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This paper is used to study the implications that power has in a fictive story about the apocalypse. In the fictional novel, Good Omens by Terry Pratchett and Neil Gaiman, there are different positions that express power and by analyzing them different attitudes emerge. This study uses the narratological model by Mieke Bal, which is used to analyze the different aspects of a text by focusing on the different dimensions of structure in narratives. To interpret the results this study uses the power and knowledge theory developed by Michel Foucault by inserting it in an apocalyptic and eschatological context. By analyzing the material one should consider the modern approach to religious authority that exists in modern adaptation, such as popular culture. Therefore, including popular culture as a culture hostile to authority, the results show that the material criticizes traditional values and norms regulated by religious authorities in society. The thesis demonstrate that the novel by Pratchett and Gaiman can be defined as apocalyptic and eschatological literature and that it contains different connotations of power in an eschatological and apocalyptic context, such as God and fatalism and also the suspense between Heaven and Hell as well with individuals. The last result shows that different attitudes towards power are present in the novel, such as social justice, fairness and independent thinking. The final result is later used to discuss how the different attitudes can be used in popular culture to influence their readers. Finally the total sum is that the characters are used to bring forth a band of various criticisms against the power displays of religious authorities in society through a selective reading of the novel.

Works of Indigenous speculative fiction (SF) depict a perspective of temporality that differs from the mainstream Western conception of time as linear and teleological. Novels such as Cherie Dimaline’s The Marrow Thieves and Hunting by Stars and Waubgeshig Rice’s Moon of the Crusted Snow portray settler colonialism as an ongoing process rather than a historical event; in doing so, they challenge hegemonic notions of settler futurity by asserting an Indigenous presence and affirming the inevitability of Indigenous futures. This thesis analyzes Dimaline’s and Rice’s works to examine how Indigenous SF reorients readers into Indigenous temporalities and critiques assumptions of Indigenous disappearance or victimry through their portrayals of settler colonial violence and environmental destabilization. These authors use apocalyptic and dystopian settings to demonstrate how Indigenous peoples will survive the end of colonial capitalism through self-determination and a reliance on their own epistemes. Both the characters in and readers of Indigenous SF are motivated to generate Indigenous futurisms from within the present through a revitalization of Indigenous languages and practices. This critical examination of Indigenous SF situates the genre within the contexts of ecocriticism, decolonization (or biskaabiiyang), and futurity to showcase how different perceptions of time alter the possibilities for the future.

Works of Indigenous speculative fiction (SF) depict a perspective of temporality that differs from the mainstream Western conception of time as linear and teleological. Novels such as Cherie Dimaline’s The Marrow Thieves and Hunting by Stars and Waubgeshig Rice’s Moon of the Crusted Snow portray settler colonialism as an ongoing process rather than a historical event; in doing so, they challenge hegemonic notions of settler futurity by asserting an Indigenous presence and affirming the inevitability of Indigenous futures. This thesis analyzes Dimaline’s and Rice’s works to examine how Indigenous SF reorients readers into Indigenous temporalities and critiques assumptions of Indigenous disappearance or victimry through their portrayals of settler colonial violence and environmental destabilization. These authors use apocalyptic and dystopian settings to demonstrate how Indigenous peoples will survive the end of colonial capitalism through self-determination and a reliance on their own epistemes. Both the characters in and readers of Indigenous SF are motivated to generate Indigenous futurisms from within the present through a revitalization of Indigenous languages and practices. This critical examination of Indigenous SF situates the genre within the contexts of ecocriticism, decolonization (or biskaabiiyang), and futurity to showcase how different perceptions of time alter the possibilities for the future.

This paper is used to study the implications that power has in a fictive story about the apocalypse. In the fictional novel, Good Omens by Terry Pratchett and Neil Gaiman, there are different positions that express power and by analyzing them different attitudes emerge. This study uses the narratological model by Mieke Bal, which is used to analyze the different aspects of a text by focusing on the different dimensions of structure in narratives. To interpret the results this study uses the power and knowledge theory developed by Michel Foucault by inserting it in an apocalyptic and eschatological context. By analyzing the material one should consider the modern approach to religious authority that exists in modern adaptation, such as popular culture. Therefore, including popular culture as a culture hostile to authority, the results show that the material criticizes traditional values and norms regulated by religious authorities in society. The thesis demonstrate that the novel by Pratchett and Gaiman can be defined as apocalyptic and eschatological literature and that it contains different connotations of power in an eschatological and apocalyptic context, such as God and fatalism and also the suspense between Heaven and Hell as well with individuals. The last result shows that different attitudes towards power are present in the novel, such as social justice, fairness and independent thinking. The final result is later used to discuss how the different attitudes can be used in popular culture to influence their readers. Finally the total sum is that the characters are used to bring forth a band of various criticisms against the power displays of religious authorities in society through a selective reading of the novel.

This thesis is an attempt to reflect on my own creative process and put it in relation to critical ideas and artworks that deals with themes of apocalypse, ecology and political theory. By doing this I hope to examine the role of apocalyptic narratives in our society today and see how my own film relates to these ideas. By putting my artistic process and film in relation to a theoretical framework I hope to discover new perspectives on aesthetics and how to tell an apocalyptic story in our day and age and how this relates to documentary filmmaking and digital culture. To engage with a critical perspective on the ecological questions regarding my work I am taking help from thinkers such as the finish art historian and media professor Jussi Parikka and his ideas about geology of media where the earth crust itself can be considered a mediating force. I am also introducing the concept of buen vivir presented by the post-colonial theorist Rolando Vásques to critically examine the documentary process in Sápmi. Furthermore, I explore the religious idea of the holy fool who appears in the film from a societal perspective by turning to the media theorist Byung- Chul Han. I also make us of the theologian Ola Sigurdsons ideas about the transcendental power of comedy to understand the more comical sides of my filmmaking. By putting these theoretical ideas against my practice I try to find an expanded understanding of the apocalyptic film genre and how the artistic process relates to healing and transformation in times of societal and existential crisis.

This thesis is an attempt to reflect on my own creative process and put it in relation to critical ideas and artworks that deals with themes of apocalypse, ecology and political theory. By doing this I hope to examine the role of apocalyptic narratives in our society today and see how my own film relates to these ideas. By putting my artistic process and film in relation to a theoretical framework I hope to discover new perspectives on aesthetics and how to tell an apocalyptic story in our day and age and how this relates to documentary filmmaking and digital culture. To engage with a critical perspective on the ecological questions regarding my work I am taking help from thinkers such as the finish art historian and media professor Jussi Parikka and his ideas about geology of media where the earth crust itself can be considered a mediating force. I am also introducing the concept of buen vivir presented by the post-colonial theorist Rolando Vásques to critically examine the documentary process in Sápmi. Furthermore, I explore the religious idea of the holy fool who appears in the film from a societal perspective by turning to the media theorist Byung- Chul Han. I also make us of the theologian Ola Sigurdsons ideas about the transcendental power of comedy to understand the more comical sides of my filmmaking. By putting these theoretical ideas against my practice I try to find an expanded understanding of the apocalyptic film genre and how the artistic process relates to healing and transformation in times of societal and existential crisis.

According to Julián Marías, it was Ortega, in 1914, who made the first philosophical use of the Greek word alétheia with the meaning of discovery or lighting: this is a significant innovation because Ortega introduced a new meaning, using that word, to overcome the idea, which seemed unacceptable to him, that truth has to be adequation. After Ortega, other philosophers, starting in 1927 with Heidegger, do not know where the etymological interpretation that they give as obvious for their philosophical reflections on truth comes from. In reality, there are no clear Greek texts that interpret the concept of alétheia either etymologically or philosophically. Julián Marías discovered the oldest etymological discussion in the linguist and philosopher Teichmüller (1879), which Ortega used as early as 1914 to make the first philosophical interpretation of that word. Despite this, it has become widely believed that Heidegger was the first to deal with truth as alétheia as opposed to what he calls the traditional concept of truth., Según Julián Marías, fue Ortega, en 1914, quien hizo el primer uso filosófico de la palabra griega alétheia con el significado de descubrimiento o iluminación: se trata de una innovación significativa porque Ortega introdujo una acepción nueva, sirviéndose de esa palabra, para superar la idea, que le parecía inaceptable, de que la verdad tenga que ser adecuación. Después de Ortega, los demás filósofos, a partir de 1927 con Heidegger, no saben de dónde procede la interpretación etimológica que ellos dan como obvia para sus reflexiones filosóficas sobre la verdad. En realidad no hay textos griegos claros que interpreten el concepto de alétheia ni etimológica ni filosóficamente. Julián Marías descubrió la más antigua discusión etimológica en el lingüista y filósofo Teichmüller (1879), de la cual se sirvió Ortega en fecha tan temprana como 1914 para hacer la primera interpretación filosófica de esa palabra. A pesar de ello, se ha hecho general la creencia de que fue Heidegger el primero que trató sobre la verdad como alétheia en contraposición a lo que denomina concepto tradicional de la verdad.

Works of Indigenous speculative fiction (SF) depict a perspective of temporality that differs from the mainstream Western conception of time as linear and teleological. Novels such as Cherie Dimaline’s The Marrow Thieves and Hunting by Stars and Waubgeshig Rice’s Moon of the Crusted Snow portray settler colonialism as an ongoing process rather than a historical event; in doing so, they challenge hegemonic notions of settler futurity by asserting an Indigenous presence and affirming the inevitability of Indigenous futures. This thesis analyzes Dimaline’s and Rice’s works to examine how Indigenous SF reorients readers into Indigenous temporalities and critiques assumptions of Indigenous disappearance or victimry through their portrayals of settler colonial violence and environmental destabilization. These authors use apocalyptic and dystopian settings to demonstrate how Indigenous peoples will survive the end of colonial capitalism through self-determination and a reliance on their own epistemes. Both the characters in and readers of Indigenous SF are motivated to generate Indigenous futurisms from within the present through a revitalization of Indigenous languages and practices. This critical examination of Indigenous SF situates the genre within the contexts of ecocriticism, decolonization (or biskaabiiyang), and futurity to showcase how different perceptions of time alter the possibilities for the future.

Works of Indigenous speculative fiction (SF) depict a perspective of temporality that differs from the mainstream Western conception of time as linear and teleological. Novels such as Cherie Dimaline’s The Marrow Thieves and Hunting by Stars and Waubgeshig Rice’s Moon of the Crusted Snow portray settler colonialism as an ongoing process rather than a historical event; in doing so, they challenge hegemonic notions of settler futurity by asserting an Indigenous presence and affirming the inevitability of Indigenous futures. This thesis analyzes Dimaline’s and Rice’s works to examine how Indigenous SF reorients readers into Indigenous temporalities and critiques assumptions of Indigenous disappearance or victimry through their portrayals of settler colonial violence and environmental destabilization. These authors use apocalyptic and dystopian settings to demonstrate how Indigenous peoples will survive the end of colonial capitalism through self-determination and a reliance on their own epistemes. Both the characters in and readers of Indigenous SF are motivated to generate Indigenous futurisms from within the present through a revitalization of Indigenous languages and practices. This critical examination of Indigenous SF situates the genre within the contexts of ecocriticism, decolonization (or biskaabiiyang), and futurity to showcase how different perceptions of time alter the possibilities for the future.

There are two primary dates for Revelation that are generally accepted: the early or Neronic date (A.D. 64-68) and the late or Domitianic date (A.D. 95-96). In this dissertation, the early date of the book of Revelation is defended against the commonly accepted late date. The study engages with two major texts: Kenneth L. Gentry Jr.’s Before Jerusalem Fell, supporting the Neronic date, and Mark L. Hitchcock’s dissertation “A Defense of the Domitianic Date of the Book of Revelation,” defending the Domitianic date. This present study discusses the central arguments of both Gentry and Hitchcock as it defends the Neronic date across five chapters. In each chapter, arguments are presented by advocates representing contrasting viewpoints, with particular emphasis being placed on the perspectives of Gentry and Hitchcock. The dissertation offers a rationale supporting the choice of the Neronic date while rebutting the claims put forth by advocates of the Domitianic date. The study concludes that the Domitianic theory relies on external evidence and such evidence is not definitive. Conversely, the internal evidence, when examined in conjunction with the earliest available external source materials, compellingly suggests a date preceding the destruction of Jerusalem and the Second Temple in A.D. 70.

This essay aims to explore the tradition of visionary experience as expressed through the 4th century apocryphal text The Apocalypse of Paul. Emerging motifs from The Apocalypse of Paul is studied alongside those from the 1979 study on near-death experience, To die is gain, by German Lutheran priest Johann Christoph Hampe. A general enquiry it seeks to answer is; are the motifs in The Apocalypse of Paul of contemporary relevance, as testimony of neardeath experience? Further, this thesis aims to study possible correlations of emerging patterns through the theology of death and afterlife developed by the late Karl Rahner, as an attempt to re-cast traditional eschatological teachings of the church to modern sensibilities. Basic narrative characteristics in The Apocalypse of Paul is put in relation to the interpretation of NDE-characteristics in To die is gain. Correlations and/or discrepancies are put in relation to the eschatological thought of Karl Rahner. The study is structured around a disposition of The Apocalypse of Paul divided in seven subgroups. Each subgroup is analysed using Hampes’ tripartite division of the NDE-phenomenon.Further, granted the grouping based on Hampes’ systemisation, each section will provide a basis for study of Rahnerian theology of dying.

This study investigated how the age of an environmental movement organisation and its degree of institutionalisation impacted the usage of threat-related framing and blame attribution in regards to environmental issues. Environmental discourse has lately developed a rhetoric that embraces urgency and severity, but how different types of environmental movement organisations have approached this, historically and today, has not been widely studied. A mixed-methods approach was therefore employed that thematically examined texts from the Swedish branch of Extinction Rebellion and The Swedish Society for Nature Conservation at several points in time. The analysis indicated that the degree of institutionalisation had an influence on the organisation’s blame attribution, whilst age did not. Furthermore, no conclusive implications followed the analysis of the organisation’s framings. The study concluded that the degree of institutionalisation is an important factor behind how environmental movement organisations choose their blame attribution. The study provided insights into how institutionalisation affects strategic choices of movement organisations, possibly providing a foundation for future research in the field.

This essay aims to explore the tradition of visionary experience as expressed through the 4th century apocryphal text The Apocalypse of Paul. Emerging motifs from The Apocalypse of Paul is studied alongside those from the 1979 study on near-death experience, To die is gain, by German Lutheran priest Johann Christoph Hampe. A general enquiry it seeks to answer is; are the motifs in The Apocalypse of Paul of contemporary relevance, as testimony of neardeath experience? Further, this thesis aims to study possible correlations of emerging patterns through the theology of death and afterlife developed by the late Karl Rahner, as an attempt to re-cast traditional eschatological teachings of the church to modern sensibilities. Basic narrative characteristics in The Apocalypse of Paul is put in relation to the interpretation of NDE-characteristics in To die is gain. Correlations and/or discrepancies are put in relation to the eschatological thought of Karl Rahner. The study is structured around a disposition of The Apocalypse of Paul divided in seven subgroups. Each subgroup is analysed using Hampes’ tripartite division of the NDE-phenomenon.Further, granted the grouping based on Hampes’ systemisation, each section will provide a basis for study of Rahnerian theology of dying.

War and propaganda have been linked together for a long time because of a natural human inhibition against killing other humans. To get citizens to give their consent to go to war and kill, the leader(s) need to influence them. The aim of this study is to analyse the content and functions of the U.S. governments post 9/11 propaganda to find out how this where done. Coyne and Hall argue that propagandists need the publics enlighted consent to be able to influence them. This work will prove that the U.S. government used propagandistic tools, like the fear of our own and our civilizations annihilation through an apocalyptic language, to circumvent our rational thinking and talk unbridled to our emotions and thereby inhibit our higher cognitive functions. As method we use bricolage. Bricolage interpretations adapt different technical discourses to each other and move freely between different techniques and concepts. In this work it had an advancement over other methods because our field of investigation stretched over different fields of research and we were free to use the method that best suited our collected data. We demonstrate that the U.S. government functioned as fearmongers on their home audience to stir up emotions so the citizens would choose the path that best suited the leader(s), but that it was far from being enlighted.

War and propaganda have been linked together for a long time because of a natural human inhibition against killing other humans. To get citizens to give their consent to go to war and kill, the leader(s) need to influence them. The aim of this study is to analyse the content and functions of the U.S. governments post 9/11 propaganda to find out how this where done. Coyne and Hall argue that propagandists need the publics enlighted consent to be able to influence them. This work will prove that the U.S. government used propagandistic tools, like the fear of our own and our civilizations annihilation through an apocalyptic language, to circumvent our rational thinking and talk unbridled to our emotions and thereby inhibit our higher cognitive functions. As method we use bricolage. Bricolage interpretations adapt different technical discourses to each other and move freely between different techniques and concepts. In this work it had an advancement over other methods because our field of investigation stretched over different fields of research and we were free to use the method that best suited our collected data. We demonstrate that the U.S. government functioned as fearmongers on their home audience to stir up emotions so the citizens would choose the path that best suited the leader(s), but that it was far from being enlighted.

This essay delves into the intricate interplay between truth, fiction, pain, and artistry in the contemporary global environment, within the framework of my artistic practice. Through an interdisciplinary lens influenced by Zygmunt Bauman, Donna Haraway, and Boaventura de Sousa Santos, it explores the tensions inherent in navigating an artistic practice amid a world marked by pain and impending uncertainty. The essay explores themes of assumptions, antagonism, and apocalypse, with a foundation in the theories of situated knowledge, hyper-politics, and the impact of liquid modernity on the artist's role. The narrative culminates in a discussion of katabasis, drawing parallels with mythological journeys and the transformative potential of descending into the underworld. Through a series of exhibited works from my solo exhibition Failed Escapist: The Mass Extinction Archives, I navigate the emotional landscape of mourning, searching, and confronting a world in crisis.

Rávena, la ―ciudad del mosaico‖, brilla por sí misma como una de las ubicaciones más destacadas en lo relativo al mosaico. A lo largo de este texto, se prestará especial atención al estudio iconográfico de la temática escatológica, presente en los edificios más destacados de la ciudad, muchos de ellos declarados como Patrimonio de la Humanidad por la UNESCO, que permiten hacer una mejor aproximación a la evolución del arte cristiano dentro de la propia ciudad entre los siglos V y VI, además de ser un punto fundamental para comprender buena parte del arte italiano y bizantino., Ravenna, the ―mosaic city‖, shines on its own as one of the most relevant locations when it comes to mosaic. Throughout this text, it will be given a special attention to the iconographic study of the eschatological topic, present in the most prominent buildings of the city, many of them declared as World Heritage Sites by the UNESCO, which allow a better approximation to the evolution of Christian art inside the city between the 5th and 6th centuries, as well as being a fundamental point to understand an important part of Italian and Byzantine art., Grado en Historia del Arte

This dissertation explores the intersection of temporality and politics in contemporary Chinese science fiction. Building on previous research on Chinese science fiction, science fiction studies, as well as narrative theory and historical theory, the investigation focuses on eight key texts written by the writers Han Song, Liu Cixin, and Baoshu. Mainly approaching the texts through the conceptual and analytical tools of multiple temporalities and temporal orders, the investigation discusses how these texts reconfigure time and narrate conflicts between different temporalities, as well as how these temporal antagonisms take on a political significance in the context of post-89 China. Whereas discussions on temporality since 1989 has often been framed in terms of a crisis of historical consciousness and a diminishing future-horizon, which François Hartog has defined as an age of “presentism,” Chinese official discourse has continued to be dominated by a teleological and highly future-oriented conception of time. Approaching science fiction as a temporal genre this study explores how Chinese science fiction has reconfigured temporality in the post-89 period, and challenged the hegemonic teleological temporal order associated with the politics of nation-building. The analysis begins by analyzing how the texts narrate variations of non-progressive temporalities, including a cyclical temporal order of recurrence and a presentist temporal order, that conflict with the teleological temporal order. In the following chapter, the study focuses on how the most successful Chinese science fiction novel, The Three Body Problem Trilogy, narrates a conflict between an apocalyptic temporal order and the teleological temporal order represented by the discourse of “The End of History.” The next two chapters focuses on how alternate histories introduce a contingent temporal order that disrupt teleological time, and how the existential time of the protagonists relate to various tempora

This dissertation explores the intersection of temporality and politics in contemporary Chinese science fiction. Building on previous research on Chinese science fiction, science fiction studies, as well as narrative theory and historical theory, the investigation focuses on eight key texts written by the writers Han Song, Liu Cixin, and Baoshu. Mainly approaching the texts through the conceptual and analytical tools of multiple temporalities and temporal orders, the investigation discusses how these texts reconfigure time and narrate conflicts between different temporalities, as well as how these temporal antagonisms take on a political significance in the context of post-89 China. Whereas discussions on temporality since 1989 has often been framed in terms of a crisis of historical consciousness and a diminishing future-horizon, which François Hartog has defined as an age of “presentism,” Chinese official discourse has continued to be dominated by a teleological and highly future-oriented conception of time. Approaching science fiction as a temporal genre this study explores how Chinese science fiction has reconfigured temporality in the post-89 period, and challenged the hegemonic teleological temporal order associated with the politics of nation-building. The analysis begins by analyzing how the texts narrate variations of non-progressive temporalities, including a cyclical temporal order of recurrence and a presentist temporal order, that conflict with the teleological temporal order. In the following chapter, the study focuses on how the most successful Chinese science fiction novel, The Three Body Problem Trilogy, narrates a conflict between an apocalyptic temporal order and the teleological temporal order represented by the discourse of “The End of History.” The next two chapters focuses on how alternate histories introduce a contingent temporal order that disrupt teleological time, and how the existential time of the protagonists relate to various tempora

This dissertation demonstrates the midrashic character and principles of John’s visions through comparisons to midrashic traditions, with a new translation and commentary of Revelation 21 and 22, and by analyzing John’s visions as midrash on the Genesis cosmogony. As a depiction of an end-of-the-world apocalypse, John’s visions are usually placed in the apocalyptic genre; however, the midrashic approach can mitigate the apocalyptic view of the text and encourage environmentalism and stewardship of the planet (as a home for the new Jerusalem). The midrashic approach also integrates Jewish and Christian depictions of the heavenly Jerusalem, reversing the scholarly “parting of the ways.” Including John’s visions among midrashic traditions suggest early evidence of a divine bride: the city actualized as a Jerusalem bride is a precursor to the Kabbalistic Sabbath bride; Jerusalem as a tabernacle-city rather than temple-city connects to the etymology of God’s presence, the Shekinah. In midrashic tradition, the heavenly Jerusalem exists as a primordial creation, preserved along with or as Eden, and intertwined with the earthly Jerusalem. Jerusalem above is quantumly entangled with Jerusalem below in ritual, cult, existence, divine presence, and cosmography. Jerusalem is “on earth as it is in heaven” and vice versa, “in heaven as it is on earth.” John’s Jerusalem on earth is the same as the Jerusalem in heaven; it is the nomadic temple: the tabernacle, which descends from heaven to earth, literally creating “heaven on earth.”

This dissertation examines how different perspectives on apocalypse and catastrophe allow for alternative understandings of the formation and importance of community through an examination of intersections among race, religion, culture, and politics in apocalyptic texts and rhetoric in late 20th- and early 21st-century United States literature. Using texts such as Octavia Butler’s Parable of the Sower, Tim LaHaye and Jerry B. Jenkin’s Left Behind: A Novel of the Earth’s Last Days, Louise Erdrich’s Future Home of the Living God, and Matthew Mather’s Cyberstorm, I analyze how apocalypse narratives serve a myriad of functions that center around contradictory understandings of the function of community. An understanding of apocalypse as a deserved and inevitable consequence of bad, individual human behavior is one persistent definition, from U.S. Puritan days to the present. Although it is important to see how this definition continues to have power in contemporary culture, I also analyze apocalypse as an ongoing process shaped by racism, genocide, and violence firmly rooted in a settler colonialist and imperialist system that depends on structures of inequality. This is ultimately important because ideas about apocalypse impact the way U.S. empire is understood: either as a naturalized structure that rewards those who recognize and change their behavior, or alternatively, as a structure that people have created, and that people can change, which stigmatizes and punishes those on the outside of U.S. empire. By reframing apocalypse in this manner, I transform it into a generative category of analysis for understanding the U.S. empire as well as anti-imperialist writers and movements. A deeper re-consideration of the apocalypse genre, with special attention to intersections among race, religion, and gender, can help us understand how theorizing and practicing community is key to survival and a hopeful, more equitable future.

En este trabajo se analiza el recurso a la escatología y al universo profético-apocalíptico de orientación antiliberal en 1821, año de la consumación de la independencia de México. Las diversas fuentes utilizadas revelan la importancia que adquirieron los discursos sibilinos en la transición del Virreinato al Imperio, así como su potencial movilizador. Se argumenta que estos sirvieron para denunciar el liberalismo revolucionario, fomentar la alternativa emancipadora y proponer lecturas mesiánicas renovadas. A través de esos tres aspectos se exploran las posibilidades del pensamiento escatológico y del marco profético a la hora de comprender los cambios político-religiosos del periodo de las independencias hispanoamericanas., This paper analyses the use of eschatology and the prophetic-apocalyptic universe of anti-liberal thinkers in 1821, the year of the consummation of Mexican independence. Many sources reveal the importance and mobilizing potential of sibylline discourses during the transition from Viceroyalty to Empire. I show they served to denounce revolutionary liberalism, promote an emancipatory alternative, and propose renewed messianic readings. I use these three aspects to explore the possibilities of eschatological thinking and the prophetic framework for understanding the political and religious changes of the Spanish-American independence period.

We are witnessing a cultural paradigm shift, in which the religious vision of humanity "overlaps" with the advent of an atheistic, positivist and scientific vision. The objective of this article is to investigate, through two series on digital platforms (“The Walking Dead” and “Raised by Wolves”), defined as ecofictions, how the Durand semantic basins give birth to this trend, in which a new "inflation" of the river with a titanic name is glimpsed. Thus, the famous benefactor of man continues to emerge in the postmodern apocalyptic and posthumanist antiutopias, as a modern sage, prophet and civilizing demiurge of the new world., Asistimos a un cambio de paradigma cultural, en el que se "solapa" la visión religiosa de la humanidad con el advenimiento de una visión atea, positivista y científica. El objetivo de este artículo es indagar, a través de dos series de plataformas digitales (“The Walking Dead” y “Raised by Wolves”), definidas como ecoficciones, de qué manera las cuencas semánticas durandianas dan luz a esta tendencia, en la que se atisba una nueva “inflación” del río con nombre titanesco. Así, el celebérrimo benefactor del hombre sigue emergiendo en las antiutopías apocalípticas y posthumanistas postmodernas, como sabio moderno, profeta y demiurgo civilizador del nuevo mundo.

The study of disability has long been a matter left to medical interpretation. In fact, disability has often been and continues to be viewed as a personal misfortune, individual defect, and genetic failure. Disability in the medical model has thus been seen as something to eradicate or at least prevent. This approach to disability then, means correcting, normalizing, and or eliminating the pathological individual from society in which there are standards of what bodies and lives are considered normal and healthy (i.e., eugenics). Western society has long acted on the belief that disability presents as a threat to the future. Much of that has since changed when disability studies programs and activism emerged to addresses disability in its full complexity. In considering the work of Mike Oliver (1983), Lennard Davis (1995), Rosemarie Garland Thomson (1997; 2009), David T. Mitchell and Sharon L. Snyder (2000), Lee Edelman (2004), Ato Quayson (2007), Tobin Siebers (2008), and Alison Kafer (2013), and I build my argument of reimagining terms of ability and disability in fundamentally different ways.In my dissertation, “Surviving Dystopia: Desiring Disability and Deliberate Cripping in Apocalyptic Film," I offer alternative disability narratives in three apocalyptic films, A Quiet Place (2018), Bird Box (2018), and The Silence (2019). In these films, desiring disability is a future-oriented approach that offers viable ways forward. I argue that dystopian worlds carved out in post-apocalyptic scenarios offer critiques and expand worlds that had previously cast disability aside or expunged it. The films examined in this dissertation serve as a new understanding of how disability is used as a metaphor or plot point (Mitchell and Snyder, 2000) or the way disability causes visceral reactions between disabled characters and nondisabled readers (Quayson, 2007). Specifically, this dissertation focuses, perhaps counter-intuitively, on the advantages of considering disability in m

This paper analyses the use of eschatology and the prophetic-apocalyptic universe of anti-liberal thinkers in 1821, the year of the consummation of Mexican independence. Many sources reveal the importance and mobilizing potential of sibylline discourses during the transition from Viceroyalty to Empire. I show they served to denounce revolutionary liberalism, promote an emancipatory alternative, and propose renewed messianic readings. I use these three aspects to explore the possibilities of eschatological thinking and the prophetic framework for understanding the political and religious changes of the Spanish-American independence period., En este trabajo se analiza el recurso a la escatología y al universo proféticoapocalíptico de orientación antiliberal en 1821, año de la consumación de la independencia de México. Las diversas fuentes utilizadas revelan la importancia que adquirieron los discursos sibilinos en la transición del Virreinato al Imperio, así como su potencial movilizador. Se argumenta que estos sirvieron para denunciar el liberalismo revolucionario, fomentar la alternativa emancipadora y proponer lecturas mesiánicas renovadas. A través de esos tres aspectos se exploran las posibilidades del pensamiento escatológico y del marco profético a la hora de comprender los cambios político-religiosos del periodo de las independencias hispanoamericanas.

En este trabajo se analiza el recurso a la escatología y al universo profético-apocalíptico de orientación antiliberal en 1821, año de la consumación de la independencia de México. Las diversas fuentes utilizadas revelan la importancia que adquirieron los discursos sibilinos en la transición del Virreinato al Imperio, así como su potencial movilizador. Se argumenta que estos sirvieron para denunciar el liberalismo revolucionario, fomentar la alternativa emancipadora y proponer lecturas mesiánicas renovadas. A través de esos tres aspectos se exploran las posibilidades del pensamiento escatológico y del marco profético a la hora de comprender los cambios político-religiosos del periodo de las independencias hispanoamericanas., This paper analyses the use of eschatology and the prophetic-apocalyptic universe of anti-liberal thinkers in 1821, the year of the consummation of Mexican independence. Many sources reveal the importance and mobilizing potential of sibylline discourses during the transition from Viceroyalty to Empire. I show they served to denounce revolutionary liberalism, promote an emancipatory alternative, and propose renewed messianic readings. I use these three aspects to explore the possibilities of eschatological thinking and the prophetic framework for understanding the political and religious changes of the Spanish-American independence period.

In light of video games and gaming becoming a more normalized and widespread phenomenon this essay examines how personal memories are created and used from playing video games. I have used the games BioShock Infinite and Metro 2033 as a basis for this discussion. The study is based on observations of internet forums centred around the games and live streams of people playing them. The theoretical perspectives used to analyse this material are prosthetic memory from Alison Landsberg as well as Edward S. Casey’s analysis of mnemonic techniques, most notably recognizing and habitual body memory. To answer the question of how memories from gaming are used to interpret the world we usually live in I first consider the questions of how these memories are created, how they become personal and which memories are created. The conclusions presented focus on the different memory-centered processes which are analyzed throughout the essay. Furthermore I discuss how the gaming experience make real-life phenomena, which usually would have been distant and foreign to the players’ everyday lives, more personal for the players. The memories and remembering also work to create common experiences as well as a shared basis for discussion.

This dissertation explores the intersection of temporality and politics in contemporary Chinese science fiction. Building on previous research on Chinese science fiction, science fiction studies, as well as narrative theory and historical theory, the investigation focuses on eight key texts written by the writers Han Song, Liu Cixin, and Baoshu. Mainly approaching the texts through the conceptual and analytical tools of multiple temporalities and temporal orders, the investigation discusses how these texts reconfigure time and narrate conflicts between different temporalities, as well as how these temporal antagonisms take on a political significance in the context of post-89 China. Whereas discussions on temporality since 1989 has often been framed in terms of a crisis of historical consciousness and a diminishing future-horizon, which François Hartog has defined as an age of “presentism,” Chinese official discourse has continued to be dominated by a teleological and highly future-oriented conception of time. Approaching science fiction as a temporal genre this study explores how Chinese science fiction has reconfigured temporality in the post-89 period, and challenged the hegemonic teleological temporal order associated with the politics of nation-building. The analysis begins by analyzing how the texts narrate variations of non-progressive temporalities, including a cyclical temporal order of recurrence and a presentist temporal order, that conflict with the teleological temporal order. In the following chapter, the study focuses on how the most successful Chinese science fiction novel, The Three Body Problem Trilogy, narrates a conflict between an apocalyptic temporal order and the teleological temporal order represented by the discourse of “The End of History.” The next two chapters focuses on how alternate histories introduce a contingent temporal order that disrupt teleological time, and how the existential time of the protagonists relate to various tempora

This dissertation explores the intersection of temporality and politics in contemporary Chinese science fiction. Building on previous research on Chinese science fiction, science fiction studies, as well as narrative theory and historical theory, the investigation focuses on eight key texts written by the writers Han Song, Liu Cixin, and Baoshu. Mainly approaching the texts through the conceptual and analytical tools of multiple temporalities and temporal orders, the investigation discusses how these texts reconfigure time and narrate conflicts between different temporalities, as well as how these temporal antagonisms take on a political significance in the context of post-89 China. Whereas discussions on temporality since 1989 has often been framed in terms of a crisis of historical consciousness and a diminishing future-horizon, which François Hartog has defined as an age of “presentism,” Chinese official discourse has continued to be dominated by a teleological and highly future-oriented conception of time. Approaching science fiction as a temporal genre this study explores how Chinese science fiction has reconfigured temporality in the post-89 period, and challenged the hegemonic teleological temporal order associated with the politics of nation-building. The analysis begins by analyzing how the texts narrate variations of non-progressive temporalities, including a cyclical temporal order of recurrence and a presentist temporal order, that conflict with the teleological temporal order. In the following chapter, the study focuses on how the most successful Chinese science fiction novel, The Three Body Problem Trilogy, narrates a conflict between an apocalyptic temporal order and the teleological temporal order represented by the discourse of “The End of History.” The next two chapters focuses on how alternate histories introduce a contingent temporal order that disrupt teleological time, and how the existential time of the protagonists relate to various tempora

This paper analyses the use of eschatology and the prophetic-apocalyptic universe of anti-liberal thinkers in 1821, the year of the consummation of Mexican independence. Many sources reveal the importance and mobilizing potential of sibylline discourses during the transition from Viceroyalty to Empire. I show they served to denounce revolutionary liberalism, promote an emancipatory alternative, and propose renewed messianic readings. I use these three aspects to explore the possibilities of eschatological thinking and the prophetic framework for understanding the political and religious changes of the Spanish-American independence period., En este trabajo se analiza el recurso a la escatología y al universo proféticoapocalíptico de orientación antiliberal en 1821, año de la consumación de la independencia de México. Las diversas fuentes utilizadas revelan la importancia que adquirieron los discursos sibilinos en la transición del Virreinato al Imperio, así como su potencial movilizador. Se argumenta que estos sirvieron para denunciar el liberalismo revolucionario, fomentar la alternativa emancipadora y proponer lecturas mesiánicas renovadas. A través de esos tres aspectos se exploran las posibilidades del pensamiento escatológico y del marco profético a la hora de comprender los cambios político-religiosos del periodo de las independencias hispanoamericanas.

Throughout the history of evangelical scholarship, a significant lacuna has formed in Apocalyptic studies. Many theologians have expressed fear or uncertainty concerning the text of Revelation as numerous ambiguous aspects exist within the Apocalypse. A proposed path forward into the gap in scholarship is to return the focus to the intent of the author of Revelation, John the apostle, and examine the definitive truths of the text. John’s priority is revealed in the initial chapter as he depicts the subject of his Apocalypse, Jesus Christ. This intent is revealed in John’s use of allusions, metaphors, and other rhetorical devices through which John draws upon the other books of the Christian canon. This dissertation focuses on analyzing John’s description of Christ in the initial chapter of the Apocalypse. As John depicts Christ, the protagonist of Revelation, he describes Him through titles, descriptions, and attributes that appear elsewhere in Scripture. This study examines the appearance of these canonical similarities concerning their place in the biblical text. The analysis dedicates a chapter to exegeting the OT and NT resemblances, respectively, before moving to the use of the terminology within Revelation itself. John’s writing style in the Apocalypse makes this endeavor unique from such studies elsewhere in Scripture. While Revelation is saturated with allusions to other parts of the canon, John does not use formal citations in the Apocalypse that scholars of other parts of the NT may be accustomed to. Thorough exegesis reveals that the task is a worthwhile endeavor, as Christological truths are revealed through John’s use of the canon. John’s high Christology is evident throughout this study through his compositional method in the Apocalypse. This dissertation aims to highlight this Christology and demonstrate its purposeful inclusion in Revelation’s initial chapter.

The topos of ‘home’ is one of the most important motifs in Andrey Zvyagintsev’s films. The director perceives ‘home’ as a material and symbolic term. It applies to the place where a family lives and to the house of God. The article refers to Eliade’s well-known concept of home, but also to the more modern one created by Zbigniew Kadłubek, who writes about oikology in the context of faith. The article reveals the richness of mythical, cultural, religious and artistic references. Each film exposes different images of ‘home’, but they use common metaphors, such as the fall, destruction and the apocalypse. Contemporary man, turned away from God, recreates the mythical thread of exile and ceases to have a safe place to be in the world. In such works as The Banishment, Leviathan, Elena, and Loveless, the director fully showed the consequences of losing the spiritual dimension of life. The proposed interpretations of Zvyagintsev’s films expand the reception of his work in Poland.

A political interpretation is made of the whole of Beato de Liébana’s works, in which they are seen in the historical context of the adoptionist controversy, as an attack on Archbishop Elipando de Toledo, and the theological foundation ot the Asturian monarchy. The key to the apocalyptic myth, which is not millenarianist but rather connected to the political practices of legitimisation in the face of the archbishopric of Toledo, is fundamental in order to understand the political repercussions of Beato, whose concept of history acted as the basis for the justification of the medieval monarchy. In this work the ways in which these political aspirations were represented through the use of metaphors is analysed., Se procede a una interpretación política del conjunto de la obra del Beato de Liébana situándola en el contexto histórico de la polémica adopcionista contra el arzobispo Elipando de Toledo y el propio proceso de fundamentación teológica de la monarquía asturiana. La clave no-milenarista del mito apocalíptico, sino vinculado a los usos políticos de legitimación frente a la sede primada, es básica para la comprensión de la repercusión política del Beato, cuya concepción de la historia sirve de base a la justificación de la monarquía medieval. En este trabajo se analizan los modos en que esas aspiraciones políticas son representadas a través del uso de metáforas.

This study investigated how the age of an environmental movement organisation and its degree of institutionalisation impacted the usage of threat-related framing and blame attribution in regards to environmental issues. Environmental discourse has lately developed a rhetoric that embraces urgency and severity, but how different types of environmental movement organisations have approached this, historically and today, has not been widely studied. A mixed-methods approach was therefore employed that thematically examined texts from the Swedish branch of Extinction Rebellion and The Swedish Society for Nature Conservation at several points in time. The analysis indicated that the degree of institutionalisation had an influence on the organisation’s blame attribution, whilst age did not. Furthermore, no conclusive implications followed the analysis of the organisation’s framings. The study concluded that the degree of institutionalisation is an important factor behind how environmental movement organisations choose their blame attribution. The study provided insights into how institutionalisation affects strategic choices of movement organisations, possibly providing a foundation for future research in the field.

This essay delves into the intricate interplay between truth, fiction, pain, and artistry in the contemporary global environment, within the framework of my artistic practice. Through an interdisciplinary lens influenced by Zygmunt Bauman, Donna Haraway, and Boaventura de Sousa Santos, it explores the tensions inherent in navigating an artistic practice amid a world marked by pain and impending uncertainty. The essay explores themes of assumptions, antagonism, and apocalypse, with a foundation in the theories of situated knowledge, hyper-politics, and the impact of liquid modernity on the artist's role. The narrative culminates in a discussion of katabasis, drawing parallels with mythological journeys and the transformative potential of descending into the underworld. Through a series of exhibited works from my solo exhibition Failed Escapist: The Mass Extinction Archives, I navigate the emotional landscape of mourning, searching, and confronting a world in crisis.

War and propaganda have been linked together for a long time because of a natural human inhibition against killing other humans. To get citizens to give their consent to go to war and kill, the leader(s) need to influence them. The aim of this study is to analyse the content and functions of the U.S. governments post 9/11 propaganda to find out how this where done. Coyne and Hall argue that propagandists need the publics enlighted consent to be able to influence them. This work will prove that the U.S. government used propagandistic tools, like the fear of our own and our civilizations annihilation through an apocalyptic language, to circumvent our rational thinking and talk unbridled to our emotions and thereby inhibit our higher cognitive functions. As method we use bricolage. Bricolage interpretations adapt different technical discourses to each other and move freely between different techniques and concepts. In this work it had an advancement over other methods because our field of investigation stretched over different fields of research and we were free to use the method that best suited our collected data. We demonstrate that the U.S. government functioned as fearmongers on their home audience to stir up emotions so the citizens would choose the path that best suited the leader(s), but that it was far from being enlighted.

War and propaganda have been linked together for a long time because of a natural human inhibition against killing other humans. To get citizens to give their consent to go to war and kill, the leader(s) need to influence them. The aim of this study is to analyse the content and functions of the U.S. governments post 9/11 propaganda to find out how this where done. Coyne and Hall argue that propagandists need the publics enlighted consent to be able to influence them. This work will prove that the U.S. government used propagandistic tools, like the fear of our own and our civilizations annihilation through an apocalyptic language, to circumvent our rational thinking and talk unbridled to our emotions and thereby inhibit our higher cognitive functions. As method we use bricolage. Bricolage interpretations adapt different technical discourses to each other and move freely between different techniques and concepts. In this work it had an advancement over other methods because our field of investigation stretched over different fields of research and we were free to use the method that best suited our collected data. We demonstrate that the U.S. government functioned as fearmongers on their home audience to stir up emotions so the citizens would choose the path that best suited the leader(s), but that it was far from being enlighted.

This is a study on the fundamentals of the eschatology adopted by Samuel Ramos with the purpose of understanding the nature of the prophetic theology defended by the author. The methodology used for this purpose is based on the comparison of quotations by Ramos with a set of references extracted from sources published by the Seventh-day Adventist Church, such as the Handbook of Seventh-Day Adventist Theology and the Darcom Series, published by the “Daniel and Revelation Committee” (in English DARCOM, known in Portuguese as “Sanctuary and Apocalyptic Prophecies”, in an edition of Unaspress), of the General Association of the Adventist Church, in addition to authors of hermeneutical relevance in the Adventist environment, such as Gerhard Hasel, Jon Paulien, and e Ranko Stefanovic. From this perspective, details of this author's official website, videos published on YouTube, the 1987 monograph, which despite the chronological distance, is relevant in the sense of the historical reconstruction of the author's theological mentality, and the three volumes on the book of Revelation, with the two volumes on the book of Daniel, all authored by him, will be analyzed., Se trata de un estudio de los fundamentos de la escatología adoptada por Samuel Ramos con el fin de comprender la naturaleza de la teología profética defendida por el autor. La metodología utilizada para ello se establece comparando citas de Ramos con un conjunto de referencias extraídas de fuentes publicadas por la Iglesia Adventista del Séptimo Día, como el Tratado de Teología Adventista del Séptimo Día y la Serie Darcom, publicada por la "Comisión Daniel y Apocalipsis" (DARCOM) de la Conferencia General de la Iglesia Adventista, así como de autores de relevancia hermenéutica en los círculos adventistas, como Gerhard Hasel, Jon Paulien y Ranko Stefanovic. Desde esta perspectiva, analizaremos detalles de la página web oficial del autor, los vídeos publicados en YouTube, la monografía de 1987, que a pesar de su distancia cronológica, es relevante en el sentido de la reconstrucción histórica de la mentalidad teológica del autor, y los tres volúmenes sobre el libro del Apocalipsis, con los dos volúmenes sobre el libro de Daniel, todos de su autoría., Esse é um estudo sobre os fundamentos da escatologia adotada por Samuel Ramos com o propósito de entender a natureza da teologia profética defendida pelo autor. A metodologia utilizada para esse fim é estabelecida sobre o comparativo de citações de Ramos com um conjunto de referências extraídas de fontes publicadas pela Igreja Adventista do Sétimo Dia, como o Tratado de Teologia Adventista do Sétimo Dia e a Série Darcom, publicada pela “Comissão de Daniel e Apocalipse” (em inglês DARCOM, conhecida em português como “Santuário e Profecias Apocalípticas”, em uma edição da Unaspress), da Associação Geral da Igreja Adventista, além de autores de relevância hermenêutica no meio adventista, como Gerhard Hasel, Jon Paulien e Ranko Stefanovic. Sob essa perspectiva, serão analisados detalhes do site oficial desse autor, vídeos publicados no YouTube, a monografia de 1987, que apesar da distância cronológica, é relevante no sentido da reconstrução histórica da mentalidade teológica do autor, e os três volumes sobre o livro de Apocalipse, com os dois volumes sobre o livro de Daniel, todos de autoria dele.

In this article we use the concept of ‘radicalization’ and ‘usable past’ to analyze how the Russian president Vladimir Putin crafted a specific narrative to legitimize the war against Ukraine. This narrative is the product of a series of ideologically, religiously and historically informed frames that Putin developed over the past 22 years. We outline how Putin made use of christian-imperial history as a ‘usable past’ for him to 1) formulate a new state ideology, 2) mobilize society behind the mission of the Holy Russian Empire, 3) demonize enemies and legitimize their planned destruction, and 4) embed this mission and ideology in an overarching apocalyptical, metaphysical scheme, in which death and war are noble goals for Russians to embrace, in order to obtain their place in heaven.

This article applies four different genre labels to an empirical material consisting of responses to qualitative questionnaires on climate change. The basic assumption is that genres shape our understandings of climate change, and accordingly that different genre labels highlight certain features of the texts while obscuring or ignoring others. Beginning with the term survey discourse as a subgenre of climate change narratives, this genre label stresses the underlying narrative structure of the responses, even though they are not narratives in a strict sense. The second term, prophecy or rather the prophetic mode, pinpoints the peculiar double temporality of many responses, resulting in a temporal loop in which the catastrophic future overshadows and partially determines the present while still leaving space for action. The third genre label, apocalypse, is more extreme than the prophetic mode, as its favoured temporality forecloses the possibility of influencing the future in any way. The fourth genre term, polyphonic interior monologue, underlines structural similarities of the responses with the literary interior monologue, and emphasizes their dialogical nature as they acknowledge the existence of other points of view.

In this article, the relation between crisis, dying, and apocalypse is examined from the vantage point of Franz Rosenzweig's philosophy of revelation. Following Rosenzweig's suggestion that truth-for finite and temporal beings like us-can only be found in time, the article suggests that there exists an intrinsic relation between truth and death. Truth is not only or even primarily logical or mathematical truth according to Rosenzweig. Truth is the reality of our finite lives and implies an eschatological understanding of death as that which gives life unity by eternalising it as that which it forever was in the past. Life, Rosenzweig argues, is polytheistic by entailing manifold perspectives and possibilities, while death is monotheistic by endowing living beings with the unity and completion they lack in life. All death, even the most horrid death, is, if not a completion, at least an end, which gives the living the possibility to judge and verify the meaning of the past once and for all. Yet, if we believe Rosenzweig, the dead are not gone in the past but rather the eternal ground that makes present and future time possible. The dead, by literally being the past, reveal that all time exists after itself, as something that already was, and that the world is nothing but a world with many ends by dying away into the "life outside life" that Rosenzweig called God.

This article applies four different genre labels to an empirical material consisting of responses to qualitative questionnaires on climate change. The basic assumption is that genres shape our understandings of climate change, and accordingly that different genre labels highlight certain features of the texts while obscuring or ignoring others. Beginning with the term survey discourse as a subgenre of climate change narratives, this genre label stresses the underlying narrative structure of the responses, even though they are not narratives in a strict sense. The second term, prophecy or rather the prophetic mode, pinpoints the peculiar double temporality of many responses, resulting in a temporal loop in which the catastrophic future overshadows and partially determines the present while still leaving space for action. The third genre label, apocalypse, is more extreme than the prophetic mode, as its favoured temporality forecloses the possibility of influencing the future in any way. The fourth genre term, polyphonic interior monologue, underlines structural similarities of the responses with the literary interior monologue, and emphasizes their dialogical nature as they acknowledge the existence of other points of view.

In this article, the relation between crisis, dying, and apocalypse is examined from the vantage point of Franz Rosenzweig's philosophy of revelation. Following Rosenzweig's suggestion that truth-for finite and temporal beings like us-can only be found in time, the article suggests that there exists an intrinsic relation between truth and death. Truth is not only or even primarily logical or mathematical truth according to Rosenzweig. Truth is the reality of our finite lives and implies an eschatological understanding of death as that which gives life unity by eternalising it as that which it forever was in the past. Life, Rosenzweig argues, is polytheistic by entailing manifold perspectives and possibilities, while death is monotheistic by endowing living beings with the unity and completion they lack in life. All death, even the most horrid death, is, if not a completion, at least an end, which gives the living the possibility to judge and verify the meaning of the past once and for all. Yet, if we believe Rosenzweig, the dead are not gone in the past but rather the eternal ground that makes present and future time possible. The dead, by literally being the past, reveal that all time exists after itself, as something that already was, and that the world is nothing but a world with many ends by dying away into the "life outside life" that Rosenzweig called God.

This article applies four different genre labels to an empirical material consisting of responses to qualitative questionnaires on climate change. The basic assumption is that genres shape our understandings of climate change, and accordingly that different genre labels highlight certain features of the texts while obscuring or ignoring others. Beginning with the term survey discourse as a subgenre of climate change narratives, this genre label stresses the underlying narrative structure of the responses, even though they are not narratives in a strict sense. The second term, prophecy or rather the prophetic mode, pinpoints the peculiar double temporality of many responses, resulting in a temporal loop in which the catastrophic future overshadows and partially determines the present while still leaving space for action. The third genre label, apocalypse, is more extreme than the prophetic mode, as its favoured temporality forecloses the possibility of influencing the future in any way. The fourth genre term, polyphonic interior monologue, underlines structural similarities of the responses with the literary interior monologue, and emphasizes their dialogical nature as they acknowledge the existence of other points of view.

In this article, the relation between crisis, dying, and apocalypse is examined from the vantage point of Franz Rosenzweig's philosophy of revelation. Following Rosenzweig's suggestion that truth-for finite and temporal beings like us-can only be found in time, the article suggests that there exists an intrinsic relation between truth and death. Truth is not only or even primarily logical or mathematical truth according to Rosenzweig. Truth is the reality of our finite lives and implies an eschatological understanding of death as that which gives life unity by eternalising it as that which it forever was in the past. Life, Rosenzweig argues, is polytheistic by entailing manifold perspectives and possibilities, while death is monotheistic by endowing living beings with the unity and completion they lack in life. All death, even the most horrid death, is, if not a completion, at least an end, which gives the living the possibility to judge and verify the meaning of the past once and for all. Yet, if we believe Rosenzweig, the dead are not gone in the past but rather the eternal ground that makes present and future time possible. The dead, by literally being the past, reveal that all time exists after itself, as something that already was, and that the world is nothing but a world with many ends by dying away into the "life outside life" that Rosenzweig called God.

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.