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akademiskacademic quarterkvarterTransgression as Tragic TypologyMia RendixAnd I John saw the Holy City, New Jerusalem, comingdown from God out of Heaven, prepared as a Brideadorned for her Husband.And I heard a great voice out of Heaven saying, Behold,the Tabernacle of God is with men, and He will dwell withthem, and they shall be His people, and God Himself shallbe with them, and be their God.And God shall wipe away all tears from their eyes; andthere shall be no more death, neither sorrow, nor crying,neither shall there be any more pain: for the former thingsare passed away.And He that sat upon the throne said, Behold, I makeall things new. And He said unto me, Write: for thesewords are True and Faithful.And He said unto me, It is done. I am Alpha andOmega, the Beginning and the End. I will give unto himthat is athirst of the fountain of the Water of Life freely.Cosmos has been restored - the apocalypse is a monumental transgressionin a processual meeting between destruction and reconstruction,a dissolution of the dominating norms, values, moralsand ethics, which are unhealthy and sinful for a (Christian) society’swelfare and its citizens’ correct development. The intention of thistransgressive action is individual and collective invigoration. As aresult the resurrection in the American translation becomes the fusionof the individual salvation beyond death and the great collectiveand national hope of the future kingdom. The legitimacy andvalidity of the apocalyptic mythology is found in the paradigmaticand ritual repetition, which offers an absolute clarification of humanexistence. The mythos, as the apocalypse, becomes a series of repetitiousactions that culminates in an apocalyptic scenario - a scenariothat nullifies all the painful human contradictions and tribulations.The apocalyptic myth articulates an unequivocal and authoritativemeaning or truth, a harmonic vision of cosmos. In other words, theapocalypse offers a special sense of being and insight, in which humanbeings can reach ontological clarification. But how does theapocalyptic transgression of tragedy and the tragic manifest itselfin American drama as represented by Eugene O’Neill’s Mourningbecomes Electra and Tony Kushner’s Angels in America?Volume03 216