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How will the world end? Doomsday ideas in Western history have been both persistent and adaptable, peaking at various times, including in modern America. Public opinion polls indicate that a substantial number of Americans look for the return of Christ or some catastrophic event. The views expressed in these polls have been reinforced by the market process. Whether through purchasing paperbacks or watching television programs, millions of Americans have expressed an interest in end-time events. Americans have a tremendous appetite for prophecy, more than nearly any other people in the modern world. Why do Americans love doomsday? In Apocalyptic Fever, Richard Kyle attempts to answer this question, showing how dispensational premillennialism has been the driving force behind doomsday ideas. Yet while several chapters are devoted to this topic, this book covers much more. It surveys end-time views in modern America from a wide range of perspectives--dispensationalism, Catholicism, science, fringe religions, the occult, fiction, the year 2000, Islam, politics, the Mayan calendar, and more.
Focusing on apocalyptic manifestations found in ISIS propaganda, this book situates the group's agenda in the broader framework of contemporary Muslim thought and explains key topics in millennial thinking within the spiritual context of modern Islamic apocalypticism.Based on the group's primary sources as well as medieval Muslim apocalyptic literature and its modern interpretations, the book analyses the ways ISIS presents its message concerning the Last Days as a meaningful, inventive and frightening expression of collectively shared expectations relating to the supposedly approaching the End Times.
Millennial movements have had a significant impact on history and lie behind many artistic and scientific views of the world. 'The End that Does' tracks the interplay of the arts, sciences, and millennial imagination across 3000 years. The volume presents essays ranging across the study of ancient ritualistic sacrifice, utopian technology and the American millennial dream, science fiction, and the apocalypse of the tabloids. The End that Does will be invaluable to any student or scholar interested in the history of millennialism.
President Donald Trump originated his political career by claiming that Barack Obama was not born in the USA. His “birtherism” theory was discredited, but there’s another possibility about birth. Evangelicals have given birth to Donald Trump in the immaculate mistake. Evangelicals are not a collection of dumb and irrational people; they are the creators of the demolition presidency of Trump. He is their child—the result of almost one hundred years of evangelical angst, resentment, and hurt. This is the story of how Trump has become a secular evangelical preacher and his message of fear, hatred, division, and getting even has captured the hearts and minds of evangelicals. Rather than dismissing them, this work takes them seriously and literally and offers a frank and disturbing series of portraits of their determination to win at all costs.
Jean Baudrillard (1929-2007) was a controversial social and cultural theorist known for his trenchant analyses of media and technological communication. Belonging to the generation of French thinkers that included Gilles Deleuze, Jean-François Lyotard, Michel Foucault, and Jacques Lacan, Baudrillard has at times been vilified by his detractors, but the influence of his work on critical thought and pop culture is impossible to deny (many might recognize his name from The Matrix movies, which claimed to be based on the French theorist's ideas). Steve Redhead takes a fresh look at Baudrillard in relation to the intellectual and political climates in which he wrote. Baudrillard sought to produce a theory of modernity, but the modern world of the 1950s was radically different from the reality of the early twenty-first century. Beginning with Baudrillard's initial publications in the 1960s and concluding with his writings on 9/11 and Abu Ghraib, Redhead guides the reader through Baudrillard's difficult texts and unorthodox views on current issues. He also proposes an original theory of Baudrillard's relation to postmodernism, presenting the theorist's work as "non-postmodernist," after Bruno Latour's concept of "non-modernity." Each section of the Reader includes an extract from one of Baudrillard's writings, prefaced by a short bibliographical introduction that places the piece in context and puts the debate surrounding the theorist into sharp perspective. The conflict over Baudrillard's legacy stems largely from the fact that a comprehensive selection of his writings has yet to be translated and collected into one volume. The Jean Baudrillard Reader provides an expansive and much-needed portrait of the critic's resonant work.
John Howell's first novel, The Goddess Patrol, earned raves, such as: "Howell must have had a riot writing this The writing is imaginative and funny The plot alone will keep you going But the real meat of the book is in the sensitive psychological processes by which several characters, who have been ground lean by hardships, fight to burst out into the light."-Thousand Islands Sun Naked brings more characters fighting to the light-A Cuban doctor, his daughter back home on a mission, a banker with a secret, a psychologist with a secret, adolescent bullies and victim, a surly police chief and a church full of fundamentalists praying for the Second Coming but wanting to recant when Jesus arrives with an AK-47. Little Pond, NY resembles Howell's hometown, where, he writes, "One scandal could change the pecking order overnight. Guppies could appear as barracudas simply by swimming fast."
Apocalyptic expectations of Armageddon and a New Age have been a fixture of the American cultural landscape for centuries. With the approach of the year 2000, such millennial visions seem once again to be increasing in popularity. Stephen O'Leary sheds new light on the age-old phenomenon of the End of the Age by proposing a rhetorical explanation for the appeal of millennialism. Using examples of apocalyptic argument from ancient to modern times, O'Leary identifies the recurring patterns in apocalyptic texts and movements and shows how and why the Christian Apocalypse has been used to support a variety of political stances and programs. The book concludes with a critical review of the recent appearances of doomsday scenarios in our politics and culture, and a meditation on the significance of the Apocalypse in the nuclear age. Arguing the Apocalypse is the most thorough examination of its subject to date: a study of a neglected chapter of our religious and cultural history, a guide to the politics of Armageddon, and a map of millennial consciousness.
Aren't we actually sick of sex, of difference, of emancipation, of culture? With this provocative taunt, the indomitable sociologist Jean Baudrillard challenges us to face up to our deadly, technologically empowered renunciation of mortality and subjectivity as he grapples with the complex issues that define our postmillennial world. What does the advent and proliferation of cloning mean for our sense of ourselves as human beings? What does the turn of the millennium say about our relation to time and history? What does the instantaneous, virtual realm of cyberspace do to reality? In The Vital Illusion—as always—Baudrillard leads his readers to some surprising conclusions. Baudrillard considers how human cloning—as well as the "cloning" of ideas and social identities—heralds an end to sex and death and the divagations of living by instituting a realm of the Same, beyond the struggles of individuation. In this day and age when everything can be cloned, simulated, programmed, and genetically and neurologically managed, humanity shows itself unable to brave its own diversity, preferring instead to regress to the pathological eternity of self-replicating cells. By reverting to our viral origins as sexless immortal beings, we are, ironically, fulfilling a death wish, putting an end to our own species as we know it. Next, Baudrillard explores the "nonevent" that was and is the turn of the millennium. He provocatively puts forward the thesis that the arrival of the year 2000 could never take place because we could neither resolve nor leave behind our history, nor could we stop counting down toward our future. For Baudrillard, the millennial clock reading to the millionth of a second on its way to zero is the perfect symbol of our time: history decays rather than progresses. In closing, Baudrillard examines what he calls "the murder of the real" by the virtual. In a world of copies and clones in which everything can be made present in an instant by technology, we can no longer even speak of reality. Beyond Nietzsche's symbolic murder of God, our virtual world free of referents is in the process of exterminating reality, leaving no trace: "The corps(e) of the Real—if there is any—has not been recovered, is nowhere to be found." Peppered with Baudrillard's signature counterintuitive moves, prophetic visions, and dark humor, The Vital Illusion exposes the contradictions that guide our contemporary culture and rule our lives.
A great quotation can provoke thought, brighten a day, even change a life—and here are more than 6,000 great quotes from the wide world of Christianity. This brand-new compilation of quotations both ancient and modern features nearly 500 categorized topics both biblical and contemporary—from Abiding through Zeal—with cross references and subject and author indexes. Featuring quotations from the early church fathers through the 21st century’s best writers, The Complete Guide to Christian Quotations is ideal for speakers, writers, and book lovers—who can find great leads on worthy volumes.
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 acinema 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.