American Evangelicals and the Apocalypse

Hummel, Daniel G.

doi:10.1017/9781108394994.016

Cited by 2 publications

(3 citation statements)

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“…In the United States, the dispensational premillennialism of conservative evangelicalism is apocalyptic most notably in the preaching of Billy Graham, Oral Roberts, Jerry Falwell, Jim and Tammy Baker, Jimmy Swaggart, and Pat Robertson (Hummel 2020, 288, 290, 303). The rapture was popularized by the Left Behind book series and Hal Lindsey’s film The Late Great Planet Earth took apocalypse to the screen (Collins 2020, 33; Hummel 2020, 303). There have also been apocalyptic cults which ended in collective suicide; they include Jim Jones’s People’s Temple, David Koresh’s Branch Davidians, and the Heaven’s Gate Cult (DiTommaso 2020, 332).…”

Section: On Apocalypticismmentioning

confidence: 99%

“…There have also been apocalyptic cults which ended in collective suicide; they include Jim Jones’s People’s Temple, David Koresh’s Branch Davidians, and the Heaven’s Gate Cult (DiTommaso 2020, 332). In its most recent incarnation, John Hagee’s Christian Zionism is apocalyptic (Hummel 2020, 312).…”

Section: On Apocalypticismmentioning

confidence: 99%

“…Not only the right, but the left have also had apocalyptic visions (see Crossley 2021). More orthodox interpretations of Marx have an apocalyptic tone (Hummel 2020, 309). Paralleling the biblical dialectic of disaster and salvation, Marx’s argued that capitalism is inherently crisis prone and that the revolution will bring about social transformation; it will usher in a new era of communism—a resolution of the dialectical conflict “between man and nature and between man and man” (Marx and Engels [1844] 1975, 296), an economic heaven on earth.…”

Section: On Apocalypticismmentioning

confidence: 99%

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On climate apocalypse

Goldstein

2024

Critical Research on Religion

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The right-wing has accused the climate movement, and the climate science upon which it is based, of being apocalyptic to in order to discredit it. This editorial discusses whether we should accept describing the climate movement as apocalyptic. It does so by exploring the etymology of the term and its use in its religious/historical contexts. It discusses its relationship to the interrelated terms of prophecy, messianism, eschatology, and millenarianism. Through a deconstruction and demystification of the term apocalypse in its biblical historical context, it argues that we need to have a secular understanding of it which is indeed applicable to the climate crisis.

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Section: On Apocalypticismmentioning

confidence: 99%

Section: On Apocalypticismmentioning

confidence: 99%

Section: On Apocalypticismmentioning

confidence: 99%

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On climate apocalypse

Goldstein

2024

Critical Research on Religion

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Mirroring Cultural Fear, Anxiety and Dystopia in American Cinematography: The Movie “A.I.” (2001)

Pelea

2022

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Mirroring Cultural Fear, Anxiety and Dystopia in American Cinematography: The Movie A.I. (2001)Through this essay, we aim to provide a sociological and cultural analysis of how the film A.I. Artificial Intelligence, directed by Steven Spielberg, explores the subconscious and culturally specific Western fear of humanoid robots. While the background of the story tackles the problematics of the multilevel emotional relationship between robots and humans, the movie’s dystopian and apocalyptic discourse feeds the Western public’s increasing technophobia, by encompassing “fear” in its philosophical, social and cultural dimensions: “the loss of humanity,” “the imminence of disaster,” and “the apocalyptic and irreversible destruction of Earth.”Moreover, the film goes beyond the mere depiction of technophobia while subtly addressing some worldwide contemporary problems of high interest, such as pollution, starvation, overpopulation, or nature’s destruction on a global scale. In this eschatological, hopeless and post-human scenario, the depiction of David as a robot child expressing his eternal love for his distant adoptive human parents metaphorically illustrates the continuous altering of traditional human kinship, robotization, and alienation of the human race, which is on the verge of being enslaved by the technological wrath. However, David makes an allegorical transition from symbolizing the fearful Otherness to bringing the redemption of humanity’s vestige and marking the survival of the human species, albeit in a radically altered form: He becomes “the new human.” Reflectând frica de natură culturală, anxietatea și distopia în cinematografia americană: filmul A.I. (2001) În acest eseu vom încerca să inițiem o analiză culturală și sociologică a modului în care filmul “A.I. Inteligență Artificială” de Steven Spielberg exploră frica de natură culturală și subconștientă, tipic vestică, față de roboții umanoizi. La nivel principial, narațiunea face referire la problematica relației emoționale și multifațetate dintre oameni și roboți, iar discursul apocaliptic și distopic al filmului hrănește tehnofobia publicului occidental, reflectând și cuprinzând frica în dimensiunile sale culturale, sociale și filozofice: “pierderea umanității”, “iminența dezastrului” și “distrugerea ireversibilă și apocaliptică a Pământului”.Mai mult, filmul depășește limitele descriptive ale tehnofobiei, adresând subtil și alte probleme contemporane de interes global precum poluarea, foametea, suprapopularea sau distrugerea naturii pe o scală planetară. În acest scenariu escatologic și lipsit de speranță, prezența și descrierea lui David asemeni unui copil robot care își exprimă dragostea imuabilă față de părinții săi umani, adoptivi, dar distanți, ilustrează metaforic alterarea perpetuă a relațiilor familiale tradiționale, așadar robotizarea și alienarea acestei rase umane pe punctul de a se converti în sclavul mirajului tehnologic. Cu toate acestea, David parcurge o tranziție alegorică de la a reprezenta simbolul Celuilalt, de care ne este frică, la a fi Cel care aduce izbăvirea omenirii și marchează, într-o formă nonconformistă, supraviețuirea speciei umane: el devine “noul om”. Strach kulturowy. Lęk i dystopia w kinematografii amerykańskiej. Film A.I. (2001) W niniejszym eseju podejmuję próbę analizy kulturowej i socjologicznej sposobu w jaki film A.I. Sztuczna inteligencja Stevena Spielberga wykorzystuje temat typowego dla Zachodu, kulturowego i podświadomego strachu przed robotami o ludzkich kształtach. Narracja filmowa zasadniczo odwołuje się do kwestii wielowymiarowych relacji emocjonalnych pomiędzy ludzkimi robotami, zaś proponowany apokaliptyczny i dystopijny dyskurs podsyca technofobię zachodniej widowni, ukazując strach w jego wymiarze kulturowym, społecznym i filozoficznym: „zatracenie człowieczeństwa”, „nieuchronność katastrofy” i „nieuniknione zniszczenie Ziemi o charakterze apokalipsy”.Co więcej, film wykracza poza granice opisowe technofobii, nawiązując umiejętnie do globalnych problemów współczesnego świata, takich jak: zanieczyszczenie środowiska, klęski głodu, przeludnienie czy degradacja przyrody w skali planetarnej. W tym eschatologicznym i pozbawionym nadziei scenariuszu postać Davida sportretowanego jako dziecko-robot, które niezmiennie deklaruje swoją miłość do ludzkich – adopcyjnych i wstrzemięźliwych – rodziców, jest metaforyczną ilustracją postępującego rozkładu więzi rodzinnych, robotyzacji i alienacji rasy ludzkiej, będącej o krok od tego, by stała się niewolnikiem technologicznego złudzenia. Mimo tych wszystkich zagrożeń David przeżywa alegoryczną przemianę: z symboliczego, budzącego strach Obcego zamienia się w kogoś niosącego ratunek ludzkości i zapewniającego, na sposób nonkonformistyczny, przetrwanie gatunku ludzkiego – staje się „nowym człowiekiem”.

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American Evangelicals and the Apocalypse

Cited by 2 publications

References 6 publications

On climate apocalypse

On climate apocalypse

Mirroring Cultural Fear, Anxiety and Dystopia in American Cinematography: The Movie “A.I.” (2001)

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