| Papers [1-16] of 41 :: [Page 1 of 3] | | Go to page : 1 2 3 —> | Search results on "APOCALYPSE": |
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The "Animal Apocalypse", 2003.
A look into the "Animal Apocalypse", Jewish Apocalyptic literature.
1,801 words (approx. 7.2 pages), 4 sources, APA, AU$ 92.95
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Abstract
The "Animal Apocalypse" perfectly fits the definition of apocalypse. This paper explains that it has a narrative framework where angels mediated a revelation to Enoch in his dream. The vision he saw dealt with eschatological salvation in which the author prophesied during this tumultuous historical and social setting. The author used pseudonymity and ex eventu so as to gain credibility for his actual prophecy. He used eschatological and temporal elements common in other texts of this type, specifically persecution, judgment and destruction of the wicked, cosmic transformation, and resurrection.
From the Paper
"Jewish apocalyptic literature flourished from the second century BCE throughout the late first century CE. Apocalyptic literature can be defined as: A genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherworldly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial insofar as it involves another, supernatural world, intended for a group in crisis with the purpose of exhortation and/or consolation by means of divine authority. The historical and social setting of the Jewish community triggered religious scholars to produce an abundance of apocalyptic literature. For example, the Animal Apocalypse was one text composed in response to this particular setting. Basically, this text narrated biblical history from Adam and Eve to the Maccabean revolt and then prophesized the imminent end of the world. The major components of this text include the great flood, the exodus, the entrance of Canaan, the building of the temple, the division of kingdoms, the destruction of Jerusalem, the return from exile, the Hellenistic period, and the Maccabean revolt. This text used certain literary techniques, such as pseudonymity and ex eventu, in order to present the temporal and eschatological elements found in most apocalypses: persecution, judgment and destruction of the wicked, cosmic transformation, and resurrection."
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Apocalypse Art and Technology, 2004.
Examines a modern form of art called "apocalypse" and shows how it is linked to modern technology.
3,500 words (approx. 14.0 pages), 30 sources, APA, AU$ 158.95
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Abstract
This paper examines modern art, in particular ,that which is referred to as ?apocalypse art? and examines the interactions between art and technology. Specifically, paper looks at the new dimensions that technology has contributed to the rendering of art as well as what contribution or impact that art has rendered to technology. The methodology for this study is examination of several artists and scholars who are in some way interconnected in this process of producing apocalypse art. Artists discussed include Joe-Peter Witkin, Roy Ascott, and Dinos and Jake Chapman.
From the Paper
"The social impact of the new art-technology relationship is quite simply due to knowledge being more plentiful than at any other time in recorded history. To further expand on that element it must be understood that the application of knowledge, as well as man?s integration with knowledge, has not at any time in history been so cohesive with each other. This is due to the global society now established in the world which is aided by the science of computing which brings all knowledge, all applications and all the minds of men together in one vast conglomerate freeway of information."
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"Apocalypse Now" and "Natural Born Killers"., 2002.
This paper examines eschatological and revelatory subtexts in "Apocalypse Now" and "Natural Born Killers".
1,900 words (approx. 7.6 pages), 2 sources, AU$ 114.95
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Abstract
"Apocalypse Now" documents an inward journey, into super-ego run wild. Natural Born Killers, in contrast, is a trip into the heart of American society. Ultimately, Natural Born Killers, is both more immediate and more pessimistic than Apocalypse Now.
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"Heart of Darkness" and "Apocalypse Now", 2006.
A comparative analysis of Joseph Conrad's novel "Heart of Darkness" and the movie "Apocalypse Now".
1,296 words (approx. 5.2 pages), 2 sources, MLA, AU$ 70.95
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Abstract
This paper examines how both "Heart of Darkness" and "Apocalypse Now" depict the inherent cruelty and devastation of colonialism and imperialism: "the horror, the horror" of hostility, violence, murder, rape, and destruction. It discusses how neither Conrad nor Coppola suggest that any good comes from colonization even if war does permit heroes to emerge and how in addition to the macro-cosmic consequences of colonization, both "Heart of Darkness" and "Apocalypse Now" show how imperialistic practices wreak havoc on the individual and collective psyches of the oppressor and the oppressed.
From the Paper
"Both Coppola and Conrad use nature, notably the jungle, to emphasize the eventual meaninglessness of human activity, to strengthen their portrayals of basic human instincts like anger and fear, and to draw out the differences between the European colonizers and their victims. Especially in Heart of Darkness, the jungle also serves as a means to explain some of the motives behind colonization: the desire to rape natural resources and the symbolic desire to tame wild people. The Africans have been living in "the heart of darkness" for thousands of years; for the European invaders, the jungle is another enemy; it is hostile and they view it as such."
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"Apocalypse Now", 2004.
The movie, "Apocalypse Now", is compared and contrasted with the book upon which it is based, "Heart of Darkness", discussing the effects of a "negative" environment on an individual.
3,017 words (approx. 12.1 pages), 8 sources, MLA, AU$ 142.95
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Abstract
The premise of the paper is to prove that the movie, "Apocalypse Now", does a better job of showing the effects of a "negative" environment on an individual than does the book, "Heart of Darkness", by Joseph Conrad. This paper discusses physical locations (Africa vs. Vietnam), events associated with the environment (ivory trading vs. war), effects from such events/environment (PTSD), and the benefit of visual and auditory stimuli. Two characters' changes are witnessed, and evidence of these changes is provided.
From the Paper
"The viewer learns throughout the movie that Willard has been in this negative environment before, and thus was already affected by it. On more than one occasion he displays a ?lack of feeling? that he has obtained from years spent in this environment. One such instance is while they were on the Nung River. During a routine inspection of one of the native?s boats, the tension of the situation results in all but one of the natives being killed. While Chief is planning to take the wounded girl to the hospital, Willard walks over to her and shoots her. He then turns to Chief and says, ?I told you not to stop? (Apocalypse Now, 1:21:20). Willard displays no hesitation or remorse in this action."
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The "Apocalypse of Peter", 2003.
An examination of the "Apocalypse of Peter" and its religious message.
1,742 words (approx. 7.0 pages), 6 sources, APA, AU$ 90.95
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Abstract
This paper discusses how the author designed the "Apocalypse of Peter" to convert the unfaithful into followers, but, more importantly, it gave strength and hope to those being persecuted for their conviction. It explains how the pseudonym and usage of ex eventu prophecy strengthened the claim that the persecuted would achieve salvation from, and the persecuting would meet eternal torment by otherworldly beings in otherworldly places.
From the Paper
"The Apocalypse of Peter arose in response to the historical and social setting of the Bar Kochba revolt. Simon Bar Kochba, the Jewish military leader who initially led a successful revolt against Rome from 132-135 A.D., persecuted Christians with impunity because of their faith. This apocalypse depicted the cosmological end of the world as well as it revealed personal eschatology; the Apocalypse of Peter itemized the different eternal punishments for specific wrongdoings and described the rewarding afterlife for the righteous. Circuitously this apocalypse urged, if not threatened, non-Christians and hesitant Christians to quickly anchor their faith in Jesus and concurrently reassured those Christians being persecuted. The author sought to reach this goal through the use of literary features characteristic of apocalypses. An apocalypse can be defined as: A genre of revelatory literature with a narrative framework, in which a revelation is mediated by an otherworldly being to a human recipient, disclosing a transcendent reality which is both temporal, insofar as it envisages eschatological salvation, and spatial insofar as it involves another, supernatural world, intended for a group in crisis with the purpose of exhortation and/or consolation by means of divine authority. "
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"Hearts of Darkness: A Filmmaker's Apocalypse" (1991), 2002.
This paper analyses the documentary film "Hearts of Darkness: A Filmmaker's Apocalypse" (1991).
1,650 words (approx. 6.6 pages), 2 sources, AU$ 99.95
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Abstract
This paper suggests that the film draws on and critiques" Apocalypse Now" (1979) to examine the creative process and the role of the artist.
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"Apocalypse Now", 2004.
A review of Francis Ford Coppola's film, "Apocalypse Now," based on the novel, "Heart of Darkness," written by Joseph Conrad.
1,882 words (approx. 7.5 pages), 9 sources, MLA, AU$ 97.95
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Abstract
This paper discusses Francis Ford Coppola's film, "Apocalypse Now," which has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel, "Heart of Darkness". The paper examines how Coppola's film follows the text of the novel with regard to the main events, the central characters, and the central themes that appear in the book. The paper contends that Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context.
From the Paper
"Francis Ford Coppola's Apocalypse Now has been acclaimed as one of the most provocative and insightful films of the genre. The film is based on Joseph Conrad's novel Heart of Darkness. Conrad's novel deals ostensibly with the early years of the colonial invasion of Africa; while Apocalypses Now deals with Vietnam. Coppola's film follows the text of the novel with regard to the main events, the central characters and the central themes that appear in the Heart of Darkness. Coppola also succeeds in capturing the atmosphere of the book and in translating the essential insights and questions that the book presents into a contemporary context. "
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?The Four Horsemen of the Apocalypse", 2006.
This paper analyzes the significance and symbolism surrounding Albrecht Durer's wood carving of "The Four Horsemen of the Apocalypse."
982 words (approx. 3.9 pages), 1 source, MLA, AU$ 55.95
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Abstract
The writer of this paper examines the biblical inspiration behind Durer's well known work of art. "The Four Horsemen of the Apocalypse" are described in the "Book of Revelation," when the seven seals of the book are broken. The woodcut carving depicts four mounted men on an apparent mission of destruction. As the seals are broken, a white, red, and black horse subsequently appear, followed by a pale horse. This paper explores the various interpretations of Durer's carving. According to one commentator, the first white horseman is interpreted as Christ while another sees him as a false prophet. The writer illustrates certain aspects of this particular work of art, by clearly describing three of the powerful riders on their white, red and black horses galloping in the forefront of the carving, while the skeletal horse with the skeletal rider is evident in the background. The writer contends that Durer clearly understood and internalized the images detailed in the text, which resulted in his poignant and accurate depiction, that continues to yield a powerful and eerie resonance to this day.
From the Paper
"In the print, three of the powerful riders on their white, red, and black horses gallop at the forefront of the work. The white horses' rider holds a bow and wears a medieval, peaked hat towards the background, the caped red horse's rider wields a sword, and nearest the foreground the black horse's rider is bareheaded, holding a scale. The skeletal horse with the skeletal man is evidently the pale horse's rider. The specificity of the artist illustrates that Durer knew the Biblical text's images quite intimately and wished to transcribe them in fairly accurate detail. However, the artist translates these images of war, pestilence, famine, and death into medieval terms of his own era-the warrior's crown of the white horse's rider is clearly of the artist's age, as is the garb of the second rider, and the small metal scales held by the third are similar to that of a medieval apothecary, used in weighing grain with weights."
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Francis Ford Coppola's "Apocalypse Now", 2004.
An analysis of the message about those who kill in wartime in Francis Ford Coppola's film "Apocalypse Now".
900 words (approx. 3.6 pages), 4 sources, MLA, AU$ 50.95
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Abstract
This paper argues that director Francis Ford Coppola demonstrates in his film, "Apocalypse Now" that those who kill are no better than those who they kill, if those who are killed are devalued solely because they are portrayed as the inferior "other."
From the Paper
"The Vietnam War was one of the most divisive conflicts in American history. Within the controversy was the question of how many people one has to kill before one becomes a killer. Such valuations are often ignored because of ethnocentrism and the creation of an other, an other that is devalued in order to justify the destruction of life in combat. As Windschuttle argues, the construction of identity in every age and every society involves established opposites and others. This happens because the development..."
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"Apocalypse Now" as an Historical Document, 2004.
This paper considers the historical setting of "Apocalypse Now".
1,130 words (approx. 4.5 pages), 0 sources, MLA, AU$ 63.95
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Abstract
In this article, the writer examines the historical setting of Francis Ford Coppola's "Apocalypse Now". The writer discusses how the film is both a reflection of the times and a response to the times. The writer looks at the plot of movie. In addition, the writer discusses the anti-war theme of the movie.
From the Paper
"Francis Ford Coppola's "Apocalypse Now" was based ostensibly on Joseph Conrad's "Heart of Darkness". Written in two different centuries and with a different point of view-Conrad was writing about the consequences of globalization in commerce, while Coppola used the Vietnam War as a backdrop. Both the book and the film can also be viewed as the personal journey taken by the central character, Willard. In a larger sense however, "Apocalypse Now" represents a departure of the way that Americans ... "
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Coppala?s ?Apocalypse Now? and Conrad?s "Heart of Darkness", 2005.
This paper compares the character Captain Kurtz from Francis Ford Coppala's film "Apocalypse Now" and the character Mr. Kurtz of Joseph Conrad's book "Heart of Darkness", which inspired the film.
870 words (approx. 3.5 pages), 2 sources, MLA, AU$ 49.95
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Abstract
This paper explains that the mission of Captain Kurtz in "Apocalypse Now" was embarked upon because a supposedly good government led him to the jungle, rather than an avowedly rapacious company as in Conrad's "Heart of Darkness", making 'the horror' of what occurs even sharper to the viewer as well as to the captain. It points out that Captain Kurtz thus seems more sympathetic in the film, as opposed to the novel's Mr. Kurtz. The author shows how the movie scene, with the grotesquely deployed human body parts, highlights the inability of the native population, whom Kurtz has been sent to help, to understand the Americans; in contrast, the heads upon the poles by Conrad's Mr. Kurtz merely stresses the dark brutality of the African continent and Kurtz's willingness to make use of native techniques of warfare to enact psychological control over his populace. The paper relates that the madness of Marlon Brando's Captain Kurtz becomes a symptom of the madness of the Vietnam war rather than an act or symptom of a supposed leader's private psychological disintegration as in the book.
From the Paper
"Marlow finds Mr. Kurtz in an obscure location in the interior. Human heads mounted on poles surround Kurtz. But unlike "Apocalypse Now," which also has a scene featuring human body parts, grotesquely deployed, Captain Kurtz's heads were not won in a hypocritical attempt to improve the populace. Mr. Kurtz used them to establish his domination and control over fearful and cowering natives. In contrast, Coppala's Captain Kurtz, although calcified in his heart, and turned brutal and mad by the events he has witnessed, shows a more compassionate side to Willard when the two men discuss Coppala's even more horrific scene of native, human dismemberment."
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"Apocalypse Now" and "Heart of Darkness", 2002.
Discusses the similarities and differences between the movie, "Apocalypse Now" and the novel, "Heart of Novel".
1,900 words (approx. 7.6 pages), 4 sources, AU$ 114.95
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Abstract
Both the novel "Heart of Darkness" and the movie "Apocalypse Now" share the metaphor of a river journey to meet a man named Kurtz. In many senses the two stories are intimately linked. However, they also reveal the differing thematic concerns of their creators and the socio-political environment within which they were created.
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The Apocalypse of John, 2002.
This paper discusses the Apocalypse of John, also known as the Book of Revelation
650 words (approx. 2.6 pages), 1 source, AU$ 42.95
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Abstract
This paper explains that the Apocalypse of John includes the prophecies that God dictated to John, through Christ, by an angel. The author writes that the apostle recorded the hope of the Church and of Israel. The paper reports that John claimed that his book was a prophecy and that he himself was a prophet writing with the authority of divine inspiration.
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Apocalypse Now, 2002.
An examination of Francis Coppola's movie "Apocalypse Now" about the Vietnam War.
640 words (approx. 2.6 pages), 0 sources, MLA, AU$ 36.95
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Abstract
This is an analysis of the use of the Vietnam War as a cultural backdrop in the movie "Apocalypse Now". It outlines how Francis Coppola uses Vietnam War as the basis for cultural differentiation, how the director uses the narrator/ voice over of Willard, and it accounts for two combats during the journey up river.
From the Paper
"Francis Coppola?s Apocalypse Now is one in a series of Vietnam War story. With Vietnam as the cultural backdrop, Coppola presents the bizarre war environment through the behavior of the various characters of the movie especially Kurtz and Kilgore. To make the Vietnam War experience more personal Coppola uses voice over of the protagonist Willard (played by Martin Sheen), transitioning his uncultured, all-American thoughts to gradually one of a soldier in Vietnam. In essence Willard is an assassin sent to terminate the command" of Colonel Kurtz (played by Marlon Brando). But as the plot of the movie develops, one sees Willard unfolding a humanistic side of himself. The opening scene shows he is in a Saigon hotel, awaiting his mission. He thinks how strange it is to kill one?s fellow countrymen in a foreign land. "There were those six that I knew about for sure, close enough to blow their last breath in my face. But this time, it was an American and an officer. It wasn't supposed to make any difference to me, but it did." [Apocalypse Now]. The other characters on the other hand become more chaotic. Their irrational behavior, the result of war pressure and a strange environment, contributed to the violent trip up river."
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"Apocalypse Now", 2002.
A review of the film "Apocalypse Now" directed by Francis Ford Coppola.
1,415 words (approx. 5.7 pages), 0 sources, AU$ 76.95
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Abstract
This paper discusses the film "Apocalypse Now," directed by Francis Ford Coppola based on the book "Heart of Darkness" by Joseph Conran about the Vietnam War. It examines the different themes prevelant throughout such as horror, morality and good verses evil and discusses the accuracy of its historical and political content. It shows how Coppola has a way of meshing all these themes together until they make perfect sense and how one of them alone might be difficult to believe or experience in the film, but together, they form a bond that cannot be broken, one of horror, deception, morality and the question of what is truly good.
From the Paper
"Morality is also a very prevalent theme in the movie. Who is really the moral one here, Kurtz or Willard or the U.S. Army? Not only does the movie question the characters' morality, it questions the entire morality of the Vietnam War. Some of the most horrific scenes are those showing how much some of the commanders really enjoy killing. There is a reason "I love the smell of napalm in the morning" is such a favorite and well-used line from this film. It is because the line conveys all the horror and lack of morality present during the war. It was every man for himself ? not for survival, but for pure selfishness and lack of feeling. When a fighting unit becomes as jaundiced as the men in this film, they are past usefulness, but as the film shows, this is a common occurrence in war ? people lose their morality."
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