... (except for some parliamentary notes and a diary of his journey to Tangier) only for his period of preparation. JAMES HOLLYHANPORD Princeton, New Jersey Piers Plowman as a Fourteenth-Century Apocalypse. By MORTONW. BLOOM- FIELD. New...

...Richard Kenneth Emmerson Copyright © 1985 by Duke University Press 1985 1 Thomas j. j. Altizer. History as Apocalypse . Albany: State University of New York Press, 1985. 265 pp. $34.50; $10.95 paper. C. A. Patrides and Joseph Wittreich, eds. The Apocalypse in English Renaissance...

... terms for representing the subject’s responsibility to those demands. The death drive offers a way of describing the trajectory of desire beyond anything representable, a trajectory that finds its most direct expression in the poem’s apocalyptic energies. But Piers Plowman treats even the apocalypse...

... End , a novel best read within its environmental history and contemporaneous reactions to environmental change and together with a work of speculative fiction that helps account for the aura of impending apocalypse that saturates it. Copyright © 2016 by University of Washington 2016...

... and the Italian Trecento, ed. Piero Boitani (Cambridge: Cambridge University Press, 1983), pp. 118-25. John J. Collins, “To- wards the Morphology of a Genre,” Semeia, 14 (1979): 9, offers a definition of the genre of the apocalypse, within which Chaucer and Dante are working: “ ‘Apocalypse...

... that the dream visions of fourteenth-century England are the “direct descendants” (p. 14) of Guillaume de Lorris’s Roman de la rose. Much awaits clarification at this point. In his first chapter, “Dream and Apocalypse,” Russell locates “the dream vision” in the “ontological space” between “dream...

.... JAMES HOLLYHANPORD Princeton, New Jersey Piers Plowman as a Fourteenth-Century Apocalypse. By MORTONW. BLOOM- FIELD. New Brunswick: Rutgers University Press, 1962. Pp. xiv + 259. $7.50. The first chapter of Bloomfield’s Piers Plowman as a Fourtcenth-Century Apocalypse...

...-the Millennium. So con- vinced was he of the imminence of the apocalypse that he could greet World War I with a famous pamphlet called The War That Will End War. In the biblical apocalypse, society, which had been in a state of vio- lent, dynamic agitation, settles after the final cataclysm...

...Ryan Vu; Sharif Youssef Copyright © 2015 by University of Washington 2015 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. The anticipation of apocalypse has become ubiquitous, represented in the form of natural...

... the comedy of knowledge, and it implicates the reader in the condition of ignorance and partial awareness that it portrays. If the “final Catastrophe” is to the novel as Apocalypse is to Creation, then like the Apocalypse it brings everyone to judgment, including the reader. Malinda Snow...

... on “The Divine Image” that “Until its matching contrary comes to it in Songs of Experience, the poem’s prime characteristic is its deliberate in~ompletenessThere is, Blake’s Apocalypse: ..I Study in Poetic Argunient artten City, 1963), p. 57. Ibid., p. 41. 400...

... drama apocalypse sounds ironically and “loudly in and through . . . false prophecy and [is] antiphonally played out in [allusions to] Milton” that contrast true and false glory (p. 109). Like “King Edward the Third,” “A War Song to Englishmen” is an apocalyptic “prophecy echoing [with bitter...

..., Osee propheta testante.. .” (Migne, PL, LXXXIII, 508). Alcuin, in his commentary on the Apocalypse, combines the testi- mony of St. Paul in Romans 11 : 26 (“omnis Israhel saluus fieret”) with that of St. John in Apocalypse 3 : 9: “Ecce dab0 de synagoga Satanae, qui dicunt se Iudaeos esse...

... of creation and apocalypse in the light of his three-level pattern, but finds them an overlaid mosaic of indigenous and borrowed elements which cannot be reasonably traced back further than the mythological stage, a mosaic which even defied the systematizing efforts of the mythographers...

... of biblical apocalypse. His images drawn from biology, geology, and astronomy suggest a vast, temporal trajectory: the “huge first Nothing” (1 153), the “Monstrous sauroids” (1 167), “the nebula” that “cohered to an orb,” “the long slow strata piled” upon it (1 164-65), all having progressed...

... pp. $39.95. Hodder, Alan D. Emerson's Rhetoric of Revelation: "Nature," the Reader, and the Apocalypse Within. University Park and London: Pennsylvania State University Press, 1989. xiv + 170 pp. $23.50. Killingsworth, M. Jimmie. Whitman2 Poetry of the Body: Sexuality, Politics...

... the proposition: earlier ages, including the eighteenth century, would have found it difficult to understand the nonchalance with which, despite our perverted ingenuity and the types of apocalypse that it intermittently provides, we postpone the real thing to some remote collision with a star...

... ( 2015 : 4) associates revolution with “closed cyclical sameness” and consequently prefers apocalypse as a rubric for the immanent energies of revelation and hope in Milton’s lyrics. Yet Paradise Lost and Paradise Regained demonstrate that revolution, like apocalypse, can privilege the immediacy...

...]” in its stages of directionless revision—a series of minor neural apocalypses that irretrievably alter the paths of thought—Skillman extracts from Lowell’s harrowing life and from his poetry an ethics for the brain age, a “philosophically exhausted, impassioned solidarity” with the mentally ill that puts...

... wave-daughters, which the author accepts (P. 63). At the end of the book Philippson reviews the Norse myths of creation and apocalypse in the light of his three-level pattern, but finds them an overlaid mosaic of indigenous and borrowed elements which cannot be reasonably traced back...