Sentences with phrase «point suggests a narrative»

This still point suggests a narrative, a before and after, an event that might, or can, or did happen.

Not exact matches

The above summary suggests that a large part of the motivation that Paul reveals in his narrative up to this point centers in his repudiation of his former way of life.26 The opposition between his old life and the new is patterned after the opposition between human and divine authority seen in vv.

My point is that a close reading suggests a multiplicity of ideas and beliefs that we are priviliged to witness while it's under construction, the Jerusalem controversy being one good example.Furthermore, the fact that we're able to understand that each of the synoptics significantly differ from each other and we can observe contrast and similiarity between them and John's gospel, as well as Paul's letters suggests a process that speaks loudly of how religious narrative develops in communities that seek the meaning of the «core events».

We should begin to see at what point the notion of God's design — as may be suggested in different ways in each instance, it is true, by narrative, prophetic, and prescriptive discourse — is removed from any transcription in terms of a plan or program; in short, of finality and teleology.

My point is that rather than look for the most correctly indoctrinated, we shld appreciate the heart that is correctly turned toward the good, regardless of the doctrines they may confess.We don't know the doctrines of the Roman Centurion or if he even had any, but the story suggests his heart and will were in the right place.I don't read that Jesus took credit for it.Don't let the Pauline «sub-narrative» blind you to the «grand narrative.»

The New Testament suggests that existence does have a narrative quality, and that comic renewal is a possibility at points within the stream of history itself.

This point suggests that well before the year 50 at least the Passion Narrative (Mark 14:15 and parallels) was told as a continuous story.

Alice Lovejoy suggests that Coppola's film focuses on «isolated points that crystallize the traveler's narrative of transience» (p. 11).

The frustrating lack of narrative resolution which signals further instalments suggests a greater emphasis on comic book excess may well be on the cards; the tracks this sequel lays hardly point to a return to the first film's economy.

Earlier points in the trailer suggest Dutch may not have the full backing of the female outlaw, or Bill Williamson, and it seems likely a main narrative thread could revolve around Morgan's efforts to keep Dutch's gang together in spite of his partner's increasing paranoia.

The narratives are underdeveloped and unsatisfying to a point that suggests laziness.

As it turns out, the refugees are even more peripheral, almost invisible (including the Moroccan household staff members) to the film's narrative, which suggests Happy End is pointing a wagging finger at the entirety of white, privileged Europe, a continent engaged in her own foolhardy, manipulative dramas, happily ambivalent to anything beyond the safety and convenience of self - imposed blinders.

Earlier points in the trailer suggest Dutch may not have the full backing of the female outlaw, or Bill Williamson, and it seems likely a main narrative thread could revolve around Morgan's efforts to keep Dutch's gang together in spite of his partner's increasing paranoia.

Loss of functionality is thus added to the proximity or combination of disparate elements, resulting in compositions that suggest an incomplete, non-linear narrative of sorts that allows for countless points of entry and exit, as if each object corresponded to a simultaneously familiar and undecipherable language.»

Exposure to these works — with which many Chinese artists might be familiar only in reproduction or online — is seen by Tinari as a means of fostering creative dialogue between the two artistic traditions and diminishing the «time - lag» that hindered domestic art for so long after the Reform and Opening Up period that followed Mao's death in 1976, traditionally taken as the «starting point» of contemporary Chinese art (Tinari concedes that this is a useful marker, but suggests that a new generation of art historians should «complicate» such simplified narratives).

Rosalind Krauss (writing in 1979, a period in contemporary art in which the grid was at its most prevalent) said, «In suggesting that the success of the grid is somehow connected to its structure as myth, I may of course be accused of stretching a point beyond the limits of common sense, since all myths are stories and like all narratives they unravel through time, whereas grids are not only spatial to start with, they are visual structures that explicitly reject a narrative or sequential reading of any kind.»

These examples of uses of zombie texts suggest possibilities within the established curriculum, distilling lessons and discussion points relative to doctrines and procedures from a popular literary narrative.