The apocalypse’s triumph is witnessed in the arts, literature, music, film, TV, and digital media thereby enabling us to view the very essence of Apocalypse as a cultural phenomenon.

"This edited book explores the shifting definitions and implications of mass violence and investigates the premise that the perpetrators' decision regarding their choice of weapon(s) to carry out their planned mass violence is based upon their accessibility to particular weapons. This leads to whether perpetrators of mass violence share similar goals and motivations for their sprees, as well as display commonalities in their direct and indirect warning behaviors"--

This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations.

Seminar paper from the year 2023 in the subject English Language and Literature Studies - Linguistics, http://www.uni-jena.de/ (Department of English and American Studies), course: Text & Discourse Linguistics, language: English, abstract: This paper delves into the highly debated topic of climate change and its communication across social media, particularly on the platform X (formerly Twitter). Recognizing the profound global implications of climate change discourse, the study focuses on linguistic analysis at the lexical level, examining semantic patterns in environmental discourse. The goal is to identify distinctive language devices, including lexemes, phrases, clauses, figures of speech, and idiomatic expressions, and link them to the discourse categories of tragic and comic apocalypse in environmental discourse as defined by Foust and O'Shannon. The analysis involves closely examining selected Tweets from the database, aiming to categorize them based on these discourse frames. The paper outlines the methodology, defines discourse framing and environmental discourse categories, and concludes with a summary of findings and an outlook on communication modalities in the current discourse about climate change on social media.

Can social theories forge new paths into an uncertain future? The future has become increasingly difficult to imagine. We might be able to predict a few events, but imagining how looming disasters will coincide is simultaneously necessary and impossible. Drawing on speculative fiction and social theory, Theory for the World to Come is the beginning of a conversation about theories that move beyond nihilistic conceptions of the capitalism-caused Anthropocene and toward generative bodies of thought that provoke creative ways of thinking about the world ahead. Matthew J. Wolf-Meyer draws on such authors as Kim Stanley Robinson and Octavia Butler, and engages with afrofuturism, indigenous speculative fiction, and films from the 1970s and ’80s to help think differently about the future and its possibilities. Forerunners: Ideas First Short books of thought-in-process scholarship, where intense analysis, questioning, and speculation take the lead

A new approach to the vast nuclear infrastructure and the apocalypses it produces, focusing on Black, queer, Indigenous, and Asian American literatures Since 1945, America has spent more resources on nuclear technology than any other national project. Although it requires a massive infrastructure that touches society on myriad levels, nuclear technology has typically been discussed in a limited, top-down fashion that clusters around powerful men. In Infrastructures of Apocalypse, Jessica Hurley turns this conventional wisdom on its head, offering a new approach that focuses on neglected authors and Black, queer, Indigenous, and Asian American perspectives. Exchanging the usual white, male “nuclear canon” for authors that include James Baldwin, Leslie Marmon Silko, and Ruth Ozeki, Infrastructures of Apocalypse delivers a fresh literary history of post-1945 America that focuses on apocalypse from below. Here Hurley critiques the racialized urban spaces of civil defense and reads nuclear waste as a colonial weapon. Uniting these diverse lines of inquiry is Hurley’s belief that apocalyptic thinking is not the opposite of engagement but rather a productive way of imagining radically new forms of engagement. Infrastructures of Apocalypse offers futurelessness as a place from which we can construct a livable world. It fills a blind spot in scholarship on American literature of the nuclear age, while also offering provocative, surprising new readings of such well-known works as Atlas Shrugged, Infinite Jest, and Angels in America. Infrastructures of Apocalypse is a revelation for readers interested in nuclear issues, decolonial literature, speculative fiction, and American studies.

Taking a fresh look at the interconnections between medieval images, texts, theater, and practices of viewing, reading and listening, this explicitly interdisciplinary volume explores various manifestations of performance and meanings of performativity in the Middle Ages. The contributors - from their various perspectives as scholars of art history, religion, history, literary studies, theater studies, music and dance - combine their resources to reassess the complexity of expressions and definitions of medieval performance in a variety of different media. Among the topics considered are interconnections between ritual and theater; dynamics of performative readings of illuminated manuscripts, buildings and sculptures; linguistic performances of identity; performative models of medieval spirituality; social and political spectacles encoded in ceremonies; junctures between spatial configurations of the medieval stage and mnemonic practices used for meditation; performances of late medieval music that raise questions about the issues of historicity, authenticity, and historical correctness in performance; and tensions inherent in the very notion of a medieval dance performance.