Allusions, Exegetical Method, and the Interpretation of Revelation 8:7-12 (original) (raw)

This dissertation attempts to overcome a signifi cant obstacle to the development of a comprehensive exegetical method that can enable an interpreter to unlock the meaning of such difficult apocalyptic passages as Rev 8:7-12. The first chapter utilizes a survey of previous research to explore four issues whose resolution is vital to the interpretation of the book of Revelation: (1) the sources of the Apocalypse, (2) how the Revelator used them, (3) the language and text tradition of the Old Testament that he used, and (4) the nature and location of Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. his allusions to earlier literature. The literature survey indicates that a major obstacle to the accurate interpretation of Revelation is the lack of an objective method for evaluating the allusions to prior literature that characterize the book. Chapter II opens with a brief outline of a comprehensive exegetical method for the study of the Apocalypse. The bulk of the chapter focuses on a proposed method that can enable interpreters to more objectively evaluate the allusions in Revelation. Through a pains taking analysis of the verbal, thematic, and structural parallels to the Old Testament in Rev 8:7-12, the process of evaluating proposed allusions to the Old Testament is clearly demonstrated. The results of that analysis have implications for many of the issues raised by the litera ture survey of Chapter I. Chapter III offers an interpretation of Rev 8:7-12 in the light of the comprehensive method outlined at the beginning of Chapter II. The imagery of the passage is compared to its context, to the author's sources, and to the overall structure of the Apocalypse. Relevant insights from the first two chapters are incorporated. The resulting interpretations help to illuminate the basic meaning structures of the first four trumpets. Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission. How could I ever find words to thank you all? iii Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.

Trumpeting God's Mercy: A Socio-rhetorical Interpretation of the Seven Trumpets of Revelation

2010

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Interpreting the Book of Revelation: The Textual Basis for a Single Approach

New Torah

This article starts by analysing the origin of the lack of consensus on the interpretation of the Book of Revelation, before giving an outline of the interpretation of the text 'in the Light of the Temple'. If adopted by Biblical interpreters, this new approach would bring about much greater consensus on the interpretation of the Book of Revelation as a whole.

Scriptural Allusions in the Book of Revelation and the Contours of Textual Research 1900-2014: Retrospect and Prospects

This article traces the contours of the past century of discourse surrounding the underlying textual form of allusions embedded in the book of Revelation. Special attention is paid to the rapid developments on this issue in the past thirty years, a period in which New Testament scholarship has grappled with the textual complexity of the Hebrew Bible presented by the scrolls from the Judaean Desert. The question of textual form is of foundational importance for analysing the reuse or interpretation of Scripture in the book of Revelation. Despite this reality, it is common to find assumptions or misconceptions in recent studies that obfuscate the textual reality of the Hebrew Bible and its early Greek versions the first century ce. The appraisal of scholarship on this issue allows scholars to better contextualize their own approaches to the text of allusions in the light of previous research. This analysis also highlights the changing methods and approaches by which scholars analyse the text of allusions and suggests some avenues for future research on the allusions embedded in the Apocalypse.

A Sound Map of Revelation 8:7-12 and the Implications for Ancient Hearers

2018

The Book of Revelation was written for a listening community of faith living in Asia Minor in the late first-century CE. 384 The members of the seven churches were largely illiterate and so their communication would have been oral and aural. 385 Harry Gamble states, "we must assume. .. that the large majority of Christians in the early centuries of the church were illiterate, not because they were unique but because they were in this respect typical." 386 These facts, while acknowledged by recent commentators, have not had a significant impact on the interpretation of the book of Revelation. 387 This can be seen in the various publications that continue discussion of the contextual or non-contextual use of the Old Testament in Revelation, thematic approaches to the book and the deployment of traditional schools of thought in interpretation. 388 According to John D. Harvey, "most biblical scholars continue to examine the NT documents using presuppositions that apply more to nineteenth and twentieth-century literary/print culture than to the culture in which those documents were originally produced." 389 Generally speaking the aural features of this enigmatic book and the role of the lector have been neglected in scholarship even though John pronounces a blessing on both those that read and hear his book (Rev 1:3). 390 More specifically, the passages about the seven trumpets (Rev 8:1-11:19) have been deemed by some to be the most difficult to interpret in Revelation. R. H. Charles says chapter 8 and 9 present "insuperable difficulties." 391 According to Herman Hoeksema, "the interpretation of the trumpets in the book of Revelation is very difficult." 392 Roy Naden confirms that "Revelation 8 and 9 contain the most graphic example of apocalyptic writing in the Bible. The complexity of the imagery has led to more speculative nonsense than can be found written about any other chapter of John's final work." 393 Methodology This chapter will develop a sound map of Rev 8:7-12 in an attempt to uncover fresh meaningmaking potential from this passage. 394 Revelation 8:7-12 is acknowledged as a unit of text that symbolically depicts the blowing of the first four trumpets.

Caught up to God and to His Throne: Restructuring Revelation 11-22

The book of Revelation is acknowledged by many scholars to be a literary masterpiece, yet as Richard Bauckham explains in The Climax of Prophecy, it is also “an extraordinarily complex literary composition.” Consequently, there is very little agreement about the book’s literary structure both as a whole and in its apparent parts. A significant reason for such disagreement is that John does not seem to have used any singularly obvious structure, although many scholars have attempted to prove otherwise. Rather, John seems to have placed numerous and varied structural markers throughout the book, each of which seem to have their own distinctive advantages for discerning the plot, but not necessarily the structure. In light of its extraordinarily complex composition, James B. Jordan suggests in The Vindication of Jesus Christ that it might be best to think of Revelation as a “polyphonic musical composition, in which several melodies are moving simultaneously but with perfect harmony and interaction.” With Jordan’s suggestion in mind, the goal of this paper is to explore only one of Revelation’s apparent “melodies.” After this introduction, we will survey the trajectory of this “melody,” including some ways it will diverge from other reputable “melodies.” I will also explain briefly how that divergence affects our perception of Revelation’s unfolding drama. After that, the literary structure of this “melody” will be outlined, thereby illuminating some significant symmetry within it. Following the outline of its literary structure, a list of textual details will be presented, illustrating further symmetry within the literary structure. The final section will survey some of the themes found in each parallel section of the outline, followed by some concluding remarks. To the degree that this goal is accomplished and my audience is persuaded of its relevance, I also hope that this work will spur further investigation into the polyphonic structure of the entire book, and especially its first eleven chapters, which both time and space will not allow for further discussion in this paper.

The role of composition in the interpretation of the Rider on the white horse and the seven seals in Revelation

HTS Teologiese Studies / Theological Studies, 2004

The article investigates the way in which the author of Revelation composed the seven seals: Formal elements group the seals in smaller patterns. It then explains how this reading of the composition contributes to the process of interpretation by analysing the Rider on the white horse as first seal. Other aspects of the author’s compositional skills are brought into discussion in a last part of the article where the meaning of the Rider on the white horse and the ambiguity of the symbols are discussed.

The Raucous Silence of the Seventh Seal: An Exegetical Analysis of the Greek Text of Revelation 8:1-5

The world watches in absolute helplessness as four supernatural horsemen blaze across the earth. In their wake they leave famines, destruction, death, and war. In the heavenly realm an innumerable multitude of slain Christians stand under a sacrificial altar and cry for justice. The earth is shaken with a great quake, the sun is blotted out, and a full third of the astronomical bodies are removed from the night sky. What is going on? In heaven a book with seven seals is being opened and each seal coincides with an event in reality. As the Lamb breaks the seventh and final seal all of creation inhales and holds its breath in anticipation of the last occurrence. It looks on in terror as it awaits its fate. Then it happens. Silence, absolutely nothing happens…total and utter silence.

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