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.

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.

On its surface, Cormac McCarthy's No Country for Old Men appears to be a thoroughly grim and even fatalistic novel, but read in conjunction with W.B. Yeats' "The Second Coming"—a work with which the novel has a number of intertextual connection—it becomes clear that there is a distinct optimism at the heart of the novel. Approaching McCarthy's novel as an intertext with Yeats' poem illuminates an apparent critique of eschatological panic present in No Country for Old Men, provided mainly through Sheriff Bell's reflections on the state of society.

My Thesis body of work, The Mythos for the Mortal, presents visual interpretations of apocalyptic mythoi—past, present, and future. These works are both a conscious and unconscious response to childhood exposure to apocalyptic stories and form a visual record of social, political and religious interpretations of the apocalypse. The overarching theme of apocalypse (from the Greek word Apokalypsis, meaning ‘to unveil’ or ‘to reveal’) has allowed me to reconnect to my youth and heritage and has driven me to articulate more clearly a perspective regarding the future and what it will ‘reveal’ to us. I use the landscape as a stage to create narratives and metaphors expressing these ideas. These paintings and drawings are divided into four categories of apocalypse: historical, future, ecological, and personal.

James Arthur Baldwin argues that the issue of humanity—what it means to be human and whether or not all people bear the same measure of human worth—supersedes all issues, including socially popular ones such as race and religion. As a former child preacher, Baldwin claims, like others shaped by both the African-American faith tradition and Judeo-Christianity, that human equality stands as a divinely mandated and philosophically sound concept. As a literary artist and social commentator, Baldwin argues that truth in any narrative text, whether fictional or non-fictional, lies in its embrace or rejection of human equality. Truth-telling narrative texts uphold human equality; false-witnessing texts do not. Baldwin shows in four of his novels the prevalence of the latter narrative type. Within the fictional societies of Go Tell It on the Mountain (1953), Giovanni’s Room (1956), If Beale Street Could Talk (1974), and Just Above My Head (1979), Baldwin reveals how society’s powerful bear false witness against the marginalized through stereotyping social narratives. However, Baldwin uses his novels to show the humanity of the marginalized. In so doing, he connects his works, as well as the works of contemporary black literary artists, to the concept of Christian spirituality.

While considering the role of media in shaping and examining histories, we must also grapple with formal limitations in approaching and understanding the past. The thesis aims to bring video games into critical conversations regarding history, memory, and nostalgia by considering the similar and unique perspectives the medium can bring alongside film, television, radio, and literature. Player positionality and interactivity within the unconventional, non-linear game storytelling form allows for different engagements with history. Focusing on the futuristic, post-apocalyptic role-playing game Fallout 3 (2008), this study interrogates the game’s nuanced presentation of genre as a cultural mediation of the past, the negotiation of memory with history, and our problematic assumptions about technology and narratives of progress. While the study finds games may provide rewarding and potentially critical explorations of history, the self-reflexive nature of video gaming emphasizes the medium’s possibilities, limitations, and implications as a cultural product shaped by the very forces constructing history. / text

Key studies of apocalypse in previous years have consciously and unconsciously understood the genre in terms of its paradigmatic consistency across examples. This emphasis points out valuable similarities among a wide range of texts, but also diminishes the significance of a text’s locally and historically rooted ways of depicting experience. This study reflects an effort to rebalance the meaning of apocalypse by looking at a specific locale – the North American West Coast. I examine popular, critical, and literary representations of the West Coast to trace out the unique ways that they configure regional identities. Ultimately, I make the case for site-specific criticism, which values provisional, locally rooted terminologies and tropes for analyzing cultural problems. / Thesis (Ph.D, English) -- Queen's University, 2011-01-26 14:00:17.35

Abstract     We humans are hard on our planet, how long will it take before Mother Nature bites back and call on the Apocalypse, to reset the poisoned earth and begin anew. My project is largely about criticism of how we live today in the western world, how I with an arts and crafts, criticize an unsustainable lifestyle. I have with an exciting combination of popular culture, craftsmanship and the critical design portrayed the Apocalypse with a storage cabinet. / Vi människor sliter hårt på vår planet, hur lång tid tar det innan moder natur biter ifrån och kallar på apokalypsen, för att nollställa den förgiftade jorden och börja om på nytt. Mitt projekt handlar till stor del om kritik på hur vi idag lever i västvärlden, hur jag med ett konsthantverk kritiserar en ohållbar livsstil. Jag har med en spännande kombination av populärkultur, hantverkskonst och critical design gestaltat apokalypsen med en förvaringsmöbel.

Made available in DSpace on 2016-08-03T12:19:14Z (GMT). No. of bitstreams: 1 Sebastiana maria Silva.pdf: 1536000 bytes, checksum: 2487c2d3e1207d1baf47cde8279add8a (MD5) Previous issue date: 2012-09-11 / Fundação de Amparo a Pesquisa do Estado de São Paulo / The subject celestial journey , well familiar to the old mediterranean world, is based on the belief that the visionary can cross the boundary between humanity and divinity, a constant characteristic in apocalyptic literature. Old Jewish mysticism was seen as an important dimension of this tradition, that is the reason why the mystics used the term apocalypse to describe the revelation of their experiences. Paul s ascension to heaven, recounted in 2 Cor 12,1-10, is the only first hand account and the best evidence of ecstatic practice of celestial journey in first century Judaism. This text, one of great interest in the studies of New Testament, has been examined in thematic forms that extend from the recognition of the apostle as enjoyable to divinity - what granted him such a heroic achievement - to a punishment experience by the guardians of the celestial gates for finding in him no merit to approach the place of the presence of God. For long time, the studies that prevailed in the academy were those of the theological aspects of the passage, such as the spine in the flesh , the apostolic mission , Paul s opponents , among others. The language of the passage reveals important topics that were not considered together for a coherent interpretation of the text. The use of expressions from the Jewish mystical apocalyptic circle like "caught up", "Third Heaven", "hear unutterable words" and "a thorn for the flesh" by the apostle needs to be investigated for the comprehension of what Paul had in mind while using those terms. Another problem is the omission of the experimental approach described in the passage. The apostle reveals that he lived the experience recounted in 2 Cor 12,1-10. While he was telling the unknown status of his body during the rising, he highlights signs of the altered state of consciousness, an aspect that was not considered in the traditional analysis of the text. These problems are analyzed in this thesis take as instruments of the Religion History and the Neurotheology analysis. Models were built trying to demonstrate a correlation between brain activity and mystical experience. In this respect, we have to point out that the emergence of neurotheology, or spiritual neurology brings a progress to the area of religious experience. Some points of difficult interpretation in pauline text have been clarified under this perspective. The proposal of this study was to build a contextual frame to analyse the ecstatic experience of Paul. The study made it possible to infer that the interdisciplinary approach allows a more appropriate scenario to the understanding and interpretation of the text. / O tema viagem celestial , bem familiar ao mundo mediterrâneo antigo fundamenta-se na crença de que o visionário pode cruzar a fronteira entre a humanidade e a divindade, uma característica constante na literatura apocalíptica. O misticismo judaico antigo era visto como uma importante dimensão dessa tradição, razão pela qual os místicos usaram o termo apocalipse para descrever a revelação de suas experiências. A ascensão de Paulo ao céu, recontada em 2 Cor 12,1-10, é o único relato de primeira mão e a melhor evidência para a prática extática de viagem celestial no judaísmo do primeiro século. De grande interesse nos estudos do Novo Testamento o texto tem sido abordado em forma temática que se estende desde o reconhecimento do apóstolo como agradável à divindade o que lhe rendeu tal feito heróico a uma experiência de punição pelos guardiões dos portões celestiais por não ter sido encontrado nele mérito para aproximar-se do lugar da presença de Deus. Por muito tempo os estudos que predominavam na academia eram os de aspectos teológicos da passagem, tais como o espinho na carne , a missão apostólica , os oponentes de Paulo , entre outros. A linguagem da passagem revela pontos importantes não considerados de forma conjunta para uma interpretação coerente do texto. O uso por parte do apóstolo de expressões do círculo místico-apocalíptico judaico, tais como foi arrebatado , Terceiro Céu , ouviu palavras inefáveis e um espinho na carne precisa ser investigado para a compreensão do que Paulo tinha em mente ao utilizar tais terminologias. Outro problema é a omissão do enfoque experimental descrito na passagem. O apóstolo revela que vivenciou tal experiência recontada em 2 Cor 12,1-10. Ao relatar o desconhecimento do status do seu corpo durante a ascensão ele evidencia sinais do estado alterado de consciência, aspecto não considerado nas análises tradicionais do texto. Esses problemas que são abordados nesta tese tomam como instrumentos da análise a História da Religião e o da Neuroteologia. Modelos foram construídos tentando demonstrar uma correlação entre a atividade cerebral e a experiência mística. Há que se destacar, nesse sentido, que o surgimento da neuroteologia ou neurologia espiritual constitui-se em um avanço na área da experiência religiosa. Pontos de difícil interpretação no texto paulino foram elucidados dentro dessa perspectiva. A proposta deste trabalho, portanto, foi construir um quadro contextual em que a experiência extática de Paulo pudesse ser analisada. O estudo possibilitou inferir que a abordagem interdisciplinar permite alcançar um cenário mais apropriado para a compreensão e interpretação do referido texto.

The Joint Comprehensive Plan of Action was signed in 2015 by President Obama and began a political and religious battle that ensued for months in the United States Congress. Two of the main actors in the fight against JCPOA were Christians United for Israel (CUFI), a Christian-Zionist lobby[1], and the American Israel Public Affairs Committee (AIPAC), one of the most prominent pro-Israel lobbies founded and largely supported by Zionist-Jewish Americans[2]. Both organizations deployed tactics of religious and apocalyptic-religious rhetoric to encourage their large and influential constituencies to join them in the fight against the Joint Comprehensive Plan of Action, motivating U.S. citizens otherwise unaware and uninvolved of nuclear proliferation policy to become heavily involved in the process of the political debates surrounding the deal. This paper will seek to answer the questions: How is apocalyptic rhetoric typically conveyed through religious outlets? What then, does the deployment of this tactic say about religion in America in the public sphere? [1] Cohn-Sherbok, Dan. The Politics of the Apocalypse. Oneworld Publications Ltd., Oxford. 2006, pp. 165-166. [2] Waxman, Dov. Trouble in the Tribe. Princeton University Press. Princeton. 2016, pp.4.