Quotes About Narratives

If it's just me on stage telling stories for, like, an hour, that's great. That's fine. But like a sandcastle on the beach, it gets washed away at night. It's so much more powerful if we can all share our narratives and doorstep moments and make us feel a little less alone. I'm just trying to use social media and new media as a way to capture that.

We need to both appreciate and engage leaders and thinkers who are involved in decolonial work, but it is not enough to let them shoulder the burden on their own. Those who occupy a place in centers of power must join in the anticolonial task of examining institutional practices, challenging hurtful and oppressive structures, and interrogating narratives of exclusion and superiority.

Unlike the tens of thousands of emigrants who were still enslaved and the hundreds of thousands of African Americans who remained in bondage in the new United States, a handful of free black émigrés left written accounts of their personal adventures.

I've read Flowers in the Attic and The Other Side of Midnight and Go Ask Alice and I don't want to read any more books where the girl dies in the end.

Actors sure have stories. We always have stories. At the end of our careers, all we have to take with us is our stories, and we have many of them.

As a woman, a lot of stories haven't been told and we've got a lot of catching up to do.

Our vision is to break the projects into stories that must be told, stories that we would like to tell and stories that people go to movies for. If we can find great scripts that fit these three categories, we will go out and make a movie.

As much as it's really important, obviously, as a woman in the industry to be choosing the stories which represent women, you also have to keep an eye on the male side.

Black writers seldom get the opportunity to write superhero stories.

Usually superheroes with all their powers and action-driven narratives are supposed to appeal to boys and men more than women; and as an extension of that, it is a given that the creators of these characters are primarily men.

Like every Canadian, I have been taught that one of the most important functions of art is to supply and elaborate the myths and narratives of nationhood.

Oftentimes, as women and women of color, we are put as supporting characters in other people's narratives. With 'Jessica James', she is the star of her own narrative.

I suppose I do have an interest in stories that show complexity.

But now, I think I have found a corner, a groove of what kind of stories I want to be part of and what type of characters I want to play. I have a soft corner for damaged people or those who are not supposedly quintessentially perfect but have the instincts to be protective.

Just as Renaissance artists provided narratives for the era they lived in, so do I. I'm always looking beyond the surface. I've done that ever since I first picked up a camera.

ESPN is the exact network Deadspin desired. It's diverse on its surface, progressive in its point of view, and more concerned with spinning media narratives than with the quality of its product.

Digression is my passion. I'm not kidding. I love telling the main stories, but in some ways, what I love most is using those narratives as a way of stringing together the interesting stories that people have kind of forgotten and that are kind of surprising.

'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

Think about that for a moment—being raped is four times more psychologically disturbing than going off to a war and being shot at and blown up. And because there are currently no enduring cultural narratives that allow women to look upon their survival as somehow heroic or honorable, the potential for enduring damage is even greater.

If libraries hold all the stories that have been told, there are ghost libraries of all the stories that have not. The ghosts outnumber the books by some unimaginably vast sum. Even those who have been audible have often earned the privlage through strategic silences or the inability to hear certain voices, including their own.

The future is dark, which is the best thing the future can be, I think. It's an extraordinary declaration, asserting that the unknown need not be turned into the known through false divination or the projection of grim political or ideological narratives; it's a celebration of darkness, willing – as that "I think" indicates—to be uncertain even about its own assertion.

Luke means that Jesus is the new David, the King of the Jews, placed on God's throne to rule over the Promised Land. Simply put, the infancy narratives in the gospels are not historical accounts, nor were they meant to be read as such. They are theological affirmations of Jesus's status as the anointed of God. The descendant of King David. The promised messiah.

By the time these stories were written, six decades had passed since the crucifixion. In that time, the evangelists had heard just about every conceivable objection to the resurrection, and they were able to create narratives to counter each and every one of them.

Simply put, the infancy narratives in the gospels are not historical accounts, nor were they meant to be read as such. They are theological affirmations of Jesus's status as the anointed of God. The descendant of King David. The promised messiah.