Anyone who wants to understand the book of Revelation will find this book helpful, but be forewarned: you may come to regard 'understanding' as a minimal goal. Here James Resseguie applies the easily understandable tools introduced in his primer on narrative criticism to this challenging book. What emerges is that the parts are best understood in relation to the whole, because Revelation is a unified whole. The intention is to offer a readable commentary without the intrusions of intricate arguments or sidebars. Rather, it is a reminder that slaves lit. This literary approach draws out the theological and homiletical message of the book and highlights its major unifying themes: the need to listen well, an overwhelmingly Godcentered perspective, and the exodus to a new promised land. The throne rumbles and belches out thunder 4:5.
The third theme is that of an exodus of God's people to a new promised land. Verbal Threads Verbal threads are repeated words or phrases that tie together a section, even the entire book, and often elaborate a main theme or subthemes of a passage. The woman of chapter 12 is an image of the Church, persecuted by the dragon and subject to the distress and travail of the messianic age, yet protected by God p. Resseguie offers us an exegetically sound example of the value of narrative methodology in action. Previously assigned to the categories of prophetic books or apocalyptic literature, Resseguie now tackles the Revelation of John as a story having a plot, characters, and conflicts that need to be resolved, all leading up to the final denouement. It is rich with observations of verbal parallels and oppositions, it mines the significance of numbers deeply and is particularly strong when it comes to the elucidation of character.
Second, the book stresses an overwhelmingly theocentric perspective we would do well to embrace. Guides to Biblical Scholarship New Testament Series by Mark Allan Powell. The souls under the altar raise loud voices to ask how long they must wait 6:10. Russell Bucher Professor of New Testament at Winebrenner Theological Seminary in Findlay, Ohio. Where many commentators read the text of Revelation as though they know the story in advance, Resseguie leaves the author's story in control. Similarly, the conquerors of the beast stand by or on a fiery sea and sing the song of Moses, the servant of God and the song of the Lamb 15:3.
Where many commentators read the text of Revelation as though they know the story in advance, Resseguie leaves the author's story in control. The introduction to this commentary is a primer on narrative analysis. Here James Resseguie applies the easily understandable tools introduced in his primer on narrative criticism to this challenging book. Some choirs require several similes to capture their exuberance: And I heard a voice from heaven like the sound of many waters and like the sound of loud thunder 14:2 ; I heard what seemed to be the voice of a great multitude, like the sound of many waters and like the sound of mighty thunderpeals 19:6. As he works his way through the text, Resseguie examines closely how Revelation uses such features as rhetoric, setting, characterization, point of view, plot, symbolism, and style to construct its meaning. The 144,000 virgins remain unentangled with the norms, values, and beliefs of the dominant culture 14:4. Resseguie demonstrates his premillennial views in his description of the future, literal, thousand-year millennium on earth after Christ's return.
Two aspects of narrative criticism are emphasized in this commentary. Koester, Luther Seminary James L. For readers without specialized training, the historical-critical approach used in many commentaries can provide more complication than illumination. Much like John's 'interpreting angel' within the book's visions, the author allows us to hear what John heard and see what John saw, so that the sights and sounds of the book mutually interpret and enrich one another. The new Jerusalem reflects the glory of God like a very rare jewel. Stattdessen geht es um die Rhetorik des Textes, seine Entwicklung von Charakteren, die Erzählperspektive, den Plot der Erzählung usw.
The smoke of incense is pleasant 8:4 but the billowing smoke of a great furnace is suffocating 9:2. And to the angel of the church at Philadelphia Jesus says, You have kept my word and have not denied my name 3:8. This is a welcome addition to the growing body of work analyzing the Apocalypse as a narrative, and whether you find yourself agreeing or disagreeing on specific points, you will find a stimulating and well-argued commentary. New Testament professors, many pastors, and seminarians will find this work helpful. Its sometimes confusing but always fascinating visions have evoked many diverse interpretations of this difficult book. This commentary is a breed apart, and a welcome one at that.
Russell Bucher Professor of New Testament at Winebrenner Theological Seminary in Findlay, Ohio. He is the author of several books and articles, including Narrative Criticism of the New Testament: An Introduction and Spiritual Landscape: Images of the Spiritual Life in the Gospel of Luke. In addition to the similes are metaphors: seven stars are held in his right hand and a two-edged sword comes out of his mouth 1:16. Babylon and New Jerusalem are the two choices John offers his readers. The verbal threads of seal and mark accentuate the two choices of the Apocalypse. The second step amplifies and thickens the meaning of the word of God.
It was published by Baker Academic and has a total of 288 pages in the book. How is the masterplot of a people longing for a homeland—exiled in Babylon, confined in Egypt, wandering in the wilderness, journeying to the promised land—worked out in the Apocalypse? Metaphors and similes of sight and sound are complemented by metaphors and similes of taste and smell. As John develops his story, it becomes clear that one of the major themes is of a Church persecuted, yet protected by God. A two-step rhetorical question, voiced by the ones who worship the beast, draws attention to the seeming invincibility of the monster: Who is like the beast? Similarly the unseen God is known only by what he is like in the mineral world: jasper and carnelian with a rainbow like an emerald around the throne 4:3. Diese Methode, die ja ursprünglich für die Analyse moderner erzählender Literatur entwickelt wurde, nun nicht nur für die Evangelien des Neuen Testaments, sondern auch für die Offenbarung des Johannes anzuwenden, birgt sicherlich ein gewisses Risiko—gerade deswegen aber greift man mit einigem Interesse zu diesem neuen Band. Physical Description: 1 online resource 288 p.
As the only book of its kind in the New Testament, Revelation presents interpretive challenges to scholar, student, pastor, and lay reader alike. Not all sounds are ear-piercing, nor are all voices boisterous. In addition to similes and metaphors of sight are similes and metaphors of sound. This literary approach draws out the theological and homiletical message of the book and highlights its major unifying themes: the need to listen well, an overwhelmingly God-centered perspective, and the exodus to a new promised land. He shows how Revelation uses such features as rhetoric, setting, character, point of view, plot, symbolism, style, and repertoire to construct its meaning. The third theme is that of an exodus of God's people to a new promised land. This particular edition is in a Paperback format.