By Tina Pippin

Apocalyptic Bodies lines the biblical notions of the top of the realm as represented in historic and smooth texts, artwork, track and pop culture, for instance the work of Bosch. Tina Pippin addresses the query of the way some distance we, within the overdue 20th century, are able to analyzing 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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2 Detail from Jehu’s Companions Finding the Remains of Jezebel (1865) by Gustave Doré: “But when they went to bury her, they found no more of her than the skull and the feet and the palms of her hands” (2 Kgs. 3 Detail from the Flemish Apocalypse (c. 1400 CE): Jezebel and her followers in bed together (Apoc. 2:22) Source: Bibliothèque Nationale, Paris. 37 JEZEBEL REVAMPED beautiful in its silence and separation from her body. The severed head is veiled here; in the picture of the previous scene of Jezebel being thrown out of the window by the eunuchs, Jéhu Fait Précipiter Jézabel, her hair is loose.

2 Sign on a public swimming pool in Smithfield, North Carolina, in the 1960s Source: Photo by the author. 16 CROSSING THE APOCALYPTIC BORDERS Antonio Gramsci wrote from prison that “the consciousness of what one really is [entails] ‘knowing thyself ’ as the product of the historical process to date which has deposited in you an infinity of traces, without leaving an inventory” (1971:324). Apocalypse, like the story of a life writ large, is an infinity of traces, of infinite horror and joy, infinite salvation and damnation.

In other words, intertextuality is grounded in a social context/community with certain dominant assumptions about how the world operates. ” As John Frow states, “Texts are therefore not structures of presence by traces and tracings of otherness. They are shaped by the repetition and the transformation of other textual structures” (1990: 45). Jezebel is not an image but images, a plural form. The whoring Jezebel is of course the most seductive image. In discussing seduction and prostitution in Flaubert, Ross Chambers writes: “In the homosocial world, literature must pose, in order to gain acceptance, as a figure of powerlessness, helpless or charming: a child or a woman….

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