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Artículos de revistas sobre el tema "Apocalypse"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 29 de julio de 2024

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1

Reynolds, Benjamin E. "The necessity of form and spatial content for defining “apocalypse” and “apocalyptic”". Journal for the Study of the Pseudepigrapha 33, n.º 3 (marzo de 2024): 187–97. http://dx.doi.org/10.1177/09518207231217237.

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The Semeia 14 definition of apocalypse defined apocalypses as a constellation of form, temporal content, and spatial content, but temporal content (particularly eschatological features) remains the dominant lens through which the genre of apocalypse and related texts are understood. Defining apocalypses primarily in terms of eschatology, however, narrows the definition of apocalypse and dismisses some texts that reflect non-eschatological features of apocalypses. Form and spatial content are often neglected in the examination of apocalypses and “apocalyptic” texts. When we pay attention to form and spatial content, along with temporal content, new horizons open for considering what may be considered apocalypse-like. Jubilees and the Gospel of John are presented as two examples of revelatory texts that reflect the form and spatial content of apocalypses.

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2

Bartos, Rafał. "Różnorodne formy apokalipsy w literaturze popularnej". Annales Missiologici Posnanienses 26 (30 de diciembre de 2021): 27–40. http://dx.doi.org/10.14746/amp.2021.26.2.

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The main objective of the paper is to discuss the theme of apocalypse and post-apocalypse used by popular literature creators. Four types of possible apocalypses will be analyzed and will be examinated, each with an example from literature. The sources of contemporary apocalypse and the consequences of introducing the theme into fantastic worlds will also be described. This theme is popular with creators and is also of great interest to the public, especially nowadays.

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3

Charlesworth, J. H. "The Jewish Roots of Christology: The Discovery of the Hypostatic Voice". Scottish Journal of Theology 39, n.º 1 (febrero de 1986): 19–41. http://dx.doi.org/10.1017/s0036930600044641.

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The Christian canon contains only two apocalypses: the Book of Daniel and the Apocalypse of John. Today no less than 19 apocalypses and closely related documents are gathered together in The Old Testament Pseudepigrapha (2 volumes; Garden City, New York, 1983–1985). In light of these apocalypses and apocalyptic writings new possibilities for interpreting the documents in the New Testament can be seen. Only one example can be chosen now; it is a significant one, revealing the indebtedness of the Apocalypse of John to the continuum of Jewish apocalyptic thought and clarifying the roots of Christology in Early Judaism.

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4

Emmerson, Richard Kenneth y Suzanne Lewis. "Census and Bibliography of Medieval Manuscripts Containing Apocalypse Illustrations, ca. 800–1500 III". Traditio 42 (1986): 443–72. http://dx.doi.org/10.1017/s0362152900004153.

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These pages conclude the Census and Bibliography of Medieval Manuscripts Containing Apocalypse Illustrations begun in Traditio 40 (1984) 337–379 and continued in Traditio 41 (1985) 367–409. They contain the descriptions of nine groups of manuscripts. Three of these groups comprise illustrated Apocalypses: Alexander Minorita Apocalypses (nos. 118–122), Later German Apocalypses (nos. 123–132), and Miscellaneous Apocalypses (133–137). The remaining six groups comprise manuscripts that, although not illustrated Apocalypses, contain five or more illustrations of the Apocalypse: Miscellaneous Bibles (nos. 138–145), Liber Floridus manuscripts (nos. 146–152), Moralized Bibles (nos. 153–158), Historiated Bibles (nos. 159–167), Books of Hours (nos. 168–170), and Miscellaneous Manuscripts (nos. 171–172) R. Emmerson would like to thank Peter Klein for his helpful suggestions. Recognizing that, despite our best efforts, this Census and Bibliography may include some errors and omissions, the authors would be grateful to receive corrections and additions for a future edition.

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5

Heim, Leah. "On Fungi, Future, and Feminism". Digital Literature Review 5 (13 de enero de 2018): 84–98. http://dx.doi.org/10.33043/dlr.5.0.84-98.

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This paper examines M.R. Carey’s fascinating zombie novel, The Girl with All the Gifts. While scholars question whether or not a female-oriented apocalypse narrative can exist, as thegenre is essentially rooted in imbalanced gender dynamics of ancient texts, this paper uses an ecofeminist critique to posit that the zombie apocalypse represented by Carey is a challenge toward the patriarchal values running rampant in the genre. This ecofeminist critique, while superficially offering a comforting message about female empowerment, actually offers a serious warning in regards to the insidious patriarchal structures that facilitate apocalypses.

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6

Jarraway, David. "Apocalypse without Apocalypse". Twentieth-Century Literature 52, n.º 2 (2006): 237–40. http://dx.doi.org/10.1215/0041462x-2006-3005.

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7

Ulmer, Rivka. "Apocalypticism in the Homiletic Text of Pesiqta Rabbati: Catastrophic Events at the End of Time". Journal for the Study of Judaism 50, n.º 1 (13 de febrero de 2019): 101–39. http://dx.doi.org/10.1163/15700631-12501225.

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AbstractThe rabbinic homiletic work Pesiqta Rabbati contains several apocalyptic topoi in its homilies that culminate in descriptions of divine intervention in history, total destruction followed by the messianic age at the end-of-time, and justice at the final judgment. Nevertheless, Pesiqta Rabbati does not present itself as an apocalypse, nor does it belong to the text-type “apocalypse.” It contains midrashic apocalypticism by interpreting scriptural passages, and relied on the existing language of apocalyptic sources to augment the midrashic statements. Previous scholarship relating to the apocalypse in Pesiqta Rabbati focused mainly on the apocalypses of 2 Baruch, Paralipomena Jeremiou, and 4 Ezra. However, 1 Enoch (Similitudes) and Ascension of Isaiah should also be considered as possible sources. The Revelation to John contains numerous suggestive parallels to Pesiqita Rabbati. The apocalyptic topics address predicaments in Israel’s past history and apply these to its present and future state.

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8

Bryant, Joseph M. "Apocalypse Then, Apocalypse Now?" Contemporary Sociology: A Journal of Reviews 42, n.º 4 (julio de 2013): 525–29. http://dx.doi.org/10.1177/0094306113491548a.

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9

Koning, Harro. "Adam’s Animal Farm: A Fresh Reading of the Anthropological-Hamartiological Framework of the Apocalypse of Moses". Zeitschrift für die neutestamentliche Wissenschaft 113, n.º 1 (1 de febrero de 2022): 122–55. http://dx.doi.org/10.1515/znw-2022-0006.

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Abstract A commonly recognized feature of the Apocalypse of Moses is its ethical-inferential orientation. However, the present article seeks to show that this does not just manifest itself in retrospective reflection, but is also exemplified narratologically in the attacks on Cain, Abel, and Seth. Far from being superfluous to the main narrative, these incidents provide us with a paradigm for understanding the Apocalypse’s anthropological-hamartiological framework in the post-paradisiacal world: The one who does what is good will send both devil and beast into flight, but the one who does not will be overcome by them. In order to substantiate this thesis, the article compares the Apocalypse to the works of Philo and the Testaments of the Twelve Patriarchs.

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10

Van Loon, Joost. "Apocalypse". Space and Culture 1, n.º 2 (agosto de 1997): 1–11. http://dx.doi.org/10.1177/120633120000100207.

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11

Morowitz, Harold J. "Apocalypse". Hospital Practice 30, n.º 3 (15 de marzo de 1995): 15–16. http://dx.doi.org/10.1080/21548331.1995.11443157.

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12

TORDAI, ZÁDOR. "APOCALYPSE SANS JUGEMENT. JUGEMENT SANS APOCALYPSE". Experiment 4, n.º 1 (1998): 90–106. http://dx.doi.org/10.1163/2211730x98x00098.

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13

Emerson, Matthew Y. "Old Testament Worldview and Early Christian Apocalypses". Bulletin for Biblical Research 33, n.º 1 (abril de 2023): 1–16. http://dx.doi.org/10.5325/bullbiblrese.33.1.0001.

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Abstract Simon Gathercole suggested at the 2015 meeting of the British New Testament Conference that what distinguishes the four canonical Gospels from apocryphal gospels is not primarily literary features, or even apostolicity per se, but apostolic content. This article makes a similar argument with respect to the book of Revelation and its relation to other early Christian apocalypses, namely that what distinguishes the canonical Apocalypse from others is its reliance on an Old Testament worldview.

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14

Remington, Megan R. y Julianna Kaye Smith. "The phallus in our stars: Sexual violence in the Animal Apocalypse". Journal for the Study of the Pseudepigrapha 32, n.º 1 (septiembre de 2022): 57–74. http://dx.doi.org/10.1177/09518207221115929.

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The Animal Apocalypse (1 En. 85–90) provides some of the most vivid imagery in Second Temple literature. In reference to the descent of the Watchers allegorized as stars, the narrative invokes the simile “they let out their phalluses like stallions” three times. Beyond the simile’s allusion to the oracle in Ezek 23:20, the stallion phallus remains largely unexplored. Our investigation demonstrates the associations of stallions with “aggressive virility” and foreignness based on the Hebrew Bible and contemporary Hellenistic and early Jewish literature. Moreover, we show the Animal Apocalypse’s innovative emphasis on the violent nature of the sexual acts, a feature absent in Gen 6 and the Book of Watchers, and argue for the episode’s contextualization with other early Jewish texts in which sexual violence is present. By spotlighting the stallion-phallused stars with their foreign genitalia, the Animal Apocalypse highlights anxieties surrounding communal boundary crossing and its violent repercussions.

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15

Jones, Angela. "Musical Apocalypse: Tom Waits’ Bone Machine". FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, n.º 05 (12 de diciembre de 2007): 1–16. http://dx.doi.org/10.2218/forum.05.586.

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Apocalypse derives from the Greek apocalypsis, meaning the act of uncovering, unveiling, or revelation. While the apocalyptic theme or genre continues to inform and inspire a number of different media and discourses into the twenty-first century, the representation of apocalypse within popular music remains a largely overlooked field of enquiry. Therefore in this paper I would like to discuss Tom Waits' 1992 CD, Bone Machine, as a popular musical rendition of the apocalyptic theme, in order to explore what the apocalyptic might sound like, were it to be rendered musically. To do so, I will be drawing on Jacques Derrida's essay "Of an Apocalyptic Tone Recently Adopted in Philosophy," in which he formulates an understanding of the apocalyptic as "tone": the "revelator of some unveiling in process." Like Derrida's apocalyptic tone, Bone Machine can be interpreted as registering an idea of the apocalyptic as process and movement, wherein the act of revelation is conceived as a continual, often turbulent and confusing, unveiling. This apocalyptic process is registered both through the album's production - wherein the sounds are continually being stripped back and built on to one another to form unstable, transient song structures - and through its vocal delivery - which foregrounds the way in which tone can subvert and destabilize the meaning of the lyrics. The result is an idea of apocalypse which is not simply an ending to a narrative trajectory, nor which relies on genre-specific imagery or themes, but rather which obscures as much as it reveals, always drawing attention back to itself as a revelatory gesture. Indeed, the apocalyptic tone destabilizes and undermines some of the dominant assumptions central to narrative-based understandings of apocalypse, and as such my analysis aims to foreground the ways in which Bone Machine enables an original and, at times, subversive musical perspective on what has proven to be a remarkably resilient cultural theme.

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16

Park, Jane Chi Hyun y Ta-wei Chi. "“Banal Apocalypse”". Screen Bodies 5, n.º 2 (1 de diciembre de 2020): 63–70. http://dx.doi.org/10.3167/screen.2020.050206.

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This interview is based on a series of email exchanges in November 2019 between Taiwanese writer and scholar Ta-wei Chi and Korean American scholar Jane Chi Hyun Park about Chi’s queer speculative novella, The Membranes. The first section provides a summary of the novella, which was recently translated into English by Ari Heinrich. The second section paints a picture in broad brush strokes of the contexts in which Chi wrote The Membranes — taking into consideration key cross-cultural influences and critical reception in Taiwan in the 1990s. It also examines the cultural and political relevance of Chi’s creative predictions about the future within the present historical moment. Finally, it explores afterlives for the novella in the form of sequels and possible cinematic adaptations.

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17

Fitzgerald, Faith T. "The Apocalypse". Annals of Internal Medicine 170, n.º 1 (1 de enero de 2019): 72. http://dx.doi.org/10.7326/m18-2353.

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18

Killian, Mark. "Apocalypse Now". Teaching Sociology 17, n.º 2 (abril de 1989): 263. http://dx.doi.org/10.2307/1317492.

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19

Wilner, Joshua. "Pitching Apocalypse". Essays in Romanticism 22, n.º 2 (octubre de 2015): 215–33. http://dx.doi.org/10.3828/eir.2015.22.2.9.

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20

Bünger, Iris. "Apocalypse Now?" PROKLA. Zeitschrift für kritische Sozialwissenschaft 31, n.º 125 (1 de diciembre de 2001): 603–24. http://dx.doi.org/10.32387/prokla.v31i125.725.

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The role played by the media in the construction of societal reality is both – determined by discourse and determines discourse. The media can be regarded as a kind of „magnifying glass” that collects information and focuses it for the masses. The reporting of the BILD-Zeitung, a leading figure in mass print media is analysed after the attacks on US-targets on September 11, 2001. The discursive strategy to define terror as war and to prepare the military counter attacks entailing „unlimited German Solidarity” is demonstrated by illumination of the argumentation strategies and collective symbolism.

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21

Stavrinaki, Maria. "Apocalypse primitive". Gradhiva, n.º 14 (30 de noviembre de 2011): 56–77. http://dx.doi.org/10.4000/gradhiva.2287.

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22

Lewis, Jon. "Apocalypse When?" Afterimage 17, n.º 7 (1 de febrero de 1990): 16–17. http://dx.doi.org/10.1525/aft.1990.17.7.16.

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23

Clark, Steve. "Apocalypse soon". Philosophers' Magazine, n.º 71 (2015): 37–43. http://dx.doi.org/10.5840/tpm201571100.

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24

le Poidevin, Robin. "The apocalypse". Philosophers' Magazine, n.º 72 (2016): 73–74. http://dx.doi.org/10.5840/tpm20167238.

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25

Debray, Régis. "Apocalypse now". Médium 35, n.º 2 (2013): 149. http://dx.doi.org/10.3917/mediu.035.0149.

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26

Bodde, Emerson R. "Quotidian Apocalypse?" Southwest Philosophy Review 38, n.º 1 (2022): 209–18. http://dx.doi.org/10.5840/swphilreview202238122.

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27

Flannery, Tim y Jean-Louis de Montesquiou. "Apocalypse méduses". Books N° 53, n.º 4 (1 de abril de 2014): 44–49. http://dx.doi.org/10.3917/books.053.0044.

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28

Testot, Laurent. "Apocalypse now ?" Les Grands Dossiers des Sciences Humaines N° 28, n.º 9 (1 de septiembre de 2012): 35. http://dx.doi.org/10.3917/gdsh.028.0035.

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29

Liu, Timothy. "An Apocalypse". Dialogue: A Journal of Mormon Thought 44, n.º 1 (1 de abril de 2011): 126. http://dx.doi.org/10.5406/dialjmormthou.44.1.0126.

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30

Allison, Graham. "Apocalypse Never". Foreign Affairs 83, n.º 5 (2004): 186. http://dx.doi.org/10.2307/20034127.

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31

Marcus, Richard L. y Peter H. Schuck. "Apocalypse Now?" Michigan Law Review 85, n.º 5/6 (abril de 1987): 1267. http://dx.doi.org/10.2307/1289055.

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32

Dreyer, Martin. "Apocalypse Then". Musical Times 137, n.º 1843 (septiembre de 1996): 34. http://dx.doi.org/10.2307/1004153.

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33

McCaughey, Mary. "London: Apocalypse". Circa, n.º 94 (2000): 59. http://dx.doi.org/10.2307/25563656.

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34

Cunningham, David y Alexandra Warwick. "Unnoticed apocalypse". City 17, n.º 4 (agosto de 2013): 433–48. http://dx.doi.org/10.1080/13604813.2013.812345.

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35

Malisa Kurtz. "Apocalypse Now". Science Fiction Studies 42, n.º 2 (2015): 373. http://dx.doi.org/10.5621/sciefictstud.42.2.0373.

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36

Norden, C. Christopher. "Beyond Apocalypse". Ecological Restoration 11, n.º 1 (1993): 45–51. http://dx.doi.org/10.3368/er.11.1.45.

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37

Collins, Thomas. "The Apocalypse". Incarnate Word 2, n.º 7 (2009): 251–70. http://dx.doi.org/10.5840/tiw2009271.

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38

Bryan-Brown, Christopher W. y Kathleen Dracup. "Apocalypse When?" American Journal of Critical Care 11, n.º 1 (1 de enero de 2002): 7–9. http://dx.doi.org/10.4037/ajcc2002.11.1.7.

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39

Weinstein, Michael. "Anti-Apocalypse". MFS Modern Fiction Studies 40, n.º 4 (1994): 919–21. http://dx.doi.org/10.1353/mfs.1994.0032.

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40

Ališanka, Eugenius y H. L. Hix. "Autumn Apocalypse". Iowa Review 27, n.º 2 (julio de 1997): 83. http://dx.doi.org/10.17077/0021-065x.4889.

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41

Jackson, J. C. "Apocalypse soon". Monthly Notices of the Royal Astronomical Society 296, n.º 3 (mayo de 1998): 619–21. http://dx.doi.org/10.1046/j.1365-8711.1998.01390.x.

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42

Roberts, J. "Wordsworth's Apocalypse". Literature and Theology 20, n.º 4 (30 de octubre de 2006): 361–78. http://dx.doi.org/10.1093/litthe/frl039.

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43

Irmer, Thomas. "Apocalypse Baal". Maska 30, n.º 175 (1 de noviembre de 2015): 104–13. http://dx.doi.org/10.1386/maska.30.175-176.104_1.

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Due to it being a subject of a judicial copyright dispute, Frank Castorf’s staging of Brecht’s Baal raises the question about what needs to be protected: copyright or theatre practice. Castorf’s stagings are known for their text montages and various shifts in space and time, which is what he did again in his latest performance, where he combined Brecht’s Baal with Francis Ford Coppola’s Apocalypse Now, concentrating a number of female figures into one and moving the action to theVietnam War. After the premiere, Brecht’s heiress, Barbara Brecht-Schall, procured an injunctionprohibiting the piece. This was her last public act: she died a few months later.

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44

Alpert, Mark. "Apocalypse Deferred". Scientific American 281, n.º 6 (diciembre de 1999): 30. http://dx.doi.org/10.1038/scientificamerican1299-30.

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45

Ackland, Len. "Iraq's apocalypse". Bulletin of the Atomic Scientists 47, n.º 4 (mayo de 1991): 2. http://dx.doi.org/10.1080/00963402.1991.11459964.

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46

Moore, Mike. "Apocalypse then". Bulletin of the Atomic Scientists 49, n.º 3 (abril de 1993): 2. http://dx.doi.org/10.1080/00963402.1993.11456321.

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47

Shermer, Michael. "Apocalypse AI". Scientific American 316, n.º 3 (14 de febrero de 2017): 77. http://dx.doi.org/10.1038/scientificamerican0317-77.

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48

Diet, Emmanuel. "Apocalypse now…". Connexions 107, n.º 1 (2017): 17. http://dx.doi.org/10.3917/cnx.107.0017.

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49

Grindrod, Kelly. "Antibiotic Apocalypse". Canadian Pharmacists Journal / Revue des Pharmaciens du Canada 149, n.º 1 (enero de 2016): 8. http://dx.doi.org/10.1177/1715163515618909.

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50

Liu, Hin-Yan, Kristian Lauta y Matthijs Maas. "Apocalypse Now?" Journal of International Humanitarian Legal Studies 11, n.º 2 (9 de diciembre de 2020): 295–310. http://dx.doi.org/10.1163/18781527-01102004.

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Abstract This paper explores the ongoing Covid-19 pandemic through the framework of existential risks – a class of extreme risks that threaten the entire future of humanity. In doing so, we tease out three lessons: (1) possible reasons underlying the limits and shortfalls of international law, international institutions and other actors which Covid-19 has revealed, and what they reveal about the resilience or fragility of institutional frameworks in the face of existential risks; (2) using Covid-19 to test and refine our prior ‘Boring Apocalypses’ model for understanding the interplay of hazards, vulnerabilities and exposures in facilitating a particular disaster, or magnifying its effects; and (3) to extrapolate some possible futures for existential risk scholarship and governance.

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