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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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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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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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Penn, Nicole Marie. "Apocalypse Now: War and Religion in Late Colonial and Early Republic America." W&M ScholarWorks, 2016. https://scholarworks.wm.edu/etd/1477068557.
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ABSTRACT French “Idolators,” British “Heretics,” Native “Heathens”: The Seven Years’ War in North America as a Religious Conflict With France and Great Britain as its primary belligerents, the Seven Years' War was an international conflict with a decidedly religious dimension, one based on the longstanding rivalry between Catholicism and Protestantism. In North America, the conflict galvanized clergymen in both the British and French colonies to frame the war as a religious struggle with potentially apocalyptic consequences. This discourse remains understudied by historians, and efforts to address religion's role in America during the Seven Years' War is usually one-sided, focusing either on the French or British experience. This paper aims to fill this historiographic gap by analyzing both sermons produced by Protestant ministers from across the American colonies and pastoral letters issued by the Catholic Bishop of Quebec between 1755 and 1763. Moreover, this paper argues that both French and British religious leaders viewed the Seven Years' War as an extension of the Catholic-Protestant European religious wars of the previous century, and believed that the conflict's outcome would determine the survival of their respective religions in North America. This paper also describes how Native Americans figured in this discourse, employing a combination of captivity narratives written by Protestant ministers and the reports of Jesuit missionaries to further illustrate the war's perceived apocalyptic significance. ABSTRACT “The English Establishment Is, Itself, of a Beastly Nature”: Catholicizing Great Britain in Pro-War American Discourse During the War of 1812 In order to catalyze support for their cause against the British during the War of 1812, pro-war writers in the United States revived a rhetorical device that had once served their Revolutionary predecessors: the casting of Great Britain as an anti-Protestant and practically Catholic agent. Specifically, these writers were reacting to claims made by certain New England religious and political authorities shortly after the war’s inception that Great Britain was Protestantism’s “bulwark,” and as a result should be viewed as an American ally rather than as an enemy. An examination of pro-war newspaper articles and published sermons ranging in origin from Vermont to Maryland demonstrates how pro-war writers deconstructed Great Britain’s historically accepted role as Protestantism’s defender. It also reveals how this rhetorical strategy intensified in comparison to its brief employment during the Revolutionary period, thanks to the manner in which Napoleonic France was perceived as an effective check against the Papacy. Finally, these sources demonstrate the extent to which pro-war writers employed apocalyptic imagery from the biblical Book of Revelation to bolster their denunciation of Great Britain, which they argued stood alongside the Catholic Church as one of the beasts of the Apocalypse.
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Oliveira, Alysson Tadeu Alves de. "Apocalypse Now & Forever: figurações do presente em The road, de Cormac McCarthy." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-01032016-152636/.
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O romance The Road (2006) representa um desvio na carreira do escritor norte-americano Cormac McCarthy. Sua prosa concisa e seu cenário apocalíptico marcam um distanciamento tanto de seus primeiros romances (mais próximos do gótico sulista) quanto dos mais recentes (westerns). Acompanhando a jornada de um Pai e um Filho por um país devastado, o autor faz um comentário sobre os Estados Unidos contemporâneo do pós-11 de setembro e da ascensão neoconservadora e fortalecimento do neoliberalismo. Com o intuito de investigar como o livro figura o presente, essa dissertação evidencia elementos de nosso tempo que se materializam na narrativa. Para isso, num primeiro momento, situa a obra do escritor no panorama da literatura americana contemporânea, e o papel de The Road dentro da bibliografia de McCarthy, culminando com a análise do foco narrativo, e o que ele representa. A partir disso, o eixo do trabalho se torna a produção literária do 11 de setembro, e novamente como o romance se destaca dentro desta contrapondo-o a outra obra contemporânea a ele: Falling Man, de Don DeLillo. Por fim, a análise formal da narrativa irá discutir o apocalipse e dialética estabelecida entre ele e a distopia, que são duas forças em duelo no livro. Assim, articulando esse movimento investigamos o papel dos personagens, cenário e tempo. Conforme teoriza Fredric Jameson, vivemos na era do Capitalismo Tardio, também chamada de Pós-Modernidade, e esta se concretiza ao longo do romance, conforme demonstramos nessa análise. A principal base teórica, novamente, é dada por Jameson em seu The Political Unconscious, além de conceitos formulados por Tom Moylan sobre utopia/distopia, e Frank Kermode sobre apocalipse, entre outros.The novel The Road (2006) represents a detour in the writings of American novelist Cormac McCarthy. Its concise prose and apocalyptic setting signalize a departure both from his early novels (which are closer to the Southern Gothic) than his latest ones (Westerns). By following a Father and Sons journey through a devastated country, the author makes a commentary on contemporary United States of the post-9/11, and the rise of the neocons and the strengthening of neoliberalism. In order to investigate how the book figures the present, this master thesis highlights elements of our time that materialize in the narrative. Thereunto, it starts locating McCarthys work in the contemporary American literature, and The Roads role in his bibliography, culminating in the analysis of the focalization in this novel, and what it represents. Afterwards, the axis of the this work turns to the 9/11 literary production, and once again how the novel stands out in this group opposing The Road to another contemporary book: Don DeLillos Falling Man. Lastly, the formal analysis of the narrative will investigate the apocalypse and the dialectic established between it and dystopia, which are the two forces dueling in the book. Thus, by articulating this movement we investigate the role of the characters, setting and time. As Fredric Jameson theorizes, we live in the age of Late Capitalism, also known as Post-Modernity, and this appears throughout the novel, as we will demonstrate in the present work. The main theoretical foundation of this thesis is, again, given by Jameson in his The Political Unconscious, in addition to concepts formulated by Tom Moylan on utopia/dystopia, and Frank Kermonde on apocalypse, among others.
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Rech, Gisele Krodel. "Apocalypse now : elementos do jornalismo literário na construção cinematográfica da guerra do Vietnã." Universidade Estadual de Londrina. Centro de Educação, Comunicação e Artes. Programa de Pós-Graduação em Comunicação, 2014. http://www.bibliotecadigital.uel.br/document/?code=vtls000194636.
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Um dos filmes de guerra mais cultuados da contemporaneidade, Apocalypse Now apresenta fragmentos da representação da realidade jornalística dentro de sua narrativa cinematográfica. São analogias do livro Despachos do Front, de Michael Herr, livro-reportagem concebido durante o fenômeno do New Journalism, que serviu de apoio ao processo de contextualização da obra-prima de Coppola. A intenção deste trabalho é, pois, analisar a película buscando encontrar nestas analogias elementos textuais da ekphrasis e da fanopeia. Neste processo, no qual a narrativa jornalístico-literária se imbrica na narrativa cinematográfica, a não ficção e a sua representação da realidade surge de modo intermitente em meio à obra ficcional, em um processo conotativo carregado de significações imagéticas, concebidas a partir do poder do texto jornalístico-literário.One of the most revered films of war, Apocalypse Now presents fragments of journalistic representation of reality within a narrative film. They are analogies of the book Dispatches, by Michael Herr, book from the New Journalism phenomenon, which served to support the contextualization of Coppola's masterpiece process. The intention of this paper is therefore analise the film seeking to find in these analogies textual elements of ekphrasis and fanopeia. In this process, in which the literary journalism narrative is enmeshed in film narrative, non fiction and representation of reality arises intermittently through the fictional work, in a process fraught with imagetic connotative meanings, designed from the power of text of literary journalism.
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Meneghini, Luca. "Le varianti dell'Apocalisse - Le tre edizioni di Apocalypse Now di Francis Ford Coppola." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25328/.
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Uno studio filologico condotto sulle tre edizioni di Apocalypse Now di Francis Ford Coppola e delle rispettive varianti, e di come esse influiscano sul messaggio filmico partendo dalla letteratura di riferimento.
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Silva, Bruno dos Santos. "(Re)leitura e tradução do horror em o Coração das Trevas e Apocalypse Now." Instituto de Letras, 2015. http://repositorio.ufba.br/ri/handle/ri/27554.
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A presente dissertação aborda as relações intersemióticas entre a novela O Coração das Trevas (1899) e o filme Apocalypse Now (1979), dando ênfase à (re)leitura e tradução do horror operada no processo de adaptação. Seguindo algumas das teorias pós-estruturalistas, concebemos a prática da tradução como uma operação de leitura. Ao identificarmos as leituras conflituosas da obra de Joseph Conrad, que se inscreveram na pós-modernidade, principalmente com a emergência da crítica pós-colonial, buscamos compreender qual das perspectivas de leitura em conflito foi adotada por Francis Ford Coppola na composição do projeto fílmico de Apocalypse Now. Discutimos teoricamente a tradução intersemiótica enquanto leitura e como tomada de posição nesse embate de significações que emergiu de algumas décadas para cá em relação à novela em questão. Seguindo as novas abordagens no campo de estudos da adaptação de obras literárias para o cinema, nos debruçamos sobre aspectos históricos, sociais e discursivos que permitiram a reconfiguração da novela conradiana para o contexto da guerra do Vietnã, e como a obra fílmica buscou instaurar o efeito crítico instaurado por O Coração das Trevas no que concerne às diferentes formas de imperialismo (belga, inglês e, no caso do filme, norte-americano). Para a análise do horror em O Coração das Trevas e Apocalypse Now, buscamos mapear as principais definições do horror, analisar tanto os esforços críticos que buscaram posicioná-lo num horizonte teórico quanto a apropriação feita pela crítica literária, cinematográfica e psicanalítica dos textos que o evocam. Foi possível identificar como a noção de horror foi sendo historicamente reconfigurada, passando a ser concebida, sobretudo pela crítica literária e cinematográfica, enquanto um elemento atrelado às narrativas que buscam despertar em seus leitores/espectadores sensações que remetem ao medo. O fechamento dessa noção, promovido pelos estudos literários e cinematográficos, nos permitiu buscar caminhos teóricos que possibilitassem o desdobramento de seus sentidos, a compreensão de suas dinâmicas e a construção de novas possibilidades de interpretação das suas manifestações na literatura e no cinema. Por fim, analisamos o horror em ambas as obras literária e fílmica, de modo a compreender quais elementos narrativos estão relacionados a esse horror, bem como as convergências e divergências, tanto de sentidos como das relações narrativas, que se inscrevem no processo de releitura. Identificamos que em O Coração das Trevas o horror está associado ao nativo, à terra e ao imperialismo e que pertence à seara da experiência do homem branco nos trópicos, ou seja, nos lugares distantes de sua civilização. Em Apocalypse Now, o mesmo se relaciona à terra, à loucura e a guerra. Apesar de alguns deslocamentos no que concerne ao que o horror está atrelado, na novela e no filme, a experiência nos trópicos demonstra que o espaço colonial e o espaço do conflito são os lugares primordiais nos quais o horror se manifesta. Para além das ambivalências de sentido que se configuram na análise do horror em O Coração das Trevas e Apocalypse Now, discutimos como esse horror pode funcionar, para seus leitores/espectadores, como um elemento que os permita questionar experiências históricas e discursos de algumas potências ocidentais que promoveram ações de pilhagem e extermínio em espaços além de suas fronteiras.
This thesis approaches the intersemiotic relations between the novel Heart of Darkness (1899) and the film Apocalypse Now (1979), emphasizing the (re)reading and translation of horror operated in the adaptation process. Following some poststructuralists theories, we understand the practice of translation as a reading operation. By identifying the readings in conflict of Joseph Conrad’s work, which emerged in postmodernity, especially with the emergence of the postcolonial criticism, we aimed at understanding which perspectives of reading in conflict was adopted by Francis Ford Coppola in the composition of his film Apocalypse Now. We aim at discussing theoretically the intersemiotic translation as reading and as a position in this signifying battle which emerged, from some decades on, in relation to the novel in question. Following some new approaches on the field of adaptation studies of literary works to film, we aimed at studying the historical, social and discursive aspects which allowed the reconfiguration of Conrad’s novel to the context of the Vietnam war, and how the film aimed at establishing the critical effect of Heart of Darkness concerning the different forms of imperialism (Belgian, English and, in the case of the film, North American). To analyze the horror in Heart of Darkness, we maped the main definitions of horror, analyzing both the critical efforts to position it in a theoretical horizon and the appropriation of texts which evoke it by literary, cinematographic and psychoanalist criticism. It was possible to idenfity how the notion of horror has been historically set, starting to be understood, mostly by literary and cinematographic criticism, as an element linked to narratives which aim at arousing in their readers/audiences sensations that refer to fear. The immobilization of this notion, promoted by the literary and cinematographic studies, allowed us to search for theoretical paths that enabled the outspread of the senses of horror, the comprehension of its dynamics and the construction of new possibilities of interpreting its manifestations both in literature and cinema. Lastly, we analyzed the horror in the novel and the film to understand which narrative elements are related to this horror, as well as convergences and divergences, both in senses and in narrative relations, present in the (re)reading process. We identified that horror in Heart of Darkness is associated with the native, the land and the imperialism and that it has to do with the experience of white men in the tropics, that is, places which are far from their civilization. In Apocalypse Now, the horror is related to the land, the madness and the war. In spite of some shifts concerning what horror is related to, both in novel and film, the experience in the tropics shows that the colonial space and the conflict space are the primordial places where the horror manifests itself. In addition to the ambivalence of meaning that are present in the analysis of horror in Heart of Darkness and Apocalypse Now, we discussed how this horror can function, to their readers/audiences, as an element that allows the questioning of historical experiences and discourses of some Western powers that promoted actions of loot and extermination in the spaces beyond their boundaries.
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Forsberg, Marcus. "Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5358.
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I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.
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Dye, Charles Eugene. "Now and all are important a post-structural critique of humanism, Aldo Leopold's "The Land Ethic," and Disney/Pixar's "Wall-E" /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/dye/DyeC1208.pdf.
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Feelings of hopelessness and meaninglessness have become hallmarks of American society. As a filmmaker and film educator it is clear I share a responsibility to address these defining issues. Using some of the ideas of Zygmunt Bauman, Jacques Derrida, Neil Evernden, Claude Levi-Strauss, Bill Nichols, Nell Noddings, JoseÌ Ortega y Gasset, Edward Said, and Erwin Straus, I observe this problem to be a result of dispassionate humanism-a machineworld story considered appropriate in the current social construction. From this critical perspective, I then analyze Aldo Leopold's The Land Ethic and the Disney/Pixar film WALL-E. The former I show to be written in such a way as to leave its audience confused. The latter I demonstrate fosters unnecessary and immoral assumptions about the "imminent" collapse of our civilization. In conclusion, I make clear that it is how we relate to our current existence that is important. While the power of our ideas is truly humankind's greatest creation, that power is naught outside of time and the realities of our being Earth-bound. What we must learn to value in America alongside the power of ideas, are the responsibilities inherent in simply being.
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Valente, Graciela Maria de Matos. "Da obra literária ao filme: adaptação de Heart of Darkness." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/4048.
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Mestrado em Línguas, Literaturas e CulturasEsta dissertação pretende ser uma reflexão sobre o processo de adaptação de romances para as formas audiovisuais. Em relação à pesquisa efectuada, foram utilizados o conto Heart of Darkness de Joseph Conrad e as suas duas adaptações, cinemática e televisiva, Apocalypse Now (1979) de Francis Ford Coppola e Heart of Darkness (1994) de Nicholas Roeg, para explorar as ramificações teóricas e práticas desta tão complexa tarefa.
This dissertation is intended to be a reflection on the process of adapting novels into audiovisual forms. In respect of the research carried out, the novel Heart of Darkness by Joseph Conrad, and its two cinema and television adaptations, Apocalypse Now (1979) by Francis Ford Coppola and Heart of Darkness (1994) by Nicolas Roeg, were used to explore the theoretical and practical ramifications of this complex task.
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Lam, Seen-fong Melinde. "The representation of colonialism in two filmic texts : Roeg's Heart of Darkness (1993) and Coppola's Apocalypse Now (1979) /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262543.
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Nguyen, Nguyet 1980. "Representation of Vietnam in Vietnamese and U.S. War Films: A Comparative Semiotic Study of Canh Dong Hoang and Apocalypse Now." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10635.
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xii, 125 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This comparative semiotic study aims to examine and critically compare the portrayal of the Vietnam War in two award-winning films, one Vietnamese and the other American, both made in 1979: Canh Dong Hoang (The Wild Rice Field) and Apocalypse Now. This study employs semiology to examine the two films in the framework of postcolonial, ideology and hegemony theories to critically compare similarities and differences in the two films' portrayal of "the enemy," nationalism and individualism, and women, in order to understand how dominant perspectives of the times are reflected, reinforced, and challenged. In Apocalypse Now, the "other" is faceless, which reflects an imperialistic standpoint toward the Vietnamese people; nationalism is promoted by calling on individual suffering and sympathy; and women are diminished. Canh Dong Hoang gives "the enemy" a more balanced depiction; nationalism is woven naturally with individualism; and the women in the film play a much more significant role.
Committee in Charge: Dr. H. Leslie Steeves, Chair; Dr. Pat Curtin; Dr. Gabriela Martinez
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Badenhorst-Roux, Toinette. "Polyphonic conversations between novel and film : Heart of darkness and Apocalypse now ; Na die geliefde land and Promised land / Toinette Badenhorst-Roux." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1385.
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Marty, Christophe. "L’aventure coloniale dans le roman britannique vue par le cinéma américain : King Solomon’s Mines (1950), Kim (1950), The Quiet American (1958 ; 2002), The Man Who Would Be King (1975), Apocalypse Now (1979 ; 2001)." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030125.
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Portant sur six adaptations hollywoodiennes de récits de Rider Haggard, Kipling, Conrad et Greene, ce travail analyse la manière dont le cinéma américain retravaille divers aspects des supports littéraires à des fins esthétiques [attention aux détails exotiques, remaniements narratifs, jeu des acteurs, couleurs, décors] et idéologiques [réflexion sur l’impérialisme colonial]. En confrontant les films et les récits qui les précèdent, il s’agit d’examiner la manière dont le cinéma prend appui sur la littérature pour tisser un réseau où transparaît le regard que Hollywood porte sur la tentation impérialiste américaineThe study focuses on six adaptations of narratives by Rider Haggard, Kipling, Conrad and Greene. It addresses the way Hollywood worked over several aspects of the literary works for aesthetic [attention to exotic details, reshaping of narratives, acting, colours, setting] as well as ideological purposes [a reflection on colonial imperialism]. Comparing the films with their literary antecedents, the study analyses the manner cinema is backed by literature to weave a network of signs which reveal Hollywood’s approach to American imperialist temptation
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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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Gilsdorf, Joy. "The Puritan apocalypse New England eschatology in the seventeenth century /." New York : Garland Pub, 1989. http://catalog.hathitrust.org/api/volumes/oclc/19589831.html.
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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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Benadum, Brooks Scott. "The Apocalypse Narrative and the Internet: Divided Relationships in New Natures." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6467.
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This project proposes that one factor of growing societal interest in the apocalypse narrative is rooted in these stories reflection on our new landscape of telecommunication flows embodied in the Internet. The apocalypse narrative has steadily been growing in popularity, and many academics have offered potential explanations. While other analyses predominately focus on the actual apocalyptic event itself as representative of various societal fears, this project aims to focus on aspects of how we adapt to being in the new apocalyptic landscape, and how this reflects on our own adaptation to being in the new landscape of the Internet. This project takes the work of Martin Heidegger as its primary theoretical lens in an examination of the popular television series The Walking Dead and the Internet streaming service Netflix. This project finds that both the apocalyptic landscape and the new landscape of the Internet throw us into decentered worlds where it is easy to be alienated from one another. Alleviation of our anxieties brought on by these strange landscapes lies in our recognition of being-towards-others in the world and engaging in acts of community building. However, a greater – more global – sense of community is frequently subverted by the way relationships are revealed by technology as divisive.
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Jang, Young. "A narratological approach to the structure of the apocalypse of John." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52095.
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Thesis (DTh)--Stellenbosch University, 2001ENGLISH ABSTRACT: This study aims to investigate the structure of the Apocalypse from the narratological viewpoint, to further the adequate interpretation of the book. Throughout this work. three things are presupposed: (1) the Apocalypse follows an episodic, non-chronological pattern; (2) the Apocalypse is a coherent unit: (3) the Apocalypse. as a genre. should be defined by means of form. content. and function. To start with. earlier attempts to reveal the structure of the Apocalypse are briefly dealt with in chapter 2. in order to establish both their weak and strong points. With these in mind. this study attempts a three-dimensional approach consisting of syntactic structure (form). semantic structure (content). and pragmatic structure (function). In chapter 3. this approach is supported by Chatman's narrative paradigm (1980) as a model for narrative analysis. In chapter 4, to establish the syntactic structure. we started by delimiting the whole text into many small parts - "partial narrative units" - by using various narrative elements. and then assembled the small sections into "basic (or complete) narrative units (BNU or ULl )" by using several identifying criteria for them. and continued to identify the "bigger narrative units" (UL2.3.4) by using various integrating strategies until the biggest narrative. which comprises the whole text as a coherent unit ( L.5). emerged. As a result. the narrative-svntactic structure (viz. the surface-level svntactic structure) , ' and the fundamental-syntucnc structure (viz. the deep-level syntactic structure) of the book are disclosed at the end of chapter 4. In chapter 5, then. the content (the narrative theology) of the book i hown throuzh b both the narrative-semantic structure (viz. the theme-oriented concentric pattern) and {he [undamental-semantic structure (viz. the macrostructure). both of which are based on the syntactic structure (esp .. plot). Finally, in chapter 6, to show how the book functions to persuade the hearerslreaders in both the literary context and the external (socio-historical) context, the transforming power to reverse the old worldview of the hearerslreaders is sought through the narrative strategies of the book in both contexts. Briefly speaking, while chapter four is related to the syntactic structure (form) of the Apocalypse and chapter five is related to its semantic structure (content), chapter six can be said to correspond to the pragmatic aspect (function). To conclude, this study could modestly be said to articulate the following results: (1) The syntactic structure of the Apocalypse, as an integral unit. shows movement from an unstable state to a stable condition, which means that God's sovereignty will be established on earth -r'Thy will be done on earth as it is in heaven." (2) The semantic structure shows that the Apocalypse revolves around the activity of Jesus Christ. who is the cohering theological-clement of the structure of the book. (3) The functional structure shows that the Apocalypse rhetorically requests the faithful to witness to God's word until the end of the world and the wayward to repent because the time is near.
AFRIKAANSE OPSOMMING: Hierdie studie beoog die ondersoek van die struktuur van die Apokalips/Openbaring vanuit "n narratiewe oogpunt om voldoende interpretasie van die boek te bevorder. Dwarsdeur die werk word drie dinge voorveronderstel: (1) die Apokalips volg "n episodiese. nie-chronologiese patroon: (2) die Apokalips is "n samehangende eenheid: (3) die Apokalips. as 'n genre. behoort deur middel van vorrn. inhoud. en funksie gedefinieer te word. Aanvanklik word daar in hoofstuk 2 kortliks gekyk na vroeer pogings om die struktuur van die Apokalips te openbaar ten einde hul sterk en swak punte vas te ste!. Met dit in gedagte, beoog bierdie studie 'n drie-dimensionele benadering bestaande uit sintaktiese struktuur (vorrn). semantiese struktuur (inhoud). en pragmatiese struktuur (funksie). In hoofstuk " word die benadering ondersteun deur Chatman se paradigma (1980) as n model vir narratiewe ontleding. In hoofstuk -L om die sintaktiese struktuur vas te stel, is begin om die hele tek in baie klein deeltjies af te baken - "gedeeltelike narratiewe eenhede - deur verskeie narratiewe elemente te gebruik. Daarna is die klein deeltjies in "basiese (of komplete) narratiewe eenhede (BNU or ULl r saamgestel deur verskeie identifi erende kriteria daarvoor te gebruik. en daar is voortgegaan met die identifisering van "groter narratiewe eenhede' (UL2.3.-+) deur verskeie integrerende strategiee te gebruik totdat die groot te narratief. wat die hele teks as "n samehangende eenheid (lJL5) insluit. te voorskyn gekom het. Gevolglik word die narratief-sintaktiese struktuur (n1. die oppervlakkigc simaktiese struktuur) en die [undamenteel-sintakuese struktuur (nl. die diepperliggende sintaktiese siruktuur) van die boek aan die einde \ an hoofstuk -+ geioon. In hoofstuk 5 word die inhoud (die narratiewe teologie) van die boek deur beide die narratief-semantiese struktuur (nl. die tema-georienteerde konsentriese patroon) en die fundamenteel-semantiese struktuur (nl. die makrostruktuur) getoon, albei gebaseer op die sintaktiese struktuur (veral plot). Ten slotte, in hoofstuk 6, om aan te dui hoe die boek funksioneer om hoorders/lesers in beide die literere en eksterne (sosio-historiese) konteks te oorreed, word die transformerende mag om die ou wereldsiening van die hoorders/lesers om te keer, gesoek deur die narratiewe strategiee van die boek in beide kontekste. Kortliks gestel: waar hoofstuk 4 verband hou met die sintaktiese struktuur (vorm) van die Apokalips, handel hoofstuk 5 met sy semantiese struktuur (inhoud) en hoofstuk 6 met sy progmatiese aspek (funksie). Hierdie studie lei dan tot konklusies: (I) Die sintaktiese struktuur van die Apokalips, as 'n integrale eenheid, toon beweging van 'n onstabiele staat tot 'n stabiele staat wat beteken dat God se oppermag op aarde gevestig sal word- "U wil geskied op aarde soos in die hemel." (2) Die semantiese struktuur toon dat die Apokalips om die aktiwiteit van Jesus Christus handel - wat die samehangende teologiese element van die struktuur van die boek is. (3) Die funksionele struktuur toon dat die Apokalips die getroues retories versoek om as getuienis vir God se woord te dien tot die einde van die wereld en die afvalliges om berou te t0011aangesien die eindtyd naby is.
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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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Warren, Beckett. "Dawn of a New Apocalypse: Engagements with the Apocalyptic Imagination in 2012 and Primitvist Discourse." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1218993516.
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Neff, Ryan F. "Ya Gotta Shoot 'Em in the Head:The Zombie Plague as the New Apocryphal Myth in Post 9/11 America." Cleveland State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=csu1445250527.
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Woods, Andrew M. "The first beast of Revelation 13 has not yet appeared in world history a comparison of the preterist and futurist views /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.
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Ljung, Bo. "Det filmiska ögat : En undersökning av konstbetraktandets natur i tunnelbanan genom fotomontaget ”Den dagen, den sorgen” på Karlaplans station." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353592.
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Uppsatsen undersöker konstbetraktandets natur i tunnelbanan genom en närstudie av fotomontaget ”Den dagen, den sorgen på Karlaplans tunnelbanestation i Stockholm. Uppsatsens huvudsakliga frågeställning är: Hur spelar ”Den dagen den sorgen” upp sin mening och hur tas denna emot av betraktaren i tunnelbanekontexten vid Karlaplan? Två underfrågor kompletterar frågeställningen: 1.Vilken är fotomontagets konstnärliga särart och hur är det organiserat narrativt? 2.Hur är tunnelbanans ”genius loci” och hur samverkar konstverket med platsen och rummet? Impetus för uppsatsen är konstverkets säregna och unika karaktär som konstverk. Det finns inget liknande verk i Stockholms tunnelbana. Det lockar, väcker frågor och involverar betraktaren på ett direkt sätt. Syftet med uppsatsen är därför att undersöka mekanismerna för denna betraktaraktiverande rörelse. En fråga som ofta saknas i den omfattande litteraturen om konsten i Stockholms tunnelbana är hur tunnelbanekonsten kommunicerar och tas emot av sina betraktarresenärer. Denna brist motiverar en undersökning av relationen mellan konstverk, betraktare och miljö. Uppsatsen är utförd med hjälp av en deduktiv och systematiskt tolkande arbetsmetod utifrån en receptionsteoretisk och semiotisk teoribildning. De valda frågeställningarna har riktat analysen och fotomontaget har studerats som konstnärligt och språkligt fenomen. Receptionsteorin utgår från Wolfgang Kemps begreppsanalys, vilken är strukturerad i interna och externa faktorer. Peter Gillgren kompletterar Kemp och visar hur betydelsefulla verkets interartiella referenser och den litterära meningen är för den receptionsteoretiska tolkningen. Roland Barthes semiotiska teckenanalys, där denoterande tecken omvandlas till konoterande i betraktarens medvetande, ligger också till grund för tolkningen Texten är uppbyggd av fem delar. De består av inledning, bakgrund, interna faktorer, externa faktorer samt avslutande diskussion med slutsatser och sammanfattning. Genom verkets många interartiella referenser framträder en samhällskritisk litterär mening. För att förmedla denna litterära mening har upphovsmannen medvetet sökt motverka en riskerad polysemi. Kompletterande performativa textremsor, det hyperrealistiska fotografiska bildmediet samt en återhållsamhet med fragment stramar åt och riktar bildens ”betydelse”. Bildens komposition och perspektiv samt en frekvent användning av vakanser och fokaliserande gestalter bjuder in betraktaren i bildens ”spel” och sätter dennes öga i rörelse. Verk, betraktare och miljö möts och förstår varandra i hastiga filmiska ögonblick. Sådan är konstbetraktandets natur på Karlaplans tunnelbanestation.
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Twigg, Matthew. "Becoming Paul, becoming Christ : the Nag Hammadi 'Apocalypse of Paul' (NHC v,2) in its Valentinian context." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1df4c390-28fa-4861-9a7d-a96779c1364c.
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This thesis seeks to demonstrate the Apocalypse of Paul's position within the broader Valentinian literary corpus from the Nag Hammadi codices. Previous scholars, notably William Murdock and Michael Kaler, have gestured in this direction, but no attempt has been made to systematically situate the Apocalypse of Paul in relation to other Valentinian sources. Quite possibly this desideratum exists because although the Apocalypse of Paul's debt to Jewish apocalypticism is self-evident, scholars of Valentinianism have generally neglected those ideas in Valentinian literature which are derived ultimately from Judaism, often received via Paul or other New Testament writers. These would include the notion of the Name of God as a saving power, even a soteriological agent, and the image of a surrogate heavenly temple through which favoured adepts may ascend in the present. These come to be combined in Valentinian thought through a high-priestly Christology in which it is by virtue of bearing the Divine Name that one may enter this ideal temple in the fashion of the old Jewish high priest, and now Christ. On the other hand, Valentinians downgrade the biblical creator-God to the level of an imperfect demiurge, placing him in an inferior heavenly temple while supplanting the Pleroma atop him as the true spiritual temple housing the Father of Christ. The development of this constellation of ideas is traced principally from Valentinus himself, through the Gospel of Truth and the Excerpts from Theodotus, to the Gospel of Philip, where it receives its most extensive explication. It is argued that the Apocalypse of Paul consciously builds on this intellectual current using the apostle's image in order to construct an ideal authoritative account of how such ascent ought to appear among Valentinian initiates and thereby contribute to the rhetorical and psychological construction of future experiences among the elect community.
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Gwyther, Anthony Robert, and agwyther@yahoo com. "New Jerusalem Versus Babylon: Reading the Book of Revelation as the Text of a Circle of Counter-Imperial Christian Communities in the First Century Roman Empire." Griffith University. School of Theology, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.092450.
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The book of Revelation is perhaps the least understood and most controversial text of the Christian Scriptures. Among the mainstream churches, Revelation has been put into the 'too-hard basket.' Among the more fundamentalist churches, it has been used to construct lurid timetables of the 'end-of-the-world.' The reading of Revelation through modern eyes has tended to sever the text's connections to its original first century audience. In particular, the modern understanding of heaven and earth, the modern conceptualization of time, and the modern demarcation between politics and religion produce interpretations of apocalyptic that are alien to the ideology and worldview of its original author and audience. In this thesis I interpret the book of Revelation as looking not to the end of world history, but as an unmasking of the world dominated by the Roman Empire. In other words, Revelation exposes the claims of empire as illusory, and envisions an alternative reality that claims to be revealed and authorized by God. While this understanding runs counter to the modern 'apocalyptic paradigm,' I believe it is in keeping with the 'total conception of reality' in antiquity.
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Frank, Patrik Immanuel, and n/a. "Blessed is he who keeps the words of prophecy in this book : an intra-textual reading of the apocalypse as parenesis." University of Otago. Department of Theology and Religious Studies, 2006. http://adt.otago.ac.nz./public/adt-NZDU20080506.163527.
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This thesis seeks to explore the implications of a parenetic reading of the Book of Revelation as a whole, rather than merely of the seven messages in which this is more commonly regarded as the primary purpose of the text. It examines the validity of this approach in relation to the book�s claims about its purpose in the original communication event of which its text is a witness and its effectiveness in addressing hermeneutical issues in key passages of the book and argues that attention to the function of parenesis facilitates readings of Revelation which connect more directly with the intention of the book free from the need to decipher obscure coded references to past or future history.
Drawing from the text of the Apocalypse a twofold hermeneutical strategy is developed and exemplified by application to key passages of the book. The first aspect of this reading strategy is focussed on the proposed parenetic nature of the book. In an examination of Revelation�s introductory and concluding passages it is argued that as a coherent unity they form a frame around the book. This frame serves to establish the perspective from which the whole book may be read. It does so by giving rise to the expectation that the whole book contains parenetic exhortation to faithfulness in light of the imminent parousia. Consequently this thesis proceeds to interpret the Book of Revelation by focussing primarily on how the various images in the book�s body (4:1-22:9) as well as the explicit parenesis in the seven messages serve to communicate this parenetic exhortation to the original addressees.
The second aspect of interpretation seeks to facilitate scholarly analysis of the parenesis expected to be contained in Revelation�s body with systematic regard for the individual situation of each of the addressees of the book, as documented in the comparatively accessible seven messages. To this end an intra-textual hermeneutic is employed. It builds on an examination of the links between the various parts of Revelation which is part of the examination of both the book�s frame and the seven messages. This intra-textual reading utilizes the many links between the seven messages and Revelation�s body by allowing them to play a determinative role in the investigation of an image�s parenetic implications.
In order to further explore the validity of a parentic reading, the intra-textual principle is applied to two central parts of Revelation�s body, the Babylon vision (Rev 17-19:3) and the seal, trumpet and bowl visions (Rev 6, 8, 9, 11:15-19, 15, 16).
In this reading, the Babylon vision is read not as a general critique of the church�s pagan environment but as a divine commentary on the concrete threats and temptations with which the churches of the seven messages were confronted. In God�s judgment of Babylon those who suffer under her violence against Christians are promised vindication and are thus encouraged to maintain their faithful witness as citizens of the New Jerusalem. The citizens of Babylon however are exhorted to repent and leave her behind, becoming citizens of the New Jerusalem and thus escaping Babylon�s demise.
The seal, trumpet and bowl visions are interpreted as illustrating the dividing line between what constitutes faithful witness to Christ on the one hand and heed to satanic deception on the other. Faithfulness even to the point of death is expected of the followers of the Lamb; the inhabitants of the earth are exhorted to repent from their affiliation with the beast and give glory to God.
Thus such an intra-textual reading of Revelation as parenesis offers a strategy for reading the book in a way that is relevant for the Christian church beyond the limits of end-time phantasms on the one hand and mere historic interest on the other hand and so might facilitate the emergence of the message of the book from the obscurity in which it appears to be hidden to a significant proportion of its contemporary readers.
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Reynolds, Bennie H. Ehrman Bart D. "Between symbolism and realism the use of symbolic and non-symbolic language in ancient Jewish apocalypses 333-63 BCE /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2230.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.Title from electronic title page (viewed Jun. 26, 2009). "...in partial fulfillment of requirements for the degree of Doctor of Philosophy in the Department of Religious Studies Ancient Mediterranean Religions. " Discipline: Religious Studies; Department/School: Religious Studies.
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Skrumedi, Craig. "The Question of Violence in New Religious Movements: A Meta-Analysis of Aggregates." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36517.
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This thesis provides a systematic comparison and analysis on violent and non-violent new religious movements. The purpose of using a meta-analysis as the methodological tool for this research project is that it offers a systematic presentation and synthesis of the characteristics and findings from academic studies that exist on each new religious movement. Of importance is that each study, from the fields of sociology, social psychology and religious studies offers differing truths about each of the NRMs as they each only examine certain characteristics. As these disciplines have a high level of theories, this project utilizes a “measure driven” approach, “in which iterative searches and new computerized search techniques are used to increase the range of publications found (and thus the range of possible analyses) and to traverse time and disciplinary boundaries” (Roelfs et al 2013: 75). This analysis pools together all existing facts to provide a larger estimate of the "unknown common truths" about each movement and provide a fuller picture of the movements and their leaders. By combining studies of new religious movements that are prone to violence with studies of new religious movements that remain peaceful, this meta-analysis will increase the sample size and the power to study effects that may lead to the answer: why do some new religious movements become violent.
The general consensus among the research literature has distilled three salient aggregates associated with new religious groups that have become violent: a) each group possessed an apocalyptic worldview; b) each group maintained an organizational structure predicated on charismatic leadership and authority whereby a potent connection between the charismatic leader and devotee was forged; and c) each group established firm social boundaries demarcating the separation between the group and the wider social milieu resulting in social isolation. However, though these attributes were present in and common to all the groups that became violent, they continue to remain insufficient and fail to adequately illustrate why certain new religions become violent. The most notable cases of NRMs that have been mobilized to violence that are analyzed include: the Peoples' Temple, The Order of the Solar Temple, Aum Shinrikyo, the Movement for the Restoration of the Ten Commandments, the Branch Davidians, Rajneeshpuaram, The Church of the Lamb of God, Heaven's Gate and Scientology. These religious movements are compared and analyzed in relation to groups that have not become violent: the early Unification Church, Sikh Dharma/3HO, Chen Tao, Church Universal and Triumphant (CUT), and Concerned Christians. By analyzing fourteen individual movements that demonstrate the three central aggregates found specifically in violent movements, hopefully this meta-analysis has overcome the problem of small sample sizes, in order to better detect internal and external effects that can explain why some NRMs become violent.
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Carr, William W. "Hermeneutical approaches to the Isaiah apocalypse an examination of form- and redaction-critical interpretive principles and foundations for a new study of Isaiah 24-27 /." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Goulet, Henri L. "A tale of two cities toward an understanding of the functions and multivalent meaning of the metaphors "Babylon" and "New Jerusalem" in the Apocalypse of John /." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p035-0105.
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Davies, James P. "Paul among the apocalypses? : an evaluation of the 'apocalyptic Paul' in the context of Jewish and Christian apocalyptic literature." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6945.
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One of the most lively and enduring debates in New Testament studies is the question of the significance of ‘apocalyptic' thought in Paul. This has recently given birth to a group of scholars, with a common theological genealogy, who share a concern to emphasise the ‘apocalyptic' nature of Paul's gospel. Leading figures of this group are J. Louis Martyn, Martinus de Boer, Beverly Gaventa and Douglas Campbell. The work of this group has not been received without criticism, drawing fire from various quarters. However, what is often lacking (on both sides) is detailed engagement with the texts of the Jewish and Christian apocalypses. This dissertation attempts to evaluate the ‘apocalyptic Paul' movement through an examination of its major theological emphases in the light of the Jewish apocalypses 1 Enoch, 4 Ezra, 2 Baruch and the Christian book of Revelation. Placing Paul in this literary and historical context confirms his place as an apocalyptic thinker, but raises important questions about how this is construed in these recent approaches. Each chapter will address one of four interrelated themes: epistemology, eschatology, cosmology and soteriology. The study intends to suggest that the ‘apocalyptic Paul' movement is characterised at key points in each area by potentially false dichotomies, strict dualisms which unnecessarily screen out what Paul's apocalyptic thought affirms.
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Nair, Jacquelyn. "“NEITHER WITH THE OPINIONS OF THE GREEKS NOR WITH THE CUSTOMS OF THE BARBARIANS”: THE USE OF CLASSIC GREEK IMAGERY IN EARLY CHRISTIAN LITERATURE." Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1377618049.
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Ljung, Bo. "Det omättliga ögat." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411556.
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This is a master thesis dealing with reception-theoretical aspects of the 96 meter long photomontage called That day and that grief, created by the Swedish photographer and artist Larseric Vänerlöf. The artwork is situated in the Karlaplan metro-station in Stockholm. The text is an extension of the master thesis that I wrote in 2017-2018, entitled The Cinematic eye. This new essay aims to deepen the understanding of how the photomontage reveals it´s meaning and how it is received by the viewer in the metro context at Karlaplan. Main questions: 1/ What is it in this big photomontage, that makes the viewing travellers, wanting to stay and watch it, even though they are in a hurry towards another place, in another matter? 2/ How does this artwork speak to me and how does it want me to watch it? 3/ What does the photomontage want to tell me? 4/ What does the work represents? Since my study focuses on the imagery and communication-act of the artwork, I find semiotics and reception-theory as the obvious theoretical tools. Part of the interpretation of the image relates to the semiotics of Roland Barthes and his statement that all images are polysemic and ambiguous and that they are culturally and historically conditioned. In my conclusion I discuss and to some extent challenge the mechanism and interaction between literal, denoting information and symbolic connotation in the viewer’s reception. The reception analysis is based on Wofgang Kemps conceptual apparatus formulated in The work of Art and its Beholder (1998), and Peter Gillgrens concept of interartial references. Hans Georg Gadamers view of art as a performative game complements the essays theoretical construction. I use a deductive and systematic interpretive working method. Based on the chosen semiotic and reception theoretical formation and through my questions, I have studied the phenomenology of the photomontage, i.e. as an artistic and linguistic phenomenon. Empathy in site/location, beholder and zeitgeist form the basis of the methodological work.The conclusions of the thesis are radically different from that of my former text from 2017-18. Imagery and symbolic ambiguities and focalics that refuse to reveal the "meaning" and content of the photomontage, activate the viewer in a performative way and creates a highly communicative work, which involves the viewer in the theatrical course. Through a deeper study of the “zeitgeist”, I have also concluded that the collective and political symbols from the 1970s in the work, have lost power and content at the time of the dismantling in 1982. The character that I previously perceived as "Art as weapon" has in this essay been transformed to "Art as visuality". The art of photography appears as the real subject matter for the photomontage at Karlaplan subwaystation.
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Minard, Timothée. "La généralisation de la prophétie dans le Nouveau Testament : sources, modalités de déploiement, limites et enjeux." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAK009.
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Plusieurs textes du Nouveau Testament permettent d’envisager une forme de généralisation de la prophétie au sein du christianisme naissant. Cela tranche avec l’absence relative d’une attente similaire au sein du judaïsme intertestamentaire, mise en évidence par une enquête au sein des littératures juives antiques. Une analyse des sources chrétiennes permet de constater la pratique d’un prophétisme communautaire au sein du christianisme primitif. Ces éléments d’arrière-plan pris en compte, il est démontré comment trois textes néotestamentaires envisagent, chacun à leur manière, le déploiement de la généralisation de la prophétie. Pour l’auteur des Actes, les croyants en Jésus-Christ forment un peuple prophétique qui est au bénéfice du déversement eschatologique de l’Esprit de prophétie annoncé par Joël 3. En 1 Corinthiens 12 à 14, Paul propose un ensemble de régulations concernant la mise en œuvre communautaire de la généralisation de la prophétie. L’Apocalypse invite à considérer le peuple de l’Agneau comme étant porteur d’un témoignage prophétique dans ce monde. L’analyse de ces textes prête une attention particulière aux enjeux sociologiques liés à la généralisation de la prophétieSeveral New Testament texts reflects a certain form of generalization of prophecy within early Christianity. This belief contrasts with the relative absence of a similar expectation within intertestamental Judaism, brought to light through an investigation of ancient Jewish literature. An examination of Christian sources reveals the practice of congregational prophecy within early Christianity.In light of these background elements, it is shown how three New Testament texts view, each in its own way, the deployment of the generalization of prophecy. For the author of Acts, believers in Jesus-Christ constitute a prophetic nation who is experiencing the eschatological outpouring of the Spirit of prophecy announced in Joel 3. In 1 Corinthians 12-14, Paul offers a set of regulations regarding the implementation of the generalization of prophecy in the Christian community. The book of Revelation invites to consider the people of the Lamb as bearers of a prophetic testimony in this world. The analysis of these texts pays attention to sociological issues related to the generalization of prophecy
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Andersson, Anton. "Här finns inget evangelium kvar : En kvalitativ intervjustudie av Svenska kyrkans representanters syn på klimatförändringarna, den yttersta dagen och människor med existentiell ångest." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-93620.
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During the 20th century, our planet and its population have faced a number of environmental challenges. The climate on earth is changing and it is most likely due to human activity and the destruction of the earth's resources, ecosystems and waterways. More recently a very active environmental movement is taking up more space in people's lives. In many ways, it can be considered that climate change, and the movement that accompanied it, created a generation of people who proclaim a doom as a result of human destruction of the planet. I have conducted qualitative online interviews with nine representatives from the Church of Sweden, mainly church pastors from southern Sweden, to see how they relate to climate change, their views on judgement day and how they respond to people in their office who have anxiety and are concerned about climate change and the possible destruction of the human race. The result shows that all respondents in the survey place a great focus on man's individual and collective responsibility in the care for the earth, that is, according to them, God's creation. Through Berger’s social-constructivist theories of secularization, the study shows that the climate movement itself sometimes lacks Christian values of optimism and Christian concepts, such as God's grace, forgiveness, and hope. It thus gives the impression that the movement in some ways has a secular character. In contrast to this, the representatives of the Swedish Church claim to have a hopeful attitude and mostly believe that climate change is not part of the eschatological prophecies described in the Bible. However, they often reason that one cannot know for certain what the future holds, but as they hope and long for Christ's return, they have no fear but instead put their faith in hope and in God. They believe there is a clearer optimism on their part in the form of forgiveness, grace and hope and are willing to lead by example by caring for people who fear and encourage them to hope and the trust in God.
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Jonsäll, Hans. "Välsignad förbannelse : En retorisk analys av bibliskt material i Black Metallyrik." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266925.
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This bachelor thesis offers a rhetorical analysis of the album Maranatha by Swedish Black Metal artist Funeral Mist. Its main focus is on the intertextuality between the song "Blessed Curse" and the biblical book Deuteronomy, especially Deut 28 from which it has sampled a large portion of text. In the analysis I uncover the similarities and differences between the two texts in order to explain how the biblical fragments constitute new meanings when rearranged and taken out of their original context. The analysis concludes with relating the material to its new context i.e. the album Maranatha and the Black Metal scene by explaining other intertexts and references to the Bible and discussing which genre is best suited to describe the album as a whole. The results of the study show that the biblical quotations in the lyrics convey radically different messages and meanings compared to their original content in Deut 28. This in turn acknowledge how dependent linguistic symbols are on their context. I finish off my thesis with a few reflections on the moral and ethical implications of this use of biblical material concerning the anti-christian agenda supported by members of the Black Metal scene and specifically how Daniel Rostén of Funeral Mist view his own work and agenda.
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Martin-Jean, Emmanuel. "Postures de soldat et devenirs dans Apocalypse Now (1979, 2001) de Francis Coppola." Thèse, 2013. http://hdl.handle.net/1866/11972.
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Le présent mémoire aborde les problématiques morales de la scission corps-esprit chez les soldats de la guerre du Việt Nam telles que représentées à travers certains films traitant de cette guerre. Notre démarche sera centrée sur le travail individuel que propose le film Apocalypse Now, plutôt que sur la representation de la guerre. Nous postulons que ce film met les individus devant les contradictions inhérentes d'une société qui prétend justement pacifier le monde en faisant la guerre, et qui plus est, comme ce fut le cas au Việt Nam, au moyen d’un déchainement de violence qui dépasse l'entendement (torture, massacre de masses, napalm et Agent Orange). Notre hypothèse est que le film, à travers son personnage central, nous propose une « voie » qui n’empêche pas la guerre, certes, mais permet du moins d'entreprendre une demarche de distanciation et de redefinition morale individuelle permettant de survivre au(x) temps de guerre(s). Cette mutation morale, chez le personnage principal, s'acquiert au bout d'un voyage réflexif à tout point de vue « au coeur des ténèbres » – de la jungle, tout autant que de son être.This master’s thesis addresses some moral issues of the body/spirit dichotomy, induced in the military training, in the Vietnam War vets as portrayed in several films on that war. Our work will be centered on the work of the individual as suggested in Apocalypse Now, rather than on the depiction of the war. We contend that this film puts the individuals in front of the contradictions of a society that pretends to pacify the world using war, and inasmuch, as was the case in Vietnam, using a conspicuous outburst of violence (torture, mass murder, napalm, Agent Orange). We hypothesize that the film, through its main character, propose a “way” which doesn’t eradicate war, but suggest that we can take a step to redefine our moral standpoint in front of ourselves to heal the wounds caused by Wars. This individual moral mutation, in the main character, is the result of a reflexive process, on all accords at the “heart of darkness”, of the jungle as much as of his soul.
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Bridges, Rose Elizabeth. "The legacy of Wagner's Der Ring des Nibelungen as reflected in select late twentieth- and early twenty-first-century film media." Thesis, 2015. https://hdl.handle.net/2144/15232.
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Richard Wagner is one of the most important and influential composers for scholars of film music. His concept of the Gesamtkunstwerk or "total art work," which combined music, visuals and storytelling, played an indelible role in the creation of film aesthetics, especially with regard to music and sound design. Yet, Wagner's actual music has its own curious legacy in film history, in terms of how it is used to interact with a story that often bears no relation to those of Wagner's operas. This is particularly interesting with regard to the Der Ring des Nibelungen (aka "the Ring Cycle"). The Ring is his most ambitious and influential, and densest work, and perhaps the one with the greatest lingering legacy in popular culture. For example, "Ride of the Valkyries," an excerpt from Die Walküre made famous by Looney Tunes shorts and Francis Ford Coppola's Apocalypse Now, is still a frequent presence in film, television and advertising that want to evoke sounds of war and conquest--associations created more from its use in those contexts than the original opera.
This thesis will examine films and television series of the last half-century that have used musical examples from the Ring in their soundtracks. Works given particular focus will include Apocalypse Now (1979), the Japanese anime series Princess Tutu (2002-2003) and Terrence Malick's historical romance The New World (2006). The examination will discern both how film media has influenced modern cultural perceptions of the original operas--and of Wagner's legacy in general--and also how said film media is itself a reflection of modern attitudes about Wagner and his masterwork.
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Christopher, David. "The Toronto New Wave, post-anarchist cinema theory, and the progressive apocalypse." Thesis, 2019. http://hdl.handle.net/1828/11128.
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A group of Canadian films emerged in the 1980s and 1990s that has come to be known as the “Toronto New Wave” (TNW). Most scholarship regarding this “wave” considers the films usually identified with it not as an ideologically or aesthetically cohesive ensemble, but as a disparate mélange engendered by the merely coincidental socio-political, economic, and government policy circumstances that developed at the beginning of the 1980s. Critics who engage more robustly with the cinematic content of these films often make reference to a new global sensibility of the filmmakers and almost universally discuss the theme of urban social alienation that permeates the film narratives. However, the motif of urban social alienation is always understood by these critics as merely a theme in these films. These critics overlook or openly reject the possibility of what anarchist cultural studies refers to as philosophical praxis, an active effort to intervene in cultural meaning-making and to change dominant ideologies. Moreover, the urban alienation theme upon which so many of the TNW narratives trade seems to map very specifically onto more progressive understandings of the term “apocalypse” in the project of philosophical praxis. In the following dissertation, I will argue against the commonly held view that the films of the TNW do not share any significant aesthetic or political unity. In doing so, I will make a case for the marriage of theories of apocalypse with both anarchist cultural philosophy and perception-based psychoanalytical theory as a means to understand a selection of films from within the TNW that I argue are particularly “anarchist-apocalyptic” in their cultural and political work.Graduate
2021-08-15
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"The “New Human Condition” in Literature: Climate, Migration, and the Future." Master's thesis, 2019. http://hdl.handle.net/2286/R.I.53648.
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abstract: This thesis examines perceptions of climate change in literature through the lens of the environmental humanities, an interdisciplinary field that brings history, ecocriticism, and anthropology together to consider the environmental past, present and future. The project began in Iceland, during the Svartárkot Culture-Nature Program called “Human Ecology and Culture at Lake Mývatn 1700-2000: Dimensions of Environmental and Cultural Change”. Over the course of 10 days, director of the program, Viðar Hreinsson, an acclaimed literary and Icelandic Saga scholar, brought in researchers from different fields of study in Iceland to give students a holistically academic approach to their own environmental research. In this thesis, texts under consideration include the Icelandic Sagas, My Antonia by Willa Cather, Tropic of Orange by Karen Tei Yamashita, and The Water Knife by Paolo Bacigalupi. The thesis is supported by secondary works written by environmental humanists, including Andrew Ross, Steve Hartman, Ignacio Sanchez Cohen, and Joni Adamson, who specialize in archeological research on heritage sites in Iceland and/or study global weather patterns, prairie ecologies in the American Midwest, the history of water in the Southwest, and climate fiction. Chapter One, focusing on the Icelandic Sagas and My Antonia, argues that literature from different centuries, different cultures, and different parts of the world offers evidence that humans have been driving environmental degradation at the regional and planetary scales since at least the 1500s, especially as they have engaged in aggressive forms of settlement and colonization. Chapter Two, focused on Tropic of Orange, this argues that global environmental change leads to extreme weather and drought that is increasing climate migration from the Global South to the Global North. Chapter Three, focused on The Water Knife, argues that climate fiction gives readers the opportunity to think about and better prepare for a viable and sustainable future rather than wait for inevitable apocalypse. By exploring literature that depicts and represents climate change through time, environmental humanists have innovated new methods of analysis for teaching and thinking about what humans must understand about their impacts on ecosystems so that we can better prepare for the future.Dissertation/Thesis
Masters Thesis English 2019
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(9719168), Michael James Greenan. "AFRICAN AMERICAN SPIRITUALS AND THE BIBLE: SELECTING TEXTS FOR SECONDARY EDUCATION INSTRUCTION." Thesis, 2020.
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The research in this thesis attempts to select texts from the African American Spirituals and the Bible that are appropriate for secondary language arts instruction, specifically for grades 9-12. The paper first gives an overview of legal justifications and educational reasons for teaching religious literature in public schools. Then, relevant educational standards are discussed, and, using the standards as an initial guide, I identify common themes within the Spirituals and Bible, which, from my analysis of various literatures, are slavery, chosenness, and coded language. Next, I describe my systematic effort to choose texts from the Spirituals and the Bible. To help accomplish this, I draw primarily from two tomes: Go Down Moses: Celebrating the African-American Spiritual and Biblical Literacy: The Essential Bible Stories Everyone Needs to Know. After I describe the research process of selecting texts, I form judgments about which biblical passages and African American Spirituals are particularly worthy of study, along with their applicable and mutual themes.