Sentences with phrase «presented as a narrative»

Each match is presented as a narrative - oriented sidequest.

Open is a practice of landscaping, whether text presented as object, object presented as narrative, narrative presented as body, or body presented as consciousness.

Not exact matches

«I manipulated images, captioned them with a fictional narrative, and presented them as real life.»

Narratives have long been an interpretative component of the social sciences as a way of presenting as well as recasting research findings.

Along with the pomp and circumstance that will drape the Legislature as Lieutenant Governor Lois Mitchell reads the throne speech on March 2, 2017, the government will present its narrative for the upcoming session of the Assembly.

Communities should be given interpretive leeway to construct triumphalist narratives for themselves, as long as they present the facts correctly.

With Pearl Jam 20 he's a fabulist, and insofar as he continues the narrative that rock will save the world or yourself, he is a fabulist in a way that presents illusions that are untrue.

As far as the bears, we're not talking about the present time, we're talking about the OT narrativAs far as the bears, we're not talking about the present time, we're talking about the OT narrativas the bears, we're not talking about the present time, we're talking about the OT narrative.

Though this schema remains, in much reduced form, in the present volume, Hopewell found the central image, the body, unsatisfactory as a conveyance for his essentially structuralist arguments about congregational narrative.

Placker presents an appreciative summary of Hans Frei's understanding of biblical narrative as neither moral teachings nor historical accounts, but rather as primarily narrative.

The second important episode in the present arrangement of the narratives, following immediately upon the account of, Abraham's call, response and consequent journey to Canaan, shows the great Patriarch, who has just acted with exemplary faith, behaving as if the divine promise had never occurred at all.

It is precisely this ability of narrative not merely to order the past but to run ahead of the present, to give us an expectation, which is the presupposition for the new to be recognized as new, as the surprise that changes the plot, or what Aristotle called the peripety, the unexpected change in fortune.

In the present volume there are repeated and sometimes moving narratives of a sense of «coming home» upon joining the homosexual community, much as Cardinal Newman and other converts have written about «coming home» when they joined the Roman Catholic Church.

Since I am working from a collection of Jesus» sayings, I have to abstain from the narrative part of his biography, the stories of his birth, healings, Holy Week, and Easter, for, as we will see, they are not in the Sayings Gospel Q at all, or at most, present in a very indirect way.

And the gospel narratives about the resurrection of Jesus portray a «body» which was indeed very strange — a «body» which in one sense is presented as quasi-physical, to be sure, but, which also can appear without movement from place to place, a «body» which bears the marks of his passion, but which is not exactly the same as the body which hung upon the cross.

In the narrative, just as in the kerygma, we are confronted with paradox: exaltation in humiliation, life in death, the kingdom of God in the present evil aeon, the eschatological in history.

B. W. Bacon wrote: «The present narrative is as certainly earlier than the elaborations of Matthew, Luke and John, as it is certainly later than the series of visions in Cor.

Let us set down three observations: (a) Mark 15:40 - 16:8 possesses several features which divide it so sharply from the Passion narrative that it could hardly have been the natural continuation of that in the stage of oral tradition, (b) this pericope, however, could not have existed in its present form as an independent tradition, (c) the pericope itself falls naturally into two parts, the first of which can exist as an independent story, but the second of which can not, for it depends upon the first.

We owe the Red Sea story in its present form to them, as well as the narratives of the conquest of Canaan, particularly the story of the fall of Jericho.

Narrative materials, on the other hand, such as are found in the Synoptic Gospels, present more of the historical account.

Unfortunately narrative theology has been frequently presented as a sense of relief at being delivered from Enlightenment modes of historicity, without attention to the dynamic, positive act of reconstitution.

Faith is the memory of all of the ways in which God has acted to relativize the world and transform it — a memory which is illumined throughout by the narrative of Jesus, which warns us against establishing even our relation to that narrative as absolute and which opens us to transformation in the present by the new that now comes.14

The present form of the narrative has certainly in some measure been shaped by Israel's annual celebration of the Sinai Covenant, as each year the making of Covenant was re-enacted, and the structure of the Covenant itself renewed.

This oral tradition formed the basis or main body of the evangelic tradition up to but not including the passion narrative; it was the common knowledge of Jesus as it circulated in Palestine during, and soon after, the lifetime of Jesus — «the report that spread all over Jewish Palestine, as you yourselves know, beginning in Galilee after «the baptism» which John preached» and continuing down to the present.

being accounted for by its position in the present narrative as addressed to the high priest.

Kuhn reaches the point of recognizing the gospels as kerygma, i.e. as proclamations of Jesus the Messiah in his significance for faith; but whereas the later Protestant view was that the kerygmatic element was in the service of a post-Easter view of Jesus as risen Lord, read back into the narratives by the later community, Kuhn's view is that this element was present in the tradition from the very beginning, part of the gospel before the gospels, part of the message of the apostles from the very first days, part of the very fabric of the ministry of Jesus itself.

In the present chapter, I have argued that idiom is primarily conveyed in story form, as the parish apprehends its corporate experience and as its members communicate their common life and draw resources from the narrative structures of the world.

Thus, through its narrative character, experience contains the sense of both before and after as well as the distinctions among past, present, and future, enabling us to comprehend our persistence through time.

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.

Although I've found it very cathartic to speak, vent and end occasionally rant about all things Arsenal, we need to act carefully and intelligently right now or we're going to get played by this club even worse than at present... the pro-Wengerites and the suits, who represent a considerable proportion of the season ticket holders, don't want to believe that there is no plan and that Wenger has mailed it in for several years now or that things are going to get much worse before they get better... why would they... many have spent a considerable sum buying some of the highest priced tickets in the World... they want to have a front row seat to see something special and to be seen doing so, which simply provides ample justification for the expense and the time invested... to many of them, Wenger is the sun in their soccer universe... his awkward disposition, misplaced arrogance and his utter lack of balls makes him a rather unusual cult figure, but the cerebral narrative seemed to embolden those who already felt pretty highly of themselves... many might not even of really liked football that much before his arrival and rarely games they weren't attending... as such, they desperately believe that Wenger, and only Wenger, can supply them with their required fix... if he goes, they were wrong and that's a tough pill to swallow... they would have to admit that they were duped... they will definitely resent whoever made them feel this way, but of course it will be too late by then... so when we go overboard with ridiculous comments bordering of anarchy, it scares the shit out of them and they shift their blame towards us rather than at those who really perpetrated this act of treason... we aren't the enemy... we simply woke much earlier and the reason our comments have gotten more vile in recent years is out of utter frustration... in order for any real change to occur at this club we need to bring as many supporters as possible with us or the big money interests will fade and our ultimate objective will be lost... so it's time to focus on the head instead of the heart for now

What follows is in many ways a detective narrative that darts between past and present, East and West, taking in an exploration of capitalism, freedom and human rights as well as the similarities and differences between the two superpowers whose names form the play's title.

The day unfolded as a series of public declarations from the governor and Mayor de Blasio presenting alternative narratives about who was doing the most for public housing tenants.

«As a postdoc, I was very much wedded to a specific research project,» she says, because she was focused on developing a research narrative to present in faculty job interviews.

So he sexes up his narrative by presenting it as a battle between the «short, professorial looking» Emanuel, a «nuanced and sophisticated» man who talks in complete sentences, and the obdurate William Gray of Colorado State University, «a towering figure of American hurricane science,» who has for many years produced remarkably accurate forecasts of the upcoming Atlantic hurricane season and who repeatedly and loudly denies — in congressional hearings and everywhere else — that humans have any role in climate change.

It's not the end of romance, but it is the end of delusion, projection, and assumptions as we cut through our expanding narrative and bring our attention back to our breath, our body, our present experience.

In similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparrow.

Six years later she presented another narrative to the world — herself as the survivor of a far darker story.

As a satire of the media and its craven consumers, I, Tonya sprays its moral tirades and stylistic flourishes like buckshot, but after introducing the present - day, faux - documentary conceit that constantly warps and interrupts the proceedings, its narrative begins in the mold of an underdog sports story, with a young Tonya (Mckenna Grace) discovering a love for the ice between days spent chopping wood and reckoning with her parents» divorce.

As the narrative weaves back and forth between the 1980s, and present day, we come to learn how 30 - year - old Katie (Amanda Seyfried) battles the demons that stemmed from her troubled childhood and simultaneously watch how Jake fights to hold on to the thing he loves most — his daughter, at the cost of his fortune, sanity, and ultimately even his own life.

Even more impressive, however, is Fessenden's ability to mix the objective with the subjective in the narrative, presenting his horror film as a very literal expression of a child coming to terms with the ugliness of adulthood.

Denis» exploration of the colonial narrative presents us with three particular «bodies» or subjectivities (or rather «subjectivities - in - between» as defined by Alison Butler (3) affected by the colonial process: Maria (the coloniser), the Boxer (the colonised played by Isaach De Bankolé) and Manuel, Maria's son played by Nicolas Duvauchelle.

«Point Blank is about as close as a mainstream narrative movie can get to not having a present tense.

As Catherine struggles to cope with the heartbreak of her father's recent suicide and the subsequent loss of her boyfriend, the narrative slips between summers past and present with surreal fluidity, echoing Catherine's increasingly weak grasp on dull concepts such as time and memorAs Catherine struggles to cope with the heartbreak of her father's recent suicide and the subsequent loss of her boyfriend, the narrative slips between summers past and present with surreal fluidity, echoing Catherine's increasingly weak grasp on dull concepts such as time and memoras time and memory.

The film's time structure is splintered into shards of past and present, which is probably just as well — a strictly narrative chronology would make this wallow seem even sloggier.

Presenting Maud so anonymously has clear narrative intent behind it — the film solidly upholds the value of any one person's contribution to a societal effort — but that anonymity sometimes comes off as indifference.

As the narrative weaves back and forth between the 1980s, and present day, we come to learn how 30 - year - old Katie battles the demons that stemmed from her troubled childhood and simultaneously watch how Jake fights to hold on to the thing he loves most — his daughter, at the cost of his fortune, sanity, and ultimately even his own life.

The dark matters category is established for films easily detected as horror, thrillers, or narratives with dark themes present.

The only emotional resonance comes with the closing credits, as photos and archival footage of the real - life Line Found are presented and we are reminded of the tragedy that should have permeated Sean McNamara's cheesy narrative.

Wong's story is continual and the narrative as dependent on the context of the present as of the past.

Caleb's conversations with Ava are presented as discrete narrative sections, titled like chapters in a book (though the claustrophobic setting will inevitably remind viewers of another classic of shut - in psychodrama, Stanley Kubrick's film of «The Shining»).