L’Apocalypse de Lorvão appartient au cycle des commentaires illustrés de la vision de Jean aujourd’hui connus sous le nom de «Beatus». Ces œuvres d’exégèse, enluminées surtout dans le nord de la péninsule Ibérique pendant l’occupation musulmane, constituent un ensemble pictural à l’identité artistique indéniable. Cependant, le manuscrit copié et illustré dans le scriptorium du monastère de São Mamede de Lorvão en 1189 diverge à plusieurs reprises des options iconographiques des autres codex et les solutions picturales et stylistiques de l’oeuvre portugaise se détachent significativement de celles des Beatus de la même époque comme par exemple ceux de Manchester, Cardeña ou Navarre. L’oeuvre se différencie aussi du travail produit dans les scriptoria portugais les plus réputés de Santa Cruz de Coimbra et Santa Maria de Alcobaça et amène à nous interroger sur le contexte de création de l’œuvre et sur la visualité qui a été à l’origine de ces images peintes. A partir de l’analyse du travail de figuration du moine artiste on constate que la nature conceptuelle du texte interprétatif s’est superposée à la dramatisation des visions de Jean et qu’elle a conditionné l’attitude créative. C’est donc dans le rapport conceptuel et spirituel entre le travail pictural et le texte exégétique que les images du manuscrit de Lorvão trouvent, en grande partie, leur singularité. La proximité entre l’image et l’exégèse semble aussi avoir été transmise aux enluminures de Lorvão par l’archétype utilisé, dépositaire probable d’une orientation plus conceptuelle et minimale qui serait une caractéristique des enluminures des premiers Beatus. Cela peut aussi avoir une répercussion importante dans la reconfiguration du stemma pictural des Beatus.

Thesis (M.A.)--Southern California College, 1993. / Includes bibliographical references (leaves 122-132).

Quel rapport entre Petőfi et Martí, deux poètes du XIXème siècle, et l’apocalypse? Sándor Petőfi (1823-1849), poète, écrivain et orateur hongrois, fut le fer de lance de la révolution hongroise de mars 1848, contre le régime des Habsbourg. José Martí (1853-1895), poète, écrivain et homme politique cubain, fut le créateur du Parti Révolutionnaire Cubain, en 1892, en exil, depuis New York, d’où il organisa la lutte armée contre les troupes espagnoles qui occupaient alors Cuba. Leurs écrits, fortement engagés dans le sens commun d’une lutte pour libérer leur peuple opprimé par une force tyrannique - les Habsbourg, en Hongrie, l’Espagne coloniale, à Cuba -, et pour la création d’une « république parfaitement égalitaire », selon les visées de Petőfi, et d’une « république juste », selon celles de Martí, contiennent un grand nombre de termes, d’expressions, de symboles et d’allusions apocalyptiques, dont la majorité appartient en propre au texte de l’Apocalypse mais également à d’autres livres de la Bible. Comment Petőfi et Martí ont-ils utilisé tout ce « réservoir » de mots et de symboles spécifiques, qui forme un « lexique de la fin des temps » ? Les deux poètes se présentent comme des visionnaires et parlent comme des prophètes. Pour son époque, Petőfi a prédit la fin désastreuse de la guerre d’indépendance hongroise en 1849, mais aussi a désigné un point final de l’histoire, quand surviendra le grand combat du bien contre le mal, après une « mer de sang », avec la victoire finale du bien, qui permettra l’avènement de la société idéale. Selon lui, le renouveau ne pourra se réaliser sans effusion de sang : la Révolution française fut le premier pas de la marche de l’humanité vers son âge adulte, quand elle a abandonné ses anciens jouets, les rois ; suivront d’autres révolutions, encore plus sanglantes – on peut penser à la révolution bolchevique de 1917 -, jusqu’à l’arrivée d’une ultime révolution. Martí a prédit la naissance de « Babylone la Grande » d’ Apocalypse 17, 5, la société moderne de consommation où tout va très vite et où l’amour est désacralisé, où la vie n’a plus aucun sens et où l’idée de Dieu devient confuse, ce qu’il a appelé le « démembrement de l’esprit humain » et la « décentralisation de l’intelligence », soit la société désacralisée alors émergente à la fin du XIXème siècle, avec le début de ses dérives actuelles : les monopoles économiques et les premiers démons de la mondialisation. Martí critique même le libéralisme et tous ses excès, déclarant que les hommes, de même qu’ils furent pendant longtemps les esclaves des tyrans, sont désormais devenus les esclaves de la liberté. Ainsi, Petőfi et Martí ont construit une véritable eschatologie, avec trois temps forts : la crise, le jugement et la justification. / What is the relation between Petőfi and Martí, two poets of the 19th century, and the apocalypse ? Sándor Petőfi (1823-1849), hungarian poet, writer and speech-maker, was the spearhead of the hungarian revolution of March 1848, against the Habsbourg’s regime. José Martí (1853-1895), cuban poet, writer and politician, was the creator of the Revolutionary Cuban Party, in 1892, in exile, from New York, where he organized the armed struggle against the spanish troops which occupied Cuba, at that time. Theirs writings, strongly committed in the sense of a fight to free their people oppressed by a tyrannical force, - the Habsbourg, in Hungary, the colonial Spain, in Cuba -, and for the creation of a « perfectly egalitarian republic », according to the designs of Petőfi, and a « right republic », according to those of Martí, contain an important number of apocalyptical words, expressions, symbols and allusions, of which majority belong exclusively to the text of the Book of Revelation but also to others books of the Bible. How did Petőfi and Martí use this « reservoir » of specific words and symbols, which forms a lexicon of the end of the times ? The two poets present themselves as visionaries and speak as prophets. For his time, Petőfi foreshowed the disastrous end of the hungarian independance war in 1849, but also indicated a final point of the history, when will occur the big fight between the good and the bad, after a « sea of blood », with the final victory of the good, which will allow the advent of the ideal society. According to him, the revival can not be realized without bloodshed : the French Revolution was the first step of the march of humanity to its adult age ; others revolutions will follow, more bloody – it is possible to think about the Bolshevik revolution of 1917 -, till the final revolution. Martí foreshowed the birth of « the Great Babylon » of the Book of Revelation 17, 5, the modern society of consumption where everything go quickly and where the love is deconsecrated, where the life has got no sense and where the idea of God is vague, all those early warning signs of the end, which he had called the « dismemberment of the human spirit » and the « decentralization of the intelligence », namely the emergent society at the end of the XIXth century, with the begining of its current excesses : the economic monopolies and the first hellkites of the globalization. Martí criticizes even the neo-liberalism, declaring that the men, like in the past when they were the slaves of the tyrants, are now the liberty’s slaves. Thus, Petőfi and Martí built a true eschatology, with three important times : the crisis, the judgement and, at the end, the justification.

Hostages contains two interwoven analyses of the author’s visual investigations. Living Figurative discusses the psychological space in which figurative and literal may become confused, and the way in which figurative threats operate beyond their natural boundaries. The result is a cycle of delusion, blame, and deflection, perpetuated through verbal nonsense, which is then validated through spectacle. Apocalyptic literature and conspiracy theories function through this method. While most of society believes Nobody is to blame for cultural conflict, the extremist uses the force of Not-Me, the ability to make a caricature from oneself and place it on another. Photojournalism uses this same mode to turn its subjects into dignified caricatures. Worse as a Picture contends that the artist can help viewers disarm internalized, figurative threats through exposure to the concept of death. This should be done through gradual, subliminal means, as there is no way to fully comprehend finality.

Thesis (MFA)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: Walter Metz. The Curtsy is a DVD accompanying the thesis. Includes bibliographical references (leaves 32-33).

Thesis (Th. M.)--Dallas Theological Seminary, 2002. / Includes bibliographical references (leaves [104]-113).

Thesis (B.A.)--Haverford College, Dept. of English, 2004. / Includes bibliographical references.

Thesis (Th. M.)--Dallas Theological Seminary, 2002. / Includes bibliographical references (leaves [104]-113).

This dissertation demonstrates the function of the church in war in Revelation. Chapter 1 tracks the development of publications that address this subject and also illustrates the need for another academic contribution to it. Furthermore, it explains this dissertation's particular narratological approach. Chapter 2 examines the plot of Revelation. Borrowing the tools from narrative plot criticism, this chapter shows the priority of the warfare motif to the structure and development of Revelation's plot. Chapter 3 analyses Revelation's characters. Like Chapter 2, it proves the significance of the warfare motif to the author's process of characterization. Although minor characters are given a brief discussion, more attention is given to the way in which the main characters contribute to the concept of war. Chapter 4 illustrates the relevance of war to the author's point of view (POV). This chapter presents an analysis of passages wherein the author's POV is manifest in order to test the import of the war motif for the author's perspective. Chapter 5 identifies specific images in Revelation that contribute to Revelation's theology of the ecclesia. Provided is an exegetical defense for understanding the seven churches (1:4-3:22), the 144,000 and the multitude (7:1-17), the temple (11:1-2), the two witnesses (11:3-13), the 144,000 male virgins (14:1-5), and the judgment army (19;11-21) ecclesiologically. From those images, this chapter also renders a working definition of the essence of the church. Chapter 6 considers how each of the passages and images discussed in chapter 5 describe the function of the church in warfare in Revelation. All the preceding chapters warrant and support the concluding findings. Thus, this work hopes to fill a gap in ecclesiological and narratival studies in Revelation. The aim of this work is not simply to perform a specific kind of narrative critique upon Revelation, but to show how narrative criticism informs Revelation's theology of the church. Specifically, the Apocalypse mandates the ecclesia to do much more than obey; the narrative calls the church to engage her enemies in the cosmic war with specific acts of obedience until Christ's final, consummative victory.

The outpouring of apocalyptic thought in the late sixteenth- and seventeenth-centuries in England has been acknowledged, the sources of these ideas have not been explored sufficiently. The aim of this study is to redress that imbalance by showing the pervasiveness of fear aroused by the Antichrist and the sense of imminent judgment that affected mentalities of the Later Middle Ages and Reformation. Particularly in the case of the Lollards, one finds a heightened sense of the impending "Day of the Lord" because they perceived that the principal foe of Christ, the horrific Antichrist, had seized the Holy See of the established church; hence, Christ must soon appear to vanquish his enemy. The identification of the papacy as the dreaded Antichrist was more than a rhetorical ploy used by the Lollards to cast aspersions on their opponent. They corroborated the historical record of the papacy's rise to power with the absolute standard of the 'law of Christ'. Biblical prophecies of the Antichrist's tactics were confirmed by their experiences before episcopal commissions--at times concluded by death at the stake. In homes and in secret gathering places, they communicated the revolutionary vision that the Antichrist was a 'corporate' entity, not a super-human megalomaniac nor a mere symbol of evil; indeed, the 'Abomination of Desolation' reigned from within the church. Denouncing the Roman church as the " sinagogue of Satan", they resisted the hegemonic control stealthily acquired by the Antichrist, propagated through church law and papal accretions of dogma. They exposed the machinations of the Beast attempting to gain absolute control over secular authorities as well. Thus, the Lollards abrogated the authority claimed by the medieval church as they formed their own concept of church and community. A reform movement, initiated from the 'ivory tower' of Oxford University, penetrated into the fields, villages and towns of late medieval and Reformation England. The measure of its impact is reflected in the concerted effort of church and crown to eradicate Lollardy and in its legacy--that harried Elizabeth I, while it motivated Oliver Cromwell.