that not in narrative but in credal form («The Lord is risen indeed, and has appeared to Simon»), which Luke has some difficulty in attaching as an awkward pendant to his Emmaus story.»

Here we are on much firmer ground than in the case of the Gospel narratives, for not only is it the earliest written testimony to the resurrection (written about twenty to twenty - five years after the death of Jesus), but it is first - hand testimony, and most probably the «only written testimony to come from one who could claim to be himself an «eye - witness» of the resurrection».18 Admittedly Paul, on his own admission, was in a very unusual category.

Interestingly, the depictions are what would be expected of relatively primitive hunting societies, but to my knowledge, they certainly do not reflect a literate people, let alone a people who were familiar with the particular oral or written narrative contained in Genesis or this book's alleged supreme deity.

The American poet Wallace Stevens once wrote that a poem should not be a narrative statement but should be «a meteor, or a pheasant disappearing in the bush.»

The Iliad and Beowulf were writing in the genre of fantasy... «Once upon a time inky, pinky and bod got into a boat» The bible contains poems, historical narrative, precise directions that is why you do not compare it to the Iliad.

But Mark is not writing history or biography, nor even giving an account of Jesus» teaching; he is writing an apology, an explanation of the death of the Messiah, and the passion narrative is in his mind from the beginning.

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.

Everything of enduring significance that ancient Israel became, believed, and proclaimed is ultimately influenced not only by what actually occurred in the time of the exodus, but by the story of the exodus — the story as it was first remembered and repeated; the story as it assumed relatively fixed classical forms in different areas, in the North or South; the story as its multiple versions, written and oral, were compared, mutually «corrected,» and finally composed into the single, unified narrative that is before us now.

However, several scholars have suggested that mocked is not a later alteration, but what Mark originally wrote, I believe that Mark took mocked from Psalm 69:9; in his narrative of Jesus» death, Mark weaves together Psalms 22 and 69, as he does other Old Testament passages elsewhere in his Gospel.

For each one of us is an unfolding story, a narrative of daily and distinct episodes; but one without meaning or coherence if I can't connect my self - story of yesterday with that of today and with the continuation of it I will write tomorrow.

As dumb as the narrative of John Cena isn't on the WM card storyline is, to have that be the build up and to turn around and main event shits on your entire locker room and writing staff in kayfabe and real life.

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

Our August triumph over Roma at the Stadio Olimpico was written off by the majority as a fluke because of all the «episodes» that went our way in that match, while the series of encounters we've had against inferior opposition since then have all followed a not - too - dissimilar narrative.

But of course a book, even a political one, isn't like writing a speech or policy paper, it has to have a purpose, a compelling narrative, inside information and a dash of colour.

The order will unseal just the narrative statements written by cops on the more than 850,000 dismissed summonses — and not identifying information about the person it was issued to or the cop involved, which will be redacted, according to the ruling by Manhattan federal court Judge Robert Sweet.

For fiction, I can't remember enjoying anything more than Tolstoy's War and Peace, because it is so powerfully written — the characters, themes and narrative stand out.

But Sturm, senior scientist at the U.S. Army Corps of Engineers Cold Regions Research and Engineering Laboratory in Fairbanks, Alaska, had not done two things in his notable career: taken an outlandish trek to explore the human history of the North or written a narrative book.

«[I] n spite of his personal political commitment to openness,» the reviewers write, «Delfanti elegantly dismisses dominant narratives that portray open science (in particular, open biology) as an up - to - date version of the traditional Mertonian norms now endangered by corporate neoliberalism.

If you're not working the room like a Hollywood head - turner on the red carpet, you're probably writing a cinematic narrative in your head about all the ups and downs of your romantic life.

Creative nonfiction (also known as literary nonfiction or narrative nonfiction) is a genre of writing that uses literary styles and techniques to create Creativity isn't a big deal.

The other half sidesteps them and concentrates on scenes and relationships that breathe easily and draw us in the hard way: not by narrative fiat or bald calculation, but through well - written and shrewdly acted encounters.

Release: Friday, July 10, 2015 [Theater] Written by: Àlex and David Pastor Directed by: Tarsem Singh A talented cast can't save Self / less from selfishly wasting its potential on a narrative utterly disinterested in entertaining.

One can appreciate the stripped - down narrative and the homage to classic thrillers, but its woefully written script may not only lead viewers to stop watching halfway through, it may also leave them insulted.

Suffice to say they don't bring out the best in each other, but while Baumbach's dawdling narrative gradually runs out of fresh places to take their on - again - off - again courtship, the writing is shot through with gentle melancholy and compassion.

For all of director Claire Denis «traditional fragmented narratives and elliptical editing techniques, her Cannes entry this year, «Bastards,» has unsettled audiences even further, causing a fest reaction that we wrote «not so much divided as cleaved» down the middle.

The adaptation from James Sallis» book written by Oscar nominated writer Hossein Amini (The Wings of the Dove, 1997) is pitch perfect in pace and while the narrative isn't as wrapped up as tightly as one would hope, it's still an impressive feat for any writer.

Mark Neveldine and Brian Taylor (genre mechanics with a gift for narrative momentum but weak on story) write and produce but don't direct (Jimmy Hayward gets credit there), and this dull mess could really used some of their hairbrained excess just to make it interesting.

IFMCA member James Southall said that War for the Planet of the Apes was «not just the best film music [Giacchino has] ever written» but that «the manner of the score, the construction of the dramatic narrative, [and] the very deliberate emotional prods... make it stand out as a special achievement».

The Russos, aided by a script from Christopher Markus and Stephen McFeely (the writes of both previous Captain America films), have the unenviable task of corralling a mammoth cast (that recap paragraph didn't even have room to mention Paul Bettany's Vision, Jeremy Renner's Hawkeye, Paul Rudd's Ant - Man or the debuting Tom Holland, bringing Spider - Man into the main Marvel Cinematic Universe) and steering them through a twisty narrative chock full of multiple belligerents coming from all angles.

It feels as if this script was written on the go, or perhaps that writers simply weren't concerned with narrative structure or, indeed, providing any kind of moral.

While the film starts off with a promise, by mid-point the film ceases to exist as the dialogues are sort of campy and lazily written and the narrative doesn't much bother with logic or reason either.

While you could argue these descriptions fall into another common trope of dystopia narratives — sometimes called «But Not Too Foreign» — where characters in sci - fi or futuristic situations are often mixed race, it's explicit that they are not written as whiNot Too Foreign» — where characters in sci - fi or futuristic situations are often mixed race, it's explicit that they are not written as whinot written as white.

The writing duo's propensity for what Larry David might call a «stop «n» chat» undermines Soderbergh's chances of cranking the narrative up a gear.

Even though The A.V. Club's Mike D'Angelo gave it a lukewarm C + review at Cannes — «the movie ultimately doesn't have a narrative so much as it has a Message, and while Winding Refn doesn't actually go so far as to spell that Message out in big neon letters, he might as well have,» he writes — the arrival of a new...

Killer Joe, originally written for the stage in 1993, isn't Letts's most mature work but it has a barbed narrative hook: Up to his beady little eyeballs in debt, Lone Star state wastrel Chris (Emile Hirsch) contrives to have his mother killed for her life - insurance policy.

The writing on showcase here differs from most R - rated fare, not so reliant on pervasive profanity, gross - out humor / nudity, or joke - to - joke writing with no propelling narrative momentum once said joke ends.

Even though The A.V. Club's Mike D'Angelo gave it a lukewarm C + review at Cannes — «the movie ultimately doesn't have a narrative so much as it has a Message, and while Winding Refn doesn't actually go so far as to spell that Message out in big neon letters, he might as well have,» he writes — the arrival of a new Nicolas Winding Refn movie is still a movie - going event.