By Tina Pippin
Apocalyptic Bodies lines the biblical notions of the top of the area as represented in historical and sleek texts, paintings, tune and pop culture, for instance the work of Bosch. Tina Pippin addresses the query of ways a long way we, within the overdue 20th century, are in a position to interpreting and responding to the 'signs of the times'. it's going to attraction not just to these learning faith, but additionally to these serious about interpretations of the top of the area.
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Extra resources for Apocalyptic Bodies: The Biblical End of the World in Text and Image
1 Babel falls in the center of the biblical trinity of creationconfusion-chaos. Is the shape of the tower itself a trinity, a triangle? ” Then the drama and tension builds as human creatures strive/spiral to connect with or be the creator. The spiraling snake pronounces the path that leads to the divinity to the woman. The mother tongue is repressed, then scattered. Elaine Scarry relates, “Human acts of building, making, creating, working are throughout the Old Testament surrounded with layer upon layer of prohibition from above and inhibition from below” (1985:221).
This book of reveilation reviles all who would arrest it…. What if its reveilation were misunderstood, mutilated by the exegete, its left i poked out by the exegete’s pen in an attempt to read it as revelation? (1992:32) Yet most New Testament exegetes read Mark 13 as revelation— either by toning down the apocalyptic tone into a broader eschatological discourse or by seeing the chapter as a call to ethical action encouraged by an imminent end of time. Some evangelical scholars even revel in the revelation.
Thus, Jezebel and her religion are excrement to be excreted. What is left of Jezebel is more than the sum of the dead body 38 JEZEBEL REVAMPED parts. In the horror of the death scene and the gaze of the viewer on the public execution—the fall, splattering blood, trampling horses, eating dogs, leftover flesh—the death of the female is forcefully presented. According to Virginia Allen in her study of the femme fatale, “Dead women, exotic women, embody a fierce and total rejection of living women” (1983:186).