Imaginario apocalíptico

El presente artículo argumenta que Melancholia (Lars von Trier, 2011) puede constituir una ocasión privilegiada para pensar seriamente en la muerte en los términos que Søren Kierkegaard propone en "Junto a una tumba", generando en el espectador el mismo efecto que el discurso pretende producir en el lector.

The quranic Noah narratives provide a fascinating window into the making of Muhammad as an eschatological prophet. This book examines their form, content, and sources as a means of deciphering the scribal and intertextual nature of the Qur'an and the Jewish-Christian background of the messianic controversy out of which Islam emerged. The view that Muhammad was once tentatively though of as a new Messiah challenges our picture of Islam's origins.

É bom que as literaturas apocalípticas do passado estejam sendo redescobertas" (Paul D. Hanson) RESUMO A ascensão do conhecimento referente à literatura apocalíptica judaica nos círculos acadêmicos é uma realidade promissora. Porém, poucos textos em português se dedicam a saciar a busca pelo sentido da apocalíptica. Assim, fundamentado nas pesquisas mais recentes, este ensaio aborda o desenvolvimento histórico-literário (apocalipses, escatologia e apocalipticismo) e histórico-social (perseguições e fontes múltiplas) do gênero, propondo, comedidamente, dez principais características que fundamentam o conteúdo da apocalíptica.

Este livro analisa a relação entre a experiência religiosa dos primeiros cristãos e suas articulações simbólicas e textuais. Por meio dessa junção de experiência e articulação poética, as primeiras comunidades cristãs remodelam crítica e criativamente suas identidades. Isso lhes permite articular sua crítica às assimetrias e opressões do Império Romano.

Resenha sobre a obra: "Guia Fácil para Entender o Apocalipse: tudo sobre o livro bíblico das revelações, reunido e organizado de maneira simples e acessível". Revista Paralellus (Online), v. 6, p. 528-532, 2016. Universidade Católica de Pernambuco (UNICAP). Palavras-chave: Resenhas, Resumos, Avaliações; Apocalipse, Escatologia, Apocalipticismo. Grande área: Ciências Humanas; Meio de divulgação: Digital. Série: 13; ISSN/ISBN: 21788162. Homepage: http://www.unicap.br

An overview of the variety of textual differences that exist between the Apocalypse in Codex Sinaiticus and the book in modern critical editions, thereby offering a window into the book's early readership. There is also a YouTube link to the lecture version of this paper, which was recently delivered at Samford University for their Holley Hull Lecture Series: https://vimeo.com/878444925/a35492dd8b?share=copy&fbclid=IwAR10Iu7HKuAjjcEcDdxgfT7XKqe2F6W6Bwb1cVHafNO0Yz6g4VhsIhXHMz4

rEsumEN "Babilonia en 3-D. Las tres caracteríscticas principales de Babilonia la grande".-La figura de Babilonia ha llamado la atención de los círculos académicos tanto protestantes como católicos, siendo objeto de profuso estudio en ambientes futuristas, preteristas e historicistas. Ante la variedad de interpretaciones impuestas sobre esta figura, es necesario preguntarse lo que dice realmente la Biblia en cuanto a esta enigmática figura y el papel que juega en el drama escatológico del tiempo del fin, las consecuencias éticas que se desprenden de la caída de Babilonia y las implicancias que puede tener para nuestra existencia actual como adventistas. El propósito de esta presentación es ofrecer tres características inherentes a la figura de Babilonia, su identidad y su función en la historia de la salvación -especialmente en el tiempo del fin.

This article argues that "Melancholia" (Lars von Trier, 2011) can be a special occasion to think seriously about death in the terms proposed by Søren Kierkegaard in "At a Graveside", generating in the viewer the same effect that the discourse intends to produce to the reader, which is help us to live our lives more properly.

Abstract and conclusions included in both Spanish and English ;)                                          .

García García, E. M., "El origen del mal en la apocalíptica judía: evolución, influjos, protagonistas / The origin of evil in Jewish apocalypticism: evolution, influences, protagonists". Ph.D. dissertation. Universidad Complutense de Madrid. Defended in december 2018. Sobresaliente (A-plus) cum laude.

This paper defends that "Melancholia" has a philosophical and artistic value which is founded on the use of cinematographic language to communicate, in an apocalyptic context, the experience of anxiety. And because of that, can help us to understand our ambivalent attitude towards death, which not only does it terrify us but it also attracts us. In other words, I believe that "Melancholia" not only makes us experience the fear that would be provoked by the certainty of imminent annihilation, but at the same time awakens our desire to look into the abyss.

En este artículo se explora la dimensión socio-religiosa de la literatura apocalíptica y también su dimensión literaria, enmarcándola dentro del marco de una literatura fantástica antigua e incipiente. La literatura apocalíptica crea sueños y pesadillas, y lucha contra las imágenes de bestias embriagadas de poder para crear un mundo imaginario nuevo.

Mémoire présenté par :
Erwan MOREAU
en vue de l'obtention du diplôme de :
MASTER 2 RECHERCHE
Domaine : Sciences humaines et sociales
Mention : Ethnologie-Sociologie
Spécialité : SOCIOLOGIE
Préparé sous la direction de M. Jean Bruno RENARD, professeur de Sociologie
Juin 2014
Mention obtenue : très bien


Abstract (French) :

Le synonyme le plus proche du terme "monstre" est l'expression « contre-nature » (Aristote, Saint Augustin, Canguilhem, Lascault, Cuny Le Callet, Valton, etc.). Sentence paradoxale s'il en est quand on sait qu'au niveau biologique, il est entendu que rien de ce que produit la Nature ne peut voir le jour indépendamment du respect de ses lois et qu'il est le propre de l'imagination de pouvoir y créer des exceptions.

Mais parallèlement à la Nature, objet de la biologie et de la physique, se trouve une autre « nature » : la « connaissance ordinaire » (Aristote employait pour sa part le terme de « cours ordinaire », « ὡς ἐπὶ τὸ πολύ » en parlant du statut contre-nature du monstre), cette « chose que l'organisme construit dans le but de créer un ordre dans le flux de l'expérience »

Ainsi, tout monstre peut être traduit comme étant ce qui apparaît contraire à une  « connaissance ordinaire », à une réalité sensible, dans son acception la plus large, c'est-à-dire orientée vers l'esthétique (le plus couramment rattaché à une vision anthropocentrée) et/ou vers l'éthique (intolérance idéologique).

Aussi par le partage des affects que met en œuvre une communauté d'esprits (religieuse, laïque, révolutionnaire, impérialiste, etc.), des éléments « contre-nature » peuvent apparaître à un niveau macrosociologique. Éléments émergeant de l'esprit gnostique et de son succédané l'esprit dogmatique, chacun ayant pour spécificité de mettre en exergue le dualisme entre bien et mal, connaissance et ignorance les entraînant ainsi vers l'ère de la déliquescence, de la décadence, en somme vers les temps eschatologiques et leurs abominations monstrueuses.


Abstract (English) :

The best synonym for the word ‘monster’ is the expression ‘unnatural’’ (Aristote, Saint Augustin, Canguilhem, Lascault, Cuny Le Callet, Valton, etc.). That is a paradoxical sentence - if any - when we know that biologically speaking nothing produced by Nature can exist regardless of the respect of its laws. It is among the characteristics of imagination to create exceptions.

But parallel to the Nature as objet of biology and physic is another kind of ‘nature’: the ‘ordinary knowledge’. (Artistote named it the ‘ordinary course’ (ὡς ἐπὶ τὸ πολύ) to mention the unnatural aspect of monster), this ‘thing that is produced by the organism to create an order within the experience’s flow’.

Then any monster can be understood as what appears in contrary to an ‘ordinary knowledge’, a ‘sensitive reality’ in every sense, that is to say aesthetics- (mostly associated to an anthropocentred vision) and/or ethicspositioned (ideological intolerance).

And the sharing of affections made by a minds’ community (religious, lay, revolutionary or imperialist, etc.) can reveal some ‘unnatural’ elements at the level of macrosociology. Elements that are emerging from the Gnostic spirit and its substitute: the dogmatic spirit. Each specifically brings out the dualism between good and evil, knowledge and ignorance that leads towards the decay, decline age - in other words towards eschatological times and their monstrous abominations.

La marca de la bestia tiene diversas interpretaciones. Aquí la comprenderemos como el poder del opresor instalado como parte del cuerpo. Esta marca condiciona el uso y el entendimiento del cuerpo. La marca de la bestia transporta una cosmovisión que refuerza el poder de la bestia. Por esto para explicarla debemos explicitar la cosmovisión que simboliza.

The mark of the Best have many interpretations. We will understand it as the oppres-sor's power living inner the body. This mark make the use and understanding of the body. The Best's mark carry a cosmovision which encourage the power's Best. Then to understand the Best's mark we shall to discern that cosmovision.

What is apocalyptic literature and what are its implications for the interpretation of Revelation of John? This article suggests that while Jewish apocalyptic literature influenced early Christian thought, the Old Testament was the main factor that forged the mindset of the writers of the New Testament, particularly the Apocalypse of John. It critically presents the historical and conceptual developments of recent contributions in apocalyptic literature. It then analyzes how this apocalyptic mindset was judiciously adopted by the New Testament authors. Finally, and taking into account the sui generis characteristics of Revelation of John, it highlights some hermeneutic landmarks for the ease of understanding of its message. Therefore, a reading proposal for the Revelation of John must contemplate not only the discoveries of apocalyptic literature, but eminently the literary resources of the Hebrew canon itself.

The Quranic text may be construed as a palimpsest with regard to those scriptural and para-scriptural writings of Jewish and Christian provenance previously known to, and used in, the ‘sectarian milieu’ from within which the Islamic religion gradually emerged. In this paper I examine the parallels that can be drawn between chs. 21–2 of ApAb, in which Abraham is given a vision of how the earth was created and of the fate of each human group according to their faith and deeds, and vv. 1-56 of sūrat al-wāqi‘a (Q 56), which provide an apocalyptic vision of the earth and its inhabitants in the end of time that reframes the spatial, numerical, and axiological distinctions displayed in ApAb 21–2. Then I go on to show that ApAb 21–2 may have played (together with Rom 4 and/or Gal 3) a prominent role in the founding myth of Islam, which, I shall argue, is to be regarded – just like its (post-Pauline) Christian counterpart – as a supersessionist myth.

""Contents: 1. Apocalyptic trends in late Antiquity: A necessary bridge between modern Jewish, Christian, and Islamic studies
2. The Qur'an as a palimpsest; or, the Quranic corpus from an intertextual perspective
3. Thematic and structural affinities between 1 Enoch 2:1-5:4 and Qur'an 7:36; 10:6; 16:81; 24:41, 44, 46
4. The reception of 1 Enoch within formative Islam: A few contrasting hypotheses
5. Some final remarks""

This is the first of two essays in the Bruce Metzger festschrift, edited by J. Harold Ellens, Text and Community, Essay in Commemoration of Bruce M. Metzger, Vol. 1 (Sheffield: Sheffield Phoenix Press, 2007), 196-216. Serious errors of interpretation include the facts that: (1) "Antichrist" never occurs in Revelation--only in 1 John and 2 John; (2) the "Antichrists" are mentioned as plural rather than a singular individual--referencing an actualized schism and impending visits of false teachers; (3) their christological errors are different--the first schism refuses to believe in Jesus as the Jewish Messiah/Christ, the false teachers advocate a docetic Christology--refusing to believe Jesus came in the flesh. Therefore, the Antichrists in 1 and 2 John reference two distinctive threats in the late first century with implications for later interpretations.

"""Contents: 1. Introduction: Mediatorial figures in Second Temple Judaism
2. The Noah story in 1 Enoch, 1QapGen, 4Q534-36, and 1Q19-19bis
- Excursus A: A brief re-examination of the differences between the Noah traditions, Noah's role in 1 Enoch, and the Apocalypse of Noah
3. The Noah story transposed, from 2 Enoch to the Qur'ān
- Excursus B: The Noah/Melchizedek story in 2 Enoch and the Fifth Enoch Seminar: Some preliminary observations
- Excursus C: 1 Enoch and the Qur'an
4. Postscriptum: A few final remarks in dialogue with Daniel Assefa, Andreas Bedenbender, Harold Ellens, Emmanouela Grypeou, Basil Lourié and Pierluigi Piovanelli"""

“ El Despertar del Colibrí” es una novela blanca y de ficción sobre las aventuras de un grupo de jóvenes idealistas y bastante salidos del molde, que se congregan alrededor de un mamo Kogui, Mamo Elías, un carismático personaje que desciende de la Sierra Nevada de Santa para compartir la sabiduría de sus ancestros con los “hermanos menores” mediante un profundo tejido de reconocimiento de todos los saberes ancestrales de este planeta en crisis.

This essay discusses the apocalyptic features of Lucretius’ de rerum natura, suggesting a comparison with texts belonging to the corpus of Hellenistic Jewish pseudepigrapha; the description of the plague as a final ‘apocalypse’ with political and eschatological implications; and the connection between these aspects of the poem, the eschatological ten- sions in 1st century bce Rome, and those manifested in Hellenistic Jewish apocalypses.

Las ideas apocalípticas se presentan periódicamente
en la sociedad. Están en el imaginario social
y religioso de la cultura occidental, pues se nutren
del miedo en la cultura. Incluso sirven para promover
cambios religiosos y actitudes políticas de acuerdo
con los objetivos del poder. Tienen una fuerza enorme
para atemorizar, confundir, mover a las masas,
enfervorizar o hacer revoluciones. En este artículo se
presenta una corta historia de ellas, las interpretaciones
más frecuentes que se dan, los elementos de las
ciencias sociales que pueden ayudar a su análisis y
comprensión, y algunos elementos teológicos que
brindarían apoyo a su interpretación contemporánea.

A sensação de uma catástrofe permanente é disseminada. Tal regime indica uma erosão das formas de expectativas constituídas na era moderna e inaugura um novo: a experiência de um fechamento do horizonte de expectativas 2 . Esse tempo do fim, que pode prolongar-se indefinidamente, faz emergir um tipo de razão bem específica, a saber, a razão apocalíptica. O objetivo deste texto é construir uma crítica da razão apocalíptica, que parece ser a forma da razão dominante do tempo presente, descrevendo seu mecanismo subjacente, o colaboracionismo de catástrofe. Trata-se de um ensaio de teoria social crítica de caráter prospectivo. Não há qualquer definição fechada -próprio das monografias -ou qualquer proposição política -própria dos manifestos. A intenção é tão somente buscar descrever um fenômeno tal qual se insinua na realidade crítica em que se vive. A sensação de um futuro deflacionário se tornou a condição de uma experiência de vida danificada. As consequências são várias: talvez a mais patente seja a incapacidade de imaginar o fim do capitalismo -e a generalização da imaginação de variadas formas de um "fim do mundo" 3 . É curioso notar que a realidade objetiva experimentada como um beco sem saída tem produzido uma certa subjetividade propícia a aderir ao fim. Condição essa que transforma os indivíduos em colaboradores de sua própria autodestruição -movimento coerente com o verdadeiro sujeito do processo, o capital, que em seu movimento contraditório deve se consumir.

Discutiremos neste artigo a relação entre mulheres e anjos em 1Cor 11,2-16. Sugerimos a hipótese de que este texto está ligado a uma tradição mística longa e bastante difundida no
mundo antigo. Demonstramos, através da exegese, como esta tradição influenciou a cosmovisão paulina e as experiências religiosas da comunidade. Por isso, consideramos o imaginário religioso subjacente a perícope tão importante quanto o próprio texto.

We discuss in this article the relationship between women and angels in 1Cor 11,2-16. We suggest the hypothesis that this text is connected with a long and widespread mystical
tradition in ancient world. We also demonstrate, through exegesis, how this tradition has influenced the Pauline worldview and the religious experiences of his community. For thus we consider the religious imagination behind the pericope as important as the text itself.

The 2008 SBL meeting in Boston included a panel review session on James R. Royse's book, Scribal Habits in Early Greek New Testament Papyri (NTTSD 36; Leiden: Brill, 2007). A number of the reviews of this important work are presented here, along with Royse's response. The papers were produced as oral presentations and have been kept in their original shape, except for some straightforward corrections.

Suena brevemente un clarín. La escena de este drama es el mundo […] de finales del siglo XVI (o de comienzos del siglo XVII, tal vez). El autor se ha tomado la libertad de comprimir países y épocas como quien se distancia a voluntad de un paisaje para ver confundidos en un solo horizonte los diversos perfiles de montañas lejanas. De nuevo, las notas breves de un clarín. Luego un pitido largo, como el que anuncia la maniobra de un buque. Se alza el telón". Paul Claudel, El zapato de raso 1 .

"TABLE OF CONTENT:
Entre angoisse et dévoilement. Avant-propos……………………..
Arnaud Join-Lambert

Arrêt sur image(s) dans l’Apocalypse de Jean……………….……
Geert Van Oyen

Cinéma et apocalypse. Une mise en perspective……………..…...
Sébastien Fevry

I. PLANS D’ENSEMBLE
Les images-catastrophes du cinéma américain avant et après le 11 septembre 2001……………………………………...................
Dick Tomasovic

L’apocalypse comme spectacle dans 2012 et Le Livre d’Eli. Croire et prier dans ce monde qui s’écroule…………………...
Davide Zordan

Les écofictions catastrophiques dans le cinéma contemporain…....
Christian Chelebourg

L’apocalypse écologique d’Avatar. Lecture à partir de la tradition littéraire hispano-américaine…………………………………...
Laurence Pagacz

Le complexe de Cassandre au cinéma. Interférences tempo-relles de la révélation………………………………………………....
Christophe Meurée

Le dépassement du traumatisme dans les blockbusters à l’époque de la crainte écologique………………………….......................
Nathanaël Wadbled

II. ZOOMS
L’Apocalypse selon Andreï Tarkovski. Chronique d’une fin annoncée…………………………………………………..........
Jean-Luc Maroy

Les variations apocalyptiques de Constantin Lopouchanski….......
Emmanuel Plasseraud

La colère de Dieu selon Werner Herzog……………………..........
René Heyer

Cheminement apocalyptique chez Sam Mendes. Sur des routes qui ne mènent nulle part…………………………......................
Anaïs Kompf

Images d’apocalypse dans Charisma et Kairo de Kiyoshi Kurosawa…………………………………………………........
Charles Quiblier

Le Décalogue de Krzysztof Kieślowski ou l’apocalypse intérieure………………………………………………….........
Marie-Thérèse Solèr

Le passage dans l’œuvre de Bill Viola……………………….........
Inês Gil

Technocalyps de Frank Theys. Une machine à penser………........
Alexander Streitberger

REVIEWS/ Odile RONDET, in : Communications [Canada] (2012) ; Morgane LERAY, in : Acta Fabula, Notes de lecture, http://www.fabula.org/revue/document7292.php (22/10/2012) ;  Jean-Marie LANLO, in : Cinefilic (20/1/2013) www.cinefilic.com/2013/01/livre-limaginaire-de-lapocalypse-au (20/1/2013)""

The essay offers an investigation of the "object" in contemporary post-apocalypse scenarios. In this kind of representation, which shows a world in collapse after an environmental or technological catastrophe, the "object" (food, technological devices, clothes, furnishings, cars) is almost invariably broken, destroyed, useless or deprived of its usual function. The paper will analyze this loss of functionality by the objects-and their consequent alienated representation-in the light of the categories identified by Francesco Orlando in The Obsolete Objects in Literary Imagination. The aim is to understand whether the considerations he draws about the different kinds of "obsolete objects" may also be applied to this specific literary sub-genre and the world representation upon which it stands.

https://rosa.uniroma1.it/rosa03/status_quaestionis