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D. Litt. et Phil. (Theology) / Please refer to full text to view abstract

D.Litt. et Phil. / The aim of this study is to examine Revelations 1-11 in a narratological framework. There are various formal divisions of the Revelation to John. Amongst the formal divisions the narratological division is likewise accepted. Regarding the development of Revelations, a narrative analysis depends upon the viewpoint that the message of Revelations may be perceived as functional. Readers in a specific situation are provided with a supportive message upon which they can rely and according to which they may live (A Y Collins 1994a). The author derives his images and figures of speech, which occupy the central position, from the traditional apocalyptic visions, through the symbol of the cosmic battle. The theological convictions of the writer, which are presented in a narrative form, intend to involve the reader. The sequence of events reveals the plot of the events of Revelations. The reader of Revelations observes the functional application of recapitulation, interjections and symbolism. The events in Revelations 1-11 concentrate primarily upon God, through the glorified Christ, who brings salvation and conviction of the church and cosmos. The salvation through Christ is symbolically revealed in Revelations 1-11. Due to the symbolism in the drama, the book can be divided into three acts. The first act depicts the risen Christ who presents the seven letter-messages to the church. The second act covers the unlocking and unfolding of the sealed scrolls by the Lamb of God. The third act historically describes the warfare between the Lamb and his opponents. The study concentrates upon the first two acts which cover Christ in the church (Rev. 1-3) and Christ in the cosmos (Rev. 4-11). The researcher realises that there are many different divisions of Revelations and therefore intentionally accepts this particular division for this study.

M.A. / An explanation of what I will be doing. how I will be doing. it, and why I will be doing this research is given below. The purpose of this subsection is to enable the reader to have greater clarity regarding the overall objectives of the thesis. Chapter 1: "Ezekiel the Tragedian" The objective of chapter 1 is to examine the link between apocalypse and tragedy as genre forms. The work of Ezekiel the Tragedian belongs to the world of both tragedy and apocalypse. Ezekiel, the Hellenistic Jew, was clearly influence by a Hellenistic genre form (namely Greek tragedy) in his work the "Exodus of Moses" (an inter-testamental work based on the Exodus of Moses as mentioned in the Old Testament). Ezekiel the Jew adapts his message towards his Hellenistic audience. The question one asks is "Could John, the Jew, likewise have adapted his message towards his Hellenistic audience? Could John have used Greek drama to communicate his prophetic-apocalyptic message to his Hellenistic audience?". 1.Biermann and I.Grabe, ibid,lff. "The Exodus of Moses" has significant points of comparison with the Revelation of John. These include a vision of a figure seated on a throne in heaven (a typically apocalyptic scene), seven plagues of judgement, a battle involving huge armies, the Exodus account of the deliverance of Israel, and a chorus who sings choral songs. Ezekiel adapts and develops the Biblical narrative and expresses it in the genre of Greek drama. Chapter2: "Tragedy and the Hellenistic World" The objective of chapter 2 is to examine the evidence of tragedy in Hellenistic times. This will include examining the influence of traaedy in the seven cities of Asia Minor to whom John writes, as well as the Jews and their association with the theatre. The popularity of tragedy will be researched. The use of tragedy in the Imperial cult will be also be examined. The question that needs to be asked is "Would John be influenced by Greek drama in his communicating with the seven churches of Asia Minor? And were his audience in the seven cities familiar with Greek drama?" Chapter 3: "The Elements of _Greek Drama in the 126 -v'@ation of John" The objective of chapter 3 is to examine research regarding the Revelation of John and Greek drama. The research shall be discussed in terms of certain features common to Greek drama (for example acts and scenes, the role of the chorus. the structure, the dramatic actors etc). Furthermore, my intention is to show that a number of reputable scholars have noted significant similarities between the Revelation of John and Greek drama, with some even arguing that the Revelation of John is written in the form of a Greek drama. The viewpoint that the Revelation is written in the szenre of Greek tragedy is a respectable viewpoint and has a noteworthy following. Chapter 4: The Form of the Revelation" The form of Revelation will be compared with the form of Greek drama in chapter 4. The purpose is to see whether noteworthy similarities of form exist between the Revelation and Greek drama. Chapter 5: The Function of the Revelation" The cathartic' function of Greek tragedy and the cathartic function of the Revelation will be examined. The question asked is: "does the Revelation have a cathartic function? and if so how does this cathartic function compare with Greek tragedy? Why would the revelation have a cathartic effect?" Chapter 6: "The Throne Scene" The "throne scene" of chapter 4 following is one of the most important scenes in the Revelation of John. "Throne scenes"are popular accounts in both prophetic and apocalyptic writings 63. In this chapter we shall examine the "throne scene" from the viewpoint of Greek drama, so as to see whether it would indeed be possible to communicate a throne scene effectively in Greek drama practice. `Catharsis means "healing" in lavmens terms. This is abundantly clear in the throne scenes of Isaiah and Ezekiel in the Old Testament, as well as an abundance of throne scenes in inter-testamental apocalyptic writings.