Sentence examples for possibilities of narrative from inspiring English sources

Its shape shifting speaks to the possibilities of narrative, the various ways that a lived reality, or an emotional truth, can be represented.

They are even, perhaps, the timeliest features of his work today, when possibilities of narrative and illustration preoccupy more and more artists in mediums from painting to comics to performance.

McClatchy's last poem for The New Yorker, "My Plot," published in the January 22 , 2018 issue, hinges on the title's double meaning, using the idea of the cemetery plot to both mourn and celebrate the confinements and possibilities of narrative contrivance, and of mortality itself.

But it wasn't always so, back when dial-up ruled the web artist Mark Amerika was experimenting with this new (but painfully slow to load) digital world, writing pioneering hypertext novels and exploring the possibilities of narrative art in the information age.

This is reflected in much of his work, not least in the manipulated, cast figures which populated his sculpted environments - at the Tate there are men looking out into emptiness as they lean on balconies (a recurrent image), card players in the shadows, games with the possibility of narrative and emotion, enigmatic moments frozen in space and time.

The Last of Us, Bioshock: Infinite and The Walking Dead are all fascinating, brilliant games that do interesting things with the possibilities of interactive narrative storytelling – they present rich and detailed visions of wildly dystopian futures.

For minds that are habituated to thinking of living in terms of its possibilities of representation – narrative, poetic, pictorial, photographic – space is more than just the barren grounds in which daily life and daily work happen be.

Mitchell's pyrotechnics are never less than interesting, but they are often less than satisfying; giddy with the fantastical possibilities of his narrative, he sometimes forgets his responsibility to his readers.

Just as Joyce, in the late scene in which Bloom and Dedalus finally sit down together, explored the possibilities of a narrative driven by interrogation, so Mitchell does with his ruthlessly grilled "fabricant," Sonmi-451.

The choice of a lean orchestral texture (just two violins, cello and organ for most of the movements), the possibility of a narrative structure rejected in favour of a reflective, almost hypnotic sequence of movements, seems a million miles away from the theatricality and virtuosic orchestrations of Bach's passions.

Other novelists say film work has given them a different sense of narrative possibilities.