Arboreal Metaphors and the Divine Body Traditions in the Apocalypse of Abraham

The first eight chapters of the Apocalypse of Abraham, a Jewish pseudepigraphon preserved solely in its Slavonic translation, deal with the early years of the hero of the faith in the house of his father Terah. The main plot of this section of the text revolves around the family business of manufacturing idols. Terah and his sons are portrayed as craftsmen carving religious figures out of wood, stone, gold, silver, brass, and iron. The zeal with which the family pursues its idolatrous craft suggests that the text does not view the household of Terah as just another family workshop producing religious artifacts for sale. Although the sacerdotal status of Abraham\u27s family remains clouded in rather obscure imagery, the authors of the Slavonic apocalypse seem to envision the members of Terah\u27s household as cultic servants whose “house” serves as a metaphor for the sanctuary polluted by idolatrous worship. From the very first lines of the apocalypse the reader learns that Abraham and Terah are involved in sacrificial rituals in temples. The aggadic section of the text, which narrates Terah\u27s and Abraham\u27s interactions with the “statues,” culminates in the destruction of the “house” along with its idols in a fire sent by God. It is possible that the Apocalypse of Abraham, which was written in the first centuries of the Common Era, when Jewish communities were facing a wide array of challenges including the loss of the Temple, is drawing here on familiar metaphors derived from the Book of Ezekiel, which construes idolatry as the main reason for the destruction of the terrestrial sanctuary. Like Ezekiel, the hero of the Slavonic apocalypse is allowed to behold the true place of worship, the heavenly shrine associated with the divine throne. Yet despite the fact that the Book of Ezekiel plays a significant role in shaping the Abrahamic pseudepigraphon, there is a curious difference between the two visionary accounts. While in Ezekiel the false idols of the perished temple are contrasted with the true form of the deity enthroned on the divine chariot, the Apocalypse of Abraham denies its hero a vision of the anthropomorphic Glory of God. When in the second part of the apocalypse Abraham travels to the upper heaven to behold the throne of God, evoking the classic Ezekielian description, he does not see any divine form on the chariot. Scholars have noted that while they preserve some features of Ezekiel\u27s angelology, the authors of the Slavonic apocalypse appear to be carefully avoiding the anthropomorphic description of the divine Kavod, substituting references to the divine Voice. The common interpretation is that the Apocalypse of Abraham deliberately seeks “to exclude all reference to the human figure mentioned in Ezekiel 1.

Apocalypse recalled: the Book of Revelation after Christendom

Author: Harry O. Maier. Title: Apocalypse recalled. Publisher: Minneapolis : Fortress, 2002

Apocalyptic Beauty

A potent and formative text for a theological aesthetics faithful to the God revealed in the Scriptures is the Apocalypse of John (Revelation). An apocalyptic viewpoint is beautiful inasmuch as it observes the whole from within the part of time/space and inasmuch as the apocalyptic vision provides considerable unity of diverse theological themes with various expansions and enhancements, hence mimicking the very function of theological beauty to communicate the whole (God) in the part (here, in space-time). This essay traces major themes throughout Scripture, utilizing inter-textual interpretation en route, and seeks to clarify the Book of Revelation\u27s role in recapitulation, consummation, and consolation (i.e. beauty). Commenting on how the Apocalypse meets the criteria for being theologically beautiful, this essay then seeks to show how this role of beauty--and in particular, consolation--attracted the early Christian devotees visiting/dwelling-in the catacombs (A.D. 150-500) to make the Apocalypse of John one of the major contributors to their artwork

we're bad history

on apocalypse, shakespeare, Clarke's Third Law, the corporate take-over of Star Wars and els

The Road to Post Apocalyptic Fiction: McCarthy’s Challenges to Post-Apocalyptic Genre

This presentation examines The Road by Cormac McCarthy (2006) set in the United States after some undetermined apocalypse where an unnamed man and his son negotiate starvation and the devastated landscape. The novel presents several challenges to the Post Apocalypse genre. It foregrounds character development rather than plot and counterbalances horror with lyricism. The novel also confronts the more typical happy ending of a new family suggested by the religious imagery, instead predicting the inevitable approach of human extinction, but also promising a third, the long-term, rebirth of life (not necessarily human) through the mystery of re-evolution

The Pteromorphic Angelology of the \u3cem\u3eApocalypse of Abraham\u3c/em\u3e

The purpose of this article is to explore the anti-anthropomorphic features of the angelological developments in the Apocalypse of Abraham

Images of the end : representations of the apocalyptic in contemporary film

This thesis sets out to investigate the relationship between the ‘classical apocalypse’ and the contemporary apocalypse as portrayed by the films A Clockwork Orange (1971), Apocalypse Now (1979) and Crash (1995). The ‘classical apocalypse’ is a literary genre which supplies a rich and vivid imagery where the image takes precedence over the narrative. At the centre of the ‘classical apocalypse’ is the image, and this thesis explores it the imagery of apocalypse can be translated from its traditional literary form to the visual form of film. The apocalypse is a revealing of that which has been concealed and which lies in the future of humankind at the end of time. In the postmodern era with the absence of meaning, apocalypse and God, the apocalypse has become a nihilistic repetition and the revealing has become feared since it might be a revealing of nothing. These contemporary depictions of the end, I would argue, help the apocalypse to come into its own in a postmodern setting, and the medium of film offers a possibility to further emphasise the visuality and potent imagery of the end, expressing the concerns of the apocalypse fully. As such they provide a ‘sense of an ending’ and an apocalyptic sentiment which is an unnerving and evasive as the ‘classical apocalypse’. These films revisit as well as revamp and rehearse the imagery of the Biblical apocalypse, becoming a-theological statements if not on the Bible, on the state of society and the apocalypse

The Zombie Apocalypse

The concept of the living dead has been a subject of human fascination for thousands of years, dating back to 8th century Africa. The idea was originally associated with voodoo folklore, but since its origination, has been modernized and popularized with TV shows, movies, and other popular culture facets. With this popular fascination, however, comes concern