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Record Nr. |
UNINA9910461175103321 |
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Titolo |
Cosmology and New Testament theology / / edited by Jonathan T. Pennington and Sean M. McDonough |
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Pubbl/distr/stampa |
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London : , : T & T Clark, , [2008] |
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©2008 |
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ISBN |
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1-283-19709-X |
9786613197092 |
0-567-35761-9 |
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Descrizione fisica |
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1 online resource (224 p.) |
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Collana |
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Library of New Testament studies ; ; 355 |
T & T Clark library of biblical studies |
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Disciplina |
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Soggetti |
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Biblical cosmology |
Cosmology, Ancient |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Introduction / Sean M. McDonough and Jonathan T. Pennington -- Graeco-Roman and ancient Jewish cosmology / Edward Adams -- Heaven, earth, and a new genesis : theological cosmology in Matthew / Jonathan T. Pennington -- Tearing the heavens and shaking the heavenlies : Mark's cosmology in its apocalyptic context / Michael F. Bird -- "The heavens opened" : cosmological and theological transformation in Luke and Acts / Steve Walton -- Light of the world : cosmology and the Johannine literature / Edward W. Klink III -- Paul's cosmology : the witness of Romans, 1 and 2 Corinthians, and Galatians / Joel White -- Reoriented to the cosmos : cosmology & theology in Ephesians through Philemon / Robert L. Foster -- The cosmology of Hebrews / Jon Laansma -- God and "the world" : cosmology and theology in the letter of James / Darian Lockett -- Cosmology in the Petrine literature and Jude / John Dennis -- Revelation : the climax of cosmology / Sean M. McDonough -- Conclusion / Sean M. McDonough and Jonathan T. Pennington. |
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Sommario/riassunto |
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For first-century people, cosmology was a fundamental part of their |
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worldview. Whether it was the philosopher contemplating the perfection of the heavenly orbits, the farmer searching the sky for signs of when to plant his crops, or the desert-dwelling sectarian looking for the end of the world, the cosmos held an endless fascination and occupied a prominent place in their understanding of life. For most ancient peoples, cosmology and theology were inseparable. Thus, when the Jewish and Christian Scriptural traditions begin with the bold claim, "In the beginning God created the heavens and ear |
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2. |
Record Nr. |
UNINA9910821058103321 |
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Autore |
Szendy Peter |
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Titolo |
Apocalypse-cinema : 2012 and other ends of the world / / Peter Szendy ; translated by Will Bishop |
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Pubbl/distr/stampa |
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New York : , : Fordham University Press, , 2015 |
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©2015 |
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ISBN |
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0-8232-6684-2 |
0-8232-6483-1 |
0-8232-6484-X |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (181 p.) |
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Disciplina |
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Soggetti |
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Science fiction films - History and criticism |
Apocalypse in motion pictures |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Front matter -- CONTENTS -- Foreword: One Sun Too Many -- Chapter 1 Melancholia, or The After-All -- Chapter 2 The Last Man on Earth, or Film as Countdown -- Chapter 3 Cloverfield, or The Holocaust of the Date -- Chapter 4 Terminator, or The Arche-Traveling Shot -- Chapter 5 2012, or Pyrotechnics -- Chapter 6 A.I., or The Freeze -- Chapter 7 Pause, for Inventory (the “Apo”) -- Chapter 8 Watchmen, or The Layering of the Cineworld -- Chapter 9 Sunshine, or The Black-and-White Radiography -- Chapter 10 Blade Runner, or The Interworlds -- Chapter 11 Twelve Monkeys, or The Pipes of the Apocalypse -- Chapter |
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12 The Road, or The Language of a Drowned Era -- Chapter 13 The Blob, or The Bubble -- Postface Il n’y a pas de hors-film, or Cinema and Its Cinders -- Notes -- Index of Films |
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Sommario/riassunto |
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Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the film. It is the consummation and the (self-)consumption of cinema, in the form of an a cinema that Lyotard evoked as the nihilistic horizon of filmic economy. The innumerable countdowns, dazzling radiations, freeze-overs, and seismic cracks and crevices are but other names and pretexts for staging film itself, with its economy of time and its rewinds, its overexposed images and fades to white, its freeze-frames and digital touch-ups. The apocalyptic genre is not just one genre among others: It plays with the very conditions of possibility of cinema. And it bears witness to the fact that, every time, in each and every film, what Jean-Luc Nancy called the cine-world is exposed on the verge of disappearing. In a Postface specially written for the English edition, Szendy extends his argument into a debate with speculative materialism. Apocalypse-cinema, he argues, announces itself as cinders that question the “ultratestimonial” structure of the filmic gaze. The cine-eye, he argues, eludes the correlationism and anthropomorphic structure that speculative materialists have placed under critique, allowing only the ashes it bears to be heard. |
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