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Contemporary climate fiction (cli-fi) frequently invokes the concept of apocalypse to explore the experience of living through the era of unprecedented climate change and environmental disaster that has been named the Anthropocene. Yet, as often as apocalyptic narratives are deployed to express those anxieties and experiences, they so often ignore the histories and presents of peoples who have already lived through multiple apocalypses—in particular, the ongoing violence of settler colonial exploitation of the land now called North America. Considering the role that settler colonialism has played in the development of the current crisis, we turn to two recent works by the Métis writer Cherie Dimaline and Ojibwe author Louise Erdrich to consider how the act of cultural storytelling challenges Western notions of linear temporalities. Our analysis of Dimaline’s The Marrow Thieves will explore how the settler-colonial narratives of scientific progress is challenged through Indigenous storytelling and collective memory, and our analysis of Erdrich’s Future Home of the Living God will examine how Indigenous modes of understanding operate through a cyclical timescape that allows for alternative methods of existing with and within the larger world.

Narratives of the Anthropocene function in the realm of not only scientific but also popular discourses. Indeed, the most popular narratives of the Anthropocene, namely the story of the apocalypse and the story of progress, with their respective temporalities, are particularly well-represented in comics. The present article looks at the Anthropocene through the lenses of word and image, tracing the response of the medium of comics to the ongoing catastrophe, including Joe Sacco’s Paying the Land (2020), Scott Snyder and Yanick Paquette’s modern take on Swamp Thing (2019) and Richard McGuire’s Here (2014). Paying the Land is a story of the Dene people and their response to the Anthropocene. Drawing on the opposition between nature and progress, it examines whether empathy can stop capitalistic exploitation of Indigenous communities and the land which they cherish. Swamp Thing, seemingly a narrative of environmental apocalypse, also functions as a story of ecological reconciliation and regeneration. Finally, Here builds on and deconstructs the narrative of progress, demonstrating how a specific location has and will be transformed from 3,000,500,000 BCE to 22,175 CE, offering the reader/viewer a non-chronological look at environmental changes. Apart from the visions of the now and the future that these graphic narratives present, temporality coded in their “grammar” (layout, panels and gutters) is also discussed.

This paper depicts imagination in the horizon of the posthumous condition as a number of “affective workouts” – emotionally demanding exercises of reaching out and relating that require routines, training, staging and a fearless will to connect. The conceptual inspiration comes from Günther Anders’ postwar writings on our blindness in the face of the apocalyptic threat of the nuclear bomb and his propositions of moral stretching exercises to train our imagination. By bringing some of his ideas from the atomic age to our current ecological crisis, this paper allows his end times to speak to ours, and ask: what does it mean to imagine (with) the apocalypse as a way of forestalling it?

В данной статье представлен анализ цикла Алемдара Караманова из шести симфоний «Бысть» по Апокалипсису, базирующийся на принципах влияния разных видов искусств и их пересечении в пространстве музыкального произведения. Для определения принципов влияния данных параметров на музыкальный текст сочинения, автор статьи обращается, прежде всего, к композиторскому комментарию, полученному во время личных бесед и открывающему подлинный смысл концепции данного цикла, содержания и программы, связанной не только с текстом Откровения, но и другими литературными и визуальными источниками, на которые указывал Караманов. Выдвигается гипотеза, что симфонический цикл Караманова «Бысть» по Апокалипсису принадлежит к тем сочинениям, которые воплощают не только содержательный, но и структурный уровень литературного текста Апокалипсиса. Именно поэтому проблематика «взаимодействия искусств» в рассматриваемом опусе становится достаточно актуальной и обеспечивает более полное понимание концепции данного сочинения, особенностей музыкального текста, в котором за счет влияния принципов разных искусств значительно расширяется зона музыкальной содержательности., This article presents an analysis of Alemdar Karamanov’s cycle of six symphonies “Byst” based on the Apocalypse, based on the principles of the influence of different types of art and their intersection in the space of a musical work. To determine the principles of the influence of these parameters on the musical text of the composition, the author of the article refers, first of all, to the composer’s commentary received during personal conversations and revealing the true meaning of the concept of this cycle, content and program, associated not only with the text of Revelation, but also with other literary and visual sources pointed out by Karamanov. A hypothesis is put forward that Karamanov’s symphonic cycle “Byst” on the Apocalypse belongs to those works that embody not only the content, but also the structural level of the literary text of the Apocalypse. That is why the issue of “interaction of the arts” in the opus under consideration becomes quite relevant and provides a more complete understanding of the concept of this composition, the features of the musical text, in which, due to the influence of the principles of different arts, the zone of musical content is significantly expanded.

This paper discusses how the film The Banshees of Inisherin represents and employs key sociological concepts and ideas, namely those of liminality, schismogenesis, stasis and transgression, relating to the social pathologies of contemporary civilization.

Critics of Colson Whitehead’s novel Zone One (2011) have treated its post-zombie-apocalypse setting as a futural standpoint for critiquing the present. This article argues that Whitehead equally deploys this setting as an allegory for the lived experience of historical and personal temporality in late capitalism. The fundamental quality of that lived experience is boredom, but in a particularly contemporary instantiation, which takes into account the endless bombardment of “events” in 24/7 networked time. Drawing upon and also revising Frank Kermode’s theory of narrative eschatology, I argue that Whitehead’s novel offers a form of boredom “after the end” predicated on dread, understood as a mix of tedium and terror. The article concludes by considering this form of dread as indicative of a postnarrative moment that calls for new forms of storytelling.

First emerged as a religious term to designate the end of the world, the idea of apocalypse has evolved into manifold connotations that is associated with any cataclysmic event(s) and case(s) that end(s) up with the complete destruction of the present state with a new beginning. Although it is more often affiliated with the destruction(s) caused by climate crisis and advancements in science and technology, the destruction of a culture through cultural clash(es) between two opposing cultures, namely the East and West, and the results out of these that dehumanise the representatives of the weaker side/East can also be included in the analysis of apocalypse in a broader sense in the context of culture. It is within this focus of interest that E. M. Forster’s masterpiece A Passage to India (1924) has been evaluated as an example for the cultural apocalypse throughout the research, as a result of which the Indians - even their country - is plunged into total apocalypse and become subservient and considered nothing rather than a swine. Controlled under a civil station and isolated from the luxury and comfort the British are free to relish, Indians are drawn as character who are bereft of any freedom and respect from the British in their own land. Thus, the economic and political causes behind the ideology of imperialism that is also intertwined with capitalism in India have been considered as major consequences of the cultural clash that arise as a cultural apocalypse in the lives of native Indians., İlk olarak dünyanın sonunu belirtmek için dini bir terim olarak ortaya çıkan kıyamet fikri, yeni bir başlangıç için mevcut durumun tamamen yok edilmesiyle sona eren her türlü felaket olay(lar) ve vaka(lar) ile ilişkili çeşitli çağrışımlara dönüşmüştür. İklim krizi ve bilim ve teknolojideki ilerlemelerin neden olduğu yıkım(lar) ile daha çok bağlantılı olmasına rağmen, bir kültürün Doğu ve Batı olmak üzere iki karşıt kültür arasındaki kültürel çatışma(lar) yoluyla yok edilmesi ve bunlardan çıkan sonuçların zayıf/Doğu tarafın temsilcilerini insanlıktan çıkarması, kültür bağlamında daha geniş anlamda kıyamet analizine de dahil edilebilir. Bu ilgi odağıyla, E. M. Forster'ın başyapıtı Hindistan'a Geçiş (1924), araştırma boyunca kültürel kıyamete örnek olarak değerlendirildi, ki bunun sonucunda Hintliler’in - ülkeleri Hindistan’ın bile - tam bir kıyamete sürüklenir ve ve Hintliler boyun eğen ve bir domuzdan başka hiçbir şey olarak görülmemektedir. Bir sivil istasyon tarfından kontrol edilen ve İngilizlerin zevk almakta özgür olduğu lüks ve konfordan izole edilen Hintliler, kendi topraklarında İngilizlerden herhangi bir özgürlük ve saygıdan yoksun karakterler olarak olarak çizilmektedir. Böylece, Hindistan’daki kapitalizmle de iç içe olan emperyalizm ideolojisinin arkasındaki ekonomik ve politik nedenler, yerli Hintliler’in yaşamlarında kültürel bir kıyamet olarak ortaya çıkan kültürel çatışmanın başlıca sonuçları olarak kabul edilmektedir.

L’ivresse est constante dans Moskva-Petuški [Moscou-sur-vodka] de Venedikt Erofeev (1969). Elle s’articule à l’errance pour décrire un monde fondamentalement instable. Comment ces deux idées permettent-elles l’élaboration (ou le balbutiement) d’une contestation politique ? Comment les données apocalyptiques de l’œuvre invitent-elles à un carnaval généralisé que l’ivrognerie des personnages amplifie ? Quelle est la teneur du délire du protagoniste et en quoi celui-ci permet-il la constitution de corps politiques, à même de mettre en question le pouvoir soviétique ? Sous quelles modalités l’alcool errant invite-t-il à repenser les limites du discours autorisé ? Par la soûlerie, le voyage sans but et la succession inlassable des gares et du temps qui passe, l’œuvre appelle à un voyage vers la mort que le messianisme d’ivrogne ne pourra transfigurer. Alcohol is constant in Venedikt Erofeev's Moskva-Petuški (1969). It is linked to wandering, in order to describe a fundamentally unstable world. How do these two ideas allow the elaboration of a political protest? How do the apocalyptic data of the work invite to a generalized carnival, which the drunkenness of the characters amplifies? What is the content of the protagonist's delirium, and in what way does it allow the constitution of political bodies, able to question the Soviet power? In what ways does the wandering alcohol invite us to rethink the limits of authorized discourse? Through drunkenness, aimless travel and the relentless succession of stations and passing time, the work calls for a journey towards death, that the drunken messianism cannot transfigure. El alcohol es una constante en Moskva-Petuški (1969) de Venedikt Erofeev. Está vinculado a la errancia, para describir un mundo fundamentalmente inestable. ¿Cómo permiten estas dos ideas la elaboración de una protesta política? ¿Cómo invitan los datos apocalípticos de la obra a un carnaval generalizado, que la embriaguez de los personajes amplifica? ¿Cuál es el contenido del delirio del protagonista, y de qué manera permite la constitución de cuerpos políticos, capaces de cuestionar el poder soviético? ¿De qué manera el alcohol errante nos invita a repensar los límites del discurso autorizado? A través de la embriaguez, del viaje sin rumbo y de la incesante sucesión de estaciones y del paso del tiempo, la obra llama a un viaje hacia la muerte, que el mesianismo de la embriaguez no puede transfigurar.

Juan Buscamares, historieta con dibujos y guion de Félix Vega (Santiago de Chile, 1971), se desarrolla en un mundo asolado por la catástrofe climática, bandos militares y el fanatismo religioso. En esa dimensión, la colonización europea de la América indígena es el fantasma que persigue a personajes sumidos en un constante nomadismo. Héroe errante, Juan deambula por ese mundo, cuya imaginería retoma las creencias prehispánicas y la tradición judeocristiana. Con tales elementos y desde su lenguaje híbrido, este cómic invita a reflexionar sobre la potencia crítica del apocalipsismo, sobre el rol del mito y sobre las complejas identidades de un continente fragmentario cuya regeneración sería accesible solamente tras la abolición del mundo como lo comprendemos. La progresión del personaje da cuenta de una proyección postapocalíptica que paradójicamente propone el retorno al origen como posibilidad de salvación, de esta forma interroga la linealidad del tiempo histórico, proponiendo un diálogo con el pensamiento mítico y tendiendo un puente entre ficción de apocalipsis e imaginario postapocalíptico. Juan Buscamares, a comic with drawings and script by Félix Vega (Santiago de Chile, 1971), is set in a world ravaged by climatic catastrophe, military factions and religious fanaticism. In this dimension, the European colonization of indigenous America is the ghost that haunts characters immersed in a constant nomadism. An itinerant hero, Juan wanders through this world, whose imagery takes up pre-Hispanic beliefs and Judeo-Christian tradition. With such elements and from its hybrid language, this comic invites us to reflect on the critical power of apocalypticism, on the role of myth and on the complex identities of a fragmented continent whose regeneration would be accessible only after the abolition of the world as we understand it. The progression of the character shows a post-apocalyptic projection that paradoxically proposes the return to the origin as a possibility of salvation, thus questioning the linearity of historical time, proposing a dialogue with mythical thought and bridging the gap between apocalyptic fiction and post-apocalyptic imaginary. Juan Buscamares, une bande dessinée avec des dessins et un scénario de Félix Vega (Santiago du Chili, 1971), se déroule dans un monde ravagé par une catastrophe climatique, des factions militaires et le fanatisme religieux. Dans cette dimension, la colonisation européenne de l’Amérique indigène est le fantôme qui hante les personnages plongés dans un nomadisme constant. Héros errant, Juan déambule dans ce monde dont l’imagerie reprend les croyances préhispaniques et la tradition judéo-chrétienne. Avec de tels éléments et à partir de son langage hybride, cette BD nous invite à réfléchir sur le pouvoir critique de l’apocalypse, sur le rôle du mythe et sur les identités complexes d’un continent fragmenté dont la régénération ne serait accessible qu’après l’abolition du monde tel que nous le comprenons. La progression du personnage montre une projection post-apocalyptique qui propose paradoxalement le retour à l’origine comme une possibilité de salut, remettant ainsi en question la linéarité du temps historique, proposant un dialogue avec la pensée mythique et comblant le fossé entre la fiction apocalyptique et l’imaginaire post-apocalyptique.

Este texto estudia la novela 2666 de Roberto Bolaño a través del prisma de algunas nociones y problemáticas propias al apocalipsis. Nuestro razonamiento se basa en un ensayo de Agamben, donde el filósofo desarrolla algunos conceptos sobre la relación entre capitalismo y religión. A partir de este enfoque, se analizan las nociones de fe y de crisis en el texto de Bolaño, así como la construcción de la poética que los caracteriza. Posteriormente, el estudio se centra en la dicotomía de la concepción temporal cronológica y kairológica, intentando establecer un vínculo entre cada noción y sus implicaciones morales. Dans ce texte nous étudions le roman 2666 de Bolaño à travers le prisme de certaines notions et problématiques ayant un rapport avec l’apocalypse. Notre analyse prend comme point de départ un essai d’Agamben où le philosophe développe quelques concepts sur les liens existants entre capitalisme et religion. Dans ce cadre, nous travaillons sur les notions de foi et de crise dans le texte de Bolaño, ainsi que sur la construction de la poétique qui les caractérise. Dans un deuxième temps, nous nous intéressons à la dichotomie de la conception temporelle chronologique et kaïrologique, en essayant d’établir un lien entre chaque notion et ses implications morales. This study focuses on the link between Bolaño’s 2666 and apocalypse. In order to analyze the novel, it takes a few ideas from an Agamben essay about the relationship between capitalism and religion. Thus, it studies the concepts of faith and crisis in Bolaño’s novel as well as the construction of a poetics of their own. Moreover, this paper aims to study the dichotomy of two conceptions of time, the chronological and the kairological, so it seeks to stablish a connection between each notion and its moral implications.

Este trabajo desarrolla la revelación profética que anuncia la llegada de una diosa madre arcaica y el fin del patriarcado en la cinta Las brujas de Zugarramurdi de Álex de la Iglesia. Esta revisión del discurso mítico-religioso representado mediante un lenguaje primordialmente visual se hace desde una perspectiva apocalíptica donde las nociones cristianas de bien y mal están subvertidas y asociadas al matriarcalismo vasco. This work considers the prophetic revelation that announces the arrival of an archaic Mother-goddess and the subsequent end of patriarchy in the film Witching and Bitching by Álex de la Iglesia. This review of the mythical-religious discourse, represented by a mostly-visual language, is conducted from an apocalyptic perspective where Christian notions of good and evil are subverted and associated to the Basque Matriarchalism. Cet article développe la révélation prophétique qui annonce l'arrivée d'une déesse mère archaïque et la fin du patriarcat dans le film Les sorcières de Zugarramurdi d'Álex de la Iglesia. Cette révision du discours mythico-religieux représenté par un langage essentiellement visuel se fait dans une perspective apocalyptique où les notions chrétiennes du bien et du mal sont subverties et associées au matriarcalisme basque.

En 2013, aventurándose en el sendero del cuento tradicional «Hansel y Gretel» de los hermanos Grimm, Manuel Darriba publica en gallego y en castellano la novela breve El bosque es grande y profundo. En ese momento, España sigue presa de una realidad económica, social y política, muy sombría. Por eso, Darriba se inscribe en la tradición del cuento maravilloso, pero no puede sino transformarlo. De hecho, en el contexto descrito, lo maravilloso ya no puede existir. En un universo ucrónico postapocalíptico van deambulando Hans y Gretel, dos hermanos separados por la «guerra final», que representan el conflicto entre la civilización y la barbarie, entre los poderosos y los sometidos. Estas dicotomías tienen su eco en la «Ciudad» y el bosque, donde reina la ley del más fuerte y donde la niebla nos deja entrever el proceso en marcha de la deshumanización por el capitalismo. En 2013, récupérant le conte traditionnel « Hansel et Gretel » des frères Grimm, Manuel Darriba publie en galicien et en castillan le roman bref El bosque es grande y profundo. À ce moment-là, l’Espagne est encore aux prises avec une réalité économique, sociale et politique, bien sombre. Dans ce contexte de crise, Darriba s’inscrit dans les pas du conte traditionnel mais ne peut que le transformer. De fait, dans le contexte décrit, le merveilleux ne peut plus être. Dans un univers dystopique et postapocalyptique déambulent Hans et Gretel, frère et sœur séparés par la « guerre ultime », qui rejouent le conflit entre civilisation et barbarie, entre les puissants et les soumis. Ces dichotomies trouvent un écho dans celle de la « Ville » et la forêt, où règne la loi du plus fort et où le brouillard nous laisse entrevoir le processus de déshumanisation en marche provoqué par le capitalisme. In 2013, rewriting the traditional tale “Hansel and Gretel” by the Brothers Grimm, Manuel Darriba published in Galician and Castilian the short novel El bosque es grande y profundo. At that time, Spain was still grappling with a dark economic, social and political reality. In this context of crisis, Darriba follows in the tradition of fairy tales but cannot but transform it. In fact, in this context, the marvelous cannot exist anymore. A brother and sister separated by the “ultimate war”, Hans and Gretel stroll through a post-apocalyptic universe in an alternative history and embody the conflict between civilization and barbarism, between the powerful and the submissive. These dichotomies find an echo in the dichotomy between the “City” and the forest, where the law of the strongest prevails and where the fog lets us glimpse the ongoing process of dehumanization provoked by capitalism.

What we are witnessing in the present time in human history, in the 2020's, is a vortex of intersecting pandemics - jolting revelations that are unfolding with a terrific energy and force - so much so that we cannot ignore them or escape them. These include the world-wide pandemics of racism, COVID-19 and climate change. This paper argues that all of these swirling pandemics are manifestations of the archetype of the apocalypse, which is constellating now in a very powerful way. Any one of these phenomena could swallow humanity whole as a species. Together they represent a seemingly overwhelming challenge for us to meet over the next century of life on earth. If humanity cannot meet the challenge of these combined negative forces, it could simply perish. A multi-layered intersecting set of challenges such as this has never yet occurred in human history. We must therefore be very alert to what is going on, and as to how we can consciously mediate these threats, both individually and collectively. It also presents an unprecedented opportunity for humanity to evolve and grow psychologically both individually and collectively, nationally and globally.Ce dont nous sommes témoins à l’heure actuelle dans l’histoire de l’humanité, dans les années 2020, est un vortex de pandémies qui s’entrecroisent - des révélations choquantes qui se déploient avec une énergie et une force formidables - tellement que l’on ne peut les ignorer ou leur échapper. Cela inclue la pandémie mondiale de racisme, la COVID-19, et le changement climatique. Cet article soutient que toutes ces pandémies tourbillonnantes sont des manifestations de l’archétype de l’apocalypse, qui se constelle en ce moment de manière très puissante. Chacun de ces phénomènes pourrait avaler l’humanité toute entière en tant qu’espèce. Ensembles ils représentent un défi apparemment insurmontable auquel nous avons à faire face durant le siècle à venir de la vie sur terre. Si l’humanité ne peut pas faire face au défi de ces forces négatives combinées, elle pourrait tout simplement périr. Un tel ensemble - de défis qui s’entrecroisent sur plusieurs niveaux - ne s’est encore jamais produit dans l’histoire humaine. Ainsi nous devons être très vigilants à ce qui se passe, et à comment nous pouvons consciemment opérer une médiation de ces menaces, à la fois individuellement et collectivement. Cela représente également une opportunité sans précédent pour que l’humanité évolue et grandisse psychologiquement à la fois individuellement et collectivement, au niveau de la nation et globalement.Was wir gegenwärtig in der Geschichte der Menschheit in den 2020-er Jahren erleben ist ein Wirbel sich überschneidender Pandemien - aufrüttelnde Enthüllungen, die sich mit einer enormen Energie und Kraft entfalten - so sehr, daß wir sie nicht ignorieren oder ihnen entkommen können. Dazu gehören die weltweiten Pandemien von Rassismus, COVID-19 und des Klimawandels. In diesem Beitrag wird argumentiert, daß all diese brodelnden Pandemien Manifestationen des Archetyps der Apokalypse sind, der sich jetzt auf sehr mächtige Weise konstelliert. Jedes dieser Phänomene könnte die gesamte Menschheit als Spezies verschlingen. Zusammen stellen sie eine scheinbar überwältigende Herausforderung dar, der wir uns im nächsten Jahrhundert des Lebens auf der Erde stellen müssen. Wenn die Menschheit die Herausforderung dieser kombinierten negativen Kräfte nicht bewältigen kann, könnte sie einfach zugrundegehen. Eine vielschichtige Reihe sich überschneidender Herausforderungen wie diese ist in der Geschichte der Menschheit noch nie aufgetreten. Wir müssen daher sehr aufmerksam sein, was vor sich geht und wie wir diese Bedrohungen sowohl einzeln als auch gemeinsam bewußt vermitteln können. Es bietet sich auch eine beispiellose Gelegenheit für die Menschheit, sich sowohl individuell als auch kollektiv, national und global zu entwickeln und psychologisch zu wachsen.Ciò a cui stiamo assistendo in questa fase della storia dell'umanità, negli anni 2020, è un vortice di pandemie che si intersecano - scuotendo delle rivelazioni che si dipanano con terrificante energia e forza- così tanto che noi non possiamo ignorarle o fuggirle. Queste includono le pandemie globali di razzismo, COVID-19 e cambiamento climatico. Questo articolo ipotizza che tutte queste pandemie siano manifestazioni dell'archetipo dell'apocalisse, che si sta ora costellando in modo molto potente. Ciascuno di questo fenomeni può inglobare tutta l'umanità come specie. Messi insieme rappresentano una sfida apparentemente insostenibile per noi nell'incontro con il prossimo secolo di storia sulla terra. Se l'umanità non riesce a sostenere la sfida di queste forze negative combinate, potrà semplicemente soccombere. Un set di cambiamenti che si intersecano a molti livelli quale questo non si è mai verificato prima nella storia. Perciò noi dobbiamo fare molta attenzione a ciò che si sta muovendo ed a come noi possiamo consciamente affrontare queste minacce, sia individualmente che collettivamente. Questo rappresenta anche una opportunità senza precedenti per l'umanità per evolvere e crescere psicologicamente, sia individualmente che collettivamente, come nazioni e come globalità.В настоящее время, в 2020 году мы являемся свидетелями вихря пересекающихся пандемий в человеческой истории - необычайных откровений, разворачивающихся с потрясающей энергией и силой. Этот процесс на столько силен, что мы не можем его игнорировать или избежать. Он включает в себя пандемии расизма, коронавируса и изменения климата. В статье обосновывается точка зрения, что эти бушующие пандемии - проявления архетипа апокалипсиса, который констеллируется сейчас в очень мощной форме. Любое из этих явлений может проглотить человечество как вид целиком. Все вместе они представляют собой, казалось бы, непреодолимую задачу, которую нам предстоит решить в следующем столетии жизни на земле. Если человечество не сможет найти ответ этим объединенным негативным силам, то оно может просто погибнуть. Такой многослойный пересекающийся набор сложных задач еще никогда не стоял перед человечеством за всю его историю. Мы должны быть очень внимательны к происходящему, осознанно регулировать эти угрозы на индивидуальном и коллективном уровне. Человечество оказалось перед лицом беспрецедентной возможности психологического роста и развития как индивидуального, так и коллективного, как национального, так и общемирового.Lo que estamos atestiguando en el presente de la historia humana, en el año 2020, es un vórtice de pandemias entrecruzadas - revelaciones que sacuden y se despliegan con tremenda fuerza y energía - tanto que no podemos ignorarlas ni escapar de éstas. Estas incluyen la pandemia mundial del racismo, el COVID-19 y el cambio climático. El presente trabajo argumenta que todas estas turbulentas pandemias son manifestaciones del arquetipo del apocalipsis, el cual se está constelando en la actualidad de manera poderosa. Cualquiera de estos fenómenos podría tragarse a la humanidad entera como especie. Juntas representen un aparentemente abrumador desafío para nosotros, a confrontar durante el próximo siglo de vida en la tierra. Si la humanidad no puede afrontar los desafíos de estas fuerzas negativas combinadas, podría simplemente perecer. Nunca ha ocurrido en la historia humana, una intersección de desafíos como éstos, en múltiples niveles. Tenemos que estar muy alertas respecto a lo que está pasando, y sobre cómo podemos conscientemente mediar estas amenazas, ambas individual y colectivamente. También presenta una oportunidad sin precedentes para que la humanidad pueda evolucionar y crecer psicológicamente, tanto individual, como colectivamente, nacional y globalmente.天启原型。分析关于种族主义、新冠、及气候变化的流行病。 我们在2020年代的当下所见证的人类历史, 是一个相互交联的流行病的漩涡--令人震惊的多个启示录正在展开, 携带着可怕的能力和力量--它们那么强烈以至于我们无法忽视或逃离它们。这包括全球的种族主义、新冠病毒和气候改变的流行病。本文认为, 所有这些漩涡中的流行病, 都是启示录原型的表现, 此刻正以强烈的方式聚集。这些现象中的任何一个都可以把全人类吞没。它们在一起, 代表了一个看起来对我们来说淹没性的挑战, 我们在地球生活的未来一个世纪都将面临这种挑战。如果人类不能面对这些合并在一起的消极力量, 很容易就枯萎了。在人类历史上还未曾经历过这样多重交织的挑战。我们必须对正在发生的事情保持足够的警觉, 以及警觉于我们作为个体与集体, 如何可以有意识地斡旋于这些威胁之间。这也给人类呈现了一个史无前例的机会, 去获得个体、集体、国家、全球的心理进化和发展。.

Damiette, 1220. La cinquieme croisade et l’Apocalypse arabe de Pierre dans leur contexte nilotiqueLa decouverte de textes prophetiques par la cinquieme croisade a Damiette en 1220 est en general etudiee en relation avec la quete du Pretre Jean, avec lequel les croises reverent, a partir de 1221, d’une alliance. Cet article revient a la source de ces textes, l’Apocalypse arabe de Pierre, pour expliquer ces propheties dans leur contexte premier, africain et nilotique. Les textes apocalyptiques doivent alors etre compris comme une tentative, sans doute de la part de certains membres de la communaute copte, d’inclure les Francs dans les rapports de force entre Ayyoubides, Nubiens et Ethiopiens, en pleine recomposition en ce debut du xiiie siecle.

Undoubtedly, apocalyptic literature is among the difficult literature to understand and to interpret due to its literary genre and mode of communication which is often in the form of visions. Though weird symbols and images shrouded in secrets and coded language are the content of these visions, the literature [those in the Judeo-Christian Scriptures] has been both an inspiration and a mystery to Christians in particular and Ghanaian Christians in general. Apart from serving as a motivational tool for Christians to know that true authority and power belongs to God, and among others, the literature also offers hope to Ghanaian Christians of the impending judgment at the end of this age. Though the literature has not been rightly handled by some Ghanaian pastors and Christians, the unending effect has made people hope in the Lord. This paper, therefore, contributes to the general knowledge of apocalyptic literature and accentuates how its message in the Judeo-Christian scriptures have greatly influenced the beliefs, lifestyle, and thought pattern of Ghanaians in general, and contemporary Christianity in Ghana, in particular; making them live in consonance with the message of the biblical apocalyptic literature which encourage them to develop a certain kind of belief, thought pattern, and lifestyles different from an ordinary individual, and not otherwise. Keywords: Apocalyptic literature, apocalypse, apocalypticism, apocalyptic eschatology, Ghanaian Christianity

This article seeks to firstly demonstrate in which manner the philosophies of history, through the signifiers of crisis and apocalypse, amount to a form of nihilism by persistently surmounting, each in their own manner, the singularity of historical events by integrating and comprehending these in a teleological and eschatological narrative of meaning and truth. In this sense, our attempt is to deploy a novel manner of rethinking our relation to catastrophic historical events where their very singularities engage a historical responsibility which renounces the recourse to the determined logics of crisis and apocalypse in history. Consequently we focus on the spectralityof historical events incessantly returning as occurring singularly to our present, and where each event in history denies its integration in an appeased historical consciousness. This article intends thus to deploy a relation to temporality where the idea of justice provokes a hyperbolical responsibility towards past andfuture deaths and lives in history.

Cet article explore la façon dont Kurt Vonnegut déploie une esthétique du grotesque pour rendre compte de l’irrésistible attraction qu’éprouve le genre humain pour sa propre destruction. Dans Cat’s Cradle, il convoque à la fois la science, la religion et nos désirs d’Utopie pour décrire notre marche inéluctable vers l’Apocalypse. Chacun des grands systèmes organisateurs susmentionnés est dénoncé comme l’expression d’un désir de contrôle qui ne peut qu’aboutir au plus cinglant échec. Pour Vonnegut, une seule voie de salut : l’acceptation de l’absurde comme principe organisateur de nos vies. This article analyzes the way Kurt Vonnegut develops an aesthetics of the grotesque to examine the irresistible attraction humankind feels for self-destruction. In Cat’s Cradle, he evokes science, religion and our desire for Utopia to describe our unstoppable march toward the Apocalypse. Each of the aforementioned organizing systems is exposed as one same expression of our desire for control, which can only lead to radical failure. For Vonnegut, there is only one road to salvation: acknowledging the absurd as the organizing principle of our lives.

Le roman World War Z décrit une épidémie de zombies dont l’origine se trouve en Chine et qui décime l’humanité en quelques années. L’imaginaire zombique permet de s’interroger sur la déstabilisation des organisations humaines face à une pandémie globale. Les théories effondristes et collapsologiques envisagent la fin de la technostructure par des phénomènes comme des épidémies. Il s’agit d’une forme de pensée néoapocalyptique témoignant des doutes de la civilisation américaine et occidentale à la suite d’attaques comme le 11 septembre 2001. La réintroduction du zombie par l’industrie du divertissement permet de réactiver des peurs ancestrales et de cristalliser les angoisses et les aspirations les plus violentes de la société. La mythologie des zombies sert de mythe sectoriel à la médecine, et plus particulièrement aux acteurs chargés de la régulation d’épidémies pouvant potentiellement décimer l’humanité. The novel World War Z describes an epidemic of zombies whose origin is in China and which decimates humanity in a few years. The zombic imagination allows us to wonder about the destabilization of human organizations in the face of a global pandemic. Collapsological theories envisage the end of technostructure by phenomena like epidemics. It is a form of neoapocalyptic thought reflecting the doubts of American and Western civilization following attacks such as 9/11. The reintoduction of zombies by the entertainment industry makes it possible to reactivate ancestral fears and crystallize the most violent anxieties and aspirations of society. The mythology of zombies serves as a sectorial myth for medicine, and more particularly for actors responsible for the regulation of epidemics that can potentially decimate humanity.

Lieu de désolation où les flammes rouge sang contrastent avec l’obscurité la plus totale. Terre stérile où l’herbe ne pousse pas. Demeure d’un grand œil de feu, sans paupières, menaçant d’étendre son pouvoir en Middle-earth... Mordor incarne bien la quintessence du locus infernalis biblique. Les caractéristiques infernales de ce paysage atteignent son paroxysme avec l’éruption de Mount Doom, dans les braises duquel l’Anneau Unique est finalement détruit. Pourtant, la présence menaçante du mal ne s’achève pas avec l’annihilation de Sauron, le Seigneur des Ténèbres. Il survit à travers son sbire, Saruman ayant étendu son influence délétère depuis Isengard jusqu’au Shire, pervertissant ce locus amoenus, image d’un Jardin d’Éden, et, dans une certaine mesure, symbole de l’Angleterre rurale chère à l’auteur. Le présent article analyse cette triple apocalypse à l’œuvre dans The Lord of the Rings. A place of desolation where blood-red flames stand out against pitch-black darkness. A barren land where the grass does not grow. The dwelling of a big fiery eye, without lids, threatening to spread its power throughout Middle-earth... Mordor is indeed the epitome of a biblical locus infernalis. The characteristics of this hellish scenery become climactic with the eruption of Mount Doom, when the One Ring is finally destroyed. Yet, the looming presence of evil does not end with the annihilation of the Dark Lord Sauron. It survives with his minion, Saruman, who has expanded his deleterious influence from Isengard to the Shire, a now distorted locus amoenus, picture of a Garden of Eden, and, to a certain extent, symbol of the author’s beloved rural England. The present article analyses this threefold apocalypse in The Lord of the Rings.

Cet article vise à examiner le principal novum de la nouvelle de science-fiction « Keeping Time », de l’autrice philippine F. H. Batacan, à la lumière de l’apocalypse, et à montrer comment, comme un miroir du monde réel, elle met en évidence l’utilisation du mode de vie comme un moyen de gérer les populations. Notre étude utilise les idées de Frank Kermode sur l’apocalypse, et l’idée de Christopher Mayes selon laquelle le mode de vie est un dispositif biopolitique, comme un prisme pour analyser le récit. Bien que la nouvelle traite d’un avenir apocalyptique, les causes de cette apocalypse peuvent déjà être observées dans la société actuelle, en particulier dans le cas d’un problème de santé et de mode de vie comme l’obésité. En fin de compte, la nouvelle reste fidèle à la position de Darko Suvin, pour qui un récit de science-fiction commente le contexte de l’auteur, et est donc un récit sur les temps présents, plutôt qu’une évasion par rapport à ces derniers. This paper aims to examine the main novum of Philippine author F. H. Batacan’s science fiction short story “Keeping Time” in the light of apocalypse and how, as a mirror to the real world, it showcases the use of lifestyle as a way of managing populations. The article uses Frank Kermode’s ideas of apocalypse, and Christopher Mayes’ idea of lifestyle as a biopolitical dispositif, a lens through which the story is discussed. While the story depicts an apocalyptic future, the reasons and concerns that lead up to it are already seen in current society, particularly when discussing a lifestyle/health issue like obesity. In the end, the story remains true to Darko Suvin’s stand, that a science fiction story comments on the context of the author, and thus, is a story about present times, rather than it being an escape from it.

This essay argues that one of the factors holding back civilization-wide transitions to renewable energy is the widespread tendency to render petroleum and other hydrocarbons abject and abstract. Fossil fuel industry representations do this by hiding the true costs of petroculture behind the virtualization Energy; environmentalist framings do it by relying too much on petroaesthetics of doom (i.e., apocalyptic imagery) and gloom (i.e., Gothic visualizations of oil spills and rusting extractive infrastructure). The scarcity of representations of hydrocarbons that acknowledge both their life-giving and life-destroying properties, their powerful nonhuman agency in mediating practically every human and nonhuman relationship in the modern world, makes it hard to imagine alternatives to petroculture. Recently, artists have begun subverting petroaesthetic conventions in ways that counter the abstraction and abjection of hydrocarbons, including by using crude oil as an artistic medium in its own right. The oddly playful bitumen sands photographs of Louis Helbig, the bitumen-based “petrographs” of Warren Cariou, and the weird, enthralling “oilscapes” of Kathleen Thum are interpreted as meaningful challenges to the petroaesthetic status quo—provocations that matter in every sense of the word. Beyond merely promoting energy transitions, these images perform transitions as they empower viewers to see hydrocarbons as media with which all living things are deeply entangled.

L’objectif de cet article est de mettre en lumière les prémisses de la pensée écoféministe de Mary Shelley dans son roman The Last Man (1826). Il met en scène la destruction de la civilisation humaine à la fin du xxie siècle sous l’effet d’une peste dévastatrice. Encodée au féminin, elle s’apparente à une punition de la Nature contre la « mentalité de maître » des Occidentaux. Cette forme d’écologie dynamique pose la nécessité de l’apocalypse, exerçant une fonction écosystémique purificatrice et régénératrice. L’insensibilité de la Nature met en lumière le rôle secondaire joué par l’espèce humaine dans l’économie environnementale. Le roman développe un contre-modèle éthique porté par les femmes reposant sur l’extension du « care » au monde naturel. The aim of this article is to highlight the proto-ecofeminist undertones of Mary Shelley’s 1826 novel The Last Man. The novel depicts the annihilation of humankind due to a mysterious plague spreading at the end of the 21st century. The plague is associated to a feminine principle and appears to be a natural reaction meant to punish the Western “master mentality” and its consequences upon the natural world. This dynamic ecology posits the necessity of the apocalypse to cleanse the Earth of man’s actions, and reveals the secondary role played by humankind. It also develops a counter-utopia promoted by women and based on the extension of the ethics of care towards the natural world.

What influences the way we discuss and think about technology? How does technology, in turn, shape our understanding of politics, relationships, and ethics? I explore these questions while reflecting on my own experiences researching and writing about political technical communication during the COVID-19 pandemic. Modern life is saturated with technology. Although many voters may not realize it, technology is central to the operation of democracy. In part one, I use rhetorical methods to explore how the link between electoral politics and technical communication as a field might be strengthened. In part two, I examine cases where apocalyptic culture transmits deeply conservative political perspectives through technical communication. Finally, in part three, qubits (which are the quantum computing version of a bit in modern computing software) are creatively used as a metaphor for thinking about the relationship between ethics, technology, research, and activism.

In this article, the author studies the dramas which, while exposing the absurdity of war, express an apocalyptic vision of humanity doomed to its destruction. Whether it is Reinhard Goering’s “Sea battle” or Arrabal’s dramas (“Picnic on the Battlefield” and “Guernica”) we are witnessing an obvious renewal of the tragedy. However, the authors do not apply the rules specific to the canonical genre, but by shining a light on the precarious condition of modern man, they paint a world in its self-destruction where there is no place for catharsis. Tragic in its modernized version inevitably provokes the shaking of the dramatic form which testifies not only to human agony but also to that of dramatic art. In fact, the two playwrights undermine the main foundations of “absolute drama”, deconstructing the action in the classic sense of the word and depriving their characters of their active attributes of a hero of traditional theater.

For years, the historiografhic treatment of the controversial subject of the Cordoba martyrs of the ninth century has suffered a slide towards social pathology that has made it incomprehensible by making its participants merely unstable, suicidal or even criminal individuals. It is necessary to recover the history dimension of the phenomenon by deepening its religious and social causes, especially in the situation of the Christian population under Muslim rule, as well as in the political and cultural context in which it occurred, which is the construction of an Arab and Islamic state by the Umayyad dynasty and the very widespread and diverse resistance that this caused. Desde hace años, el tratamiento historiográfico del polémico tema de los mártires cordobeses del siglo IX ha sufrido un deslizamiento hacia la patología social que lo ha vuelto incomprensible al hacer de sus protagonistas individuos meramente desequilibrados, suicidas o incluso criminales. Es necesario recuperar la dimensión histórica del fenómeno, ahondando en sus causas religiosas y sociales, especialmente en la situación de la población cristiana bajo dominio musulmán, así como en el contexto político y cultural en que se produjo, que no es otro que el de la construcción de un Estado árabe e islámico por la dinastía Omeya y el de las resistencias muy extendidas y diversas que ello ocasionó.

En Realismo capitalista, Fisher interviene en el debate sobre el fin de la historia partiendo de una interpretación de la ficción apocalíptica Children of men como símbolo de la actual esterilidad de la cultura para generar novedades. A partir de ahí, Fisher despliega la noción de “realismo capitalista” como síntesis de la colonización de la imaginación cultural por parte de la razón económica en el neoliberalismo. De esta forma, reactualiza la sentencia de Jameson que advertía de que hoy en día “es más fácil imaginar el fin del mundo que el fin del capitalismo”. En este ensayo, me propongo poner en diálogo la teoría de Fisher con la del antropólogo Ernesto de Martino, que en su último e inacabado proyecto trató de explorar en profundidad las características del ethos apocalíptico en el que Occidente se encontraba ya por entonces inmerso. De Martino desarrolla una teoría sobre el apocalipsis como tropo antropológico en términos dialécticos, que constantemente oscila entre el riesgo a un colapso definitivo del universo de sentido existente y su reintegración escatológica en un nuevo orden cultural. De acuerdo con su tesis, la cultura moviliza una temporalidad cíclica en donde, a diferencia de la de Fisher, el futuro como proyecto no juega un papel central. En cambio, el antropólogo entiende la cultura como un ethos ordenador que funda un espacio intersubjetivo funcional y específico. En este sentido, el apocalipsis cultural tiene más que ver con el impulso de refundación del espacio común que con la cerrazón del continuo histórico. Mi objetivo es mostrar cómo el análisis contrastado y conjunto de estos dos discursos sirve para reconceptualizar la crisis cultural desde una perspectiva nueva, que aporte al largo debate sobre el fin de la historia como crisis de la imaginación política en el que han participado Fukuyama, Jameson, el propio Fisher y, mucho antes, Benjamin. Palabras clave: Fisher; De Martino; apocalipsis; cultura. : In Capitalist Realism, Fisher intervenes in the debate on the end of history starting from an interpretation of the apocalyptic fiction Children of Men as a symbol of the current sterility of culture to innovate. From there, Fisher deploys the notion of “capitalist realism” as a synthesis of the colonization of the cultural imagination by economic reason in neoliberalism. In this way, he re-actualizes Jameson's dictum that, today, “it is easier to imagine the end of the world than the end of capitalism”. In this essay, I propose to put Fisher’s theory in dialogue with that of the anthropologist Ernesto de Martino, who in his last and unfinished project tried to explore in depth the characteristics of the apocalyptic ethos in which the West was already immersed. De Martino develops a theory of apocalypse as an anthropological trope in dialectical terms, constantly oscillating between the risk of a definitive collapse of the existing universe of meaning and its eschatological reintegration into a new cultural order. According to his thesis, culture mobilizes a cyclical temporality in which, unlike Fisher’s, the future as a project does not play a central role. Instead, the anthropologist understands culture as an organizing ethos that established a functional and specific intersubjective space. In this sense, cultural apocalypse has more to do with the impulse of refunding a common space than with the enclosure of the historical continuum. My aim is to show how the contrasted and combined analysis of these two discourses serves to reconceptualize the cultural crisis from a new perspective, contributing to the long debate on the end of history as a crisis of the political imagination in which Fukuyama, Jameson, Fisher himself and, much earlier, Benjamin have participated.

Peer reviewed: True, In recent years, images of climate catastrophe have become commonplace. However, Black visions of the confluence of the Anthropocene and the apocalypse have been largely ignored. As we argue in this article, Black social thought offers crucial resources for drawing out the implicit exclusions of dominant representations of climate breakdown and developing an alternative account of the planet’s future. By reading a range of critical race theorists, from Frederick Douglass and W. E. B. Du Bois to Octavia Butler and Ta-Nehisi Coates, we propose a rethinking of the climate apocalypse. The African American theoretical and cultural tradition elaborates an image of the end of the world that emphasises the non-revelatory nature of climate catastrophe, warns against associating collapse with rebirth, and articulates a mode of maroon survivalism in which the apocalypse is an event to be endured and escaped rather than fatalistically expected or infinitely delayed.

Тhe present study is an urgent warning on the Earth Day 2020 to prevent the blast of the COVID-19 pandemic to chaotic apocalypse.

Le projet de traduction en français de l’ouvrage posthume d’Ernesto de Martino, La fine del mondo. Contributo alle analisi delle apocalissi culturali (1977), que nous présentons ici, a l’ambition d’interroger les choix de la prmirèe et seule édition, ed s’immerger dans le laboratoire documentaire et conceptuel de De Martino et de proposer une autre version de recherche inachevée pour revenir au plus près des méthodes de travail de l’auteur sur la base des documents d’archive. The project of translating into French the posthumous work of Ernesto de Martino, La fine del mondo. Contributo all’analisi delle apocalissi culturali (1977), which we present here, aims to question the choices of the first and only edition, immerse itself in the documentary and conceptual laboratory of De Martino and propose another version of this unfinished research to return as far as possible to the methods of work of the author on the basis of archival documents.

Anxieties over the potential impacts of climate change, often framed in apocalyptic language, are having a profound, but little studied effect on the contemporary Western urbanscape. This article examines the ways in which current theorizations of ?ecological gentrification? express only half the process, describing how green space is used for social control, but not how ecology is used as a justification regime for such projects. As urbanites seek out housing and living practices that have a lower environmental impact, urban planners have responded by providing large-scale regeneration of the urbanscape. With the demand for this housing increasing, questions of inequality, displacement and dispossession arise. I ask whether apocalyptic anxiety is being enrolled in the justification regimes of these projects to make them hard to resist at the planning and implementation stages. The article shows that, in capitalizing on collective anxiety surrounding an apocalyptic future, these projects depoliticize subjects by using the empty signifier, ?Sustainability?, leading them into an immuno-political relationship to the urbanscape. This leaves subjects feeling protected from both responsibility for, and the impacts of, climate change. Ultimately, this has the consequence of gentrification coupled with potentially worsening consumptive practices, rebound effects and the depoliticization of the environmentally conscious urbanite.

Theologians have been engaged in the reflections of the eschatological in the social and moral conditions of the world for some years now, but the emphasis on the indisputable need for an interfaith dialogue at such a moment is evidently absent. Arguably, the apocalyptic times of pandemic, induced communal hatred, bilateral hostility, and racial discriminations, on a global level, which are also accompanied with many instances by increased charitable behavior and a heightened sense of human responsibility. This paper focuses on apocalyptic theologies in the context of Hindu and Christian settings in India and how they interact, creating the possibility for an interfaith dialogue. Based on Raimon Panikkar’s neologism ‘cosmotheandric vision,’ the paper establishes a relation between intercultural theologies and interfaith dialogue. The apocalypse can be studied as being a constant reminder of the cosmotheandric nature of the universe, for Hindus and Christians alike, fostering a dialogue between the two religions, entirely cognizant of their hermeneutical differences. The moment of apocalypse can be analyzed as a point of cosmotheandric union and absolute togetherness, wherein cultural and religious differences disappear with the consciousness of the whole, the One. Publisher PDF

Book Reviews, of:Pióro & Paryż (eds) – Thomas Pynchon [Polish]Aliaga (ed) – Thomas Pynchon [Spanish]Nagano –トマス・ピンチョン──帝国、戦争、システム、そして選びに与れぬ者の生[Japanese – Thomas Pynchon: Empire, War, System, and the Lives of Preterites]Oleha – Perspektivy Konce: Thomas Pynchon a Americky Román po 11. Zari [Czech – Perspectives of the End: Thomas Pynchon and the American Novel after 9/11]Episcopo – L’Eredità Della Fine: Gravity’s Rainbow di Thomas Pynchon e Horcynus Orca di Stefano D’Arrigo [Italian – The Inheritance of the End: Gravity’s Rainbow by Thomas Pynchon and Horcynus Orca by Stefano D’Arrigo]Plus:An interview on non-English-language Pynchon scholarship with vheissu.net bibliographer Michel Ryckx[a note from the Book Reviews Editor: if you’re interested in reviewing a book on any aspect of unconventional post-1945 US literature, please send an email proposing a review to reviews@pynchon.net]

В настоящее время к числу малоизученных произведений можно отнести дневниковые записи И. А. Бунина «Окаянные дни», что определяет актуальность поставленной нами проблемы — исследование языковых особенностей данного произведения. Обращаясь к революционной эпохе, писатель трактует все происходящее как гибель Русской земли. Для реализации собственного замысла И. А. Бунин в своем дневнике неоднократно обращается к сюжетам и мотивам книги Нового Завета «Откровение Иоанна Богослова», более известной как «Апокалипсис». Устойчивая смысловая связь реализуется на языковом уровне, что позволяет говорить о «поэтике апокалипсиса» — определенной системе языковых единиц, способствующих воплощению отмеченной параллели. Как показали наши наблюдения, одним из самых ярких способов связи авторского текста с текстом Священного писания является цитирование. Помимо роли авторских отступлений, передающих чувства писателя, его сугубо индивидуальное отношение к революционным событиям, цитаты выполняют еще одну важную функцию — являются смысловой основой для реализации более сложных имплицитных механизмов взаимодействия авторского нарратива и библейского текста. По результатам исследования, наиболее частотны в этом отношении синонимические и ассоциативные связи слов, использование единиц одной тематической группы, метафорические переносы., The author argues that the diary entries “Cursed Days” by Ivan Bunin remain nowadays among the little-studied works, and it determines the relevance of the article’s task: to study the linguistic features of this work. While interpreting the revolutionary era, the writer interprets everything that happens as the death of the Russian land. To implement his plan, Bunin repeatedly refers in his diary to the plots and motives of the New Testament’s “The Revelation to St. John the Evangelist”, better known as “Apocalypse”. A stable semantic connection is realized at the linguistic level, which allows to speak about the “poetics of the Apocalypse,” which is a certain system of linguistic units embodying this parallel. As author’s observations have shown, one of the leading ways of connecting the “Cursed Days” with the text of Scripture is quotation. The quotes play, firstly, the role of digressions, conveying Bunin’s feelings and his individual attitude to revolutionary events, and secondly, play a role of the semantic basis for the implementation of more complex implicit mechanisms of the interaction between the writer’s narrative and the biblical text. According to the research results, the most frequent in this respect are synonymous and associative connections of words, the use of the units of the same thematic group, and metaphorical transfers.

La lecture du livre « Où suis-je ? » de Bruno Latour convainc que, au moins autant que l’enjeu écologique de la planète, c’est bien, dans son entière plénitude, la question de l’habiter qui est posée. Dès lors, les considérations écologiques, en particulier l’annonce apocalyptique de la fin, peuvent-elles être les entrées exclusives de cet enjeu pour l’humanité tout entière, soit chacun et chacune de ses membres, et bien au-delà encore ?

En 2012, l'artiste trans israélo-argentine Effy Beth inscrit en couverture de son unique bande dessinée, TRANSita rápido - TRANSita lento, la question rhétorique: "2012! Qué no es ahora el fin del mundo?" Selon les interprétations New Age du calendrier maya, l'année 2012 devait en effet être celle de la fin du monde. Placée en ouverture d'un récit de non-fiction qui insiste sur les difficultés quotidiennes imposées aux personnes queer, la question peut toutefois être lue comme davantage qu'un clin d'œil conjoncturel. Dans sa bande dessinée, Effy Beth narre sa transidentité comme une identité apocalyptique. Elle transmue la transgression en principe de création et poursuit l'élaboration d'une poétique et d'une politique de l'éphémère initiée dans ses œuvres précédentes. En 2012, la artista de performance transgénero de origen israelí-argentino Effy Beth se preguntaba de forma retórica en la primera página de su único cómic, TRANSita rápido - TRANSita lento: "2012! Qué no es ahora el fin del mundo?" Según la interpretación New Age del calendario maya, el mundo terminaría el año 2012. Sin embargo, si la asociamos con las narrativas de no-ficción que exploran los retos que sufren las personas queer en nuestra sociedad, podemos entender la pregunta como algo más que una referencia circunstancial. En su cómic, Effy Beth narra la identidad transgénero como apocalíptica y, tal como ha hecho en sus obras anteriores, convierte la transgresión en un principio creador para poder desarrollar una poética y una política de lo efímero. In 2012, the transgender Israeli-Argentinian performance artist Effy Beth wrote in the front page of her only comic strip, TRANSita rápido - TRANSita lento, the rhetorical question: "2012! Qué no es ahora el fin del mundo?" According to the New Age interpretation of the Mayan calendar, 2012 was supposed to mark the end of the world. Associated with a non-fiction narrative that focuses on the everyday challenges queer people suffer from in this society, the question can however be understood as more than a circumstantial reference. In her comic-strip, Effy Beth narrates her transgender identity as an apocalyptic one. She makes transgression into a principle of creation and goes on developing a poetics and a politics of the ephemeral, as she had done in her previous works.

Статья посвящена иконографическому анализу композиций на сюжет Апокалипсиса в монументальной живописи Руси в эпоху позднего Средневековья на примере настенных росписей, исполненных артелью Гурия Никитина. Несомненно, Апокалипсис является глубоким и неповторимым по содержанию и философскому осмыслению произведением духовной литературы. История интерпретации книги Апокалипсиса с помощью изобразительного ряда многогранна и имеет свои уникальные особенности. В рамках данной статьи рассматривается формирование иконографии Апокалипсиса в монументальной живописи Поволжья 2-й половины XVII в. на примере стенописных работ костромских иконописцев; анализируются иконографические и стилистические особенностей сюжета; выявляются причины появления и соотнесенность с конкретной исторической ситуацией. Вместе с тем в исследовании показана связь с гравированными западноевропейскими образцами и степень их влияния на сложение русской апокалиптической иконографии., The article is devoted to the iconographic analysis of Apocalyptic compositions in the monumental painting of Russia in the Late Middle Ages (on the example of wall paintings made by Guriy Nikitin’s artel). Undoubtedly, the Apocalypse is a deep and unique work of spiritual literature in terms of a content and philosophical understanding. The story of understanding the book of the Apocalypse with the help of a pictorial series is multifaceted and has its own unique features. This article discusses the formation of the iconography of the Apocalypse in the monumental painting of the Volga region in the 2nd half of the 17th century using examples of murals painted by Kostroma iconographers; analyzes iconographic and stylistic features of the subject; provides the reasons for its appearance and correlates it with a specific historical situation. At the same time, the study shows connection with the engraved Western European examples and the extent of their influence on the formation of the Russian apocalyptic iconography.

Departing from Aimé Césaire’s striking proposition that The End of the World is the only thing in this world that’s worth beginning, this article sets out to explore some of its implications as a counter-apocalyptic gesture that renders apocalypse an immanent event: the end of some world in this world. Probing the speculative force of Césaire counter-apocalyptic proposition, the article suggests that it can trouble one of the more insidious powers of Anthropocene stories: the way in which, by conflating the end of Euro-American, extractive ways of living, with the end of everything as such, such stories reduce the plural interplay of immanent values which sustain divergent modes of living and dying well to sheer matters of “survival,” thereby determining what is vital to life, and how lives worth living and deaths worth living for are to be defined. Weaving together philosophical experimentation with a story of other modes of living and dying inside and despite ecological turmoil, the article takes up the notion of “cosmoecology” as a way of experimenting with plural value-ecologies of living and dying on a heterogenous Earth.\ud \ud Partiendo de la sorprendente propuesta de Aimé Césaire de que El Fin del Mundo es lo único que merece la pena comenzar en este mundo, el artículo se propone explorar algunas de sus implicaciones en tanto que un gesto contra-apocalíptico que convierte el apocalipsis en un acontecimiento inmanente: el fin de algún mundo en este mundo. Al examinar la fuerza especulativa de la propuesta contra-apocalíptica de Césaire, el artículo sugiere que sus implicaciones permiten problematizar uno de los poderes más insidiosos de los relatos del Antropoceno: el modo en que, al combinar el fin de las formas de vida extractivas euroamericanas con el fin de la vida misma, dichos relatos reducen la multiplicidad valores que sustentan modos divergentes de vivir y morir bien a una cuestión de pura "supervivencia", determinando así lo que es vital para la vida, y cómo una vida que merezca ser vivida y una muerte por la cual merezca la pena vivir han de ser definidas. Entrelazando la experimentación filosófica con una historia de otros modos de vivir y morir en medio y a pesar de turbulencias ecológicas, el artículo retoma la noción de "cosmoecología" como una forma de experimentar con ecologías de valores plurales y modos divergentes de vivir y morir en una Tierra heterogénea.\ud \ud Partindo da surpreendente proposta de Aimé Césaire de que O Fim do Mundo é a única coisa que vale a pena começar neste mundo, o artigo pretende explorar algumas das suas implicações como um gesto contra-apocalíptico que transforma o apocalipse num evento imanente: o fim de algum mundo neste mundo. Ao examinar a força especulativa da proposta contra-apocalíptica de Césaire, o artigo sugere que as suas implicações nos permitem problematizar um dos poderes mais insidiosos das narrativas antropocénicas: a forma como, ao conflitar o fim das formas de vida extractivas euro-americanas com o fim da própria vida, tais narrativas reduzem a multiplicidade de valores que sustentam modos de vida e de morrer bem diferentes a uma questão de pura "sobrevivência", determinando assim o que é vital para a vida, e como se deve definir uma vida que vale a pena viver e uma morte pela qual se merece viver. Intersectando a experimentação filosófica com uma história de outras formas de viver e morrer no meio e apesar da turbulência ecológica, o artigo retoma a noção de "cosmoecologia" como uma forma de experimentar ecologias de valor plural e modos divergentes de viver e morrer numa Terra heterogénea.

Parmi les sermons que les réformés consacrent à leurs adversaires confessionnels domine l’identification à Babylone, figure archétypale de l’homilétique anticatholique protestante de la seconde moitié du XVIIe siècle, qu’ils associent aux méfaits du clergé romain et à la fourberie de ses discours visant à leur conversion. Dans le choix des analogies scripturaires, Babylone est en effet l’une des plus flétrissantes. À l’appui d’une approche historico-théologique, cette étude explore la violence du discours calviniste dans l’exégèse à charge de ce motif biblique. Fouillant un champ polémique emblématique de la période révocatoire, elle fait cas d’un discours pastoral composite, que le contexte d’oppression bouleverse et redistribue ailleurs qu’en chaire, pour évaluer l’enjeu d’une telle filiation et la nature du combat rhétorique qui s’y loge. Quel éclairage l’usage de cette figure jette-t-il sur l’opposition protestante à Rome ? Quelle radicalité véhicule-t-elle ? Comment, en investissant cette figure, les prédicateurs réformés cherchent-ils, depuis l’exil, à neutraliser la politique de catholicisation des protestants entreprise par Louis XIV et à faire encore communauté ? Avec cette prédication critique, qui puise dans le livre de l’Apocalypse, l’enquête s’intéresse à un lieu théologique symbolique, qui ne relève pas de la simple invective mais d’une temporalité prophétique hautement polémique, aussi radicale à l’endroit de l’adversaire catholique romain que réconfortante et subversive à l’adresse des réformés les plus fidèles, pour lesquels elle ouvre un horizon biblique de promesse et soutient un discours de combat. Elle montre ainsi combien, en ce temps de concurrence pastorale, le sermon s’apparente à une polémologie scripturaire. In Protestant anti-Catholic sermons, the figure of Babylon – an archetypal figure in Reformed anti-Catholic homiletics in the second half of the seventeenth century – is associated with the misdeeds of the Roman clergy and their treacherous attempts to convert Protestants. Babylon is one of the most defamatory scriptural analogies. Based on a historical-theological approach, this study explores the violence of Calvinist discourse in the exegesis of this biblical motif. By delving into the emblematic field of Reformed preaching in the period of the Revocation, it explores a mixed pastoral discourse that was transformed in the context of oppression, and seeks to evaluate the stakes of such filiation and the nature of the rhetorical combat it entails. How does the use of the figure of Babylon shed light on the Protestant opposition to Rome? What radicality does it convey? How did Reformed preachers in exile endeavour to neutralize Louis XIV’s policy of Catholicization by using biblical figures of hostility, while still trying to build a community? Looking at this critical form of preaching, which draws on the book of Revelation, the investigation focuses on a symbolic theological topos, which is not based on mere invective but on a highly polemic and prophetic conception of time. Such preaching is as radical towards the Roman Catholic adversary as it is comforting and subversive towards the most loyal Protestants, for whom it opens up a biblical horizon of promise and supports the idea of battle. It thus appears how much, in times of pastoral competition, sermons become a form of scriptural polemology.

Ce travail se propose d’étudier l’impasse existentielle éprouvée par deux intellectuels ottomans musulmans et réformistes, Filibeli Aḥmed Ḥilmī (1863-1914) et Celāl Nūrī (1882-1938), qui publient des ouvrages semblables dans les années précédant la Première Guerre mondiale (1914-1918). Il adopte l’histoire des concepts (Begriffsgeschichte) développée notamment par Reinhart Koselleck comme méthodologie susceptible d’ouvrir de nouveaux horizons pour les études ottomanes qui n’ont guère pris acte des enjeux temporels inscrits dans les concepts, si ce n’est une diachronie indépassable entre les productions intellectuelles européennes et ottomanes. L’étude vise donc à réinscrire les concepts dans leur propre espace d’expérience et horizon d’attente. Le rapport entre le sens et l’usage étant établie pour ce qui est des concepts, elle évite d’assigner les intentions préétablies aux intellectuels en question. Pour ceci, elle compte faire ressortir la structure sémantique des concepts dont ils se servent tels que le progrès (teraḳḳī), le déclin (inḥiṭāṭ, tedennīyāt), le juste (ḥaḳḳ) et l’annihilation totale (helāk), tout en accordant une attention particulière aux rapports que les concepts entretiennent les uns avec les autres. Écrivant dans une période où leurs espoirs pour la survie de l’Empire ottoman sont rapidement consommés, face à un avenir de plus en plus fâcheux, Ḥilmī et Nūrī se voient également héritiers d’un long passé du déclin. C’est ainsi que l’aporie règne dans cette impasse où il n’y a d’issue ni vers le passé ni vers le futur. This study examines the existential impasse that two Ottoman reformist intellectuals experienced, Filibeli Aḥmed Ḥilmī (1863-1914) and Celāl Nūrī (1882-1938), both produced similar works in the years preceding The First World War (1914-1918). As a methodology, this work adopts the history of concepts (Begriffsgeschichte) developed especially by Reinhart Koselleck. In so doing, it enables to open new horizons in the Ottoman studies that hardly took into consideration the temporal questions inscribed in the concepts, except for a diachrony between European and Ottoman intellectual productions. Therefore, it aims to re-inscribe the concepts in their own space of experience and horizon of expectation. Establishing the relation between meaning and use of the concepts, it avoids assigning pre-established intentions to the intellectuals in question. For this, it intends to dissect semantic structures of the related concepts used by these two intellectuals, namely progress (teraḳḳī), decline (inḥiṭāṭ, tedennīyāt), right (ḥaḳḳ) and total annihilation (helāk), while paying particular attention to the semantical relations between them. Writing in a period when their hopes for the survival of the Ottoman Empire are quickly dashed, faced with an increasingly inauspicious future, Ḥilmī and Nūrī also consider themselves as inheritors of a long past of decline. Thus, aporia reigns where there is no way out either towards the past or the future.

Over the past 15 years, the story of a world devastated by the walking dead has increasingly captured our attention through movies, television, and literature. The fictional narrative of zombie apocalypse has also shaped activities of government agencies, not-for-profits, and universities. Why is this narrative captivating? How might we be using it to navigate large-scale or personal challenges? This paper suggests some answers, bringing together zombie studies, narrative theory, and Mennonite studies to do so.

WOS: 000454229100003 As we know, the European-American Western civilization and authority has started to form with the Greek civilization, and strengthened itself through the advent of monotheistic religions. After the Renaissance era and industrial revolutions, the transition from feudalism to industrialization and then to capitalism, made Europe a center of the world. Yet, today, the center has been shifted to the line of Europe-America. In the art of painting, the concept of apocalypse is as old as the first paintings that depict the narrations about human existence. Yet, we can see this concept in an intensified way in the film arts. Finding its inspiration from the social world we live in, film art has been deeply affected by the social class struggles, income inequality, cold war period followed by two major wars, and environmental disasters. By analyzing examples from the history of art and directors from turn arts (such as Tarkovsky, Inarritu, Lars von Trier, and Nun Bilge Ceylan) who use metaphorical sceneries in dystopian /utopian contents, this article will focus on decoding the signification of the concept of apocalypse throughout the history of humanity

Terrorists who believe they have a role to play in bringing about the apocalypse pose a serious threat to countries around the world. In their quest to eradicate this especially pernicious form of terrorism, states, including liberal democratic ones, confront the understandable temptation to eliminate such groups through brute force: repression of apocalyptic groups and their constituencies at home and overwhelming military force abroad. Using a comparative case study of France and Japan, this article argues that such policies actually serve to perpetuate the very conditions that generate further terrorism rooted in apocalyptic beliefs. France’s policies of repression of Islam at home and militarism abroad have had the unintended consequence of encouraging attacks by those affiliated with the apocalyptic group the Islamic State of Iraq and Syria. Conversely, the case of Japan shows that successfully combating apocalyptic terrorism requires far more understated measures, including respecting religious rights at home and caution in using force abroad. Accepted version

La transmission textuelle de l’Apocalypse en français au Moyen Âge est d’une telle complexité qu’il conviendrait de la représenter comme une mosaïque constituée de plusieurs centaines de pièces, dont l’ampleur serait d’autant plus difficile à saisir que la plupart de ces pièces sont aujourd’hui perdues. Paradoxalement, il n’existe que très peu de travaux critiques sur la transmission textuelle de l’Apocalypse au Moyen Âge, alors que les études qui traitent de sa réception iconographique se co...

L’article vise à dégager les fonctions du modèle apocalyptique dans Les Écailles du ciel (1986) de Tierno Monénembo. L’apocalypse représente d’abord un système d’intelligibilité pour les personnages essayant de donner un sens à leur vécu. Elle permet ensuite de structurer le récit de l’histoire désastreuse de la Guinée coloniale et dictatoriale. La construction de temporalités complexes autorise cependant de la téléologie apocalyptique en nuançant la portée des évènements narrés. Finalement, un récit post-apocalyptique émerge, énoncé par une voix narrative située après la « fin des temps ». Celle-ci ne saurait être considérée comme la voix d’un sujet individuel, dans la mesure où elle semble dépositaire de tout ce qui demande à être raconté après la destruction du monde. Elle appartient ainsi à une subjectivité post-apocalyptique qui réinvente la fonction du griot traditionnel., This article aims to analyse the functions of the apocalyptic model in Les Écailles du ciel (1986) by Tierno Monénembo. Representing first a system of intelligibility for the characters to make sense of the events, the apocalypse serves also, on the level of narration, to structure the disastrous history of colonial and dictatorial Guinea. The construction of complex temporalities allows for going beyond teleology and nuancing the impact of the narrated events. Finally, a post-apocalyptic narrative emerges, told by a narrative voice situated after the « end of times ». This voice cannot be considered as the voice of an individual subject, insofar as it seems to be the repository of everything that needs to be told after the destruction of the world. I will therefore suggest thinking of this voice as belonging to a post-apocalyptic subjectivity who reinvents the function of the traditional griot, singularly modifying its contours.

For a long time, people were fascinated with imagination, how the world would be like, especially after occurring a catastrophe that leads to the earth-shattering event. The concept of doomsday has religious dimensions. Similarly, the apocalyptic concept poses a threat of catastrophes that might happen in the future. Generally, what people are curious about is whether human race can survive or not. The apocalyptic concept in fiction has a distinct remoteness including nuclear war, natural disasters, human overpopulation, and destruction of the environment, the wrath of God, alien invasion, or mysterious and unknown forces. Basically, the stories of apocalyptic genre contain a horrible event exposing the events in such a consternation way which is not for the advancement of the story, but it shows the depiction of people coping with the degradation of society. Some of the apocalyptic stories happen suddenly and cause a trauma. Both of the books that mentioned in this article share the same trait. In the road, an ambiguous apocalyptic event afflict is unknown to the reader. On the other hand, in the postman, there is a trait of trauma although, the apocalyptic event happens because of a devastating war still, no one can believe that great America has fallen down. The features of this genre are to expose what people do when all the social structures have previously known are gone. Thus, this paper focuses on the illustrated utopian society by both of the authors. There are several common themes between both of the books. But this study confirms to examine the utopian trait in the post-apocalyptic story and how the authors attempt to optimize the catastrophe in order to spread hope and optimism.