Anti-Apocalypse was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. As the year 2000 looms, heralding a new millennium, apocalyptic thought abounds-and not merely among religious radicals. In politics, science, philosophy, popular culture, and feminist discourse, apprehensions of the End appear in images of cultural decline and urban chaos, forecasts of the end of history and ecological devastation, and visions of a new age of triumphant technology or a gender-free utopia. There is, Lee Quinby contends, a threatening "regime of truth" prevailing in the United States-and this regime, with its enforcement of absolute truth and morality, imperils democracy. In Anti-Apocalypse, Quinby offers a powerful critique of the millenarian rhetoric that pervades American culture. In doing so, she develops strategies for resisting its tyrannies. Drawing on feminist and Foucauldian theory, Quinby explores the complex relationship between power, truth, ethics, and apocalypse. She exposes the ramifications of this relationship in areas as diverse as jeanswear magazine advertising, the Human Genome project, contemporary feminism and philosophy, texts by Henry Adams and Zora Neale Hurston, and radical democratic activism. By bringing together such a wide range of topics, Quinby shows how apocalypse weaves its way through a vast network of seemingly unrelated discourses and practices. Tracing the deployment of power through systems of alliance, sexuality, and technology, Quinby reveals how these power relationships produce conflicting modes of subjectivity that create possibilities for resistance. She promotes a variety of critical stances—genealogical feminism, an ethics of the flesh, and "pissed criticism"—as challenges to apocalyptic claims for absolute truth and universal morality. Far-reaching in its implications for social and cultural theory as well as for political activism, Anti-Apocalypse will engage readers across the cultural spectrum and challenge them to confront one of the most subtle and insidious orthodoxies of our day. Lee Quinby is associate professor of English and American studies at Hobart and William Smith Colleges. She is the author of Freedom, Foucault, and the Subject of America (1991) and coeditor (with Irene Diamond) of Feminism and Foucault: Reflections on Resistance (1988).

Streete studies the political uses of apocalyptic and anti-Catholic rhetoric in a wide range of seventeenth-century English drama, focusing on the plays of Marston, Middleton, Massinger, and Dryden. Drawing on recent work in religious and political history, he rethinks how religion is debated in the early modern theatre.

In Post-Apocalyptic Culture, Teresa Heffernan poses the question: what is at stake in a world that no longer believes in the power of the end? Although popular discourse increasingly understands apocalypse as synonymous with catastrophe, historically, in both its religious and secular usage, apocalypse was intricately linked to the emergence of a better world, to revelation, and to disclosure. In this interdisciplinary study, Heffernan uses modernist and post-modernist novels as evidence of the diminished faith in the existence of an inherently meaningful end. Probing the cultural and historical reasons for this shift in the understanding of apocalypse, she also considers the political implications of living in a world that does not rely on revelation as an organizing principle. With fascinating readings of works by William Faulkner, Don DeLillo, Ford Madox Ford, Toni Morrison, E.M. Forster, Salman Rushdie, D.H. Lawrence, and Angela Carter, Post-Apocalyptic Culture is a provocative study of how twentieth-century culture and society responded to a world in which a belief in the end had been exhausted.

From its indefinite beginnings through its broad commercialization and endless reinterpretation, American rock-and-roll music has been preoccupied with an end-of-the-world mentality that extends through the whole of American popular music. In Apocalypse Jukebox, Edward Whitelock and David Janssen trace these connections through American music genres, uncovering a mix of paranoia and hope that characterizes so much of the nation’s history. From the book’s opening scene, set in the American South during a terrifying 1833 meteor shower, the sense of doom is both palpable and inescapable; a deep foreboding that shadows every subsequent development in American popular music and, as Whitelock and Janssen contend, stands as a key to understanding and explicating America itself. Whitelock and Janssen examine the diversity of apocalyptic influences within North American recorded music, focusing in particular upon a number of influential performers, including Bob Dylan, Leonard Cohen, John Coltrane, Devo, R.E.M., Sleater-Kinney, and Green Day. In Apocalypse Jukebox, Whitelock and Janssen reveal apocalypse as a permanent and central part of the American character while establishing rock-and-roll as a true reflection of that character.

The present volume of essays examines the extent to which the end of marketing is nigh. The authors explore the present state of marketing scholarship and put forward a variety of visions of marketing in the twenty first century. Ranging from narratology to feminism, these suggestions are always enlightening, often provocative and occasionally outrageous. Maketing Apocalypse is required reading for anyone interested in the future of marketing.

Finalist for the 2017 Foreword INDIES Book of the Year Award in the Religion category In this series of essays, Thomas J. J. Altizer explores the Christian epic as the site of modern revolutionary apocalyptic reenactments and renewals of the original apocalypse enacted by Jesus Christ and primitive Christianity. Beginning with the pivotal seventeenth-century figures Milton and Spinoza, Altizer analyzes the apocalyptic visions of key figures of modernity, including Blake, Hegel, Kierkegaard, Nietzsche, and Joyce, often juxtaposing them to surprising and illuminating effect. These revolutionary moments stand in opposition to what Altizer calls the pathological modern counterrevolution that dominates the world today, which is an effect of a new postmodernity and of a progressive dissolution of historical consciousness. Through his analysis of modern apocalyptic moments and thinkers, this book becomes an elegant and accessible guide to Altizer's own apocalyptic vision and his ultimate project of the total and comprehensive reconstruction of theology.

"In her brilliant, wide ranging, nuanced study of apocalypse, Keller has written a definitive cultural and theological essay. In this book she is doing the work of the true intellectual: providing learned, passionate guidance for living the good life, all of us together, here and now, on our planet." —Sallie McFague, Distinguished Theologian in Residence Vancouver School of Theology "A richly evocative exploration of apocalyptic's ambiguous possibilities.... Inspiring in the fullest personal, political, and religious senses of the term." —Kathryn Tanner University of Chicago Divinity School "Catherine Keller is a poet among theologians. Her writing attains imaginative heights and depths that expose the flatly prosaic character of most theological work. One finds oneself lingering over sentences, images and tropes, hearing them resonate with connections and insights." —Peter Hodgson Journal of the American Academy of Religion

In this insightful book, an underwater archaeologist and survival coach shows how understanding the collapse of civilizations can help us prepare for a troubled future. Pandemic, climate change, or war: our era is ripe with the odor of doomsday. In movies, books, and more, our imaginations run wild with visions of dreadful, abandoned cities and returning to the land in a desperate attempt at survival. In The Next Apocalypse, archaeologist Chris Begley argues that we completely misunderstand how disaster works. Examining past collapses of civilizations, such as the Maya and Rome, he argues that these breakdowns are actually less about cataclysmic destruction than they are about long processes of change. In short: it’s what happens after the initial uproar that matters. Some people abandon their homes and neighbors; others band together to start anew. As we anticipate our own fate, Begley tells us that it was communities, not lone heroes, who survived past apocalypses—and who will survive the next. Fusing archaeology, survivalism, and social criticism, The Next Apocalypse is an essential read for anxious times.

From the repurposed rubble of salvagepunk to undead hordes banging on shopping mall doors, from empty waste zones to teeming plagued cities, Combined and Uneven Apocalypse grapples with the apocalyptic fantasies of our collapsing era. Moving through the films, political tendencies, and recurrent crises of late capitalism, Evan Calder Williams paints a black toned portrait of the dream and nightmare images of a global order gone very, very wrong. Situating itself in the defaulting financial markets of the present, Combined and Uneven Apocalypse glances back toward a messy history of zombies, car wrecks, tidal waves, extinction, trash heaps, labour, pandemics, wolves, cannibalism, and general nastiness that populate the underside of our cultural imagination. Every age may dream the end of the world to follow, but these scattered nightmare figures are a skewed refraction of the normal hell of capitalism. The apocalypse isn''t something that will happen one day: it''s just the slow unveiling of the catastrophe we''ve been living through for centuries. Against any fantasies of progress, return, or reconciliation, Williams launches a loathing critique of the bleak present and offers a graveside smile for our necessary battles to come.

Australia has been a frequent choice of location for narratives about the end of the world in science fiction and speculative works, ranging from pre-colonial apocalyptic maps to key literary works from the last fifty years. This critical work explores the role of Australia in both apocalyptic literature and film. Works and genres covered include Nevil Shute's popular novel On the Beach, Mad Max, children's literature, Indigenous writing, and cyberpunk. The text examines ways in which apocalypse is used to undermine complacency, foretell environmental disasters, critique colonization, and to serve as a means of protest for minority groups. Australian apocalypse imagines Australia at the ends of the world, geographically and psychologically, but also proposes spaces of hope for the future.