Crisis And Catharsis

For the first time in complete form, the results of recent analyses of the Apocalypse are presented in a way that is easily understood by the beginning student and challenging to the scholar looking for a fresh approach. In a clear and vivid manner, Adela Yarbro Collins discusses the authorship of the book of Revelation, when it was written, the situation it addressed, the social themes it considered, and the psychological meaning behind apocalyptic language.

Exploring the production and consumption of British commerical family bibles, this book sheds light on the history of women's sexuality, and the English view of such taboo subjects as same-sex relations, masturbation, menstruation and circumcision.

This volume raises important, timely issues regarding the challenges and opportunities confronting the global community which both policy makers and academicians will find informative and thought-provoking in their efforts to understand the nature and com

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Archaeological, epigraphic, numismatic, and historical research is used to illuminate the meaning and function of temples in both Jewish and Greco-Roman cultures. This evidence is then brought into a dialogue with a literary analysis of how the temple functions as a symbol in Revelation.

The book of Revelation presents a daunting picture of the destruction of the world, complete with clashing gods, a multiheaded beast, armies of heaven, and the final judgment of mankind. The bizarre conclusion to the New Testament is routinely cited as an example of the early Christian renunciation of the might and values of Rome. But Christopher A. Frilingos contends that Revelation's relationship to its ancient environment was a rather more complex one. In Spectacles of Empire he argues that the public displays of the Roman Empire—the games of the arena, the execution of criminals, the civic veneration of the emperor—offer a plausible context for reading Revelation. Like the spectacles that attracted audiences from one end of the Mediterranean Sea to the other, Revelation shares a preoccupation with matters of spectatorship, domination, and masculinity. Scholars have long noted that in promising a complete reversal of fortune to an oppressed minority, Revelation has provided inspiration to Christians of all kinds, from liberation theologians protesting globalization to the medieval Apostolic Brethren facing death at the stake. But Frilingos approaches the Apocalypse from a different angle, arguing that Revelation was not merely a rejection of the Roman world in favor of a Christian one; rather, its visions of monsters and martyrs were the product of an empire whose subjects were trained to dominate the threatening "other." By comparing images in Revelation to those in other Roman-era literature, such as Greek romances and martyr accounts, Frilingos reveals a society preoccupied with seeing and being seen. At the same time, he shows how Revelation calls attention to both the risk and the allure of taking in a show in a society which emphasized the careful scrutiny of one's friends, enemies, and self. Ancient spectators, Frilingos notes, whether seated in an arena or standing at a distance as Babylon burned, frequently discovered that they themselves had become part of the performance.

From accounts of the Holocaust, to representations of AIDS, to predictions of environmental disaster; from Hal Lindsey's fundamentalist 1970s bestseller The Late Great Planet Earth, to Francis Fukuyama's The End of History and the Last Man in 1992, the sense of apocalypse is very much with us. In Postmodern Apocalypse, Richard Dellamora and his contributors examine apocalypse in works by late twentieth-century writers, filmmakers, and critics.

Sanchez's subject is the power of imperial myths - and the subversive power unleashed when resistance movements take over those myths for their own purposes. Moving from John of Patmos's inversion of Roman imperial mythology in Revelation 12 to the indigenous appropriation of Spanish symbolism and mythology, drawn from Revelation 12, in 17th-century Mexico, Sanchez then explores the continuing power of the Virgin of Guadalupe (La Guadalupea) to inspire movements for a better society in our own day. From Patmos to the Barrio reveals new insights into the biblical Apocalypse of John, and the enduring power of its legacy down to the present day, as well as translations of two important 17th-century documents concerning La Guadalupea: Luis Laso de la Vego's Huei tlamahuiaoltica and Miguel Sanchez's Imagen de la Virgen Maria. Also included are images of La Guadalupea in the murals of East Los Angeles.