Sentences with phrase «which character speaks»

When presented with the latter scenario, you must select which character speaks.

Street Fighter IV will feature both English and Japanese tracks, even allowing players the choice of which character speaks which language, so you could have a Japanese - speaking Ryu squaring off against an English - speaking Ken.

The dialect in which the characters speak (peppered with frequent profanity; this R - rated film has no nudity, no sexual depiction, no physical violence and is rated R solely on account of its language, and possibly its themes) presents an arguably contemporary portrait of what would conventionally be called a bad alliance / marriage.

«Ivanov,» Anton Chekhov's first produced play, can be hard to love, with its maddening titular protagonist in the throes of depression and the discursive, repetitive ways in which the characters speak.

Pierre Bismuth screens The Jungle Book Project, an adaptation of Disney's animated classic from 1967, in which the characters speak in 19 different languages taken from the different language versions of the original film.

Not exact matches

For example, in his days as an undergraduate at Oxford Waugh's fellow student Harold Acton used a megaphone to shout out lines from T. S. Eliot's The Waste Land from an open window of his upper - storey college suite and was later thrown into a fountain by some drunken students in the middle of the night; while another student, Brian Howard, spoke with a stutter and gossiped his head off: all of which got fused in the character of Anthony Blanche in Brideshead Revisited.

Thus, while strictly speaking, the conjunction of a contingent statement — that oppression is real — with a metaphysically necessary statement — that God is G - of - A — yields what is technically another contingent statement — that God is G - of - O; there is a certain undeniable ineluctability about the truth that if oppression is real, then God can not fail to be G - of - O, which compels me to indicate its ineluctable character by saying that it is «restrictive yet necessary» (and here necessary does not mean metaphysical necessity).

But his answer diverges in two ways: (i) In speaking of «lateral tensions» as having some influence on what each natural moment passes on to later moments, Santayana is in conflict with Whitehead's view that in its process of becoming an actual occasion is causally quite detached from its contemporaries, and operates privately upon the past occasions which have entered into it in order to produce that over-all character which it will pass on to later occasions.

The principle is that in regard to the presentation of subjective aims, God has to «speak» to each actual occasion in its own «language,» that is, at its own level, in a manner harmonious with the character of the sort of data which are in general operative in the aesthetic synthesis which is the concrescence of the actual occasion in question.

The Corporeal Nature of Freedom and its Sphere Before speaking of the existence of freedom and in freedom something will have to be said about the specifically human creatureliness of freedom which will clarify the dialectical character of our relation to our own and other people's freedom.

It was a great shock to liberal Protestant theology of the turn of the century when men like Albert Schweitzer (1875 - 1965) and Johannes Weiss (1863 - 19I4) drew attention to the eschatological character of the New Testament and made it clear that Jesus, his apostles, and the early churches, all lived and spoke in a thought - world which, in important respects, is completely foreign to us.

There is much which points to the fact that even when the exaltation of Jesus came to be spoken of in terms of resurrection, the grounds for this conviction were still of an ambiguous character, and open to more than one interpretation.

Women journal writing has become a genre of its own in the 20th century, but I can not imagine that O'Connor speaking to herself in diary form could give a reader any more insight into her character than O'Connor in dialogue, which is, essentially, what these letters present.

Careful reading of Book Z of the Metaphysics, to be sure, makes clear that there are at least two conceptions of substantial form in Aristotle's philosophy: one more Platonic in character whereby the form possesses its own substantial unity and communicates that unity to the material elements (stoicheia) from the outside, so to speak; the other apparently originating with Aristotle himself according to which the substantial form comes into being as it unifies the elements into an organic whole (cf. TKT 67 - 120).

Also, the main character constantly speaks in «poems» which I found quite annoying.

To develop this procedure, Gregory commented upon a powerful metaphor from Ezekiel, who spoke of first digging at a wall until there appeared a door, through which he then went in where he beheld the «abominations,» the hoary characters, the fantasies of deceit.

What they would understand rather is that their act does not contain the properties that mark the character of a lie - which is to say, an act of speaking falsely for the sake of deceiving another, and inflicting a harm without justification.

He refers to its apocalyptic character, which means that it is a cosmic statement — it speaks of the beginning of the end of the world, it validates Jesus» life and preaching, and it establishes Jesus as a reliable revelation of God.

Twenty years earlier, the same university's brochure had spoken of Catholicism, of Pius XI's depiction of the Christian Catholic character, and of endowment «with the redemptive merits of Christ which we call grace or supernatural life.»

Even when we speak of «conceiving» an individual or «having a concept of» an individual, we are conceiving that individual in terms of the universals which determine its definiteness or character.

Today, rightly or wrongly, helpfulness in general human affairs is, in consequence of one of those secular mutations in moral sentiment of which I spoke, deemed an essential element of worth in character; and to be of some public or private use is also reckoned as a species of divine service.

But when he speaks of «the creative advance into novelty,» you have to give it some character by which it is an active transfer of properties.

Similarly, the problematic «undeveloped ideality» which, strictly speaking, could for Bradley only be a character of thought, can now be determinately specified as the process of objectification and concrescence itself.

He does speak of the chalice as the compendii poculum, 33 which may allude to the recapitulatory character of the Eucharist as a sacrifice.

Hasty and aggressive protest (ie Wenger Out banners, booing, character assassination) is the equivalent of the bloodshed of which you speak, eg French revolution, which always ends up with a new and often worse monarchal structure than before.

«Patrick's ability, vision and the respect in which he is held by everyone who works with him, speaks volumes for his character and capacity to succeed.

Anya uses her manners and is very polite when speaking to the player which is perfect when teaching your children character building.

As we've said here before, 140 characters is a lot of room in which to stick a foot in one's mouth, though I bet the Senator's supporters wouldn't actually see this one as a gaffe — to them, it's speaking truth to power (and note that Grassley's even featured his feed jokingly in a campaign video).

He was universally admired by Democrats and Republicans, which speaks volumes about his character,» Flanagan said.

So he's stonewalling, which doesn't speak particularly well for his character.

Take a look at Twitter, which allows just 140 characters to speak your piece.

From then on, he decided to only speak in sound bites, which translates very well to twitter's 140 character thing.

The following day I got plenty of sleep and woke up had a much better day and I had a huge five page scene which I have to speak on my own because my character does, and it was like it was all there.

A commentary featuring producer Jeremy Thomas and Ben Kingsley is your usual run - of - the - mill back - patting session, though the pair does intermittently provide deeper insight into the making of the film, and it's admittedly fascinating to hear the soft - spoken and eloquent Kingsley articulate the process by which he gave life to Don Logan while he observes the sheer cruelty of the character on screen.

Using a looped - over approach to the sound, only rarely do we actually see the characters speak the words we hear, which contributes to a fractured, dreamlike tone, a kind of black - magic - realism (imagine an anti- «Beasts of the Southern Wild» designed not to inspire wonder, but stomach - churning dread).

«Coco,» which has the twists and turns of the kind of black - and - white melodramas Ernesto starred in, is in some respects as old - fashioned a story as they come about the close bonds of family; the many zestily - drawn characters speak entertainingly to the push and pull of tradition within that bubble and across generations.

But in the rare moments in which these characters actually do speak to one another (always when louder sounds are drowning out their voices), the things they say are so basic and obvious that one wonders whether they actually know each other at all.

Speaking of which, there's more to each pack than just characters, including additional potential costumes.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

The two leads create a beautiful screen chemistry together that goes beyond character or lusty performance, and speaks to the overarching female experience — which comes down to emotional containment, and the constant expectation of silence.

Emma Thompson, Ralph Fiennes and Tom Holland will provide their voices to some of the animals to which Downey's title character will speak.

Wandering around a purgatorial asylum, interacting with characters both visible and invisible, Ventura speaks in repeated riddles which become more lucid and more complex as the movie goes on.

he shouts at the curb, the line typical of a movie in which characters self - identify more reflexively than Pokémon but never manage to hear themselves speak.

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

Ash is noted for having some of the most sentimentally romantic poetry (with some hints of misogyny, which don't seem to go together, but that's what the scholars say), and yet in real life, his character is barely on speaking terms with his wife Ellen (Holly Aird), not to mention the fact that they aren't physical intimate in any respect.

While others did not make the connection to the Star Wars film, they spoke very highly of crossover film, which will see characters from Guardians of the Galaxy, Doctor Strange, and Black Panther folded into the Avengers fold.

This version, which has been available only in some video editions, has longer stretches during which the Austrian characters speak in German without subtitles as well as better pacing throughout.

Her character speaks very little and is perfectly foiled against her aunt Wanda (performed with equal brilliance by Agata Kulesza), which gives Pawlikowski and his cameramen Ryszard Lenczewski and Lukasz Zal all the time in the world to focus on Trzebuchowska's ethereal presence.

The main character of the film is Dave Stoller, a kooky up - and - coming cyclist who has been driving his livid father absolutely bonkers with his crazy antics, which includes his need to speak and listen to anything Italian, since he admires the Italian cyclists so much.

The character of Ootek mostly just flashes a big grin (which illustrates the lack of dentistry in the wild) and an all - knowing headshake, in spite of the fact that he doesn't speak English.