This dissertation examines the relationship between martyrdom and divine retribution against the martyr's persecutors in the book of Revelation. The argument is made that Revelation portrays martyrdom as an impetus of Divine retribution against the persecutors of the martyrs. Chapter 1 traces the trend in recent scholarship to view Revelation's portrayal of martyrdom as contributing to the conversion of the nations. Basic assumptions of this view are discussed, as well as some replies from traditionalists. Chapter 2 discusses the methodology and sources used to defend the thesis. A discussion of intertextuality in the book of Revelation leads to the conclusion that the Old Testament, and particularly the prophetic tradition of Israel, is the primary background. The genre analysis leads the author to adopt a modified idealist approach to the symbolism of the book. Chapter 3 argues that martyrdom is the confirmation of the saints' testimony against the persecutors of the church. It is argued that the concept of witness is drawn from the background of God's legal contest with the nations in the Old Testament prophets. The climax of the witnesses' testimony is their martyrdom. Chapter 4 argues that martyrdom determines the sentence against the persecutors based on the lex talionis. The persecutors of the church seal their own fate by striking down God's faithful witnesses. The evil of persecution that leads to martyrdom is exacerbated by the identification of Christ with his witnesses. The vindication of the martyrs is also the vindication of their witness to Christ. This dissertation contends that Revelation's theology of martyrdom should not be conformed to Paul's theology of suffering, but should be understood as a complement to it. John's encouragement is not that the blood of the martyrs is seed, but that the blood of the martyrs is precious to Christ, who will avenge it in God's time. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

M.Litt. et Phil. / The role of the Spirit in the Eschatological Ethics of Revelation was a topic that has given me Great Joy to learn in the book of Revelation the role of the Spirit, Eschatology and Ethics. In this book I have discovered the plan of Salvation which was laid before the foundation of the World in a very clear manner. God, The Master of the universe, revealed to John the final story of this world's history, at the Isles of Patmos. The Trinity is well explained and even their duties as the God Head. God The Father, God The Son and God The Holy Ghost of which my dissertation is looking at the office or the role of the Spirit in the Second Coming of Christ. From Genesis to Malachi, it is God the Father who revealed himself to mankind, and from Matthew to Acts 1 : 8., It is God the Son who came in person to reveal God the Father and from Acts 1:9 to Revelation it is God the Holy Spirit who will teach us all that God the son could not finish teaching us. The Script is divided into Five Chapters which are the orientation into the book of Revelation, the theology and the ethics of the book of Revelation, the Eschatological Ethics in Revelation, the Holy Spirit in Revelation and the role of the Spirit and the Eschatological Ethics of Revelation, which is the theme of this script. Then we have the conclusion of the script. There are very few books written on Revelation and let alone on the Spirit but I have tried to outline the role of the spirit in this great book of the Bible and I hope to research further on some issues that are hard in Revelation. It is the book that summarises the history of the World Kingdoms in only 22 Chapters and I have limited mine to only Five Chapters. The Spirit has played the greatest role in Revelation because according to plan it is the time for it to play its role. The last events of this world will be shocking, the devil is angry. In the book of Revelation God calls Himself as the King of kings and Lord of Lords. He is the Almighty God. All creation own their existence to Him. It was one book of the Bible I did not like reading, but the research has helped me to develop some liking for the book. It is the book for our modern generation and unlike the book of Daniel which was to be put away until the end times, this one is to be read and a blessing is pronounce to the one who will read the book. We need to read this book very much and books that are in context should be written about the book. The few books that have been written on Revelation are not all very relevant. They miss the point. Most of them need well researched books to make clear the mysteries that are in Revelation and the Bible explains itself even in other books of the Bible which can also be used to explain the book of Revelation. The book of Daniel even though its in the old Testament, it has a lot in common with the book of Revelation. The book of Revelation opens for the reading of the book of Daniel in the old Testament and for one to understand Revelation well, one needs to read the book of Daniel together with Revelation. The beasts in Daniel are the beasts in Revelation. Even though some people would want to divide the old and the new Testament, they are the same and they interpret each other very well. The new testament has a lot of old testament quotations. I am trying to correct some misinterpretation of some verses found in the Book of Revelation and It will be good for any one who will read this script to read it carefully and critically because in the field of learning we learn by making mistakes and your input will be appreciated. In Revelation the devil is being given the last warning and all those that need life are called to come out of Babylon the Mother of all Harlots because if we do not come out of her and keep the commandments of God, then we will drink of the wrath of God which will be poured without a mixture for all those that worship the beast and its image.

M.A. (Bible Studies) / Recent New Testament research has proved that the Apocalypse should be treated as a full literary text. The application of narratological insights on plot development. focalisation/point of view and reader response as well as employing some insights from the socio-cultural milieu, enables the text as dramatic narrative to deliver its own message more dynamically. The reader becomes involved in this dramatic narrative in the performative use of language. With this in mind, the structure of Revelation can be compared with a music composition in three acts. The social context and rhetorical- situation are functionally reflected in the language which serves as a catharsis in assuring that God is in control of church, cosmos and history ...

D.Litt. et Phil. / In the words of du Rand (1997:1), ' ... theology is the primary unifying thread in the narrative of the Apocalypse'. The reason for this is the God who occupies centre-stage in the book. God hold the entire book in His hand. Everything is linked to Him. The next step is to appreciate how God gives both a particular perspective and then a resultant thrust to the book. This perspective on life, history and salvation is called the world-view (Weltanschauung) in this thesis. It's the view from the position of transcendence. Yet unlike deists or the pagan helpless gods, the God of the Bible (which is also the God of the Apocalypse) is directly involved in the affairs of this world. This is true from creation in the past, the sustaining process, the saving reality and ultimately the terminating of history. It's at this point that this thesis chose the word 'influence' to be part of its title. It is God who initiates, sustains and terminates matters in the theological thrust. The theological thrust is not a mere evolutionary development or a dialectical process. God in His transcendence enters the process and thus becomes 'immanent'! 'The reader gets the impression that the whole drama originates with God on his throne, coming to earth through the Lamb, as God's agent, and concludes with God on his throne'. (Du Rand, 1997:4). Crucial to God's influence is the agency of the 'Lamb'. 'Christ's sacrificial death belongs to the way God rules on earth. What has been accomplished in heaven, namely God's reign, is visibly manifested on earth through the slaughtering of the Lamb' (Du Rand, 1997:11). The method is that of triumph through suffering, first - with apparent defeat. Then comes resurrection at the hands of God - an intervention of God as He accomplishes His purposes. This mode was demonstrated in the death and resurrection of Jesus. In turn - this becomes the model to the Church as it triumphs through suffering (See Rev.11:1-11).

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.

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

M.A. / In this study the question on the eschatology of the New Testament is handled. Most New Testament scholars never try to compare the eschatology of Paul with the eschatology of the book of Revelation. Can this two works be compared or are they so different that they cannot be compared? There was a remarkable development in the eschatology of the period between the two testaments and even during the duration of the New Testament. These influences are considered to make a comparison between the writings of the early church and the Jewish people.The writings of Paul were by no means written to give a full eschatology but the letters is full of eschatological thoughts. The Apocalypse of John on the other hand is so full of eschatological meaning that almost the whole book has to do with eschatology. To compare these two is therefore very significant. It is considered that the two writing had one common source of apocalyptic thought. The development within the Jewish thought also shed some light on the meaning of some of Paul's doctrine. The two different settings in which the two authors lived also played an important role. Although both authors experienced persecution in some sense, the question that arises is if they perceived it different from each other's experience. The method used in the study is the literal comparison method. The two works is compared on the grounds of literal differences as well as the exegetical differences. The apocalyptic traditions of the Jews and the early Christians also are brought into view. The backgrounds of the writers are considered although not much is known about John who wrote Revelation. The influences of the Greek and Roman cultures play an important role to understand the development of the eschatological thought.It seems that there is much more conformity between the letters of Paul and the book of Revelation than what most people think. The purpose of the two works is different and many times the eschatology of Revelation is not included in the eschatology of the rest of the New Testament because of its symbols and images. Paul's strong Jewish background played an important role in his eschatology. The Pauline readers had an expectation for the coming of Christ but the crisis that is experienced in Revelation gave the readers an ever-greater expectation for the coming of the Son of Man. The cosmic occurrences and al the symbolism adds up to a great end in the Final Age. Those who persevere the enemies of God and serve the only one true God will be rewarded justly. The study can to the conclusion that behind the two eschatological works lies a common tradition, which developed from the apocalyptic thought of the early Christian age.

Thesis (MTh)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: This research aims to trace the exodus motif in the book of Revelation in general and Rev. 12-20 in particular, and to examine the socio-rhetorical function of the use of the exodus motif. Our hypothesis is that Rev. 12-20 constitutes a coherent unit in terms of narratology and that the exodus motif plays a significant role in forming the structure and the message of the book of Revelation, specifically of Revelation 12-20. Significantly, the song of Moses and the Lamb in Rev. 15 plays a pivotal role in the development of the thread of the chapter 12-20 as a plot. In the chapter 2, an overview of the history of interpretation of Revelation is provided and also the limitation of current studies of the song of Moses is highlighted. In addition, a new approach to the song of Moses in Revelation is suggested. The main goal of the chapter 3 is to examine Rev. 12-20 according to four narrative elements and from which Rev 12-20 can be deduced as a discrete literary unit constituting a plot. It will be argued that Rev. 12-20, as a plot, is highly stylized in the chiastic structure which has the song of Moses and the Lamb at the centre. Chapter 4 investigates Exod. 1-15 as a coherent story and explains how the author of Revelation adopts the exodus motifs in forming both the theme and the structure of Revelation. Moreover, it will be argued that the exodus motif generated certain sociorhetorical meanings to the audiences or the readers who were assimilated into the Roman Empire. For understanding the socio-rhetorical meanings, we examine the socio-rhetorical context, namely Asia Minor as part of the Roman Empire, and deal with the socio-rhetorical role of the exodus motif in the book of Revelation. In the chapter 5, firstly, drawing on the theoretical assumptions from social psychology, we build up a framework in which we can deal with Rev. 12-20 in terms of identity issues. Then, the covenantal identity based on the covenant in the book of Exodus will be suggested as an alternative identity. Thus, the exodus motif in Rev. 12-20 challenges the assimilated identity of the audiences or the readers to be renewed in the covenantal identity, so that they may be holy apart from the culture and the structure of the Roman Empire. The song of Moses and the Lamb reinforces the covenantal identity. / AFRIKAANSE OPSOMMING: Hierdie navorsing ondersoek die gebruik van die eksodus-motief in Openbaring in die algemeen en in Op 12-12 in die besonder, terwyl dit ook die sosio-retoriese funksie van hierdie motief bestudeer. Die hipotese is dat Op 12-20 in terme van narratologiese analise ‘n koherente eenheid beslaan, en dat die eksodus-motief ‘n betekenisvolle rol speel in die struktuur en boodskap van Openabring, en Op 12-20 in besonder. Verder is dit betekenisvol dat die Lied van Moses en die Lam in Op 15 ‘n kernrol speel in die deurlopende lyn van Op 12-20 as plot. In hoofstuk 2 word ‘n oorsig oor die interpretasiegeskiedenis van Openbaring aangebied en beperkinge ten opsigte van huidige studies oor die Lied van Moses beklemtoon. In aanvulling daarby word ‘n nuwe benadering ten opsigte van die Lied van Moses in Openbaring voorgestel. Die hoofdoel van hoofstuk 3 is om Op 12-20 aan die hand van vier naratiewe elemente te ondersoek. As resultaat kan Op 12-20 as diskrete literêre eenheid sowel as die plot van Openbaring beskou word. As plot vertoon Op 12-20 ‘n noukeurige styl, met chiastiese strukture waarvan die Lied van Moses en die Lam die middelpunt vorm. Hoofstuk 4 ondersoek Eks 1-15 as koherente narratief en verduidelik hoe die outeur van Openbaring die eksodus-motief in die vorming van beide die tema en struktuur van die boek ingespan het. Die eksodus motief sou ook sekere sosio-retoriese betekenisse onder die gehore of lesers wat met die Romeinse Ryk geassimileer was, gegenereer het. Twv die beter verstaan van sulke sosio-retoriese betekenisse, word die sosio-historiese konteks naamlik Klein-Asië as deel van die Romeinse Ryk bestudeer. Vervolgens word die sosio-retoriese rol van die eksodus-motief in die boek van Openbaring behandel. In hoofstuk 5 word eerstens van teoretiese uitgangspunte binne die sosiale sielkunde gebruik te maak vir die konstruering van ‘n raamwerk om identiteitsake in Opn 12-20 te hanteer. Vervolgens word verbondsidentiteit soos dit voortvloei uit die verbond in Eksodus as alternatiewe identiteit voorgestel. Die eksodus motief in Op 12-20 daag die gehore of lesers van die boek uit om hul verbondsidentiteit te hernu, sodat hulle heilig en dus anders as die kultuur en strukture van die Romeinse Ryk kan wees. Die Lied van Moses en die Lam versterk Openbaring se gehore of lesers se verbondsidentiteit.

D.Litt. et Phil. / Revelation has received much attention throughout the nearly two millennia since its acceptance into the Christian canon, and interest in it is escalating as the twenty-first century approaches. Recent scholarly work has served as a corrective to the excesses of popular thought about the Apocalypse, but much more needs to be done. The theocentricity of Revelation makes imperative to seek the mysterious One Who Sits on the Throne in the center of heaven. Narratology and in particular characterization forms the foundation of this historical-critical, inductive study. Its purpose is to discover the characterization of God through the interdividual relationships between God and the non-divine characters. Interdividuality emphasizes that characters are developed in essential relationships with others. God's character as depicted in Revelation is developed through interaction with all creation. Non-divine characters receive their identity from the One Who Sits on the Throne. Their response to their Creator shapes the hearer/readers' perception of God who is both revealed and shrouded with mystery through the apocalyptic visions recorded by a Christian prophet named John. The non-divine characters of Revelation are divided into four categories: People, Satanic Forces, Heavenly Beings, and "Women". The characters of each category are examined and their characterization established from both direct and indirect characterization perspectives. The characterization of God resulting from their interrelationship is then noted. The People of Revelation can be divided into two categories: those who follow Satan and those who follow God. The decision of who is Lord is the focal point of the Apocalypse. Although the narrative does not downplay the difficulty of following God the rhetoric is far from neutral. The story constantly confronts the hearer/readers with the necessity to shun the deceptive allure of the Dragon's false world and embrace the more difficult path to the New Jerusalem. God's faithfulness, love, mercy, power and holiness are revealed through relationships with and provisions for both sinner and saint. God is Creator of all and sovereign King, understanding Father and faithful Husband, merciful Judge and worthy Lord.

This analysis of apocalyptic rhetoric brings nine generations of the written text of the Johannine Apocalypse into a contemporary (1989-1994) framework which includes phenomena such as self-determination, mutual interdependence and psychoterror. The discussion is mediated by disciplines and backgrounds of Religion and Literature. The critical method is religio-literary. Literary themes from the Johannine Apocalypse, especially themes of annihilation, torment, blessedness and rapture, structure the discussion. These themes are related to ideas of self-determination such as were proclaimed at the United Nations World Conference on Human Rights (UNWCHR), Vienna, 1993. The discussion questions the axioms of self determination, especially the matter of indivisibility which came to issue during UNWCHR, Vienna, 1993. Some policies and practices of the Australian government's human rights activities are discussed. Attention is then redirected to the Johannine Apocalypse as a polyvalent source of apocalyptic ideation and a source of social empowerment.