The last music on earth: prehistory and the function of music in The Road by Henry Dale

“…The Road tells the story of an unnamed man and boy as they travel south in a post-apocalyptic wasteland, empty of nature, life and safety. …”
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La nature et les ruines : anciennes présences humaines dans le récit climatique de science‑fiction by Rémi Auvertin

“…Built at the intersection of different cultural models (the climatic or archaeological imaginary, the post-apocalyptic city, the dead city), these everyday landscapes, reclaimed by nature, crystallize the anxiety of a non‑return. …”
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Of Cats and Crones: Hope and Ecofeminist Utopianism in Leonora Carrington’s 'The Hearing Trumpet' by Mariana Cruz

“…It argues that, in projecting a post-apocalyptic vision of a planet devastated by human activity, and by simultaneously addressing questions of social marginalization and intersectionality, 'The Hearing Trumpet' shows an early form of ecological awareness that rethinks human-animal interactions while anticipating concerns with ecological justice.…”
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Une constellation nommée Argo – L’errance dans la science-fiction vidéoludique by Jean-Charles Ray, Simon Laperrière

“…Be it in Mad Max (Miller, 1979), Ulysses 31 (Chalopin & Wolmark, 1981) or Farscape (O’Bannon, 1999), the wanderer is an important figure of science-fiction. Post-apocalyptic worlds, unknown constellations and parallel dimensions, as futuristic terrae incognitae, allow for never ending, wanderings stamped by randomness, danger and a loss of ////. …”
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Apocalyptic Nostalgia in the Prologue of Don DeLillo’s Underworld by Randy Laist

“…DeLillo's fictions commonly depict the post-apocalyptic sensibility Kermode and Baudrillard describe; a historical transition from the conventional kind of apocalypse - the end that will happen - to the postmodern variety - the end that is always already happening. …”
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Du Transperceneige de Jacques Lob et Jean-Marc Rochette à Snowpiercer de Bong Joon-Ho : une inspiration mutuelle entre arts visuels dans le domaine de la science-fiction. by Suk Hee Joo

“…The release of the movie Snowpiercer, directed by the Korean Bong Joon-Ho, occurs in 2013, about twenty years after the publication of the post-apocalyptic graphic novel Le Transperceneige, which was created by Jacques Lob and Jean-Marc Rochette. …”
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Dark Pastoral: Material Ecocriticism in the Anthropocene by Heather I. Sullivan

“…By studying together the jarring contrasts of, on the one hand, total catastrophic rubble that may unintentionally reveal naïve visions of cultural power in popular post-apocalyptic texts and films and, on the other hand, the traditional (and poignant) ideals of “nature” as a former (deemed lost) blue-green place of harmony that often purposefully dissemble power structures behind utopian settings, the dark pastoral is well armed with diverse strategies for exposing the dynamics of power and agency in relation to material nature-culture.…”
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The Legacy of Nineteen Eighty-Four: British Dystopias, from 1984 to the present day by Claire Wrobel

“…As such, British dystopias since 1984 display close links with genres such as post-apocalyptic fiction and climate fiction. Recent dystopias however never lose sight of the political, whether in the new forms state authoritarianism may take or in the deadly effects of fragmented plutocracies.…”
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“Justified in the World”: Spatial Values and Sensuous Geographies in Cormac McCarthy’s The Road by Anthony Warde

“…Like many of McCarthy's previous works, The Road employs mapping motifs to explore the distinction between space and place, and to represent protagonists' struggle to both master and move through space. In the post-apocalyptic world of the novel, however, maps are associated with a visual, abstracted and purportedly objective understanding of space that is shown to be both illusory and wholly inadequate.[3] In place of traditional cartography, The Road asserts a more holistic human or sensuous geography, a manner of constructing space that highlights the interaction (and interdependence) of the human body and its surrounding land, rather than the dominance of the former over the latter.…”
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Countersurveillance Aesthetic: The Role of Fashion in the Reappropriation of Identity by Irene Calvi

“…Although the description of “post apocalyptic designs” might seem catastrophic, it is quite the opposite. …”
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Gust. by Poh, Zi Qun.

“…An adventure drama comic set in a fictional post-apocalyptic desert, Gust is also an intensive concept design project started with an animation preproduction process, and ends with a product in comic book form, in which materials produced in the porcess are equally compatible and can be adapted into animation, film or other mediums. …”
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Distortion, Messianism, and Apocalyptic Time in The Satanic Verses by Clara Eisinger

“…Apocalypse and the post-apocalyptic are not therefore to be feared but to be reached for: worthy achievements for those individuals who can survive the risk, the compression, and the disorientation to emerge in a ‘post’ that is not a wasteland but a realm of ceaseless energetic creation—a realm which allows migrants to construct for themselves better lives in the 21st century world.…”
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The Nature of Irrevocability: Anthropocene Nostalgia in Hayley Eichenbaum’s Photography Series The Mother Road by Alicja Relidzyńska

“…Building on previously conceptualized traditions as codes of reference, Eichenbaum reinterprets the representation of Route 66 by playing with its iconography, creating images which evoke desolate, quasi-post-apocalyptic landscapes. With the use of synthetic colours, digital manipulation, kitsch imagery, and mindful deconstruction of past aesthetic strategies, the analyzed series demythologizes the past and displays the loss of both nature itself and of pre-Anthropocene perception.…”
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Ethics of Being in Cormac McCarthy’s The Road by Aylin ALKAÇ

“…The Road is a post-apocalyptic novel by Cormac McCarthy, narrating the journey of two unnamed characters, a father and a son, through the devastated American landscape in the aftermath of a catastrophe, the nature of which remains unspecified throughout the narrative. …”
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Pushkin’s Myth in the Novel "The Slynx" by T. Tolstaya: the Trickster, Buratino and “Our Be All” by Natalia Kovtun, Maria Larina

“…The author adeptly blends factual and non-factual elements of the poet’s biography, including lines from his texts and allusions, and Pushkin becomes the central reference point justifying the post-apocalyptic city-world. This is achieved by analogy with the Book of Genesis and resembles a primer filled with puppet figures and farce. …”
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Crossing Human Boundaries: Apocalypse and Posthumanism in Margaret Atwood’s Oryx and Crake and The Year of the Flood by Valeria Mosca

“…The two works share a complex structure in which scenes from different moments in the future follow one another. A post-apocalyptic narrative line is intertwined with one that depicts events from a nearer future, all of them leading up to an environmental catastrophe of huge proportions. …”
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Myth And Fantasy in Margaret Atwood’s Maddaddam Trilogy by Canan Şavkay

“…Referring to Mircea Eliade’s concept of humanity as a species marked by a desire to distinguish the sacred from the profane, Atwood, in the last novel of her trilogy, Maddaddam, increasingly drawsparallels between biblical beginnings and her post-apocalyptic fictional world, as the narrative places the fate of the human survivors within the context of the Old Testament. …”
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Catastrophic aftermath: the loss of sight as a process of becoming posthuman in contemporary audiovisual culture by Charvát, Martin

“…If Western philosophy traditionally defines man as an animal possessing reason and at the same time an animal in which the different senses are in balance, the loss of sight and the respective post-apocalyptic environment in which survivors exist without the possibility of seeing, on the one hand, outlines a process that could seemingly be considered degenerative or decadent: without sight, man is not man and approaches the animal. …”

Inheritance after Apocalypse: the Dystopian Environment by Serban Dan Blidariu

“…However, once those notions were left behind, even dystopias started to imagine events happening in a post-apocalyptic situation. One such dystopia is The Road, a novel about the struggles of a father and a son trying to survive after an unnamed cataclysm. …”
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Chris Baker’s Kokopu Dreams: A Prophetic View of a Disrupted Post-Pandemic World by Paola Della Valle

“…His work could be labelled as “speculative fiction” and placed among the umbrella categories of magic realism, science fiction and post-apocalyptic fiction. Set in Aotearoa New Zealand, the story focuses on the life of the few human survivors of a rapidly-spreading deadly illness caused by the rabbit calicivirus, illegally introduced into the country. …”
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