Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, (...) do princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)

Marguerite Duras is France's best-known and most controversial contemporary woman writer. Duras' influence extends from her early novels of the 1950's to her radically innovative experimental autobiographical text of the 1980's The Lover Leslie Hill's book throws new light on Duras' relationship to feminism, psychoanalysis, sexuality, literature, film, politics, and the media. Feted by Kristeva, and Laca who claimed her as almost his other self, Duras is revealed to be a profoundly transgressive thinker and artist. It will be a must (...) for all concerned with contemporary writing, writing by women, recent European cinema, film and literature. (shrink)

The article discusses the evolving image of female characters in the Mad Max saga directed by George Miller, focusing on Furiosa’s rebellion in the last film—Mad Max: Fury Road. Interestingly, studying Miller’s post-apocalyptic action films, we can observe the evolution of this post-apocalyptic vision from the male-dominated world with civilization collapsing into chaotic violence visualized in the previous series to a more hopeful future created by women in the last part of the saga: Mad Max: Fury Road. We (...) observe female heroes: the vengeful Furiosa, the protector of oppressed girls and sex slaves, the women of the separatist clan, and the wives of the warlord, who bring down the tyranny and create a new “green place.” It is worth emphasizing that the plot casts female solidarity in the central heroic role. In fact, the Mad Max saga emerges as a piece of socially engaged cinema preoccupied with the cultural context of gender discourse. Noticeably, media commentators, scholars and activists have suggested that Fury Road is a feminist film. (shrink)

An examination of how the Accelerationist imagination has failed in its deviation from Nick Land's radical metaphorics of an Artaudian and Bataille-esque signifying “economy without reserve” to a neo-Sovietised bureaucratic plan for the post-Anthropocene, per Benjamin Noys et al. Given a positivistic guise, futurology of the latter kind almost always masks a return of apocalyptic humanism. The fantasy of a species unified in solidarity, in full view of its techno-evolutionary obsolescence, seeks to magically transform the history of alienation into (...) some transcendental “means” of global post-production: but what this amounts to in fact is the phantasmatic extension of the Situationist spectacle into a “collective” dream of living on beyond a “global” extinction event which, in reality, will have been nothing but that of an ideology. (shrink)

The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences (...) between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and factors that cause the return of popularity of dystopian narratives to cinema. In addition, the social, political and philosophical orientation of the genre of dystopia is considered. В В В В The main conclusions of the study are the conclusion that cinema, thanks to its dynamic audiovisual nature, allows dystopia to reveal its potential as an exciting and entertaining genre, while provoking the viewer to critical reflections and actions. The author's special contribution lies in the fact that during the analysis it was possible to substantiate the statement that the vision of dystopian cinema and, accordingly, the content of films varies depending on events occurring in a certain historical period of time, which allows us to depict various characteristics of the post-apocalyptic world. The scientific novelty of the research consists in conducting a discussion about the historical background of the terms "apocalypse", "post-apocalypse" and "dystopia" within the framework of the new millennium and the events that occurred and influenced the whole world and its perception of a possible end. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far (...) includes the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Desire and Monstrosity in the Disaster Film:Alfred Hitchcock's The BirdsDavid Humbert (bio)The theme of the relationship between desire and violence appears regularly in modern film criticism, and studies of this issue range in theoretical orientation from the Lacanian to the feminist.1 Though René Girard's view of this relationship is also regularly mentioned in studies of film violence, it is often with less than full appreciation of the way in (...) which it contradicts central features of structuralist and psychoanalytic approaches to film, approaches that, until recently, have dominated film theory. Furthermore, cinema is mentioned only in passing by Girard himself, sometimes derogatorily, while Girardian studies of films and film makers are relatively few and far between.2 One of the yardsticks by which René Girard demonstrates the validity of his theory of violence is the degree to which it illuminates key aspects of great literature that previously remained unexplained or were passed over in silence. The fundamental concepts of the scapegoat, the double, the rival, and triangular desire can be shown to illuminate similar interpretive lacunae in a wide variety of films of many genres.Alfred Hitchcock's The Birds3 is a case in point. I intend to argue the relevance of the mimetic theory of violence to this film largely as Girard does [End Page 87] himself in relation to works of literature, and hence with no pretense to originality. The theory of the scapegoat and triangular desire persuades because of the particular way it brings to view, and explains, previously unnoticed features of Hitchcock's films, notably The Birds. One must bear in mind, however, that, previous to The Birds, Hitchcock produced a remarkable body of work that is consistently (some would say obsessively) built upon the cluster of themes that Girard identifies with the scapegoat problem. For those who are familiar only with Hitchcock's later, more sensational work, like Psycho4 and The Birds, it may come as a surprise to discover that the director earlier produced films like I Confess5 or The Wrong Man,6 or Vertigo,7 in which the suspense is largely psychological, and in which themes of faith, romantic obsession, or moral conflict take center stage. The Birds is a variation on the works of the 1950s, rather than a completely new point of departure. It is an apocalyptic crystallization of the themes that had always preoccupied Hitchcock.The Birds is perhaps the only film by Hitchcock that envisions total societal breakdown, a disaster of the proportions of a medieval plague. Generally, Hitchcock's films are set in stable, if modern and troubled, societies in which there are at least more or less unquestioned social and economic orders. Flaws in these social orders, however, are evident in the small-scale disasters that happen to individuals in many of Hitchcock's scenarios. The Wrong Man focuses on the story of Manny Balestreros, who is wrongly identified as a criminal and has his life destroyed by a morally blind justice system. In Rope, the practitioners of a nihilistic thrill-kill are shown to be symptomatic of a pervasive moral and intellectual vacuum in contemporary society. Both these films and others by Hitchcock underline the need for morality and social order to withstand the irrational tendencies of human nature. Psycho, in particular, stresses the ambivalence of man in modern civilization. Norman Bates, it seems, is both the product of and yet the immoveable obstacle to the drive for civilization and order.In contrast to these films, The Birds is a film in which civilizational disaster is abrupt, all-consuming, and catastrophic. For no reason, out of the blue, birds collectively mass to attack human beings. The film is nothing more, some would argue, than one more film in the "revenge of nature" genre. But the attack of the birds is not a response called forth by a moral transgression. It is not a reciprocal act of violence, as the "revenge of nature" mode of interpretation would imply. In fact, the very randomness, irrationality, and suddenness of the attack is the key to understanding the film. The preeminent question is, as Slavoj Žižek puts it, "the stupid and... (shrink)

This book takes Hollywood's disaster movies and their codified versions of natural disaster, post-apocalyptic survival, and extra-terrestrial threat as the starting point for an analytical trajectory toward new understandings of how cinema shapes and informs our conceptions of disaster and catastrophe. This book examines a range of films from distinct regional and industrial contexts: Hollywood, indie movies, different kinds of documentaries, and auteurist-realist cinema. Moving across and beyond critical and industrial categories that inform thinking about cinema, (...) it contends that different approaches to film style can push us to imagine disaster in distinct ways, with distinct ethical connotations. (shrink)

Apocalyptic AI, the hope that we might one day upload our minds into machines and live forever in cyberspace, has become commonplace. This view now affects robotics and AI funding, play in online games, and philosophical and theological conversations about morality and human dignity.

The essays in this book challenge prevailing views on the way in which apocalyptic concerns contributed to larger processes of social change at the first millennium. Several basic questions unify the essays: What chronological and theological assumptions underlay apocalyptic and millennial speculations around the Year 1000? How broadly disseminated were those speculations? Can we speak of a mentality of apocalyptic hopes and anxieties on the eve of the millennium? If so, how did authorities respond to or even (...) contribute to the formation of this mentality? What were the social ramifications of apocalyptic hopes and anxieties, and of any efforts to suppress or redirect the more radical impulses that bred them? How did contemporaries conceptualize and then historicize the passing of the millennial date of 1000? Including the work of British, French, German, Dutch, and American scholars, this book will be the definitive resource on this fascinating topic, and should at the same time provoke new interest in and debate on the nature and causes of social change in early medieval Europe. (shrink)

Thinking with, against, and after Ernst Käsemann’s appropriation of the biblical metaphor of eschatological birth pangs, this article seeks to reassess our understanding of what it means to be a theologian of the cross. It does so by way of a depiction of Paul’s apostolic practice as a social and embodied—and yet cruciform—mode of epiphanic manifestation. Thinking with Käsemann, it brings to the fore the significance of this apocalyptic understanding of apostolic practice for contemporary theological reflection at the interface (...) of biblical studies, philosophy, and ethics. Thinking against Käsemann, it demonstrates ways in which this reading of Paul enables us to address more effectively major criticisms of a theology of the cross and Pauline theology in general. Finally, thinking after Käsemann, it discusses the ways that this portrayal of Paul’s practice funds resources for reconfiguring theological education ‘after whiteness’. (shrink)

Apocalyptic themes in the Bible imaginatively address issues of perennial concern to communities of faith. Apocalyptic rhetoric has the potential to unmask forces that pretend to be benign, but are actually exploitative.

(2010). Apocalyptic Writing, Trauma and Community in IMRE Kertész's Fateless. Angelaki: Vol. 15, The Unbearable Charm of Fragility Philosophizing in/on Eastern Europe, pp. 87-98.

The apocalyptic character of the church's life definitively shapes Paul's language about households and kinship relations. God's adoption of Christians into this new household of faith disrupts and reorganizes existing family relationships.

In this paper, I examine the claim that Nietzsche was already mad (or on the verge of madness) when he wrote Ecce Homo, arguing that this assumption, not the book’s quasi-autobiographical style, has been the chief impediment to a serious philosophical consideration of the text. I briefly take up several recent treatments of the work that attempt to counter the claim of madness commonly made about it, noting that while each of them gives us a good partial rejoinder, they all (...) miss a crucial approach that helps make a great deal more sense of the text. Ecce Homo’s exceedingly bombastic claims, and much of its strange style, can be best explained by noticing Nietzsche’s incorporation of several traditional elements of Judeo-Christian apocalyptic narratives: a first-person narrative describing a revelatory disclosure (and the subsequent interpretation of that revelation); a cosmic dualism of forces (Dionysus and “the Crucified”) and radical eschatological worldview; and an exhortation to shift our cognitive and behavioral comportment to reflect the altered perspective on the world disclosed in that revelation. Thus construed, the text is no more a work of “madness” than the book of Revelation. It is, rather, the ironic appropriation and redeployment of a series of literary techniques and stylistic elements that highlight the importance of Nietzsche’s life and work as the destined surmounting of the (ostensibly) life-denying Christian worldview. (shrink)

In this paper, drawing upon Tosaka Jun’s response to Interwar debates on historicism and his account of everydayness, I offer an explanation for why contemporary secular apocalyptic claims lack convergence by focusing on the historical dimension of such claims. Everydayness, organized the routines of work and rest, is shown to be the basis for a sense of historical time, and theoretical journalism is outlined as the kind of collective epistemic procedure needed to produce a collective sense of a community’s (...) place in historical time. I defend the claim that the cause of starkly opposed responses to apocalyptic claims is due to qualitative differences in the work and rest that organize the everyday temporality. In the absence of a theoretical journalism, whether one subscribes to an apocalyptic claim will be contingent on heterogeneous personal circumstance. I conclude by outlining a limit case of indigenous post-apocalyptic claims under settler-colonialism. (shrink)

Resumen La experiencia religiosa y la experiencia política han subsistido, a pesar de que la Modernidad y de que nuestra época pretendió a menudo reducir lo político a un campo de relaciones técnicas y procedimientos administrativos. En este contexto es necesario formular la pregunta filosófica por el valor y legitimidad de la relación entre ambos campos en su versión contemporánea. En este artículo se indaga, en primer lugar, en la noción de legitimidad a partir de la obra de Schmitt, para (...) comprender los orígenes y la dependencia simbólica de la mencionada relación. Esta indagación mostrará una tensión entre dos experiencias: la expectativa de lo apocalíptico y la “administración” del tiempo, que atraviesa toda la reflexión teológica. En segundo lugar, se verá a partir de Voegelin el riesgo necesario que se corre en toda acción política. Finalmente, se mostrará a partir de Taubes y Metz cómo la tradición monoteísta de la memoria de la Ley y del sufrimiento postula el peso de una autoridad que permite un horizonte posible desde el cual juzgar y limitar los déficits de toda acción político-religiosa, y cómo se puede sostener la tensión entre ambas experiencias.Religious experience andpolitical experience have survived, despite the fact that Modernity and our age have often tried to reduce the political to a field of technical relations and administrative procedures. In this context, it is necessary to formulate the philosophical question about the value and legitimacy of the relationship between both fields in its contemporary version. This article investigates, firstly, the notion of legitimacy based on Schmitt's work, to understand the origins and symbolic dependence of the afore- mentioned relationship. This inquiry will show a tension between two experiences: the expectation of the apocalyptic and the “administration” of time, which runs through all theological reflection. Second, it will be seen from Voegelin the necessary risk that is run in all political action. Finally, it will be shown from Taubes and Metz how the monotheistic tradition of the memory of the Law and of suffering postulates the weight of an authority that allows a possible horigon from which to judge and limit the deficits of allpolitical-religious action, and how the tension between the two experiences can be sustained. (shrink)

One of the most noticeable features of the book of Revelation is the ubiquity of arithmetic in the text. In this article, I survey the arithmetical functions found in the text (not only numbers but functions such as multiplication and applied mathematics, such as measurements), and note some patterns in John’s use of numbers. Then the article explores precedents in the Hebrew Scriptures, Hellenistic culture (including astrology) and Jewish apocalyptic literature. I argue rhetorical criticism helps us identify what John (...) is trying to do with his apocalyptic arithmetic. I draw on theological analysis, literary analysis (particularly the “writerly” nature of the text with its missing pieces for the audience to fill in) and especially intertextuality to understand his rhetorical strategy. I discuss various numbers but focus especially on ten and two passages (Rev 14:20 and 12:1-6) as examples of John’s use of numbers and arithmetical functions. I conclude that John uses arithmetic to support his Christocentric narrative and worldview in addressing his Jewish and Greek audience. (shrink)

Prophecy fiction emerged around the turn of the nineteenth to the twentieth century. It is suggested in this article that, like modernist literature, it articulates a reaction to, and against, modernity, providing an alternative response to its fragmenting, decentering, and spiritually draining impact on traditional societies. In contrast to the mostly cerebral engagement of modernist fiction with religious experience recently argued for by Pericles Lewis, these texts are shown to retort affirmatively and exhortatively to the widespread crisis of faith of (...) their time with literary visions of scriptural apocalyptic prophecy. It is argued that prophecy fiction amalgamates utopian and apocalyptic elements in order to promote a specific imagined community and its spatial correlative. (shrink)

One of the widely known peculiarities of recent studies of the cultural heritage of Rus'-Ukraine is the noticeable tendency of a number of publications to merge, identify, and sometimes even to interchange various Old Slavic cultural traditions.

Mark 13 is famously known as the most challenging text in the entire Markan gospel. In Mark 13:7–8, the Markan Jesus foretells a tumultuous period marked by wars, rumours of wars, nations in conflict and natural hazards, aligning with common motifs in apocalyptic literature. The language vividly depicts a world in upheaval, emphasising cosmic and earthly disturbances as harbingers of climactic historical moments. The destruction of the temple, announced in Mark 13:2, is subject to both literal and symbolic interpretations, (...) with some associating it with the historical event of the Second Temple’s destruction in 70 CE and others perceiving it as a symbol of the end of an age. Approaching Mark 13 without being triggered by violent connotations is unthinkable. Hence, responsible interpretation is pivotal in addressing such potentially violent connotations, particularly considering contemporary world conflicts. Sensitivity, without compromising the truth of the message of Mark 13, is crucial when considering the text’s impact on war-torn communities. This applies both to a reading that simulates the possible intention of the text within the context in which the Gospel, according to Mark, originated and to a historically informed use of such a reading considering contemporary conflicts. This study aims to employ a historiographical hermeneutic as an investigative tool to contribute a plausible understanding of the present text and avoid utilising this text as proof to promote violence and wars today. Especially, when one considers the recent catastrophes: natural hazards, civil unrest and wars across the world. Some are quick to utilise the Olivet discourse to explain such gruesome activities.Contribution: This study contextualizes Mark 13 within the 1st century CE, focusing on the Second Temple’s destruction in 70 CE. It promotes a sensitive interpretation, avoiding justifications for contemporary violence, and highlights the text’s relevance by drawing parallels between its turmoil and current global conflicts, encouraging ethical reflection. (shrink)

In this volume, Elizabeth Phillips brings together scholarly essays on eschatology, ethics, and politics, as well as a selection of sermons preached in the chapels of the University of Cambridge arising from that scholarly work. These essays and sermons explore themes ranging from ethnography to Anabaptism and Christian Zionism to Afro-pessimism. Drawing on a wide range of authors from Flannery O'Conner and Herbert McCabe to James Cone and M. Shawn Copeland, this collection provides insight into the fields of Christian ethics (...) and political theology, as well as ethnography and homiletics. Phillips challenges theologians to interdisciplinarity in their work, and to keep historical and traditional sources in conversation with contemporary sources from critical and liberative perspectives. She challenges Christians to engage in apocalyptic practices which name and resist the false pretenses of the political status quo. And she challenges preachers to call their congregations to moral and political faithfulness, opening up possibilities beyond both the squeamish evasion of politics in some preaching traditions and the didactic political partisanship of others."--Publisher's website. (shrink)

This article argues that an apocalyptic interpretation of divine revelation provides the theological foundation for discerning the appropriate space for human life to thrive. This apocalyptic theological ethic is contrasted with that of end-time Christians who have supported Donald Trump as God’s chosen one and who joined the storming of the US Capitol on 6 January 2021. It contrasts five features of apocalyptic thinking for both groups: (1) expectation of the end of the world, (2) ethics, (3) (...) Christ, nation, and the first commandment (4) Christians and Jews, and (5) the cross. While the article seeks to give a fair description of the beliefs of end-time Christians, it argues that their beliefs have taken a heretical and dangerous turn. (shrink)

Perhaps for the first time in history, the turn of a millennium is directly reflected in philosophy-as an apocalyptic end of philosophy. Recently, an attempt to channel apocalyptic into messianic has been undertaken by Derrida in his Spectres of Marx. However, Derrida's endeavor does not relate directly to philosophy and thus does not alter its apocalyptic landscape. Considering the critical state of contemporary philosophy, it is unclear whether such an alteration can be performed in the West. A (...) radical reinterpretation appears to be much more probable when undertaken from an outside position. It may be that this is the case with the Philosophia Universalis developed by the Russian-American David Zilberman from classical Hindu philosophies and applied, as a new synthesis, to Western philosophy. Major ideas of the Philosophia Universalis as well as its principal results and achievements comprise the content of this presentation. (shrink)

Throughout the Cold War, we heard public cries that nuclear war would destroy us. Many citizens rejected the governmentally crafted myth of protection. They did not believe in the 1960s that a fallout shelter boom or in the 1980s that a star wars boom would protect them from the big boom. Instead, they thought the Big Boom would bring on global doom. Currently, we are hearing our initial post-Cold War version of the myth of protection. This time the star wars (...) fallacy is being repackaged as a missile defense system. Then, following the events of 11 September 2001, a further shift occurred. Now, we hear that the Office of Homeland Security will protect us from terrorists and from weapons of mass destruction, whether nuclear, chemical, or biological. (shrink)

This study examines the character and imagery of the apocalyptic visions of a rural evangelist in Korea at the end of the Second World War. Pak Tonggi, a charismatic figure who founded a millennarian movement called the Empire of Mount Sion, experienced five major visions which shaped both his ministry and his understanding of world history. This article examines these visions and compares them with the form and motifs of apocalyptic visions recorded in the Old and New Testaments. (...) While Pak’s visions owe much to the ethos of the Biblical visions, their precise content and imagery are seen to be very ‘local’. (shrink)

Conspiracist antisemitism was an integral part of national-socialist propaganda in Norway between 1940 and 1945. An imaginary entity called ‘International Jewry’ was represented as the sinister force behind phenomena such as Communism, liberalism, capitalism and cultural decadence. This article analyses the argumentation and functions of conspiracist antisemitism as it was disseminated by three journals in Nazi-occupied Norway: the Norwegian edition of the German antisemitic journal _Welt-Dienst_ (_Verdens-Tjenesten_), the weekly _Hirdmannen_ and the antisemitic periodical _Nationalt Tidsskrift_. While these publications represented history (...) and politics as an apocalyptic battle between the so-called Nordic-Germanic peoples and an alleged ‘Jewish conspiracy’, their argumentation differed in several aspects. Whereas _Verdens-tjenesten_ was first and foremost an anti-Jewish news agency, _Nationalt Tidsskrift_ and _Hirdmannen_ were more focused on attacking the Norwegian Jews directly. However, according to all three journals, the national-socialist revolution was an act of redemption, from Jews as well as from ‘Jewish ideas’. (shrink)

At that crucial moment in the Roman de la Rose when Faus Semblant and Astenance Contrainte set off in the guise of pilgrims to silence Male Bouche, Astenance Contrainte, disguised as a beguine, is compared to.

It is because God's action has become problematic that apocalyptic is such a burning theological issue ….

This essay proposes to extend the model of apocalyptic argument developedin my recent book Arguing the Apocalypse (O‘Leary, 1994) beyond the study ofreligious discourse, by applying this model to the debate over awell-publicized earthquake prediction that caused a widespread panic in theAmerican midwest in December, 1990. The first section of the essay willsummarize the essential elements of apocalyptic argument as I have earlierdefined them; the second section will apply the model to the case of the NewMadrid, Missouri, earthquake (...) prediction, in order to demonstrate thatcertain patterns of reasoning characteristic of religious apocalyptic arepresent in the discourse over an anticipated local disaster. My ultimatepurpose is to show that predictions of global and local catastrophe mayserve as extreme cases that will illuminate the dynamics of predictiveargument in general. Thus my argument will seek to undercut Daniel Bell‘sdistinction between prophecy and prediction (Bell, 1973) by establishingthat these discourses share identifiable formal and substantivecharacteristics, and depend for their rhetorical effect on anxiety, hope,far, and excitement as modes of temporal anticipation. (shrink)

Apocalypse, it seems, is everywhere. Preachers with vast followings proclaim the world's end and apocalyptic fears grip even the non-religious amid climate change, pandemics, and threats of nuclear war. But as these ideas pervade popular discourse, grasping their logic remains elusive. Ben Jones argues that we can gain insight into apocalyptic thought through secular thinkers. He starts with a puzzle: Why would secular thinkers draw on Christian apocalyptic beliefs--often dismissed as bizarre--to interpret politics? The apocalyptic tradition (...) proves appealing in part because it theorizes a special relation between crisis and utopia. Apocalyptic thought points to crisis as the vehicle to bring the previously impossible within reach, thus offering apparent resources for navigating challenges in ideal theory, which tries to imagine the best and most just society. By examining apocalyptic thought's appeal and risks, this study arrives at new insights on the limits of ideal theory and utopian hope. (shrink)

This important work by one of the most significant New Testament scholars of the modern period, now available in English for the first time, explores the significance of Christian apocalyptic for the church in times of conflict and crisis. Engaging with global social and political realities that are still very much with us, Ernst Käsemann offers a theological indictment of global white supremacy, capitalism, and militarism and passionately articulates an apocalyptic theology of liberation. The book includes a foreword (...) by James H. Cone and an introduction by Ry O. Siggelkow. (shrink)

The use of apocalyptic and post apocalyptic narratives to interpret the risk of environmental degradation and climate change has been criticized for too often making erroneous predictions on the basis of too little evidence, being ineffective to motivate change, leading to a discounting of present needs in the face of an exaggerated threat of impending catastrophe, and relying on a pre-modern, Judeo-Christian mode of constructing reality. Nevertheless, “Apocalypse,” whether understood in its technical sense as “revelation” or in its (...) popular sense as “end of the world as we know it,” remains a powerful way of creatively reimagining the world and of introducing questions of value and significance into discussions of climate change. (shrink)

Galatians is a clear witness to a basic conviction of Paul: the gospel is not about human movement into blessedness, but about God's liberating invasion of the cosmos. Christ's love enacted in the cross has the power to change the world because it is embodied in the new community of mutual service.

In their book, Relevance, Sperber and Wilson make an important contribution towards constructing a credible theory of this unforthcoming notion. All is not clear sailing, however. If it is accepted as a condition on the adequacy of any account of relevance that it not be derivable either that nothing is relevant to anything or that everything is relevant to everything, it can be shown that Sperber and Wilson come close to violating the condition.

Apocalypticism has been widely denounced as a framework that devalues the world and its history, funding moral dualism. While this is certainly true of many forms of apocalypticism, it is not an accurate understanding of ancient apocalyptic texts. This article establishes a framework of theological virtue ethics drawn particularly from Herbert McCabe, in which human rationality and Christian morality are understood as political, linguistic, narrative, bodily and sacramental. From within this framework, Anathea Portier-Young’s work is considered, relating early Jewish (...) apocalyptic to trauma theory and describing how these texts narrated socio-political catastrophe in order to open up possibilities of resistance and hope. These considerations point us towards a constructive understanding of apocalyptic imagination and praxis within a political, linguistic, narrative, bodily and sacramental framework. Contemporary employments of Afro-pessimism in Black theology, particularly in J. Kameron Carter, then interrogate the proposed apocalyptic imagination, asking whether Christian apocalyptic praxis can cultivate hope in the face of the catastrophe of modern racism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. 431 Cynthia Belmont and Angela Stroud Bugging Out: Apocalyptic Masculinity and Disaster Consumerism in Offgrid Magazine Popular conceptions of survivalism in the United States typically feature the eccentric, backwoods, working-class figures found in television shows such as Doomsday Preppers and Prepper Hillbillies. Offgrid magazine, which first hit the stands in the summer of 2013, however, sells a (...) compellingly bourgeois personal connection to disaster in the vein of men’s self-improvement literature, wherein successful masculinity requires courage, preparedness for calamity, and the resources to shop. Each issue of Offgrid focuses on a “real-life” survivalist or a singular catastrophic event that is dramatically represented on the cover by a self-sufficient man decked out in gear that will allow him to survive a crash landing, escape a city devastated by an earthquake, navigate the hazards of a hacker-created blackout, or evade the destruction of an erupting volcano.1 Filled with articles offering tips on how to prepare, self-defense strategies, profiles of survivalists, disaster scenarios, gear reviews, and advertisements, Offgrid mainstreams prepper culture by retooling the The authors contributed equally to this article; the order listed is alphabetical and should not be construed as implying differing contributions. 1. The terms “survivalist” and “prepper” apply to anyone committed to honing the skills and acquiring the resources required to survive in any context, including disasters, and are used interchangeably in Offgrid. 432 Cynthia Belmont and Angela Stroud face of apocalyptic survival as a regular-guy protagonist whose low-profile normalcy disguises the smoldering heroic potential that will ignite within him when disaster strikes. In this article, drawing upon insights from the sociology of masculinity, environmental feminism, and ecocriticism, we examine the representation of gender, nature, and disaster in issues of Offgrid, spanning nearly three years, from June 2015 through February 2018. While vivid depictions of cataclysm might seem provocative enough to captivate the Offgrid reader, we argue that its principal appeal is that it gives its ninety -one-percent male audience the opportunity to engage directly in what Casey Kelly terms “apocalyptic manhood,” an emergent version of American masculinity that “confirm[s] the necessity of masculine skills as society meets its demise.”2 Thus, Offgrid provides an occasion for readers to salvage a masculinity that feels perpetually threatened within contemporary American culture—a highly effective strategy in promoting the expansion of what we term disaster consumerism. We concur with ecofeminist Greta Gaard’s contention that “masculine gender identity has been constructed as so very antiecological, and thus its interrogation and transformation seem especially crucial” at this time of environmental crisis; this concern resonates particularly poignantly with regard to the apocalyptic imaginary.3 Marketing Disaster, Selling Masculinity Scholars have long argued that commercial media play an important role in circulating gender ideals that are “rooted in consumer capitalism wherein profit can be produced by generating insecurity about one’s body and one’s consumer choices.”4 Of course, despite their influence, advertisers do not create insecurities out of whole cloth; rather, they operate within the context of shifting gender discourses and cultural anxieties. Whereas the authors of a 2005 study found that alcohol ads portrayed men as affable losers who, rejected by strong women, 2. “2018 Recoil Offgrid Media Kit,” Recoil Offgrid; Casey Ryan Kelly, “The Man-pocalypse: Doomsday Preppers and the Rituals of Apocalyptic Manhood,” Text and Performance Quarterly 36, no. 2–3 (2016): 96. 3. Greta Gaard, Critical Ecofeminism (New York: Lexington Books, 2017), 167 (italics in original). 4. Susan M. Alexander, “Stylish Hard Bodies: Branded Masculinity in Men’s Health Magazine,” Sociological Perspectives 46, no. 4 (2003): 551. Cynthia Belmont and Angela Stroud 433 were driven to drink with their buddies, an analysis of Super Bowl commercials just five years later demonstrated that the tone had become “a simpler, angrier one [that was] crafted to galvanize men to buy.”5 The authors of the latter study suggest that the masculine aggression in the ads they analyzed reflects men’s economic insecurities, which advertisers exploit by encouraging men to feel nostalgic for and frustrated about their diminished power. Ads telling men to “wear the pants” and take a stand... (shrink)