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1
Dulanto, Andrea. "Apocalypse girls". FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3097.
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Apocalypse Girls is a memoir of adolescence set during 1985-1989 in Miami, Florida. The narrator's Peruvian-Argentine background places her at odds between the cultures of her parents, and los Americanos. She also deals with religious authoritarianism at Catholic school, and the controlling figure of her mother. The narrator represses a memory of a physically and emotionally abusive childhood, but the effects of abuse manifest as depression in her adolescence. Despite these conflicts, she struggles for identity by developing close friendships with other young women. Against her parents' restrictive ideas on gender, and the dictates of Catholic school, she finds liberation in peer influence through alcohol and sexual experimentation with boys. But this leaves her fragmented. She gradually locates some cohesiveness of self as she becomes aware of her sexual and emotional attraction to women.
2
Holmes, Michael M. (Michael Morgan). "John Donne's Apocalypse". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60624.
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This thesis explores John Donne's vision of the Apocalypse as revealed by his religious poetry and prose. Donne believed himself to be alive in the last age of the world; however, he rejected historicist interpretations of the Apocalypse. Instead, he located the conflict with sin and death within the individual soul. Donne was concerned to create an image of the sinful soul restored to unity with the divine through its own exertions and by God's grace, free from social and political constraints. The Apocalypse presented Donne with a paradigm of unity which he appropriated in order to represent the interconnexion of God and humankind, as well as to situate himself within a present unfolding of ultimate conformity. Knowledge of the role of the Apocalypse in Donne's self-presentation, provides an awareness of the extent to which Donne understood himself to be an active participant in the fulfilment of the Providential design.
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Ismail, Mahomed Sayed. "The Apocalypse Syndrome". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/12500.
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Human, Charles. "Apocalypse now now". Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/10698.
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Baxter Zevcenko is your average 16-year-old-boy. If by average you mean a possible serial killer, the kingpin of a porn-peddling schoolyard syndicate and the only thing standing in the way of full-scale gang warfare between the two powerful gangs which control Westridge High School. Which may well be what counts for average these days.
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Metz, Alexander Johan. "Meaning in Apocalypse". Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1590800369838626.
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Bill, Frederic. "The apocalypse of entrepreneurship /". Växjö : Växjö University Press, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-883.
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Moscoso, Jennifer. "Cookie VS. The Apocalypse". Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/69.
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Shellrude, Glen M. "Nag Hammadi apocalypses : a study of the relationship of selected texts to the traditional Apocalypse". Thesis, University of St Andrews, 1986. http://hdl.handle.net/10023/2649.
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Approximately sixteen texts in the Nag Hammadi codices can be classified as apocalypses. The principal concern of this study is to determine whether the genre of a selection of these Gnostic apocalypses was based on the traditional apocalypses (Jewish and Christian). In the first two chapters a new definition of the apocalypse is proposed and developed in relation to the Jewish and early Christian apocalypses. This definition states that an apocalypse is essentially a literary work structured around a first person narrative account of a mediated revelation. Chapters three to five are devoted to a study of those Gnostic texts that recount revelations which the risen Christ is supposed to have given his disciples. After a study of the literature itself (chapter 3), there is a critique of Rudolph's hypothesis that the genre was based on Graeco-Roman dialogue genres (chapter 4). The fifth chapter sets forth and examines the two most probable ways to account for the genre of this literature: 1. the genre could have been based on the traditional apocalypse; 2. it is possible that the genre was created on the basis of post-passion traditions and was not directly modelled on any antecedent genre. In chapters six and seven it is argued that there is sufficient evidence to establish that the authors of Apocalypse of Peter (VII, 3) and the Apocalypse of Paul (V, 2) based their genres on the traditional apocalypse. The final chapter is devoted to a study of The Apocalypse of Adam (V, 5). This text contains elements characteristic of two traditional genres--the testament and the apocalypse. However in its present form ApocAd must be classified as a testament rather than an apocalypse. The last part of this chapter sets forth new evidence which establishes that ApocAd originated in Gnostic circles which had been influenced by Christian and Christian Gnostic traditions.
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Woodland, Malcolm. "Wallace Stevens, versions of apocalypse". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ28085.pdf.
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Poole, Kevin Ray. "Visualizing apocalypse image and narration in the tenth-century Gerona Beatus Commentary on the apocalypse /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1153502367.
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Nilsson, Måns, i Christoffer Oveby. "Survival in the Retail Apocalypse : A qualitative study about surviving the retail apocalypse as a retailer". Thesis, Högskolan Kristianstad, Fakulteten för ekonomi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-20828.
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The retail apocalypse has a significant impact on the retail sector as we know it. The retail apocalypse is the reason for a harsh economic climate for physical retail stores throughout the world. The purpose of this study was to examine how sales personnel in retail stores can act as a competitive advantage when facing the retail apocalypse. Furthermore, a retail store chain in the electronic retail sector in Sweden named Kjell & Company has managed to become well established on the Swedish market and is steadily expanding and ignoring the fact of the retail apocalypse. In this study, relevant concepts have been reviewed to gain an understanding of the interaction between customers and sales personnel. The literature review covered six concepts that were used to create a model that could explain what influences a customer's overall satisfaction when interacting with a salesperson. The model is divided into two sections. The first section consists of the following concepts hard skills, soft skills, customer orientation and customer satisfaction and aimed to examine what is important for customers when interacting with a salesperson. The second part examined how service orientation can create loyalty by providing after-sales support, which should, in the end, lead to retail patronage. The model was used to understand how sales personnel can act as a competitive advantage in stores where sales overthe-counter are taking place. Interestingly the results indicated that the concepts are indeed crucial for retailers that conduct sales over-the-counter since this selling strategy often forces interaction between customer and salesperson.
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Wang, Mimi Cheng-Yin. "The global commons : tragedy or apocalypse? /". Title page, abstract and contents only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arw2461.pdf.
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Everett, Alan Neil. "J.G. Ballard : the flight through apocalypse". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307200.
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Kuo, Yiwen Viviane. "Albrecht Duret's apocalypse as self-revelation". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298656338.
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Zanon, Irene <1984>. "The alchemical Apocalypse of Isaac Newton". Doctoral thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3022.
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An analysis of Newton’s main life events and works highlights how his scientific commitment has always been followed by a living interest for theology, Biblical exegesis and alchemy. Chiefly due to a late re-discovery of a great bulk of Newtonian manuscripts, scholars have been able to enquire into the true nature of these documents. Yet nothing has been said about a possible influence of alchemical knowledge over Newton’s Biblical exegesis. One of the main goals of this Ph.D. thesis of mine is to suggest some possible hypotheses about the interaction between Newton’s alchemical mind and his millenarianism. A key role in the development of my criticism will be played by the analysis of some previously unpublished manuscripts gathered in the Yahuda Collection (Jewish National and University Library of Jerusalem).
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Kollaja, Joshua. "Oneness the nature of a cyborg apocalypse /". Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1950196431&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Mood, Steven C. "The use of colors in the Apocalypse". Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
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Mohsenzadeh, Yassaman. "A minor apocalypse : theorising the pregnant body". Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244352.
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Gay, Meg. "Monumental apocalypse cycles of the fourteenth century". Thesis, University of York, 1999. http://etheses.whiterose.ac.uk/9799/.
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Sacks, Michelle Tamara. "Apocalypse and elegy in contemporary american fiction". Thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6724.
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In this dissertation, the use of apocalypse and elegy in contemporary American literature has been explored in an attempt to draw some conclusions about America's complex twenty-first century consciousness. I have selected the millennial novels of Joyce Carol Oates (Blonde), Don DeLillo (Underworld), and Philip Roth (American Pastoral), since all three, written at the century's end, are at once apocalyptic and elegiac in tone, and comprise a useful trilogy tor giving voice to the fracturedness of the American experience. My analysis of the texts traces apocalyptic moments in the novels -- moments of destruction and rebirth, endings, new beginnings, and great revelations -- against some of the most turbulent and often despairing twentieth-century events, in an attempt to show the connection between public and private history. While contemporary apocalypse diners from its biblical origins, the desire for regeneration and renewal persists despite its necessary deferment -- and, even, failure. Yet the apocalyptic impulse persists, and it is this determined future-looking and repeated self-reinvention that I discuss. In terms of the elegy, I argue that the overwhelming sense of loss and mourning that permeates the novels is reflective of a much larger national sense of disillusionment and disappointment at the failure of the American Dream and the dissolution of the America conceived of in the imagination of its first European settlers. While the traditional elegy moves towards consolation, the contemporary elegy often denies the mourner such release from grief. Consequently, in the contemporary novels discussed, consolation is to be found elsewhere. Indeed, I conclude that despite the melancholia of novels that deal so intensely with death, suffering, and tragedy, the act of writing an apocalyptic novel -- of presenting an image of the apocalypse, even if not an apocalypse that gives way to rebirth -- is itself an act of hope, and a call for change.
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Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists". UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.
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“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’
My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.
22
Paulsen-Reed, Amy Elizabeth. "The Origins of the Apocalypse of Abraham". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:27194248.
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The Apocalypse of Abraham, a pseudepigraphon only extant in a fourteenth century Old Church Slavonic manuscript, has not received much attention from scholars of Ancient Judaism, due in part to a lack of readily available information regarding the history and transmission of the Slavonic Pseudepigrapha. This dissertation examines the historical context of these works with the aim of assessing the probability that they contain ancient Jewish material. The rest of the dissertation is focused on the Apocalypse of Abraham specifically, discussing its date and provenance, original language, probability that it comes from Essene circles, textual unity, and Christian interpolations. This includes treatments of the issue of free will, determinism, and predestination in the Apocalypse of Abraham as well as the methodological complexities in trying to distinguish between early Jewish and Christian works. It also provides an in-depth comparison of the Apocalypse of Abraham with 4 Ezra and 2 Baruch and takes up the question of the social setting for these texts based on relevant precedents set by recent scholars of midrash who seek to probe the “socio-cultural and historical situatedness” of midrashic texts. This discussion includes a survey of parallels between the content of the Apocalypse of Abraham and rabbinic literature to support the argument that a sharp distinction between apocalyptic ideas and what later became rabbinic tradition did not exist in the time between 70 and 135 C.E. Overall, this dissertation argues that the Apocalypse of Abraham is an early Jewish document written during the decades following the destruction of the Second Temple. While seeking to warn its readers of the dangers of idolatry in light of the apocalyptic judgment still to come, it also provides sustained exegesis of Genesis 15, which gives cohesion to the entire document.
23
Haller, Stephen F. "Apocalypse soon?, wagering on warnings of global catastrophe". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0020/NQ27455.pdf.
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Boxall, Ian Kieran. "Patmos in the reception history of the Apocalypse". Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550503.
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This thesis undertakes a reception-historical study of Patmos within the wider reception history of the Apocalypse. Whilst most recent critical commentaries pay relatively scant attention to the significance of John's island, this survey of the reception of the relevant passage (Rev. 1:9) reveals both the greater prominence accorded to Patmos by earlier interpreters, and the richer diversity of readings the text has provoked. This potential is anticipated in chapter I, whose close re-reading of Rev. 1:9 highlights the extent to which even its literal sense is highly ambiguous, offering diverse interpretative possibilities ripe for exploration. The bulk of the thesis (chapters 2-7) brings together for the first time in a systematic manner a wide range of interpretations, reflecting different chronological periods, cultural contexts and ecclesial commitments. The material is arranged primarily chronologically, and secondarily thematically, to highlight 'genealogical' relationships between interpreters. Concern for wider reception history (rather than the narrower 'history of interpretation') explains the inclusion of visual as well as verbal interpretations (separately in chapter 7), and of popular and marginal alongside magisterial and mainstream readings. Particularly influential or unusual interpreters are considered in greater depth, with closer attention to biographical questions. The final chapter reflects more explicitly on wider implications for the study of Revelation, and for New Testament scholarship in general. Its main conclusions are: 1) that modern commentators are dependent for their questions and conclusions on very specific strands within the reception history; 2) that 'non-literal' (both allegorical and analogical) readings cannot be so easily dismissed. as unscientific interpretations of Revelation; 3) that reception history challenges historical critics to reconsider the role of the imagination, reader participation, and a broader concept of meaning than focus on historical prolegomena; 4) that Patmos as narrative location may have a more fundamental hermeneutical role in Revelation than often acknowledged.
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Burdon, Christopher. "Unravelling revelation : the apocalypse in England, 1700-1834". Thesis, University of Glasgow, 1995. http://theses.gla.ac.uk/2516/.
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This thesis argues that, while the Revelation of John claims to unveil reality, the interpretative structures built on the book are undermined by its own rhetoric. A historical examination of its use shows the fragility of hermeneutics, but also the power of the 'apocalyptic tone' to engender new unveilings. The first chapter presents the Apocalypse as a book constantly inviting but constantly confounding interpretation, refusing to fit conventional generic definitions or reading strategies. The next two chapters show the book's continuing prominence in eighteenth-century England after its pivotal role in the Reformation. First - writers such as Isaac Newton and William Whiston - it serves as rationalistic evidence for God's providence, as well as giving encouragement to moral 'usefulness' and to the reformation of Christianity. Secondly, its imagery reinforces the more individualistic appeal of the Wesley's preaching and hymns. But it is only with the French Revolution (treated in Chapter 4) that the Apocalypse recovers political immediacy, as seen in both radical millenarian writers like Priestley and Bicheno and in conservative ones like Burke and G.S. Faber. The Romantic period also saw a revival of prophetic and visionary writing, and for many poets John of Patmos was a guiding spirit. Coleridge, the subject of Chapter 5, moved from the millenarian declamation of 'Religious Musings' and the fragmented vision of 'Kubla Khan' to an attempt to interpret the Apocalypse as symbolic representation of polar logic and moral order.
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Faria, Alisson Costa de. "Tradução intersemiótica: nos rastros do filme Apocalypse Now". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4618.
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The actual research analyzes the translational relations from the movie Apocalypse Now (1979), from Francis Ford Coppola, with its sources, especially the novel The Heart of Darkness (2006), from Joseph Conrad and Dispatches (2005), from Michael Herr. The objective was to investigate how the cinematographic masterpiece was built from the intersemiotic translations of its sources. This research also analyzes the meanings developed by the masterpiece, pointing to convergent and dissonant points with its sources, verifying how the elements transposition (time, space, points of views, conflicts and characters) of literary and journalistic texts for the movie happen to be. The research justifies in the fact that the movie of Coppola does not translate in a sequence the novel narrative of Conrad and the other texts used for the movie industry, but to change concepts and ideas into moving images. Convencionally, this kind of criticism sees the adaptation tasks by certain kind of criteria like accuracy of the movie text in relation to the literary text. It needs to be understood how the translation process happens between sources and adaptation, respecting the specificities of each semiotic system, making the intersemiotic translation a method that can create a new masterpiece and not just a identity copy, from one to another. The movie Apocalypse Now creation process is also the object of this research and will be guided by the Genetics Criticism elements. Interpretations from authors who are considered references on the theme were considered, such as: Robert Stam, Julio Plaza, Sergei Eisenstein, Cecília Salles. In terms of method, scenes, parts and frames from Apocalypse Now were analyzed, starting by the surface thoughts, as Flusser teaches us, opposing to line thoughts, that can be found in literary texts. The movie production entry were also analyzed, like the documentary Hearts of Darkness: A Filmmaker's Apocalypse (1991), with its coulisse, both realyzed by Eleanor Coppola, such as interviews with the diretor, screenwriter and the actors of the movie
A presente pesquisa analisa as relações tradutórias do filme Apocalypse Now (1979), de Francis Ford Coppola, com suas fontes, em especial o romance O Coração das Trevas (2006), de Joseph Conrad e Os Despachos do Front (2005), de Michael Herr. O objetivo foi investigar como se deu a construção da obra cinematográfica a partir da tradução intersemiótica dessas fontes. O trabalho também analisa os sentidos desenvolvidos pela obra cinematográfica, apontando pontos convergentes e divergentes com suas fontes, verificando como se dá a transposição dos elementos (o tempo, o espaço, o ponto de vista, o conflito e os personagens) dos textos literários e jornalísticos para o filme. A pesquisa se fundamenta no fato de o filme de Coppola não traduzir linearmente a narrativa do romance de Conrad e dos outros textos utilizados para o cinema, mas transformar conceitos e ideias em imagens em movimento. Convencionalmente, certa crítica entende os trabalhos de adaptação por meio de critérios como fidelidade do texto fílmico em relação ao texto literário. É preciso compreender como se dá o processo de tradução entre as fontes e a adaptação, respeitando a especificidade de cada sistema semiótico, no caso o literário e o fílmico, sendo o processo de tradução intersemiótica um método de se criar uma obra nova e não apenas uma reprodução de natureza identitária, de um meio no outro. O processo de criação do filme Apocalypse Now também é objeto da pesquisa e será norteado pelos fundamentos da Crítica Genética. Foram consideradas as interpretações de autores que são referência no tema, como: Robert Stam, Julio Plaza, Sergei Eisenstein, Cecília Salles, dentre outros. Metodologicamente, foram analisadas cenas, fragmentos e frames do filme Apocalypse Now à luz do pensamento em superfície, como ensina Flusser, em contraponto ao pensamento em linha, próprio dos textos literários. Também foram avaliadas as notas da produção do filme e o documentário Apocalypse de um Cineasta (1991), com os bastidores do longa, ambos realizados por Eleanor Coppola, bem como entrevistas com o diretor, o roteirista e os atores do filme
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Leggatt, Matthew. "Behind apocalypse : the cultural legacy of 9/11". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367038/.
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‘Part One: 9/11 and the Death of the Capitalist Utopia’ focuses on how 9/11 has been memorialised, mythologised, and mobilised by contemporary culture. It examines a range of cultural materials from literature, film, and architecture, to 9/11 in the media. The section discusses, through a fusion of cultural and political thought, how the War on Terror became the inevitable continuation of the binary rhetoric of good and evil perpetuated since 9/11. Chapter One, entitled ‘Falling Man’, examines the complex relationship between art and 9/11, and the impact of images of those seen falling from the towers, primarily using Don DeLillo’s Falling Man, and Jonathan Safran Foer’s Extremely Loud & Incredibly Close to discuss the role of censorship after 9/11. The chapter progresses to look at Hollywood’s overt response to 9/11 with World Trade Center and United 93. Chapter Two: ‘Reflecting Absence’ contains a reading of the 9/11 memorial used as a case study of the preferred narrative of 9/11. The chapter establishes a regressive rhetoric produced after 9/11 and used to fuel support for a more aggressive stance towards foreign policy. In ‘Part Two: The Earth Burns Again: the Culture of Apocalypse in Contemporary Cinema’, I examine the specific case of apocalyptic narratives post 9/11. This is achieved through comparison pieces between late 90s apocalyptic films and those released after 9/11. It develops much of the theory put forward in the first chapter, showing how this can be applied not just to texts linked directly to 9/11, but also to texts about the future. Chapter Three: ‘The Abuse of Apocalypse’ begins with an examination of genre and the place of the apocalyptic narrative. I establish two distinct ‘waves’ and then move on to discuss a fascination with the ‘post’- apocalyptic after 9/11. This is framed by a comparison between 90s apocalyptic film and film post 9/11. Here I address the lone survivor narrative and further discuss the aesthetic differences between the two waves. Chapter Four: ‘You’ve Gotta Have Faith: Issues of Religion and Faith in Post 9/11 Apocalyptic Cinema’, continues by examining the developing theme of religion within these post 9/11 apocalypse movies. This second part of the thesis is more focused on textual analysis, using the theory already discussed to inform a deeper and more specific discussion of the ways in which this movie genre/sub-genre is indicative of the wider issues at stake. The thesis concludes with a discussion of the economic apocalypse which is evident in both the text and filmic versions of Cosmopolis. It places these ideas of an apocalyptic cultural mentality within the contemporary framework of the global financial meltdown, as well as summarises and returns to the main themes of the work, namely ideas about our ability to imagine the future, and the end of ideas of progress in traditional cultural forms. Over the last decade 9/11 has been a popular source for writers of both fiction and non-fiction. The unique contribution this thesis makes to the body of work on 9/11 lies in its examination of primary texts alongside political and cultural theory. Most importantly, the way in which I combine narrative and aesthetic theory with textual analysis to build a narrative of post 9/11 apocalyptic thinking gives an overall framework to an otherwise fractious discourse on the popular imagination post 9/11.
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Gire, Nicolas. "L' Apocalypse comme illustration heuristique d'un siècle traumatisé". Saint-Etienne, 2004. http://www.theses.fr/2004STET2082.
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L'Apocalypse, temps de la fin, temps de l'enfin, fin des temps, feinte des temps, fait et défait le temps. Inlassablement retranscrite, réitérée, elle nous ancre dans l'imminence, semble parfois dénier la finitude de nos existences, parfois en symboliser le déclin. En prenant appui sur les préceptes institués par la mythanalyse, nous soulignons l'effectivité d'une redondance symbolique et iconographique, afin de montrer combien ce texte endosse un rôle d'intercession entre l'homme et le monde. Source inépuisable d'interprétations, il se présente comme un catalyseur des angoisses d'une humanité mortelle, angoisses considérablement amplifiée au XXe siècleThe Apocalypse is : when time stops still; the time we have all been waiting for; the end of time; when time's bluff is called; and when time is made and unmade. Re-described and repeated for ever, the Apocalypse forces us to accept the imminent. Sometimes it seems to deny us the finite nature of our being, and at other times its signals our fall. Using the currently accepted principles used in the analysis of myths, this study underlines the inherent strength of repeating symbols and icons, and shows thereby how the story can assume the role of intermediary between man and his world. The Apocalypse provides a never ending supply of interpretations, and is a catalyst for the anguish of us mortals; an anguish which the 20th century has magnified hugely
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Polaski, Donald C. "Authorizing an end : the Isaiah apocalypse and intertextuality /". Leiden : Brill, 2001. http://catalogue.bnf.fr/ark:/12148/cb37718280q.
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Batchelor, Bob. "Running toward the apocalypse : John Updike's new America". [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003213.
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Batchelor, Bob. "Running Toward the Apocalypse: John Updike’s New America". Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1845.
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My dissertation explores two critical points in understanding John Updike's recent career. First, I examine him from a perspective outside the heavily-studied Rabbit tetralogy. Focusing on Updike's novel Terrorist, I attempt to counter the misperception that he offers little beyond the chronicling of middle-class, suburban America. Instead, this work digs for a deeper understanding of Updike.
Next, I consider Updike's role as an artist, professional writer, and celebrity to draw out a sense of the writer's life in the twentieth and twenty-first centuries. Using him as a case study enables the analysis to include his changing role as a literary writer who also had major bestsellers, as well as his standing as a celebrity and public intellectual. Rather than dismiss these cultural influences, I explore how they intersect with audiences, readers, and critics. Piecing together his commentary regarding fame and celebrity creates a model of the public Updike for scholars to examine.
The central task of this dissertation is a close examination of Terrorist, including the themes Updike addressed and literary techniques he employed to advance those ideas. From this textual analysis, Updike's vision of America and the world in the twenty first century emerges.
By reassessing Updike's evolution as a writer, both in subject matter and literary technique, one realizes how his work reflects an increasing preoccupation with global issues, from American imperialism to terrorism. This study broadens the general conceptualization critics and scholars hold regarding Updike's work by exploring the themes and literary devices he used to portray the broader world.
Focusing on Updike the writer and Terrorist, his final standalone novel, this dissertation helps Updike scholars and critics address a central point that may well define his historical reputation: Is there an Updike beyond the Rabbit novels and is there an Updike beyond suburban nostalgia? I argue that Terrorist reveals a great American writer at his full powers as the world around him undergoes a watershed moment.
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Ramström, Anders, i Peter Lindbom. "The Stress Test : Can it cause a financial apocalypse?" Thesis, Jönköping University, JIBS, Business Administration, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-255.
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The life insurance business is currently going through a lot of changes. The turmoil in stock markets during the last years has made regulators realize that there is a greater need for risk management and solvency supervision in the business. Denmark was one of the first countries in Europe to react to this and in 2001 the Danish FSA implemented a stress test called the Traffic Lights System. This is a tool to measure various risks in different scenarios for financial institutions.
The purpose of this thesis is to analyze the effects of imposing a Danish style stress test on the Swedish life insurance market. In order to analyze the various effects of this stress test a theoretical framework consisting of fixed income securities and interest rate theory have been applied, since one of the largest risk a life insurer faces is the interest rate risk. Due to the fact that the Danish stress test is not fully applicable on the Swedish market, the authors created a model based on the Danish test to analyze Swedish life insurers. The model estimates the financial risks a life insurer faces. Analyzing the results based on the model, the authors found that three out of seven life insurers in the sample had solvency problems to various extend.
The authors conclude that a great part of financial risks within life insurers can be reduced by reallocating equity holding to bonds and by duration matching between assets and liabilities. The authors also conclude that Swedish life insurers are in better financial shape today than their Danish counterparts were in 2001, which is why less dramatic effect is to be expected on the Swedish financial markets as a result of imposing the stress test.
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Haxby, Mikael C. "The First Apocalypse of James: Martyrdom and Sexual Difference". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10956.
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My dissertation presents a new reading of a rarely-studied early Christian text, the First Apocalypse of James, and seeks to intervene in major scholarly debates concerning martyrdom, scriptural interpretation and sexual difference. I begin by showing how the text exhorts its readers and hearers toward martyrdom by narrating the progress of James, the brother of Jesus, in overcoming his fear and preparing for martyrdom. Here Jesus' revelation to James sets out a ritual of ascent that constitutes the martyr's confession of faith—a previously unattested form to articulate the meaning of dying for God. I use intertextual methods to identify an interpretation of the Gospel of John in which Jesus' statements of identity in John are read as descriptions of the true nature of the perfected martyr. This analysis locates scripturally-based debates about the nature of Christ within a context in which practices of preparation for martyrdom are being devised. 1ApocJas also reads Isaiah to identify female heroes whose example it exhorts James to follow. I use this reading of 1ApocJas to challenge the notion that a strict gendered hierarchy was reinscribed equally by Christian martyrdom texts. Through comparison to select examples of Valentinian theology, I establish that 1ApocJas envisions a productive tension in the divine realms between lower and higher female divine figures. By associating female martyrs with the higher female divinities and contrasting them to the lower female divinities, 1ApocJas valorizes martyrs as female and thus complicates any straightforward masculinization of the martyrs. My reading of 1ApocJas broadens our understanding of how Christians prepared themselves for martyrdom by interpreting scripture in innovative ways, devising new ritual practices, and developing distinctive articulations of human and divine sexual difference.
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Gibson, Kenneth. "Eschatology, apocalypse and millenarianism in seventeenth century Protestant thought". Thesis, Nottingham Trent University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310848.
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Park, Jeongkyu. "The rational apocalypse of the latitudinarians in Restoration England". Thesis, Swansea University, 2018. https://cronfa.swan.ac.uk/Record/cronfa44763.
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This thesis examines latitudinarians’ apocalyptic ideas during the Restoration period. These Anglicans have been considered by historians in terms of their role in promoting rational theology. However, there has been little analysis of the whole aspects of latitudinarian apocalyptic belief. This thesis surveys a variety of works to demonstrate a continuing tradition of apocalyptic worldview in their political and religious from the Restoration to the Revolution of 1688-1689. Chapter one summarises the English apocalyptic tradition that spanned the sixteenth century to early seventeenth century. English Protestants formed the key patterns of apocalyptic thought, and this apocalyptic tradition continuously influenced the Cambridge Platonists and many latitudinarian divines in the seventeenth century. Chapter two demonstrates that apocalyptic notions played an important part in latitudinarians’ anti-Catholic sentiment. Chapter three explains how these moderate Anglicans utilized apocalyptic ideas to justify the English Reformation and the Church of England. Chapter four explores the way in which the latitudinarians placed the debate of the royal supremacy within the apocalyptic context of the godly ruler. Lastly, chapter five focuses on how their expectations of the future fulfilment of divine apocalyptic promises led to the emphasis of moral reform. The fear of divine judgment and the hope of complete salvation motivated the latitudinarian clergy to promote the moral reformation. It also demonstrates that the latitudinarians’ proposal of moral reform implied their optimistic view of human nature, perfectibility of men, achieved through religious edification. In a broad sense, the examination of various aspects of latitudinarians’ religious thought shows the existence of the traditional apocalyptic framework in late seventeenth-century England.
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Janse, van Rensburg Dené. "The Lamb's Wrath : Cannibalism, Divinity, and Apocalypse in Hannibal". Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/81922.
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This study proposes that the television series Hannibal (Fuller 2013-2015), with its aesthetic and thematic emphasis on Christian motifs and imagery, is a contemporary apocalyptic fiction. Specifically, this study argues that Hannibal provides a new typology: the metamythic apocalypse narrative. To posit these arguments, I approach the analysis of the television text from four of the stronger concepts that surface in the reading of Hannibal, which are the relationship between cannibalism and divinity, the God-Devil opposition, the We(i)ndigo figure as a symbol of the Holy Trinity, and the Apocalyptic narrative. The first three concepts inform the typology of apocalyptic narrative that the series follows and are essential in establishing the criteria for this new typology.
Insofar as existing television tropes and conventions go, the first two seasons of Hannibal remain in the vicinity of investigative police procedure, building and perfecting its mythos around the passive- aggressive relationship between Lecter and his prodigy, FBI profiling consultant Will Graham. The procedural formalities are set aside in season three, to focus on and amplify an already ambivalent relationship with religion, providing a wealth of apocalyptic symbolism that calls the rest of the series into the new framework of apocalyptic fiction.
This study establishes that Hannibal provides a new apocalyptic narrative typology that challenges the two typologies identified by Conrad Ostwalt (2011:365-356) – the traditional apocalypse and the secular apocalypse. The traditional apocalypse allows for fictionalized events, but includes elements of supernatural (or divine) revelation. The secular apocalypse borrows symbols and themes from the traditional apocalypse, but contemporizes evil and does not adhere to the criterion of a divine agency, positing human heroism as the anthropocentric replacement for God and averting punishment and destruction. Hannibal’s (Fuller 2013-2015) particular symbolic visual vocabulary and the apocalyptic narrative typologies outlined by Ostwalt (2011) allows me to theorise the notion of the metamythic apocalypse narrative.
In establishing this new form of apocalypse narrative, I interrogate the role of the We(i)ndigo figure as Hannibal’s reconstitution of the Christian Holy Trinity and demonstrate visually how these three characters constitute this trinity – Dr Hannibal Lecter (Holy Father), Will Graham (Holy Son), and Abigail Hobbs (Holy Spirit). This metamythic apocalypse narrative engages the current secular scientific concern for the end of the world, which remains haunted by religious prophecy. The metamythic apocalypse proposes a return to the symbolic and the archetypal in answering questions about the future amidst the anxieties about the end of the world, as well as the possibility of the post- apocalyptic.
Keywords: Hannibal; cannibalism; We(i)ndigo; apocalypse narrative; metamythic apocalypse; symbolism; Holy TrinityDissertation (MA (Drama and Film Studies))--University of Pretoria, 2019.
Drama
MA (Drama and Film Studies)
Unrestricted
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Barry, Marie Porterfield. "Lesson 11: Bosch and Other Scenes of the Apocalypse". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/12.
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Lueckel, Wolfgang. "Atomic Apocalypse - 'Nuclear Fiction' in German Literature and Culture". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281459381.
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Lynch, Shaylynn. "Furyous Female Just-Warriors of Post-Apocalypse and Dystopia". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062883/.
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The intention of this thesis is to identify and analyze the precise shift from an exploitative archetype to an empowered representation of women warriors, to identify the arena in which male and female characters are given equal agency in the context of war, and finally explore the key characteristics that make up an empowered female hero. This thesis also addresses the sociocultural nature of the warrior woman archetype as it pertains to the current role of women in the military. The films analyzed in this thesis are all post 9/11 films; a fact that links them culturally to the wars in Iraq and Afghanistan. In recent years, numerous milestones have been reached for women in the armed services, especially for those women in combat positions. For the first time in American history women are being recognized for their active role as soldiers in combat. Therefore, it is valid to consider the correlation between seeing women as military professionals, fighting alongside male soldiers in these films, and the cultural impact of female combat soldiers. This aspect of the thesis also imbues the female just-warrior archetype with a legitimate history, mythology, and current cultural reference; which is essential to the visibility of female combat soldiers of the 21st century.
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Desouza, Valerine Gratian. "The Book of the Apocalypse as the Apocalyptic literature". Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/1158.
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Helou, Clémence. "Symbole et langage dans l'Apocalypse de Jean". Paris 4, 1994. http://www.theses.fr/1994PA040072.
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Le but de cette these est de decouvrir la confrontation de la violence et de la verite dans l apocalypse de jean illustree par la symbolique de l epee comme parole dans la bouche du fils de l homme. Cette confrontation est le chiffre d un mystere dont il s agit de dechiffrer les termes en vue d un depassement. L apocalypse en examine la possibilite et a sa suite le lecteur. La premiere partie definit les termes et essaie de saisir la configuration de l apocalypse et sa dynamique interne. La deuxieme partie s attache au personnage principal, jesus-christ, fils de l homme, agneau et parole de dieu. A travers ces trois figures, a la fois contradictoires et complementaires, le christ exerce son double pouvoir de roi et de juge, signifie par le couple symbolique epee-parolre enrichi par des correspondances spatiales et temporelles. La troisieme partie s applique au dechiffrement en tant que relecture. Celle-ci est consideree comme un double acte de comprehension et de conversion et etudiee au triple point de vue de l auteur de l apocalypse, du lecteurauditeur et des evenements contemporains. Sa specificite consiste a lire le present en fonction a la fois du passe et du futur et de degager ainsi les evenements du particulier et du contingent en leur donnant une solution ultime et universelle. Mais comme le mal continue a dominer dans le monde. Il redtera en dialectique avec l esperance d une victoire acquise, une fois pour toutes, par l agneau et les siens. Cette ouverture vers l au dela est capable d initier des a present un retournement qui ne s accomplira qu a l eschaton. Le gage en est le depouillement reducteur de l epee en parole et de la violence negative en "violence" de la veriteThe goal of this thesis is to study the confrontation between violence and truth in the revelation of john, as portrayed by the symbolic couple of the sword and word that appear in the mouth of christ, son of man. This confrontation is the mystery to be deciphed in examining the possibility of violence to be converted by truth as is the sword by the word. In the first section this theme is studied in relation to the book as a whole in the second section, the central personnage, jesus-christ, is seen in his three contradictory manifestations : son of man, lamb and "word of god" as well as king and judge. His power is illustrated by the couple of sword-word, enriched by spatial and temporal correspondances. The third section concerns the re-reading considered as a double act of comprehension and conversion. Initiated by the author of the revelation himself, his re-interpretation is renewed by each reader-auditor and actualised by contemporary events. It thus has the specific potential to link the present at once to the past and to the future and therefore to disengage the events from their particularity and contingence and to give them an umtimate and universal solution. This promised solution is based in the voctory of lamb and his followers. The victory offers a pledge of general renewal in spite of the domination of evil. The hope will be fully realized only in the future (the eschaton). It consists in the reducing of the sword into word likewise of negative violence into a "violence" of truth
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Ndiaye, Maguette. "Pour une esthétique de l'apocalypse dans "London Fields" de Martin Amis et "How the Dead Live" de Will Self : thèmes, formes et lieux". Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC023/document.
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Comment écrire à l’ère du post-humain sans avoir recours à une apocalypse postmoderne qui aurait déjà rompu avec ses origines bibliques ? Si nous sommes désormais familiers avec la manière dont les romans de Martin Amis et de Will Self assument pleinement un discours apocalyptique radical, nous explorons les possibilités d’arguer en faveur d’une esthétique apocalyptique plus complexe avec ses formes diverses et ses variations thématiques allant de la menace nucléaire à des révélations plus intimes. Les deux textes de notre corpus, London Fields de Martin Amis et How the Dead Live de Will Self, sont donc unis dans ce travail par la présence fantasmagorique de la mort (dont le meurtre de l’amour) et par la "spectacularisation" de la mort. Dans la perspective d’une fin sans cesse rejouée, le personnage est autant l’avatar de ses propres contingences - le temps, le trafic urbain, le simulacre et la mort - que la cible d’une langue qui se déliteIn this resolutely post-human era how can literature disregard the appeal of a postmodern apocalypse that has long left behind its biblical origins? We argue that not only do the novels of Martin Amis and Will Self clearly engage in a radical apocalyptic discourse with all its various forms and thematic variations - from the nuclear threat to more intimate revelations - but also designate the intricate workings of a wider apocalyptic aesthetics. This is what joins the two novels of our corpus: London Fields and How the Dead Live, with the phantasmatic death or murder of love, on one side and the "spectacularity" of death on the other. With the future consisting of the endless repetition of their “end”, the characters are as much their own avatars conditioned by the contingencies of time, urban congestion, simulacrum and death, as they are the targets of an eroded language
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Grimbeek, Marinette. "Margaret Atwood's Environmentalism : Apocalypse and Satire in the MaddAddam Trilogy". Doctoral thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-48126.
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This study considers the way in which Margaret Atwood’s post-apocalyptic MaddAddam Trilogy functions as an environmental project. The main focus is on how the three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), simultaneously draw on and destabilise the apocalypticism inherent in so much environmental discourse, primarily through the use of satire. The trilogy is securely anchored in the concerns of contemporary readers, and transposition of the action to the near future is integral to Atwood’s environmental project: attention is focussed on the present causes of anticipated environmental catastrophe, which readers implicitly are implored to avoid. Atwood’s environmentalism is performed in the interplay between her literary stature, the equivocal content of her work, and the irreverence with which she metaleptically blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Whereas the satiric mode serves as a way of avoiding some of the limitations of apocalyptic thinking by maintaining and even creating complexity, it also renders the entire project ambiguous. Uncertainty about the exact environmental injunction presented in the trilogy creates doubts about the degree to which Atwood’s extradiegetic environmental activism should be taken seriously, or conversely. Storytelling is foregrounded in all three novels, and through its concurrent critique of and reliance on market forces and the political potential of art, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world.Margaret Atwood routinely eludes her readers, and the MaddAddam Trilogy is no exception. These three novels, Oryx and Crake (2003), The Year of the Flood (2009), and MaddAddam (2013), are ostensibly written in the tradition of environmental apocalypse, yet they constantly undermine its conventions through satire. This study considers the trilogy as an environmental project, performed in the interplay between Atwood’s literary stature, the ambiguous content of her work, and the irreverence with which she blurs distinctions between fact and fiction, art and commodity, and activism and aesthetics. Atwood’s use of the MaddAddam Trilogy in her real-world environmental activism creates uncertainty about how seriously both her art and her activism should be taken. Her opinions on environmental matters are legitimised, but at the same time an urgent environmental ‘message’ is presented as entertainment. Atwood’s message often appears circular: her art carries no message, but Margaret Atwood the writer does have an important message, which she gets to deliver precisely because of her art. Storytelling is a central theme in all three novels, and through both critiquing and relying on commercialism, the MaddAddam Trilogy demonstrates that there is no external position from which the imagination can perform environmentalist miracles. As such, Atwood’s environmental project furthers a profoundly ecological understanding of the world.
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Brodie, Renee Anne. "Apocalypse again, secular and religious uses of the apocalyptic framework". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ46965.pdf.
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Webb, Tony F. "The grammar of the Apocalypse and its intentional theological significance". Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Yockey, Matt. "The new crusaders Apocalypse, utopia, and the contemporary superhero film /". [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3277971.
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Thesis (Ph.D.)--Indiana University, Dept. of Communication and Culture, 2007.Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3642. Adviser: Barbara Klinger. Title from dissertation home page (viewed Apr. 30, 2008).
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Helms, Charles Robert. "The Apocalypse in the early church : Christ, eschaton, and millennium". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333285.
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Cadogan, Alexander George. "Spit in my mouth : Studies in the Apocalypse of Quintilius". Thesis, Swansea University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497198.
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Melquiond, Anne-Lise. "Apocalypse et fin du monde dans les séries télévisées américaines". Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100074.
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Ce travail de recherche s’attache à analyser les discours que véhiculent les séries télévisées apocalyptiques américaines depuis 2001. Notre corpus de recherche est composé uniquement de séries télévisées. En effet, de par leur spécificité (comme la profondeur de temps, la complexité de la trame narrative ou la réception de la fiction dans l’espace domestique), les séries télévisées invoquent les nouveaux mythes contemporains. Il y a un intérêt à étudier les séries télévisées sous l’angle de la fin des temps et de la catastrophe : la représentation dans les séries télévisées de la catastrophe ne manifeste-t-elle pas de la conscience de la finitude de notre monde ? À travers l’analyse des caractéristiques propre aux séries apocalyptiques, on peut se demander comment survivre quand tout s’est effondré. De plus, les séries télévisées apocalyptiques présentent une particularité intéressante. En effet, la sérialité repose, entre autres, sur le temps long et déplace sans cesse la question de sa propre fin en la renvoyant à un éternel recommencement. Apparaît donc une contradiction entre d’une part, l’objet série qui n’en finit pas de ne pas finir et de l’autre, son sujet qui traite de la fin des temps. En outre, l’antagoniste prend la forme de robots humanoïdes, de zombies ou d’extraterrestres. Or, ces figures font écran à la menace réelle que connait la Terre, à savoir le réchauffement climatique et l’ensemble des désastres industriels. Ne préfère-t-on pas imaginer la fin du monde plutôt que la fin du capitalisme ? Le corpus comprend les séries (par ordre alphabétique) : Battlestar Galactica, Designated Survivor, Falling Skies, Jericho, The 100, The Last Man on Earth, The Leftovers, The Walking Dead et RevolutionThis doctoral dissertation aims at analyzing discourse in apocalyptic American TV series since 2001. Our corpus of analysis is composed of TV series only. Indeed, because of their specificities (the depth of time, the complexity of the narrative fabric or the reception of fiction within the home field) TV series summon the new contemporary myths. The end of the world and its catastrophes are angles worth studying in TV series: Doesn’t the representation of catastrophe illustrate the consciousness of the finiteness of our world? Through the analysis of the unique features of apocalyptic series, one may wonder how to survive when everything has collapsed. Furthermore, apocalyptic TV series offer a salient characteristic: the notion of series is based, among other features, upon an extended period of time and constantly pushes the question of its own end towards a perpetual renewal. The series which never ends coming to an end while tackling the subject of the end of time appears indeed as a contradiction. Besides, the antagonists take the shape of humanoid robots, zombies or aliens. Yet, these characters overshadow the real threat. That is to say global warming as well as all the industrial disasters. Wouldn’t we prefer to imagine the end of the world rather than the end of capitalism?The corpus is composed of the following TV series, hereby noted in the alphabetical order: Battlestar Galactica, Designated Survivor, Falling Skies, Jericho, The 100, The Last Man on Earth, The Leftovers, The Walking Dead and Revolution
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May, Talitha. "Writing the Apocalypse: Pedagogy at the End of the World". Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1520349189022125.
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