The thought of René Girard on violence, sacrifice, and mimetic theory has exerted a strong influence on Japanese scholars as well as around the world. In this collection of essays, originating from a Tokyo conference on violence and religion, scholars call on Girardian ideas to address apocalyptic events that have marked Japan's recent history as well as other aspects of, primarily, Japanese literature and culture. Girard's theological notion of apocalypse resonates strongly with those grappling with the horrors of Hiroshima and Nagasaki, as well as events such as the 2011 Tōhoku earthquake and tsunami and the Fukushima nuclear disaster. In its focus on Girard and devastating violence, the contributors raise issues of promise and peril for us all. The essays in Part I of the volume are primarily rooted in the events of World War II. The contributors employ mimetic theory to respond to the use of nuclear weapons and the threat of absolute destruction. Essays in Part II cover a wide range of topics in Japanese cultural history from the viewpoint of mimetic theory, ranging from classic and modern Japanese literature to anime. Essays in Part III address theological questions and mimetic theory, especially from a Judeo-Christian perspective. Contributors: Jeremiah L. Alberg, Jean-Pierre Dupuy, Yoko Irie Fayolle, Eric Gans, Sandor Goodhart, Shoichiro Iwakari, Mizuho Kawasaki, Kunio Nakahata, Andreas Oberprantacher, Mery Rodriguez, Thomas Ryba, Richard Schenk, OP, Roberto Solarte, Matthew Taylor, and Anthony D. Traylor.

Modernism, Christianity and Apocalypse stages an encounter between the fields of ‘Modernism and Christianity’ and ‘Apocalypse Studies’. The modernist impulse to ‘make it new’, to transform and reform culture, is an incipiently apocalyptic one, poised between imaginative representations of an Old Era or civilization and the experimental promise of the New. Christianity figures in formative tension with the ‘new’, but its apocalyptic paradigms continued to impact modernist visions of cultural revitalization. In three sections tracing a rough chronology from the late nineteenth century fin de siècle, via interwar conflicts and the rise of ‘political religions’, to post-1945 anxieties such as the Bomb, this thematic is explored in nineteen far-ranging scholarly contributions, outlining a distinctive and fresh interdisciplinary field of study.

This collection of essays examines the ways in which recent Shakespeare films portray anxieties about an impending global wasteland, technological alienation, spiritual destruction, and the effects of globalization. Films covered include Titus, William Shakespeare's Romeo & Juliet, Almereyda's Hamlet, Revengers Tragedy, Twelfth Night, The Passion of the Christ, Radford's The Merchant of Venice, The Lion King, and Godard's King Lear, among others that directly adapt or reference Shakespeare. Essays chart the apocalyptic mise-en-scenes, disorienting imagery, and topsy-turvy plots of these films, using apocalypse as a theoretical and thematic lens.

At a time when it is clear that climate change adaptation and mitigation are failing, this book examines how our assumptions about (valid and usable) knowledge are preventing effective climate action. Through a cross-disciplinary, empirically-based analysis of climate science and policy, the book situates the failures of climate policy in the cultural history of prediction and its interfaces with policy. Fava calls into question the current interfaces between scientific research and climate policy by tracing multiple connections between modelling, epistemology, politics, food security, religion, art, and the apocalyptic. Demonstrating how the current domination of climate policy by models and scenarios is part of the problem, the book examines how artistic practices are a critical location to ask questions differently, rethink environmental futures, and activate social change. The analysis starts with another moment of climatic change in recent western history: the overlap of the Little Ice Age and the "scientific revolution," during which intense climatic, scientific and political change were contemporary with mathematical calculation of the apocalypse. Dealing with the need for complex answers to complex and urgent questions, this is essential reading for those interested in climate action, interdisciplinary research and methodological innovation. The empirical analyses amount to a methodological experiment, across history of science, theology, art theory and history, architecture, future studies, climatology, computer modelling, and agricultural policy. This book is a major contribution to understanding how we are precluding effective climate action, and designing futures that resemble our worst nightmares.

The Book of Revelation is the last book in the canon of the New Testament, and its only apocalyptic document, though there are short apocalyptic passages in various places in the gospels and the epistles. This first of two volumes on Revelation offers systematic and thorough interpretation of the book of Revelation. Revelation brings together the worlds of heaven, earth and hell in a final confrontation between the forces of good and evil. Its characters and images are both real and symbolic, spiritual and material, and it is frequently difficult to know the difference between them. Revelation's cryptic nature has ensured that it would always be a source of controversy. This commentary focuses on the theological content, gleaning the best from both the classical and modern commentary traditions and showing the doctrinal development of Scriptural truths. Scholarship on the book of Revelation has nonetheless not only endured, but even captured the imagination of generations of Bible students, both professionals and laypeople alike. Through its focus on the message of the book through scholarly analysis, this International Theological Commentary reconnects to the ecclesial tradition of biblical commentary as an effort in ressourcement, though not slavish repetition.

Classical music masterworks have long played a key supporting role in the movies—silent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory music—yet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and Terrence Malick. Beginning with the famous example of Wagner's "Ride of the Valkyries" in Apocalypse Now, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema: one must listen to its music to sense its prehistory, its history, and its obscure, prophetic future.