Before She Met Me
Peter Childs

and sense that Graham cannot simultaneously master. Its literary symbolism might be suggested by D. H. Lawrence’s deployment of the horse in his fiction, such as Gerald Crich’s aggressive disciplining of his red mare in Chapter 9 of Women in Love , but is better explained in his non-fiction writings. 4 For example, Lawrence writes in his posthumously published meditation on the Book of Revelation, Apocalypse : How the horse dominated the mind of the early races, especially of the Mediterranean! … And as a symbol he roams the dark

in Julian Barnes
Abstract only
Debating Cold War anxieties in West Germany, 1945–90
Benjamin Ziemann

apocalypse were only ‘secularised’ versions of older Christian millenarian hopes for a survival of the ‘few righteous’ believers in the wake of the apocalypse.4 According to this argument, the possibility of nuclear war in the post-war period was a mere extension of an older tradition of apocalyptical thinking.5 This interpretation, however, rests on shaky ground, as descriptions of a post-nuclear future in the Federal Republic were based on the fundamental insight that nuclear death was man-made, and not simply a teleological continuation or even fulfilment of history. It

in Understanding the imaginary war
The painful nearness of things
Lisa Mullen

being saved, the Verneys gradually learn that they, along with any other ‘contaminated persons’, must either die where they are or be deported, forcibly sterilised and incarcerated in ‘reservations’ in remote parts of North America. Dramatically, the play fails to rise above its strident political agenda, but it is of interest in the context of other mid-century attempts to assimilate the threat of atomic apocalypse into the prevailing culture of progress and consumer desire. When placed next to Laski’s The Victorian Chaise-Longue , it

in Mid-century gothic
Waiting for the apocalypse in Milton’s Poems 1645
Matthew C. Augustine

progress of grace, both in Milton and in Milton’s England. In uncovering this temporal and thematic paradigm, it is the aim of this chapter to unfetter Milton from history’s telos, forgetting the historical discourses in and through which we have come to recognise Milton as himself, those stories that, only retrospectively, can be called a story. No apocalypse, not now It is of course the great Nativity Ode that opens Milton’s Poems , in 1645 and in the second edition of 1673, and much has been made of its primacy as ‘prologue

in Aesthetics of contingency
Daniel Anlezark

-Saxon invention of a fourth son born in the ark would rest on some Christian tradition, however unorthodox. Thomas Hill has suggested that the ark-born son has his origin in the apocryphal fourth son of Noah found in the Apocalypse of Pseudo-Methodius, a work found in Latin and Greek versions. 58 Hill notes that the Anglo-Saxons knew the Pseudo-Methodian Apocalypse , as it is

in Water and fire
Abstract only
British journeys
Paul Newland

that deal in apocalypse operate ‘as a site for a series of transactions organized around both cultural and commercial factors’.36 Narratives that channel fear of apocalypse (or, at the very least, ecologically disastrous situations) can be found across a range of films and television shows. For example, US-produced but shot in Britain, the apocalyptic film No Blade of Grass (Cornel Wilde, 1970) tells the story of a mysterious virus which affects crops such as wheat and rice. John Custance (Nigel Davenport) is an architect who decides to leave London with his family

in British films of the 1970s
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Protestant readings of the Whore of Babylon in early modern England, c.1580–1625
Victoria Brownlee

: 96–9) suggests that this moment represents the reign of King James I. References Abbot , G. ( 1604 ) The reasons vvhich Doctour Hill hath brought, for the vpholding of papistry . Oxford : Joseph Barnes . Backus , I.D. ( 2000 ) Reformation Readings of the Apocalypse: Geneva, Zurich, and Wittenberg . Oxford

in Biblical women in early modern literary culture 1550–1700
Sal Renshaw

love is love (1991a: 64, 65, 66), yet she betrays her uncertainty about this claim when she recounts what she, interestingly, refers to as ‘the apocalypse’. In the apocalypse, Promethea and H lose the present of love when they find themselves struggling with the fear of loss and separation: this is what Cixous means by a loss of faith. Moreover, and like Penthesileia, Cixous does lose faith in the present of love and she retreats from the rawness and exposure she feels in loving Promethea in the way she has done. This leads to a cut in communication and the dynamism

in The subject of love
Coupland and space
Andrew Tate

postal district (‘ZIP code: 90049’) (PD, pp. 147, 164). Robert McGill – in a Nowhere, anywhere, somewhere 115 sophisticated examination of what he calls Coupland’s ‘geography of apocalypse’ – suggests that the ‘Californian impulse is to live up to its utopian mythology, through pretence if not through fact’. Drawing on Jean Baudrillard’s America (1988) – a suitably genre defying comparison for the ‘Brentwood Notebook’ – McGill notes that the hyperreality of this landscape ‘engenders a depthless mode of existence that seeks to simulate the unachieved utopia without

in Douglas Coupland
Jack Kerouac and the beatific vision
Laurence Coupe

the ecological spirituality of the Native Americans. Similarly, he found in the blues an alternative way of articulating what it meant to be human: an idiom which transcended the comfortable consumer civilisation of mainstream America. As to the fate of that worldview and of that civilisation, Sal Paradise foresees that ‘when destruction comes to the world of history and the Apocalypse of the Fellahin returns once more, as so many times before, people will still stare with the same eyes from the caves of Mexico as well as from the caves of Bali, where it all began

in Beat sound, Beat vision