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I argue that some ancient Jewish sects, specifically the community at Qumran and the early Christians, did in fact write against, speak out against, and interpret ancient tests as being against their fellow Jews, the Temple, Jerusalem or all three. Given the time in which these occurred, I argue that those sects believed that the Roman Empire would be means in which their god would punish/destroy Jews that did not believe as they did, the Temple that did not represent what they thought it should, and Jerusalem as they believed it had become a sinful city. I examine the writings and persons of the Greek Bible. I examine specifics such as the Parable of the Tenants and demonstrate that this was delivered against Jewish leadership and the Olivet Discourse that, like the book of Jubilees, presents a series of tribulations that will fall on a wicked generation, specifically the one living in Jerusalem during the first century C.E. I also demonstrate how the motif of these writings affected the book of Revelation. I examine the prophetic books of the Hebrew Bible and show how the author used them as allusions in regards to the Whore of Babylon that appear in the book of Revelation. In doing so, I demonstrate that the Whore of Babylon is correctly identified as the city of Jerusalem. Additionally I show that the author used Babylon, the ancient foe of Israel, as a metaphor to demonstrate what he believed Israel had become. Lastly, I examine the author, a man named John, and the social world he lived in and the time he wrote during. I demonstrate that the commonly held belief of persecution against the early Christians and the use of Roman religion, such as the imperial cult, has been over stated and has led not only to a misinterpretation of chapters 17 and 18 in the book of Revelation, but they have led to an overall misunderstanding of the book as a whole.

With the rise of extremist fundamentalist groups, such as ISIS, it is important to note similar happenings in other traditions. This thesis traces the interpretive tradition of the Book of Revelation, from its composition in 90 C.E. through the dispensationalist usage of it by John Nelson Darby in the 19th century, and how its modern use by American Christian fundamentalist groups leads to rhetorical violence, including feelings of marginalization and societal targeting, and creation of insider/outsider dynamics with those outside the tradition. While rhetorical violence—language and behaviors that harm others and that occur so regularly that they often become routinized and habitual—does not directly involve killing and enacting of physical violence, it can lead to it. This thesis concludes that the instances of rhetorical violence occurring in mainstream American Christian fundamentalism, such as in Tim LaHaye and Jerry Jenkins’ Left Behind series and the author’s ethnographic case study of a church in Bowling Green, Kentucky, are problematic because of the possibility for physical violence.

The book of Revelation is perhaps the least understood and most controversial text of the Christian Scriptures. Among the mainstream churches, Revelation has been put into the 'too-hard basket.' Among the more fundamentalist churches, it has been used to construct lurid timetables of the 'end-of-the-world.' The reading of Revelation through modern eyes has tended to sever the text's connections to its original first century audience. In particular, the modern understanding of heaven and earth, the modern conceptualization of time, and the modern demarcation between politics and religion produce interpretations of apocalyptic that are alien to the ideology and worldview of its original author and audience. In this thesis I interpret the book of Revelation as looking not to the end of world history, but as an unmasking of the world dominated by the Roman Empire. In other words, Revelation exposes the claims of empire as illusory, and envisions an alternative reality that claims to be revealed and authorized by God. While this understanding runs counter to the modern 'apocalyptic paradigm,' I believe it is in keeping with the 'total conception of reality' in antiquity.

This thesis examines Pieter Bruegel the Elder's Fortitude, 1560, a print from the Seven Virtues series. Fortitude stands out as an anomaly within the cycle because it contains several allusions to the Book of Revelation. The linkage of Fortitude to the writings of St. John is important because it challenges previous iconographic and iconological analyses of the composition. Analysis of Fortitude's compositional elements is provided, along with an examination of the virtue tradition. Additionally, an exploration of sixteenth-century apocalypticism is included, as well as an examination of the artistic influences that may have inspired Bruegel. This thesis concludes that Fortitude's apocalyptic allusions do not seem unusual for an artist familiar with St. John's prophecies, influenced by Hieronymus Bosch, and living in an age of apocalypticism.

This thesis examines the use and interpretation of Revelation in the writings of the contemporary prophets Richard Brothers, Joanna Southcott and William Blake. Contributing to an emerging scholarly interest in the reception of biblical texts within marginalised interpretative traditions, the thesis offers a detailed exploration of how Revelation is incorporated into these authors' prophetic texts, and how it informs the identity of readers who see their activities as bringing about the fulfilment of the text's visions on the historical plane. This aim is achieved by engaging with extant comparative studies of Brothers, Southcott and Blake within historical and literary studies; a comparison with similar contemporary prophetic figures and the contribution of Revelation to their prophetic self-understandings; and contextualising these figures against contemporary constructions of Revelation as a prophetic text, and the recognition of the poetic nature of biblical prophecy in the eighteenth century. In particular, the thesis advocates for the continued exploration of "emic" approaches to these figures, a process started by members of Oxford's Prophecy Project. The thesis thus argues that "prophecy", rather than "millenarianism," is the most appropriate way of characterising these authors' scriptural engagement, and explores how prophecy is understood in their writings to delineate commonalities in their understanding of the prophet's role. Finally, it surveys how Revelation is interpreted within the respective works of the writers who are the focus of this thesis. The conclusion offers a hermeneutical reflection on the relationship between the prophetic interpreter and the texts they engage with. It suggests that the reader who claims to be "inspired" faces a tension between offering an interpretation of the authoritative text, and claiming an equivalent level of authority for their own works. The thesis makes three contributions to existing scholarly debates. Firstly, it demonstrates that attention to these three authors' interpretations of Revelation shows how attention to neglected voices illuminates the history of interpretation of this biblical book. Secondly, it justifies comparing these three authors under the framework of "prophecy", rather than the anachronistic terminology of "millenarianism." Thirdly, it explores their readings of Revelation to shed light on how interpretation of a scriptural text such as Revelation is key to the evolution of prophetic vocation; how Revelation’s images are developed and transformed in their own prophetic texts; and finally, their sensitivity to hermeneutical questions raised by Revelation’s relationship to other biblical texts and the problems posed by its eschatology.

In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.

In this study it is assumed from a central theoretical argument that the Bible based, scripturally true liturgical song, possesses an exceptional bonding structure. The set literary archetypes of the dramatic, epic and lyric - or the dramatical, epical and lyrical - are woven together to form the canvas for the hymnical praise of the worshipping community. The aim of the study is to dissect the relationship in which the archetypes stand to one another and to establish which trans–generical phenomena and movements can be detected in order to determine what their meaning is for liturgical songwriting. This is done on the basis of an analysis of the Book of Revelation, specifically pertaining to the hymnographical corpus in the book. To do this the most obvious meta–theory of this study is the literary theory, while the basis, principles and guidelines of the hymnographical basistheory are determined by theological biblical science. In the first main chapter (meta–theory) of the study the questions of what literature is and whether the Bible is literature, are explored and answered. The conclusion to this is that the Bible is true literature and that this religious script plays a central, unique and prominent role in the progression of the christian–western cultural world. In the process of determining the different approaches to the study of literature, note was taken of the various theoretical assumptions and theories and of the influence that each has and can have on theological biblical scientifical research. In the second main part (inter–disciplinary theoretical aspects) the investigation proceeds from the study of meta–theoretical literary terrain identification to the determining of the connection, link, sym–biosis and synergy between the literary meta–theory and the theological basistheory of this study. Shared and partly overlapping study terrains of the literary sciences and the bibilical sciences are explored. This leads to the demarcation of both an inter–disciplinary and multisubdisciplinary field of study, for which an approach and a method to further explore had to be developed. In the third main part (basistheory) the perspectives gained in the first two parts are unlocked to the advantage of the biblical scientifical study of Revelation. The last book of the Bible is analysed macro–structurally by means of a narratological reading and accompanied by a cursory–exegetic explanation, after which the meaning of the corpus of hymnical microtexts in their context within the macro–structure are further unlocked by means of detailed exegesis. In this way basis–theoretical hymnographical priniciples in Revelation can be identified. These are integrated in the fourth and last main part and are then concretised, using a song as example, in guidelines for hymnography. In this final main part (the outcome of the study) the investigation reaches its set aims as well as the overall goal in that it could be verified that the canvas of the liturgical song should be integrated successfully not only wordperfect, but also Wordperfect in all its facets through literary quality and biblical–principled motivation. This should allow the flame (= liturgical song) of the sacrifice of thanksgiving (= worship) to burn brightly in a time of diverse positions on church song. / Thesis (Ph.D. (Liturgics))--North-West University, Potchefstroom Campus, 2012.

Berge Meere und Giganten (BMG) by Alfred Döblin is a fictional account of future events in which humanity brings about the ruin of western civilization by its own technological hubris. Although BMG has been examined considerably for its literary merit in light of the Döblin corpus, few scholars have identified Döblin's work as an apocalyptic text especially after the Judeo-Christian tradition. The apocalyptic nature of BMG implies a profound religious experience on the part of the author, which in my view offers at least one plausible explanation for Döblin's repeated fixation with BMG. In my thesis, I explicate the apocalyptic themes of BMG by considering the intertextuality of the apocryphal Book of the Watchers, the canonical Book of Revelation from the New Testament with some of its connections to Babylonian mythology, and finally the function of the author as a conduit of the literary tradition of apocalypticism. Ultimately, I demonstrate that BMG draws heavily from these apocalyptic texts and is consistent with the Judeo-Christian apocalyptic tradition, which utilizes the descriptions of macroscopic catastrophes in human history as a metaphor of spiritual transformation.

Anyone familiar with the Rastafari movement and its connection with the Bible is struck by the prevalence of I-locution found in them both. Because the phenomenon is important in the canonical Testaments, more so the New, this study seeks to investigate its significance in certain epistolary pieces (Romans 7 :14-25 ; 15 :14-33), the bio-Narratives and the Apocalypse, in their historical and cultural milieu. The next stage of the investigation then compares the findings of the aforementioned New Testament books with corresponding statements of the Rasta community to determine their relevance for the ongoing Anglophone theological discussion. In this connection, the following questions are addressed: (1) what are the inter-textual link(s) and function(s) of the `I' statements in Romans? (2) How do they relate to similar dominical sayings? And (3) can any parallel be established between the language of Rastafari and these? In sum, the study seeks to bring into critical dialogue the permutative `I' of the NT with the self-understanding of Rastafari. / NEW TESTAMENT / DTH (NEW TESTAMENT)