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Journal articles on the topic 'Apocalyptic genre'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Jones, Angela. "Musical Apocalypse: Tom Waits’ Bone Machine." FORUM: University of Edinburgh Postgraduate Journal of Culture & the Arts, no. 05 (December 12, 2007): 1–16. http://dx.doi.org/10.2218/forum.05.586.

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Apocalypse derives from the Greek apocalypsis, meaning the act of uncovering, unveiling, or revelation. While the apocalyptic theme or genre continues to inform and inspire a number of different media and discourses into the twenty-first century, the representation of apocalypse within popular music remains a largely overlooked field of enquiry. Therefore in this paper I would like to discuss Tom Waits' 1992 CD, Bone Machine, as a popular musical rendition of the apocalyptic theme, in order to explore what the apocalyptic might sound like, were it to be rendered musically. To do so, I will be

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2

Salamoon, Daniel Kurniawan, and Cindy Muljosumarto. "Analisis Visual Warna pada Game Post Apocalyptic (Studi Game The Last Of Us, Metro Exodus, dan Horizon Zero Dawn)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 1 (2020): 18–31. http://dx.doi.org/10.33633/andharupa.v6i1.3232.

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AbstrakVideo game sebagai bentuk media visual di era modern memiliki peranan dalam masyarakat sebagai salah satu bentuk hiburan yang bersifat interaktif. Video game terus berkembang dalam tata visual sebagai bentuk evolusi dari teknologi video game tersebut. Evolusi dalam video game membuat genre dalam video game juga mengalami perkembangan. Salah satu genre yang menjadi tren adalah genre post apocalyptic. Penelitian ini mencoba melihat narasi yang hendak disampaikan lewat tata visual beberapa video game dengan genre post apocalyptic. Metode yang dilakukan adalah dengan mengumpulkan data scree

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3

Muwaffaq, Thafhan, Nurul Komar, and Rio Armandaru. "APOCALYPTIC NARRATIVE SCHEMAS IN DYSTOPIAN FILMS." International Journal of Humanity Studies (IJHS) 3, no. 2 (2020): 211–27. http://dx.doi.org/10.24071/ijhs.v3i2.2168.

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This research investigates the way dystopia as film genre is attributed with catastrophe or, what will be regarded here as apocalyptic events. We question the way in which the genre represents state of affairs of humanity in the face of catastrophe, in catastrophe, and after catastrophe. We conducted a narrative analysis under the account of semiotic cognitive approach, by identifying narrated events, and actions of the protagonist as constituting parts of event. We argue that narrative in dystopian films represent three types of apocalyptic schema (i.e. pre-apocalyptic, apocalyptic, and post-

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Hutahaean, Hasahatan. "Menafsir Genre Apokaliptik Kitab Daniel." ILLUMINATE: Jurnal Teologi dan Pendidikan Kristiani 3, no. 1 (2020): 25–39. http://dx.doi.org/10.54024/illuminate.v3i1.81.

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The Apocalyptic genre is one genre that is difficult to understand because of its long intricacies and requires accuracy. One reason for the difficulty in interpreting the apocalyptic genre is the use of symbols that are not uncommon for today's readers. The use of symbols is very close to the speaker and, the first reader. The Book of Daniel is identical to the many uses of the symbolic language of the two Apocalyptic genre Books in the Bible. Readers increasingly need to be careful and careful when classifying symbol languages because there are differences in the use of symbols and language

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5

Novak, Michael Anthony. "The Odes of Solomon as Apocalyptic Literature." Vigiliae Christianae 66, no. 5 (2012): 527–50. http://dx.doi.org/10.1163/157007212x635812.

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Abstract The Odes of Solomon is generally categorized as early Jewish-Christian apocrypha, particularly as a lyrics-book of early Christian worship songs. They give us a glimpse into earliest Christian worship and Christian understandings of the recent advent of the Messiah. As a matter of genre, they are easily discussed as liturgical texts, poetry, or musical lyrics. This examination reveals that the Odes are filled with themes of apocalyptic literature, far beyond the extent hitherto recognized. These apocalyptic themes situate the Odes in earliest Christian literature, revealing ties to th

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6

Musvosvi, Joel. "The Issue of genre and apocalyptic prophecy." Asia Adventist Seminary Studies 5, no. 1 (2023): 43. https://doi.org/10.63201/kfda9062.

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The study of the book of Revelation presents both challenges and rewards for the end-time people of God. In this enigmatic concluding book of the Bible, God provides both a chart and a compass to His homebound pilgrims as they traverse the final treacherous stretch of their pilgrimage. Amidst many uncertainties, Revelation presents the final generation with one great triumphant certainty—God is in ultimate control of history and will deliver the kingdom to the saints of the Most High.

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7

GURTNER, DANIEL M. "Interpreting Apocalyptic Symbolism in the Gospel of Matthew." Bulletin for Biblical Research 22, no. 4 (2012): 525–45. http://dx.doi.org/10.2307/26424337.

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Abstract The appearance of apocalyptic symbols is common in NT narratives, including in the Gospel of Matthew. But the identification and interpretation of such symbols is frequently allusive, indeterminate, and even contradictory in scholarly discussion. The purpose of this article is to offer some methodological controls for interpreting these texts. Drawing on seminal work done on apocalypses as a genre and their constituent features, this article posits that the employment of symbols is a defining element of apocalypses that provides an important point of entry for the identification and i

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8

Määttä, Jerry. "Keeping Count of the End of the World: A Statistical Analysis of the Historiography, Canonisation, and Historical Fluctuations of Anglophone Apocalyptic and Post-Apocalyptic Disaster Narratives." Culture Unbound 7, no. 3 (2015): 411–32. http://dx.doi.org/10.3384/cu.2000.1525.1572411.

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Over the past decade, apocalyptic and post-apocalyptic disaster narratives seem to have become more popular than ever before. Since its inception in secular form in the first decades of the nineteenth century, however, the genre has experienced a number of fluctuations in popularity, especially in the twentieth century. Inspired by Franco Moretti’s influential Graphs, Maps, Trees (2005), the aim of this study is to analyse the historiography, canonisation, and historical fluctuations of Anglo-phone apocalyptic and post-apocalyptic disaster narratives in literature and film through an elementar

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9

Flowers, Adam. "Reconsidering Qur'anic Genre." Journal of Qur'anic Studies 20, no. 2 (2018): 19–46. http://dx.doi.org/10.3366/jqs.2018.0336.

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The Qur'an's employment of diverse modes of discourse is, perhaps, the text's defining literary feature. These discourses, ranging from apocalyptic, to narrative, to legal, have long been observed by Western scholars. Genre studies of the Qur'an, however, have largely stagnated, and little progress has been made beyond cursory classifications. This stagnation is particularly stunting to the study of the textual history of the Qur'an, as vital questions concerning the development of individual genres and the relationship between Qur'anic genre and the unit of the sura remain unanswered. This ar

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10

Cormier, Matthew. "The Destruction of Nationalism in Twenty-First Century Canadian Apocalyptic Fiction." American, British and Canadian Studies 35, no. 1 (2020): 5–22. http://dx.doi.org/10.2478/abcsj-2020-0014.

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Abstract This article argues that, since the turn of the twenty-first century, fiction in Canada – whether by English-Canadian, Québécois, or Indigenous writers – has seen a re-emergence in the apocalyptic genre. While apocalyptic fiction also gained critical attention during the twentieth century, this initial wave was tied to disenfranchised, marginalized figures, excluded as failures in their attempts to reach a promised land. As a result, fiction at that time – and perhaps equally so in the divided English-Canadian and Québécois canons – was chiefly a (post)colonial, nationalist project. Y

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11

Nel, Marius. "The Gospel of Mark: An Apocalyptic Writing?" Neotestamentica 57, no. 2 (2023): 211–28. http://dx.doi.org/10.1353/neo.2023.a943175.

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Abstract: The article discusses the viability of viewing the Gospel of Mark within the apocalyptic genre, a discourse that generated several contributions through the years. Some researchers argue that the worldview of apocalypticism permeates all the literature of the early first-century church, depicting Jesus as an apocalyptic prophet. The article analyses different aspects of the Gospel for its eschatological intent and contents, like its beginning (Mark 1:1–3), the communication about John the Baptist, Jesus's baptism, his conflict with Satan in the wilderness, the series of parables, the

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12

Scheller, Jörg. "Apopcalypse: The Popularity of Heavy Metal as Heir to Apocalyptic Artifacts." Arts 12, no. 3 (2023): 120. http://dx.doi.org/10.3390/arts12030120.

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This paper examines the heavy metal genre as a popular form of apocalypticism, i.e., as a warning reminder or “premediation” of potentially (large-scale) lethal crises. By confronting the audience with disturbing, seemingly exaggerated scenarios of disease, chaos, war, and horror, heavy metal builds barriers in popular culture against what philosopher Günther Anders has called “apocalyptic blindness.” The genre, then, offers a kind of “aesthetic resilience training” particularly in relatively stable and peaceful times, when large-scale crises seem unlikely or, in the case of global nuclear war

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13

Scheller, Jörg. "Apopcalypse: The Popularity of Heavy Metal as Heir to Apocalyptic Artifacts." Arts 12, no. 3 (2023): 1–12. https://doi.org/10.5281/zenodo.14274232.

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This paper examines the heavy metal genre as a popular form of apocalypticism, i.e., as a warning reminder or "premediation" of potentially (large-scale) lethal crises. By confronting the audience with disturbing, seemingly exaggerated scenarios of disease, chaos, war, and horror, heavy metal builds barriers in popular culture against what philosopher Günther Anders has called "apocalyptic blindness." The genre, then, offers a kind of "aesthetic resilience training" particularly in relatively stable and peaceful times, when large-scale crises seem unlikely or, in the case of global nuclear war

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14

Wright, Benjamin G. III. "Joining the Club: A Suggestion about Genre in Early Jewish Texts." Dead Sea Discoveries 17, no. 3 (2010): 289–314. http://dx.doi.org/10.1163/156851710x513557.

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AbstractBiblical studies has traditionally worked with a classificatory or definitional approach to genre. Recent scholarship in genre studies, however, has pointed out the shortcomings of a classificatory system. Among the different theories about genre that are current in genre studies, prototype theory, derived from advances in cognitive science, offers the possibility for thinking differently about genre as a classificatory tool and about what questions we want considerations of genre to answer. Rather than listing necessary features, prototype theory focuses on the way that humans categor

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15

Kulik, Alexander. "Gilayon and “Apocalypse”: Reconsidering an Early Jewish Concept and Genre." Harvard Theological Review 116, no. 2 (2023): 190–227. http://dx.doi.org/10.1017/s0017816023000111.

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AbstractThis paper examines various ways in which apocalyptic studies can benefit from the introduction of the term and concept of gilayon, a reconstructed Hebrew counterpart of the Judeo-Greek apocalypse. The term gilayon, which combines the meanings of “revealed book” and “book of revelation,” refers to a central image of early Jewish revealed literature and could serve to define an important corpus, the boundaries of which might well overlap with (but still differ from) what is understood by the “genre apocalypse” in modern research. Moreover, this reconstructed concept uncovers additional

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16

Soumya. S. J & Dr. N.U. Lekshmi. "Ecological Discourses in Margaret Atwood’s Novel Oryx and Crake." Creative Saplings 1, no. 11 (2023): 44–53. http://dx.doi.org/10.56062/gtrs.2023.1.11.212.

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Cli-fi is an innovative genre of fiction that modernizes climate science into human stories. Writers of cli-fi discover, what it means to be human in a world that is influenced by warming temperature, powerful storms and rising seas. The cli-fi narratives arouse consciousness about the complex issues of climate change. The novel Oryx and Crake by Margaret Atwood, published in 2003, is about a post-apocalyptic world which will be a reality in the future. The novel carries two distinct genres- a pre apocalyptic world and a post-apocalyptic world. The pre apocalyptic world is an exaggerated repre

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17

Yaren, Özgür. "Post-Human Aesthetics of Apocalypse." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 77. http://dx.doi.org/10.25038/am.v0i19.309.

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This paper aims to illustrate the transformation of point of view in apocalyptic/dystopian genre films, abandoning the lamenting tone in favor of other species. It also intends to exhibit the aesthetic strategies conforming to the shifting tone of these genre films towards a post-human stance. It can be argued that the conjuncture which is shaped by several coinciding narratives of crisis from the Anthropocene to the more recent political crisis of rising Populism led Posthumanist discourse gain prevalence. The paper will try to link the shifting tone of genre films with the lineages of Posthu

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18

Hester, James D. "Creating the Future: Apocalyptic Rhetoric in 1 Thessalonians." Religion and Theology 7, no. 2 (2000): 192–212. http://dx.doi.org/10.1163/157430100x00045.

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AbstractRecent studies of apocalyptic literature have brought better definitions of the genre and its worldviews, but have largely ignored issues of argumentation and the nature of apocalyptic discourse. Modern theories of rhetorical criticism help the critic to analyse how that discourse helped the early church to talk about their experiences of persecution and marginality, and how those experiences were to be understood in light of the gospel, which promised that believers were to be with the Lord. In effect apocalyptic discourse helped describe the ethical principles to be followed in daily

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Hester, James D. "Creating the Future: Apocalyptic Rhetoric in 1 Thessalonians." Religion and Theology 7, no. 4 (2000): 192–212. http://dx.doi.org/10.1163/157430100x00379.

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AbstractRecent studies of apocalyptic literature have brought better definitions of the genre and its worldviews, but have largely ignored issues of argumentation and the nature of apocalyptic discourse. Modern theories of rhetorical criticism help the critic to analyse how that discourse helped the early church to talk about their experiences of persecution and marginality, and how those experiences were to be understood in light of the gospel, which promised that believers were to be with the Lord. In effect apocalyptic discourse helped describe the ethical principles to be followed in daily

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20

Al-Mamori, Yasir Khudeir Obid. "Dystopia, post-apocalypse and cinematic reading." Философия и культура, no. 4 (April 2022): 1–8. http://dx.doi.org/10.7256/2454-0757.2022.4.37808.

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The subject of the study is the study of such a specific genre as dystopia, which is the dominant form of society in post-apocalyptic worlds. The object of the study is dystopia and post-apocalypse in cinema, as well as their features in modern realities. In the course of the research, special attention is paid to the study of the substantive essence of such definitions as "dystopia", "apocalypse" and "post-apocalypse". Special emphasis is placed on the fundamental difference and differences between apocalyptic and post-apocalyptic events. Special attention is also paid to the reasons and fact

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21

Jensen, Søren. "Fra apokalyptik til science fiction. Jakob Balling in memoriam." Dansk Teologisk Tidsskrift 75, no. 3 (2012): 170–86. http://dx.doi.org/10.7146/dtt.v75i3.105582.

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In his book Poeterne som kirkelærere (The Poets as Theologians)Jakob Balling compares Dante’s Divine Comedy with Milton’sParadise Lost. He discusses similarities and differences between the twopoems and places them in a literary tradition that combines theologyand poetry, a relationship that has had a decisive influence on the development of literature in Europe. The present article expands this perspective both backwards and forwards in time by including a discussionof the interrelationship between fi ction and religious message in Jewishapocalyptic, using the Apocalypse of Abraham and C.S. L

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22

Park, Sung-Jun. "Shelter and Affect as Collective Experience in the Post-Apocalypse : Focusing on <Concrete Utopia>." K-Culture·Story Contents Reasearch Institute 6 (January 30, 2025): 73–89. https://doi.org/10.56659/kcsc.2025.01.73.

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This paper examines the meaning of ‘apartment’, which can be said to be the main setting of <Concrete Utopia>, based on the properties of shelter and genre norms used in post-apocalyptic works. Shelter means a place of refuge and shelter, and a space where people can settle down in the post-apocalypse. People in the post-apocalypse create shelters and gather in shelters to form a community. A community formed in this way cannot help but create its own order. This is because in order for a community to ‘survive’ in the post-apocalypse, a post-apocalyptic order is needed, not a pre-apocaly

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23

Tomašević, Milan. "Power of revalations: Eschatology, apocalyptic literature and millenarism." Issues in Ethnology and Anthropology 11, no. 1 (2016): 175. http://dx.doi.org/10.21301/eap.v11i1.8.

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Paper examines social capacities of apocalyptic literature and presents some of its crucial concepts, motives and functions. It offers some of most important uptakes of end time narratives usage in a religious, but in a political and cultural context, also. Presenting apocalyptic literature as a compex genre, paper offers a view of multifunctional phenomenon that had been used by different social groups and agents. Paper portrays apocalypses as a part of revolutionary ideoloical texts and paralysing discourse of fear. By refering onto a structural liminality and prophetic method, it deconstruc

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Szabó, Balázs. "Átmenet a káoszból kozmoszba, avagy az apokalipszis reményt adó végkicsengése különös tekintettel a személyköztiségre." Kultúratudományi Szemle 3, no. 3 (2022): 114–17. http://dx.doi.org/10.15170/ksz.2021.03.03.17.

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Transition from chaos to cosmos, or the hopeful ending of the apocalypse, especially with regard to interpersonalismBalázs SzabóStarting from a biblical approach, in this short paper I would like discuss a few thoughts with regard to the theme of apocalypse. I focus mostly on the relations of chaos and cosmos; hope; and last but not least, interpersonal structure. In my line of thought I would like to point out some crucial characteristics concerning the genre of apocalyptic literature. To be more specific, I seek tounderline the distinctive paraenetic attributes of apocalyptic language in ter

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25

Teodorovic, Jasmina. "„FUTURISTIČKA” FANTAZMAGORIJA: „LUČE NOVOG JERUSALIMA 2999”." Lipar, no. 72 (2020): 47–63. http://dx.doi.org/10.46793/lipar72.047t.

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The majority of studies on the last story in Pekić’s gothic novel The New Jerusalem (Serbian: „Luče Novog Jerusalima”, officially translated in English by Zorica Đergović Joksimović ”The Lights of The New Jerusalem 2999”) elaborate on in it in terms of: poetic/narrative auto-referentiality, gothic chronicle, hybrid genre, meta- textuality, historiographic metafictional narrativity, eschatological vision, negative utopia, chiliastic tone, post-apocalyptic vision etc. However, what is to be noted as well is that Pekić’s rhetoric keeps insisting on the same archetypal anthropological matrix, inso

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Edwards, Steve. "Apocalyptic Sublime: On the Brighton Photo-Biennial." Historical Materialism 17, no. 2 (2009): 84–102. http://dx.doi.org/10.1163/156920609x436135.

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AbstractBased on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate p

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Crotty, Robert. "The Role of Post Mortem Visions in the Jewish Intertestamental Period." Pacifica: Australasian Theological Studies 8, no. 1 (1995): 1–8. http://dx.doi.org/10.1177/1030570x9500800102.

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Maccabees recounts a vision in which Onias the Just commissions Judas Maccabeus as protector of Jerusalem and its Temple. This account belongs to a specific genre. Onias was a martyred zaddik or “righteous one” who, by means of the vision, nominated his successor. This genre is applied to the post-resurrection visions of Jesus to his disciples in an attempt to clarify their meaning. These stories can be understood as zaddik vision traditions which have been overlaid with apocalyptic imagery.

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Stuckenbruck, Loren T. "The Epistle of Enoch: Genre and Authorial Presentation." Dead Sea Discoveries 17, no. 3 (2010): 387–417. http://dx.doi.org/10.1163/156851710x513593.

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AbstractTo the extent that a writing openly presents itself as the result of authorial activity, discussions of genre cannot dispense with the question of how, formally, communication occurs. Taking the Epistle of Enoch and Apocalypse of Weeks in 1 Enochas the points of departure, the present essay attempts to show that a discussion of what a document declares about its own writtenness opens up a way of understanding it in comparison to other documents that do the same along analogous lines, whether sapiential or apocalyptic.

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Gunawan, Michael Wenardi, and Ribut Basuki. "The Last War: A Screenplay Depicting Optimism In A Post-Apocalyptic World." k@ta kita 12, no. 2 (2024): 232–39. http://dx.doi.org/10.9744/katakita.12.2.232-239.

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Optimism is an important thing for many people in order to maintain world peace. More specifically, optimism can still play a major role even when the world is in a post-apocalyptic state. Therefore, this creative work has been made to show how optimism can make a big difference in the post-apocalyptic era. The creative work will use the theory of optimism by Martin Seligman in his book ‘Learned Optimism’. The creative work will be in the post-apocalyptic genre, and will use the screenplay film format. The result of the making of the creative work is people will be more knowledgeable about opt

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De Ferrari, Guillermina. "Science Fiction and the Rules of Uncertainty." Small Axe: A Caribbean Journal of Criticism 24, no. 1 (2020): 1–10. http://dx.doi.org/10.1215/07990537-8190502.

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A frequent trope in apocalyptic literature is a war between time and knowledge. Focusing on Rita Indiana’s “cli-fi” novel La mucama de Omicunlé (Omicunlé’s Maid), this essay explores the ambiguous role that uncertainty plays in apocalyptic literature. It argues that time travel seeks to revert the result of negative actions in the past, eliminating uncertainty retrospectively. And yet moral freedom, the mark of the human, requires uncertainty to function, which thwarts time travel as a messianic genre. Yet even in failure, time travel reminds us that impending disaster is contingent on specifi

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Schillereff, Megan. "The Post is Female." Digital Literature Review 5 (January 13, 2018): 69–83. http://dx.doi.org/10.33043/dlr.5.0.69-83.

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This paper examines the long-standing post-apocalyptic tradition of male posthuman representation throughout the timeline of the apocalyptic genre, from the time of the medieval knight up to the age of the modern superhero. As this paper argues, the gender dynamics in most posthumanfictions traditionally emphasizes male ability and female inability. Despite this, there is emerging contemporary young adult literature that is giving voice to the self-actualized—instead of the sexually awakened—female posthuman. In doing so, this young adult series explores the importance of representing the gend

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Marco, Malvestio. "Theorizing Eco-Dystopia: Science Fiction, the Anthropocene, and the Limits of Catastrophic Imagery." European Journal of Creative Practices in Cities and Landscapes 5, no. 1 (2022): 24–38. https://doi.org/10.6092/issn.2612-0496/14532.

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This essay considers a peculiar kind of science-fictional writing with environmental concerns that pivots on the imagery of catastrophe and blends the dystopian and the post-apocalyptic traditions. This sub-genre is known as eco-dystopia, which, I argue, merges the catastrophic imagery of the post-apocalyptic tradition with the consequential mode of dystopia. Eco-dystopias rely on the imagery of catastrophe to warn the public about the dangers and the consequences of the Anthropocene. However, such imagery presents strong limitations when used to dramatize and conceptualize the Anthropocene, a

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Kareem, Raed, and Hassan Farhan. "The Language of Evaluation in Jose Saramago's Blindness via Appraisal Theory." International Linguistics Research 5, no. 1 (2022): p25. http://dx.doi.org/10.30560/ilr.v5n1p25.

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Appraisal theory is developed out of systemic functional linguistics as a discourse semantic resource that is concerned with how text producers express their attitudes. The current study is an attempt to expand appraisal framework applicability to a fictional text as modern linguistic studies in the field of appraisal theory have typically been applied to the limited scope of political speeches and debates. The present study strives to illuminate appraisal theory as a tool for analysing the novel Blindness by José Saramago by carrying out three hypotheses. First, appraisal theory can be applie

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Kulikova, Daria Leonidovna. "Apocalyptic motifs in light of the poetics of horror (based on the prose of A. V. Ivanov)." Филология: научные исследования, no. 12 (December 2020): 156–67. http://dx.doi.org/10.7256/2454-0749.2020.12.34419.

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The goal of this article consists in analysis of the novels of A.V. Ivanov &ldquo;Community&rdquo; and &ldquo;Tobol&rdquo; from the perspective of using the images of the Apocalypse. Examples of referring to apocalyptic symbolism in the prose A. V. Ivanov are demonstrated. Multiple examples of interpretation of Biblical symbolism of the Apocalypse are featured in popular culture; A. V. Ivanov uses the experience of such interpretations with regard to the genre of horror novel. The article considers the examples of realization of apocalyptic motifs, and their role in the works o

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Tomlin, Graham. "Apocalyptic Apologetics and the Witness of the Church." Religions 14, no. 4 (2023): 518. http://dx.doi.org/10.3390/rel14040518.

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The discipline of apologetics has always been somewhat controversial in Christian theology. In the early church, the Greek-speaking apologists were often opposed for their attempts to express the gospel in the terms of Greek thought. In more recent times, the critiques of Soren Kierkegaard and Karl Barth, that it is an attempt to appeal to foundations that have nothing to do with the gospel, have cast a shadow over the discipline in recent years. This paper seeks to take those critiques seriously, yet argues that the discipline of apologetics is vital for the ongoing witness of the Church. It

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Parr, Christopher. "A man inside a machine." Science Fiction Film & Television 15, no. 1 (2022): 3–20. http://dx.doi.org/10.3828/sfftv.2022.2.

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This article traces the manifestation of the antihuman attitude in twenty-first century sf cinema, particularly in the cyborg film. The antihuman attitude is most clearly recognizable in apocalyptic and post-apocalyptic cinema, where it provides spectacular images of humanity’s destruction. However, it also finds a much subtler visualization in films featuring technologically augmented characters. While presenting narratives which ultimately reinstate a privileged Enlightenment humanism, the visual economy of these films continues to represent its protagonists as dehumanized commodities. Engag

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Eli Park Sorensen and Kim Su Rasmussen. "The Apocalyptic Imagination: Nature, Enlightenment and the Genre of Disaster Films." English21 24, no. 2 (2011): 247–74. http://dx.doi.org/10.35771/engdoi.2011.24.2.011.

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Braginskaya, Nina V., and Sergei N. Davidoglu. "ON THE GENRE OF PASSIO PERPETUAE ET FELICITATIS." Studia Religiosa Rossica: Russian Journal of Religion, no. 1 (2024): 33–66. http://dx.doi.org/10.28995/2658-4158-2024-1-33-66.

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Early Christian genres called in antiquity “passions” and “martyrias” or “acts” had no clear genre boundaries. Neither literary frameworks were established, nor fidelity to generic canon was much important to Christians who wrote about martyrdom. They often wrote epistles because they wanted to tell their fellow believers about the deeds of the martyrs, often relied on authentic records of trials and eyewitness accounts, often praised the passion-bearers, and used martyrologies as liturgical texts. Martyrology gradually developed into hagiography with its subgenres. But even against this backg

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Kulik, Alexander. "Genre without a Name: Was There a Hebrew Term for “Apocalypse”?" Journal for the Study of Judaism 40, no. 4-5 (2009): 540–50. http://dx.doi.org/10.1163/004722109x12492787778805.

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AbstractAlthough the term for “apocalypse” is not attested as a title or genre definition in the extant corpus of Hebrew or Jewish Aramaic documents, some early Hebrew, Syriac, and Arabic texts may contain rudimentary evidence in favor of the existence of a Hebrew or Jewish Aramaic equivalent for the term. Moreover, its reconstruction can contribute to better understanding of certain wide spread apocalyptic imagery, which must be closely connected to the semantics of this term.

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Bielik-Robson, Agata. "“I Want to Judge! I Have to Judge!”: Judg-mentaility and the Theopolitics of the Apocalypse." Pólemos 18, no. 2 (2024): 293–315. http://dx.doi.org/10.1515/pol-2024-2019.

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Abstract The apocalyptic genre was from the beginning in the centre of the theologico-political discourse which, according to Jacob Taubes, always has to choose one of the two fundamental options: either in favour of the apocalypse (“from above,” as in early Schmitt, or “from below,” as in Taubes himself), or against it in the katechonic defense against the apocalyptic chaos and destruction (late Schmitt). In Taubes’s account, apocalypse is simultaneously revelatory and destructive. By assuming the standpoint of the Last Judgment, it passes an ultimate verdict without appeal over the world – a

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باسم سعدون مطير. "Environmental Degradation and its Metaphors in Cormac McCarthy's 'The Road’: A comparative study with other prominent Narratives." Journal of the College of Education for Humanities, University of Thi-Qar 14, no. 3 (2024): 144–62. http://dx.doi.org/10.32792/jedh.v14i3.477.

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This research provides a comparative literary analysis focusing on Cormac McCarthy's "The Road" within the context of post-apocalyptic literature, emphasizing the novel's unique use of environmental degradation as a central theme. By contrasting McCarthy's work with other prominent narratives in the genre, the study explores the nuanced ways post-apocalyptic literature reflects and influences societal views on environmental issues. "The Road" is distinguished by its stark depiction of a desolate, ash-covered world and its profound exploration of survival's psychological and moral dimensions in

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Al-Harby, Nesreen. "Coronavirus Apocalypse: A Representation of Despair and Resilience." Arab World English Journal For Translation and Literary Studies 5, no. 3 (2021): 55.—69. http://dx.doi.org/10.24093/awejtls/vol5no3.5.

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This paper explores Mathias Besong’s My Struggle with COVID-19 (2020), Nikita Gill’s Love in the Time of Coronavirus (2020), and Elizabeth Mitchell’s The Doctor and Apocalypse (2020) and focusses on how these poems illustrate authors’ reactions to the spread of coronavirus. Therefore, it engages genre theory and argues that the examined verse adopts features and themes of post-apocalyptic literature. The research employs a comparative approach that divides the poems into three categories: the poetry of despair, the poetry of hope, and the ambivalent poetry that depicts responses to the pandemi

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IRELAND, BRIAN. "Errand into the Wilderness: The Cursed Earth as Apocalyptic Road Narrative." Journal of American Studies 43, no. 3 (2009): 497–534. http://dx.doi.org/10.1017/s0021875809990715.

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Mobility is a significant feature of American history and culture. This is reflected in the literature and cinema of the road genre, in influential novels such as Jack Kerouac's On the Road and John Steinbeck's Grapes of Wrath, and in films like Bonnie and Clyde (1967) and Easy Rider (1969). However, when non-Americans create road stories they tend to employ symbols and narratives that are often considered intrinsically American. These storytellers appear to have absorbed or internalized aspects of American national identity, and this is reflected in their work. This is demonstrated in The Cur

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Seager, River. "Newtypes, Angels, and Human Instrumentality: The Mecha Genre and its Apocalyptic Bodies." Journal of Anime and Manga Studies 4 (December 3, 2023): 219–43. http://dx.doi.org/10.21900/j.jams.v4.1186.

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 This paper argues that the mecha genre is fixated on psychedelic and abstract imagery of supernatural human bodies, the destruction or transcendence of which often have bring about new political and social epochs. In making this argument, I build on the writing of Hiroki Azuma, and his understanding of classical mecha texts functioning as ‘substitutes’ for political grand narratives. Two major mecha texts are analyzed: Mobile Suit Gundam (1979), and Neon Genesis Evangelion (1995). I suggest that Gundam’s occultic ‘Newtypes’ bridge the series’ grand narrative space opera storyline with t

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Sabuin, Richard. "META TAYTA in Revelation: an examination of sequential pattern in the book of Revelation." Journal of Asia Adventist Seminary 13, no. 1 (2010): 29–47. https://doi.org/10.63201/zsuj2320.

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The phrase μετὰ ταῦτα functions as a sequence marker in narrative passages in both the LXX and the New Testament. Of the thirty-five occurrences of . . . in the New Testament, it occurs only two times in the epistles (Heb 4:8; 1 Pet 1:11), due to the fact of their non-narrative genre. Almost one-third of the occurrences of the phrase are in the book of Revelation (Rev 1:19; 4:1 [2x]; 7:1, 9; 9:12; 15:5; 18:1; 19:1; 20:3). This suggests that the book of Revelation, with an apocalyptic genre, is presented in a narrative framework. This study examines the ten occurrences of μετὰ ταῦτα in the book

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Roșca, Mihai Robert. "Ficțiunea distopică – divertisment sau cântec de lebădă?" Revista de Istorie și Teorie Literară 18 (December 20, 2024): 317–37. https://doi.org/10.59277/ritl.2024.18.27.

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Dystopian and post-apocalyptic fiction stands out in the contemporary cultural landscape, both in terms of best-selling popular culture products, notably the best-selling novels or blockbuster movies aimed at an YA audience, and increasingly in the high culture sphere. The former contempt of the academia for science fiction has led to a reassessment and “repackaging” by the writers of their works as belonging to the speculative fiction genre. The inner space science fiction, sometimes rebranded as dystopian, cli-fi and post-apocalyptic fiction has gradually moved away from the outer worlds of

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Boszorád, Martin. "Image(s) of the World’s End from Archtexts to Popular Culture (Example-Based Exposition)." Literatura i Kultura Popularna 29 (May 17, 2024): 9–20. http://dx.doi.org/10.19195/0867-7441.29.1.

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Methodologically connecting the experience- and interpretation-based aesthetic approach to popular culture (Juraj Malíček) and the pragmatist aesthetics (Richard Shusterman) on one hand and the views of what is called arch-textual thematology (Mariana Čechová) on the other, the paper seeks to observe the ties between arch-texts, in particular the final book of the New Testament — the Book of Revelation, and ‘pop-texts,’ i.e. such popcultural works of art (films, TV series, literary texts, comics etc.), within the frame of which the end of the world images appear in one way or another and which

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Bellew, R. Shelton. "Examining the apocalyptic in Roberto Saviano’s Gomorra." Forum Italicum: A Journal of Italian Studies 52, no. 2 (2018): 505–22. http://dx.doi.org/10.1177/0014585818755358.

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This article examines the apocalyptic in Gomorra ( Saviano, 2006 ). Wu Ming 1 (2008) declared Saviano’s novel to be part of a new body of literature called the “New Italian Epic” based upon the narrative’s seven characteristics. Alessandro Dal Lago (2010) , on the other hand, does not think that Saviano’s work represents a new genre. For him, Ming’s sixth characteristic, the unidentified narrative object, has been the narrative technique of various historical authors such as Giovanni Verga (1978) and almost any work by Jorge Borges, just to name two. This technique is that of a composite narra

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Staples, Jason A. "‘Rise, Kill, and Eat’: Animals as Nations in Early Jewish Visionary Literature and Acts 10." Journal for the Study of the New Testament 42, no. 1 (2019): 3–17. http://dx.doi.org/10.1177/0142064x19855564.

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Peter’s vision in Acts 10 ostensibly concerns dietary laws but is interpreted within the narrative as a revelation of God’s mercy towards the Gentiles, culminating in the baptism of Cornelius’ household. How this vision pertains to the immediately following events has remained a problem in scholarship on Acts. This article argues that the vision depends on earlier apocalyptic Jewish depictions of various nations as animals (and empires as hybrid beasts) and allegorical explanations of the food laws familiar in the Second Temple period in which the forbidden animals are understood as representi

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Mitchell, Audra, and Aadita Chaudhury. "Worlding beyond ‘the’ ‘end’ of ‘the world’: white apocalyptic visions and BIPOC futurisms." International Relations 34, no. 3 (2020): 309–32. http://dx.doi.org/10.1177/0047117820948936.

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We often hear that the ‘end of the world’ is approaching – but whose world, exactly, is expected to end? Over the last several decades, a popular and influential literature has emerged, in International Relations (IR), social sciences, and in popular culture, on subjects such as ‘human extinction’, ‘global catastrophic risks’, and eco-apocalypse. Written by scientists, political scientists, and journalists for wide public audiences,1 this genre diagnoses what it considers the most serious global threats and offers strategies to protect the future of ‘humanity’. This article will critically eng

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