OCALYPSE The following chapter explores, some dimensional topoi of the Apocalypse, namely its appearance and effects it produces, in time and space. In the analysis of the apocalyptic discourse, it is fundamental to individuate the spatial and the temporal dimensions, in which a catastrophe brings an according cultural influence, developing a peculiar mindset. Through the delineation of its spatiotemporal coordinates, my intention is to explore the manifestation of an apocalyptic discourse on a cultural and social level, thus, a materialisation of the phenomenon in a realistically, quasi-tangible, …show more content…
This particular effect is intended to increase participation in the audience, through the ideology, carried in the messages of the discourse. This is achieved through techniques of rhetoric persuasion, in order to push its audience to realise their decisional importance in, mainly, choosing to take an earthly action into participation2007maier. An invitation, aiming to create a numerous collectivity which accepts the ideology, opposing to the dominant political rule and order. As Maier reasserts, about the purpose of manifestation of such a genre – the apocalypse was not supposed to be accepted passively. It was rather, made to provoke people to adapt their mindset and lifestyle to the ideals proposed …show more content…
In his vision of “the cleansing property of war” he was negative, as he is considered to have envisioned the war devastations, and the cultural and social impact of the First World War. His Apocalyptic cycles begun in 1912, where the consequences of war are intuitable from the very beginning of his apocalyptic landscapes, of chaos and disorder and escaping people, from their houses – which they will eventually lose, as showed in The Burnt-Out Homeless Ones, 1912. In the years that follow, Meidner continues his representation of the apocalypse as war-making and devastating urban liveable possibilities. Where we end in 1915-1916, with The Last Day, where people are uprooted from an urban or any specific liveable coordinate and the focus falls majorly on the people's victimisation and impact by the war. Here the cause of apocalypse is not visible, or at least the unique clue seems to only throw light on the devastation by war which causes the malaise for people's condition and unleavable future. Where everything has to be rised up from ruins, after the apocalypse – a totalising nullification of the devastating power of social catastrophe. Here, the process of liberating spaces is showed by such an apocalypse, a cataclysm of the old order, in its full functional process. Nonetheless, an apocalypse is not only visible in the consequences, or visions of war. Apocalypse,
Earthquake: a series of vibrations induced in the earth’s crust by the abrupt rupture and rebound of rocks in which elastic strain has been slowly accumulating; something that is severely disruptive; upheaval (Shravan). Tsunami: an unusually large sea wave produced by a seaquake or undersea volcanic eruption (Shravan). Combine these two catastrophic natural disasters, and it will be a day that will forever live in infamy through terror; a day much like that of October 28, 1746 in Lima, Peru in which an entire city was destroyed within mere minutes. Author Charles Walker guides his audience through the devastation and wreckage of this heartbroken town and into the economic, political, religious, and social fallings that followed. Walker argues that the aftermath of this tragedy transformed into a voting of the citizens’ various ideas perceived of the future of Lima, theological consequences, and the structure of the colonial rule (p. 12). However, as illustrated by Walker, the colonial rulers would in turn batter the natives with their alternative goals and ideas for the future of Lima. Finally, the author reconstructs the upheaval of Lima during its’ reconstruction and their forced and struggled relationship with the Spanish crown that ultimately led to rebellions and retaliations by the Afro-Peruvians and Indians.
He states, “A crowd in panic has no sense or conscience” (Esposito 71). This communicates the sheer horror and hopelessness of the trapped victims. The experiences of the witnesses compounds this image, making the book vivid and persuading the audience to consider the far-reaching nature of the tragedy. How prepared are we for disasters in the contemporary world? I could only shudder in fear as I visualized Esposito’s fear of ill-informed crowds. Esposito persuades me to embrace the concept of educating the masses to remain calm under storm to reduce the number of
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
Marked by two world wars and the anxiety that accompanies humanity's knowledge of the ability to destroy itself, the Twentieth Century has produced literature that attempts to depict the plight of the modern man living in a modern waste land. If this sounds dismal and bleak, it is. And that is precisely why the dark humor of Kurt Vonnegut, Jr. shines through our post-modern age. The devastating bombing of Dresden, Germany at the close of World War II is the subject of Vonnegut's most highly acclaimed work, Slaughterhouse-Five or The Children's Crusade: A Duty Dance with Death. Vonnegut's experience as an American POW in Dresden fuels the narrative that unconventionally defines his generation through the life and death of Billy Pilgrim. The survival of Billy Pilgrim at Dresden and his re-entry to the shell-shocked world reveal a modern day journey of the anti-hero. Vonnegut's unusual style and black satire provide a refreshing backdrop for a vehement anti-war theme and enhance his adept ability to depict the face of humanity complete with all of its beauty and blemishes. Likewise, Vonnegut adds his own philosophy concerning time, our place in it, and connection (or disconnection) to it and one other. Perhaps the most crucial step in understanding this intriguing work is to start with its title, which holds the key to Vonnegut's most prevailing theme.
It is undeniable that human struggle is relative. It is relative to one’s background, life experiences, and strength- and at some point everyone is faced with an obstacle that they feel incapable of overcoming. In Surviving Hell written by Leo Thorsness, the author is captured after a mid-flight ejection in the Vietnam War. He spent years undergoing torture and solitary confinement, not knowing if he would make it out alive. Physically shattered, his spirits remained strong. Several events take place throughout the novel that ultimately kept Leo afloat. The significance of the church service, walking home, and Mike’s flag lies outside of their surface meaning, but in the mental battles won that propelled Leo and the other soldiers to do more
Paik, Peter Y. From Utopia to Apocalypse: Science Fiction and the Politics of Catastrophe. Minneapolis: University of Minnesota Press, 2010. Print.
In “The Destructors”, the mood of the story is driven by a war torn town post WWII.
Storm of Steel provides a memoir of the savagery and periods of beauty that Ernst Jünger’s experienced while serving the German army during the First World War. Though the account does not take a clear stand, it lacks any embedded emotional effects or horrors of the Great War that left so few soldiers who survived unaffected. Jünger is very straightforward and does remorse over any of his recollections. The darkness of the hallucinations Jünger reports to have experienced provides subtle anti-war sentiment. However, in light of the descriptive adventures he sought during the brief moments of peace, the darkness seems to be rationalized as a sacrifice any soldier would make for duty and honor in a vain attempt for his nation’s victory. The overall lack of darkness and Jünger’s nonchalance about the brutality of war is enough to conclude that the account in Storm of Steel should be interpreted as a “pro” war novel; however, it should not be interpreted as “pro” violence or death.
The original title of the book, Storm of Steel was “Im Stahlgewittern”, which means in the middle of steel storm. Ernst Jünger's Storm of Steel is written in a form of a diary that describes his life as a soldier of the First World War from January 1, 1915 to August 1918. In this book, Jünger described the horrors of war without any falsity and rarely wrote political reasons for the war or criticism of war. Jünger’s focus was on detailedly describing the daily life of the battlefield and expressing the ability of the soldiers to cope with the crisis and the saga of survival struggle. However, I discovered in this book that he had strong nationalism, believed in male-heroism, and had somewhat psychopathic mindset. In this paper, I analyzed Ernst
When the world was created there was chaos, that chaos has since persisted throughout the course of human history. In Giuseppe Piamontini’s twin pieces, The Fall of Giants and The Massacre of Innocents, he shows two pivotal moments in human history that have forever shaped society through a single action: the creation of the religious world. The use of cold dark bronze in these works helps display the gloom and terror of the scenes. While the intense detailed expressions on the characters faces conveys their horror, grief, or insatiable lust for violence. Piamontini does a fantastic job showing these violent beginnings will have violent ends, there is no escaping it as the cycle will always repeat.
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
Throughout their lives, people must deal with the horrific and violent side of humanity. The side of humanity is shown through the act of war. This is shown in Erich Remarque’s novel, “All Quiet on the Western Front”. War is by far the most horrible thing that the human race has to go through. The participants in the war suffer irreversible damage by the atrocities they witness and the things they go through.
Revelation identifies itself as “both an “apocalypse”…and as prophecy”, making it distinctly different from the rest of the New Testament. “Jewish apocalyptic literature flourished in the centuries following the completion of the OT canon”, and it is scattered throughout the Old Testaments in books such as Daniel, Ezekiel, and Isaiah. Apocalyptic literature is full of “visions that dramatize the prophet’s admission to God’s heavenly council”, and convey their meaning primarily through symbolism. John brings a “balanced message of comfort, warning, and rebuke” in Revelation, testifying to the end of the world and the second coming of Jesus Christ. Apart from the OT literature, Revelation shows a distinct optimism toward the end of days, for “Christ’s death has already won the decisive victory over evil”, with the Kingdom of God already among believers. This book was written in “approximately A.D. 95 on the island of Patmos”, which is still standing to this day. It was written under the emperor Domitian, with Roman authorities exiling John “to the island of Patmos (off the coast of Asia)”. The events in Revelation are also “ordered
In the poem “The City of the End of Things” by Archibald Lampman, he paints an image of a dystopian and mechanical future. The theme of this poem is a prediction of the natural world's destruction and of the current industrialized future. Humans cannot live without nature, thus with the destruction of the natural world comes the downfall of humanity. Lampman wrote “Its roofs and iron towers have grown / None knoweth how high within the night”(9-10), which provokes a picture of a city that is ever growing, seemingly overnight.
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.