Sentences with phrase «person narrative voice»

Jacob, The Unbearable Lightness of Being uses a first person narrative voice that provides continuing tangential analysis and commentary, while at the same time creating memorable characters in a story that's dramatic almost in spite of itself.

Not exact matches

Dylan projects a narrative voice into his work, so that there is a thin line, and much ambiguity, between first - person confession andsui generis invention.

Please help us get our voices heard to counteract the false narrative that young people don't want healthy food in our schools!

Quid showed that while the media narrative was focused on corporate control and Washington corruption, people were talking about fairness, diversity of public voices and what it means to be American.

He introduces us to people facing radically altered senses of identity: an Alzheimer's patient whose life narrative erodes relentlessly; a woman whose schizophrenic world is filled with voices; a man who feels he must amputate his leg to feel whole.

Promoting a radical new therapy, they liken the diseases to the torture endured by prison camp inmates and encourage victims, with the aid of first - person narratives, to resist the voice of their inner dictator.

Every other character — Li - zhen's philandering boss, Chow's happy - go - lucky friend, the nosy landlady («Young wives shouldn't stay out so late — people will start to wonder»)-- is a satellite, and the husband and wife go almost unseen, their offscreen voices used as rhythmic punctuations in a movie that feels less like a narrative than a beautifully drawn - out musical improvisation — Wong Kar - wai's «Blue in Green.»

As I traced the narratives and delved for the particulars of person and place, I listened for the patterns, the themes, the collective voice.

As the show's editor, Cory was its narrative custodian: story architect, correction czar, copy writer and polisher, guardian of the show's «voice,» and the person by the phone when the hosts had an emergency question.

Presentations at the NCTE Conference were about narrative as a way of fostering student engagement and motivation, narrative as a way to understand other people's cultures or environments, narrative as a way to create student voice, narrative as a spur to innovative thinking, narrative as a way to learn any academic discipline, narrative as a form of persuasion, narrative as a way to create personal meaning and new knowledge, narrative as an impetus for social change, narrative as a way to inspire creativity, narrative as the beginning of inquiry, narrative as an expression of imagination, narrative as a reflection on one's own process of learning, and narrative as the basis of collaboration among those with multiple perspectives.

The awards that Bologna Children's Book Fair gives to publishers, authors and illustrators are some of the most coveted international prizes in the publishing world — for excellence in graphic style, innovative format, artistic strength, balance, and with voice and narrative for young people to engage in.

The narrative is told in a robust first - person voice, with flashbacks, flash - forwards, and out - of - body reports on her immediate surroundings as Mia is transported, in grave condition, to the hospital.

The book opens in the grand tradition of coming - of - age novels distinguished by their hypnotic, first - person narrators, but while the voice of British teenager Holly Sykes can hold its own with those of Holden Caulfield or John Green's Hazel Grace Lancaster, it is merely the opening salvo in this multivoiced, harmonically layered narrative symphony that stretches — with occasional sojourns far back in time — from the 1980s, when Holly runs away from home, into the 2040s, when she is attempting to cope with an oil - depleted world descending into chaos.

The first - person narrative is quiet, with a haunting rhythmic voice and no sensationalism.

With a distinctive narrative voice that relies heavily on the rhythms of the vernacular, her stories unflinchingly capture the experiences of ordinary people — often, but not always, women — as they shuffle through life, at once pushing against and accepting what fate has dealt them.

In a third - person plural narrative voice that perfectly embodies the brutal and wistful communities he portrays, Lee tells the mythic story of young, small, yet mighty Fan, a breath - held diver preternaturally at home among the farmed fish she tends to.

She switches the narrative to Anwar (told in the first person), a mysterious character she alludes to periodically until he is given a voice to tell his story.

These original first - person narratives come from the most exciting voices in fiction.

Even the voice - acting, characters and the narrative are actually okay (well, except a really odd, forced moment at the beginning involving a friend signing you up on your phone to a website filled with videos of people dying).

After a slew of mysterious voice messages, and not much direction as to what was truly going on or if there was even a narrative to follow; Hotline Miami took away the mindless, disturbing and guilty pleasure of destroying pixelated people and turned it into a nerve - wracking moment.

There's some fun to be had, stomping around in a giant mech, blasting away at everything that crosses your path but, unfortunately, it is lost in a mire of horrible narrative, ugly models, excruciating dialogue and often laughable voice acting, while the on foot third person shooter aspects are almost inexcusable.

The postcards will be shown in an interactive sound environment, a collaboration with Joel Mercedes, constructed from the recorded narratives of former enslaved people archived in the Library of Congress's «Voices from the Days of Slavery.»

At Hammonds House Museum in Atlanta, Weems's photographic series From Here I Saw What Happened and I Cried, along with selected works and her 2016 film People of A Darker Hue, demonstrates the artist's strength as a storyteller, and as a powerful voice against racism, white nationalism, and the white - washed narrative of our country.

In a recent episode of his absorbing podcast, «Revisionist History,» cultural critic Malcolm Gladwell interrogates a statue modeled after a news photograph of a confrontation in 1963 between a police officer with a dog and a young black boy in Birmingham, Alabama.1 Made by African American sculptor Dr. Ronald McDowell, The Foot Soldier (1995) is far more horrific than the photo, Gladwell convincingly argues, because it bears an added imaginative potency: the narrative is told by a traditionally silenced voice, and for Gladwell this «is just what happens when the people on the bottom finally get the power to tell the story their way.»

In her works she gives perfectly ordinary people a voice — documenting private narratives, examining family constructs and exploring the boundaries between the private and the public.

With two thousand fifteen, artist Mark Geffriaud (FR, 1977) revisits some of the formal and narrative characteristics of this literary text — an anonymous, detached voice speaking in the second person; the closed - off, almost metaphysical space where the story unfolds — and deploys them to further his own research into the phenomenon of time in cinema.

Working toward a series of videos, performances, and a toolkit that reframes personal narratives of imprisonment, we insert counter narratives told through first person voice into the dominant media discourse, which commonly alienates and criminalizes black and brown bodies.

Inconsistent voice: «1st Person and 3rd Person: Resumes that see - saw between narrative and wrongly include a 3rd person narrative are reason for concern.&Person and 3rd Person: Resumes that see - saw between narrative and wrongly include a 3rd person narrative are reason for concern.&Person: Resumes that see - saw between narrative and wrongly include a 3rd person narrative are reason for concern.&person narrative are reason for concern.»