Sentences with phrase «with narrative points»

Though marred by Spielberg's usual carelessness with narrative points, the film alternates sweetness and sarcasm with enough rhetorical sophistication to be fairly irresistible.

Not exact matches

But The Guardian came out with one or two data points and then created an entire narrative around that that was pure fiction.

You could pick any single data point that aligns with your current positioning and build your narrative around it to make yourself feel better about your investment stance.

Outfitting their teams, as well as those of sales, service, and support, with specifically designed customer, end - user, and buyer personas culled from the persona - based narrative to ensure customer understanding is the focal point.

Several others point to Berry's lack of attention to the good of politics, especially what co-editor Nathan Schlueter calls «formal mediating institutions,» and Schlueter himself comes closer than anyone to an outright rebuke of Berry for his disregard of «the original sin narrative, with all that it implies» in his pacifism.»

= > no fiction book ever says that I pointed out the text analysis that person did to juxtapose it with the authenticity of the biblical narrative.

He has propped up his narrative with some data that estimate the numbers of men in this category and their ages over the last hundred years, but data is not really the point here.

At some point in your life someone or some people you respect share their particular god narrative with you.

The obvious problem of dealing with such contrasts in the linear form of narrative can be alleviated by pointing out explicitly what sorts or contrasts are being integrated, so that even if readers lose sight of the particular information involved, they can still appreciate the aesthetic transformation of elements.

Hand you been a man, and engaged in keeping with your desire I would have expressed fear that the valid points made in the comment challenging the «feminist approach» had been overlooked and critiqued your deference to the dominant ideology with the victim narrative, challenging what you want to «urge» me to do.

See the answer above — I see the Genesis narratives as God graciously reaching down to an ancient culture in order to communicate to them that he is their creator, that they are alienated from him, and that he desires that they be restored to fellowship through his offer of covenant with him (ultimately pointing to the need for God to step into history himself as the One who can keep the covenant on our behalf).

Though narratives are often used to describe reality and to correspond as closely as possible with the reality that is being described, narratives can also serve to point to a new perspective or vision of reality, or they can point beyond the known to the unknown.

Burke recommends that the analysis of any written work should begin with the «principle of the concordance».21 The critic builds an index of significant terms: terms that recur in changing contexts, terms that occur at significant points in the narrative, terms that seem heavy with symbolic meaning.

Bartholomew points out that to return from that exile to our «native land» or «home»» to a state of implacement, in his preferred terminology» provides the narrative framework of the entire Old Testament, with sin constantly presenting an obstacle to that achievement.

Case in point: the previous season ended with Barney's surprise romantic Playbook play to win Robin's hand in marriage, resolving months» worth of dramatic irony about what he was doing with her coworker, and serving up the narrative fulfillment we'd all been waiting for.

His point was not that scriptural narrative contains no historical elements, but rather that the Bible's historical elements are always mixed with myth, saga and related forms of expression as vehicles of the Word.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

As has often been pointed out, the resurrection narratives in the gospels — like the infancy narratives — have the characteristics of myth, while the tradition in Luke and John that the first resurrection appearances were in Jerusalem can not satisfactorily be combined with the Galilee tradition of Mark and Matthew.

As with all lengthy biographies this one has some points of discontinuity where the description seems to get in the way of the overall narrative flow.

This is the point of the narratives: Yahweh is with David.

Once again our attention is called to the women who were with him and later led the early Church; more to the point, however, ordination as such does not exist in the Gospel narratives.

In a section on Lyotard in An Introductory Guide to PostStructuralism and Postmodernism, Madan Sarup points out how Lyotard explicitly contrasts scientific language, the language of verification and falsification, with narrative or story, «which certifies itself without having recourse to argumentation and proof.»

Mary stands, along with John the Baptist, at a unique point of intersection in the biblical narrative between the Old and the New Covenants.

He points out that «the rhetorical structure of this narrative is calculated to hold the reader within the tale and, from within the tale, to confront the reader with the possibility of believing in the resurrection.

The point is that both of these prophetic narratives, the one late and Southern, and the other older and out of the North, express prophetic disillusionment with the very course of prophetically inspired events.

The point of my post was not to drag up the whole Hillary vs Trump argument (with all of the tribal narratives)... it was to say that there is a greater - than - zero percentage of Trump's base that are flat - out racists... and some of them may also 1) like the Eagels and 2) post on this blog.

you have a point but what is frustrating is the endless embellishment on behalf of arsenal fans to suit there particular narrative of what is wrong or right with arsenal.

Eventually, and contrary to the traditional Warner Bros. narrative, the Canaries lost out to the Black Cats and were relegated with 33 points, two behind Sunderland, Wolverhampton Wanderers, and Brighton & Hove Albion.

there is some suggestion that wenger is backtracking on his fervent stance regarding what players would be staying at the club for the remainder of the season... some might deduce that this is all part of a much bigger, more elaborate plan... by shifting the blame wenger is attempting to, not so slyly, flip the narrative... by doing so he hopes to evoke empathy from his most ardent supporters, while attempting to rally any fence - sitters, whose faith was waning unless a more legitimate agent of blame emerges... unfortunately, and incredibly insulting to the fans, when wenger attempts to spin a tale and / or tries to eat his own words, he doesn't seem to play it all the way through in his head, so invariably gaping holes emerge... say we believed his version of the truth, would that not make him either an incredibly well - paid custodian of destruction or a spineless jellyfish because what manager worth his weight in salt would stay at a club that didn't give him final say after 20 years of supposed «success»... no matter the answer, neither bodes well for us... how ironic, in a way, since many pundits claim this team has lacked a «spine» for some years now... so whether we win, lose or draw on Sunday is frankly immaterial, as the problems will remain, and although it will be easier to digest if we left the Pool with 3 points, it might just be the worst result for the betterment of this club... a fact that both breaks my heart and baffles the mind

We absorb the narratives for each team, but those narratives sometimes end up with holes, and we sometimes forget to figure out how we got from Point A to Point B. And the narrative for 2016 Penn State seems to have neglected one important question.

I believe what you're saying is that one data point alone doesn't drive the narrative and that I agree with.

In games like Norwich, Swansea, Manchester United, Sunderland and Stoke both of these issues have been evident to varying degrees and this is playing into the idea of the second narrative: had we not hit the woodwork so much, had we not had lapses at the back, had we taken one or two more chances then Liverpool would be higher in the table, with a higher points count, and at the end of the day, that is the best barometer for a club, isn't it?

The way in which comedy was used being the primary area of the discussion for the panel with Paxton raising the point that whilst the plays written were usually comical they held a mirror up the patriarchal narrative of the era.

Whether this inconvenient truth will ever register with commentators hooked on the narrative that Cameron is in serious trouble with precisely those Tory members the party relies on to deliver its ground game is a moot point.

«Leaving after a second term with a list of accomplishments could prove beneficial to his narrative,» a Democratic legislative official said, referencing a «Seinfeld» character to make the point.

«We began with points of light in the sky, and with the application of new instrumentation, the physics breakthroughs of the last century, and computers, we took those points of light and turned them into a narrative of star life.

These points include for example the base of the throat, the inside of the wrists and the decollate, making the fragrance narrative both logical and utterly romantic with her code.

It's an incredibly unpleasant ten or so minutes to get through, and I wondered if I had accidentally wandered into a narrative adaptation of a Mike Cernovich book, all the way up to the point where a blushing blonde, impressed with Davis's handling of the gorillas, asks if they can discuss his «submission techniques» over drinks sometime.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

At a certain point, Parvana seems willing to share this parallel narrative with anyone who will listen, though the meandering fable isn't compelling enough in its own right, and really only serves to reveal the fate of her absent older brother.

The less - than - enthralling vibe is compounded by a narrative that is, to put it mildly, rather disjointed, with the almost total lack of an entry point holding the viewer at arms length for much of the movie's opening 45 minutes.

It's clear, however, that Snowden begins its slow - but - steady nosedive into mediocrity as it moves into its seriously repetitive midsection, as scripters Stone and Kieran Fitzgerald shift the focus to an intense emphasis on the minutia of the protagonist's top - secret work - with the narrative's structure, past a certain point, doggedly following Snowden as he moves from one assignment to the next.

As the film becomes confined to Georges and Anne's well - appointed apartment, we settle in for an observation of the day - to - day as Anne's condition worsens (that's the invasion of privacy referred to in my opener above), and the narrative takes its inevitable course — minor immobility but still - bright sentience giving way to paralysis, dementia, force - feeding, loss of bodily - function control, wailing and terrified / terrifying unrecognizability leading up to the point of the unbearable for both husband and wife — we are also treated to a kaleidoscopic view of this couple's comfort with each other, their familiarity, their annoyances, their casually brutal honesty, and their reflexive care for one another.

A brilliant work of popular art, it redefined nostalgia as a marketable commodity and established a new narrative style, with locale replacing plot, that has since been imitated to the point of ineffectiveness.

On a purely narrative level, however, the introduction of some of the villains feels somewhat awkward, as the film has to abandon its point - of - view close to Ruth to show what kind of people they are before they are set onto a collision course with Ruth and Tony, which doesn't quite feel organic.

And by allowing the viewer into the mind - set of each of the candidates with use of narrative voiceover Payne ensures all their deluded points of view are equally and hilariously represented.

And as unwieldy and imperfect as Polley's film can be, well, maybe that's the point, as the ungainly narrative is a lot like love and life, with few easy answers.

It's executed with empathy, but not to the point where The Keepers lets a foregone conclusion drive the narrative.

If the point is to spare no expense in attempting to make a flawless, fascinating premium cable narrative about a set of people — mostly men with enormous egos — who have extreme and often criminal problems in a glamorous period setting, then this is precisely what HBO has accomplished — again....

Perhaps the film's strongest narrative points involve Mosab's relationship with his father and Mosab's explanation that his allegiances remained with his imprisoned father all along.