Uppsatsen ämnar utforska hur den postapokalyptiska genren brukar historia. Detta görs genom en läsning av Dimitrij Gluchovskijs Metro 2033 (2009), utifrån Espmarks syn på dialogicitet och Aronssons historiebruksteoretiska tankar, där historiskt meningsskapande med olika syften blir till genom berättelser i former som större narrativ, metaforer, metonymier och symboler.Bakhtins kronotop används också, men med Aronssons fokus på dess spatiala sida. Uppsatsen föreslår att figuren kan användas för att visa hur fiktionen kan skapa ett abstrakt rum istället för ett rent konkret eller fysiskt, och därmed få med de känslor och den världssyn som är intimt sammanlänkade med det fysiska rummet. I uppsatsen friläggs hur Metro 2033 återskapar en abstrakt version av det kalla krigets spelplan för att legitimera kärnvapenkrigsmotivet.Förslag ges också på en begreppsapparat för att tala om olika historiska nivåer i den postapokalyptiska fiktionen där vår samtids accepterade historia, förutom att den modifieras fiktivt, också får sällskap av spekulativ pre- och postapokalyptisk historia. Uppsatsen ger flera exempel på hur texten brukar historia, bland annat hur den spekulativa historien kan användas för att kommentera företeelser ur samtidens accepterade historia. Uppsatsen visar också att ett av textens huvudsakliga budskap, uppmaningen till mänskligheten att sluta konstruera och demonisera den andre, medvetet förstärks genom bruket av historia eftersom den historiska dimensionen ger kontinuitet till den framtida visionen. / The aim of this essay is to explore the using of history in post-apocalyptic fiction. This is accom-plished by reading and analyzing Dimitrii Glukhovskii’s Metro 2033. The theoretical basis for the reading is the dialogicity of Espmark and Aronsson’s theory of using of history. It posits that the production of meaning through history is made from narratives of different lengths and shape, such as metaphors, metonymies and symbols. The chronotope of Bakhtin is also applied, but with Aronssons focus on its spatial component. A suggestion is made to apply it in a way that shows how the fiction can refer to, or create, an ab-stract spatial location, rather than a physical, and thereby evoking the feelings and worldviews intimately associated with the location and its time. In the reading of the text this is shown by ar-guing that Glukhovskii recreates the cold war as an abstract chronotope to legitimize his nuclear apocalypse scenario. The essay presents suggestions for definitions of the historical levels in the genre. These are la-beled accepted history of the present, fictive rewriting of the same, and lastly pre- or post-apoca-lyptic speculative history, depending on whether the temporal interest lies prior to or after the im-agined apocalypse. The essay exemplifies a number of ways in which the text uses history, one of which is to use the speculative history to comment on the accepted history of the present. The essay also shows that the intent of the text, the plea to humanity to stop the process of othering, is enhanced by the use of history since the historical perspective offers a retrospective continuity that strengthens the future vision.

D. H. Lawrence believed the individual psyche to consist of two parts: the active unconsciousness and the mental consciousness. The active unconsciousness is a sort of life force within the individual, and one that allows the individual a true connection to the world. It is also closely related to the body, and sometimes called “blood-being” or “blood-consciousness.” The mental consciousness could be said to be the “intellect” in the individual psyche, dealing with abstractions and ideas. Lawrence insists that contemporary society’s prioritizing of the functions of the mental consciousness leads individuals to allow it too much influence over their life. This ultimately leads them to become dominating, willful and deadly. Lawrence’s 1920 novel Women in Love is an allegory of what Lawrence saw as the detrimental effect on individuals by the over-emphasis on rationality in contemporary society, and also of the struggle to find a way back to a more natural way of existing in the world. This essay argues that the processes of, and struggle between, the mental consciousness and active unconsciousness, are illustrated in images of water. Surface and merging imagery connotes denial of or loss of contact with the active unconsciousness, eventually leading the individual to seek death. Flood and submersion imagery connotes a possibility to find a way back to a life lived in and through the active unconsciousness. Fountain imagery and images of water connoting growth and openness connote the strong, creative life force inherent in the active unconsciousness. However, some water imagery in the novel also contradicts any notion of a stable balance—Lawrence universe is one where death and destruction is a necessary component of life and creativity.

El país enemigo: México en la obra de Roberto Bolaño, 1980-2004 propone, en un primer momento, un análisis del papel central que juega México en la obra del autor chileno, Roberto Bolaño. La exploración de la obsesiva representación literaria del país hispanoamericano, su paisaje y sus habitantes en la narrativa de Bolaño revela una visión profundamente pesimista, distópica y con rasgos escatológico-apocalípticos, según la cual México es primordialmente o el espacio nostálgico de la juventud perdida o el territorio de la muerte, del crimen y del Mal. En un segundo momento, se argumenta que tales elecciones narrativas vinculan a Roberto Bolaño con una larga tradición discursiva de representación literaria de la realidad mexicana que se actualiza en la novela anglosajona del siglo XX, particularmente en la obra de tema mexicano de D.H. Lawrence. El estudio de ese vínculo permite afirmar que Roberto Bolaño no rebasa críticamente tal tradición discursiva; sino que la repite y reafirma, con consecuencias éticas y artísticas cuestionables. / The Enemy Country: Mexico in Roberto Bolaño´s Work, 1980-2004 analyzes, firstly, the key role of Mexico in the work of the Chilean author, Roberto Bolaño. The study of the obsessive representation of the Hispano-American country, its landscape, and people in Bolaño´s literature reveals a pessimistic, dystopian and apocalyptical vision, in which Mexico becomes the nostalgic place of the lost youth or the territory of death, crime and Evil. Secondly, it is argued that such narrative choices link Bolaño´s work with an old discourse of literary representation of Mexico that the 20th English and American novel, particularly D.H. Lawrence´s Mexican work, exemplify and confirms. The consideration of this link ascertains the fact that Roberto Bolaño does not critically renew or surmount that old discourse of representation; rather he repeats and affirms it, not without ethical and artistic consequences.

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?

Errata pasted onto front end paper. / Bibliography: leaves 345-370. / ix, 370 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Argues that Renaissance notions of identity, inferiority, and alterity are articulated through religious discourse invoked to make sense of death and apocalyptic and eschatological experience. Also argues that Renaissance ways of enunciating subjectivity are varied and often conflicting. / Thesis (Ph.D.)--Adelaide University, Dept. of English, 2000?

Thesis (Ph. D.)--Ohio State University, 2006. / Full text release at OhioLINK's ETD Center delayed at author's request

Made available in DSpace on 2016-08-03T12:20:34Z (GMT). No. of bitstreams: 1 Gilvaldo Mendes Ribeiro.pdf: 445996 bytes, checksum: bc8cf4a48755c6beeb9ecb867d1ad747 (MD5) Previous issue date: 2008-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation investigates the narrative of the apocalyptic vision found in Ap 13,1-18. Its starting point is a question about the reality which influenced the author at the time of writing by using baffling language. The hypothesis is that John s Apocalypse which is an important source of the experiences of primitive Christianity at the end of the first century offers a strong criticism of the demands of adoration offered to the Roman authorities by means of the Imperial Cult. The images of the beasts described in Ap 13,1-18 express this theme by using provocative language grounded in the force of the word and mythical tradition of the Ancient Near East. In this way, the author demonizes and stigmatizes the expressions of official religion that treat the governors as divine beings as well as the promoters of the Imperial Cult in Asia Minor.(AU) / Esta dissertação investiga a narrativa de visão apocalíptica encontrada em Ap 13,1-18. Ela parte da pergunta sobre a realidade que influenciou o autor no momento da composição, utilizando-se, assim, de uma linguagem provocativa. Nossa hipótese indica que o Apocalipse de João, importante fonte das experiências do Cristianismo primitivo no final do primeiro século, proporciona uma dura crítica às exigências de adoração dirigidas às autoridades romanas através do Culto Imperial. As imagens das bestas descritas em Ap 13,1-18 expressam este tema através de uma linguagem provocativa, fundamentada na força da palavra e na tradição do mito do antagonista encontrado no Antigo Oriente Próximo. Neste sentido, acreditamos que o autor demoniza e estigmatiza as expressões da religião oficial, as quais tratam os governantes como seres divinos, e os promotores do Culto Imperial na região da Ásia Menor.(AU)

Retail apocalypse has been discussed as a result of the increasing online consumption due to a digitalized society. Many researchers claim that the future of consumption will solely take place digitally, that the physical store won't have an actual function and will eventually get replaced by new appealing meeting places online. Why do companies choose to keep and newly establish physical stores in a digitalized society? Which synergies between online channels and physical stores do companies choose to use in order to create a favorable interface? By implementing qualitative semi structured interviews with five different companies, the answer to the above mentioned questions is therefore that companies that sell high engagement products tend to have a higher need of physical stores despite digitalization. Such companies consider that physical stores and online channels are complements to each other, thus one needs the other in order to perform as well as desired. Another aspect that is more achievable in physical stores compared to online channels is the cross sales aspect. Additionally, companies tend to use transparency and digitalized transitions between their different sales channels in order to achieve the highest desired results.  Therefore, the aim of this study is to add a new knowledge aspect to the already existing research in this field. That is, through shedding the light on the remaining need of physical stores for companies that sell high engagement products. Hence, this study could be summed up with the simple fact that retail apocalypse is not the ultimate truth in all situations. / Butiksdöden har länge diskuterats till följd av den ökande e-handeln som har framkommit i samband med det digitaliserade samhället. Många forskare menar att framtidens handel enbart kommer äga rum digitalt, att den fysiska butiken inte fyller någon funktion och kommer så småningom att ersättas med nya tilltalande mötesplatser online. Varför väljer då företag att bibehålla och nyetablera fysiska butiker i ett digitaliserat samhälle och vilka synergier mellan onlinekanaler och fysiska butiker använder sig företag av för att skapa ett gynnsamt samspel? Genom kvalitativa semistrukturerade intervjuer med fem olika företag kan ovannämnda frågor besvaras genom att konstatera att företag som säljer högengagemangsprodukter anser att behovet av den fysiska butiken kvarstår trots digitaliseringen. Detta då sådana företag anser att den fysiska- och den digitala verksamheten agerar komplement och därmed presterar den ena inte lika bra utan den andra. Mer försäljningen är ännu en aspekt som sker i den fysiska butiken som inte går att uppnå till samma grad genom e-handeln. Företag tillämpar även en transparens samt digitala övergångar mellan diverse försäljningskanaler för att skapa ett så gynnsamt samspel som möjligt. Syftet med denna studie är således att tillföra en kompletterande kunskapsvinkel till den redan befintliga forskningen inom området. Detta genom att belysa att företag med olika engagemangsprodukter har olika behov av en fysisk verksamhet. Därmed summeras denna studie med att butiksdöden inte är den förutsedda sanningen alla gånger.

Berge Meere und Giganten (BMG) by Alfred Döblin is a fictional account of future events in which humanity brings about the ruin of western civilization by its own technological hubris. Although BMG has been examined considerably for its literary merit in light of the Döblin corpus, few scholars have identified Döblin's work as an apocalyptic text especially after the Judeo-Christian tradition. The apocalyptic nature of BMG implies a profound religious experience on the part of the author, which in my view offers at least one plausible explanation for Döblin's repeated fixation with BMG. In my thesis, I explicate the apocalyptic themes of BMG by considering the intertextuality of the apocryphal Book of the Watchers, the canonical Book of Revelation from the New Testament with some of its connections to Babylonian mythology, and finally the function of the author as a conduit of the literary tradition of apocalypticism. Ultimately, I demonstrate that BMG draws heavily from these apocalyptic texts and is consistent with the Judeo-Christian apocalyptic tradition, which utilizes the descriptions of macroscopic catastrophes in human history as a metaphor of spiritual transformation.

In this project I am exploring 6 different life forms; snail, slime mold, frog, rock, moss, and fungi. I am approaching these life-forms as agent entities for me to channel, and act for them as vessels.  “Apocalypse Fatigue” is both an exploration of my own artistic practice, by attempting to create works from a nonhuman-centric perspective and investigating how different entities can be co-creators, and an exploration of its sustainability.   It is also an attempt to approach nature as a direct actor to create multiple narratives regarding climate change. Taking the perspective of another organism allows me to imagine alternative ways of being in the world, and through them, I can explore my own emotions, artistic visions or reflect on social issues with a fresh perspective. In a wider way, my work tries to challenge, modestly, dominant world views and presents an alternative to the apocalyptic narratives so often mobilized when speaking about climate change.