By Judith Kovacs, Christoper Rowland
This ground-breaking remark on "The Revelation to John" (the Apocalypse) finds its far-reaching impression on society and tradition, and its effect at the church in the course of the a long time. This identify explores the far-reaching impact of the Apocalypse on society and tradition. It exhibits the book's impression at the Christian church throughout the a while. It seems to be at interpretations of the Apocalypse via theologians, starting from Augustine to past due 20th century liberation theologians. It considers the book's results on writers, artists, musicians, political figures, visionaries, and others, together with Dante, Hildegard of Bingen, Milton, Newton, the English Civil battle radicals, Turner, Blake, Handel, and Franz Schmidt. It offers entry to fabric no longer on hand somewhere else. it's going to entice scholars and students throughout a variety of disciplines, in addition to to common readers. additional information approximately this sequence is accessible from the Blackwell Bible Commentaries website.
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Extra info for The Apocalypse of Jesus Christ
D. Roosevelt and composed in exile from the Nazi terror in the 1930s. The ﬁnal movement, entitled ‘The Four Horsemen’, complements an earlier movement inspired by the Golden Calf story in Ex 32. The only setting of the whole Apocalypse is Franz Schmidt’s oratorio The Book with Seven Seals, ﬁrst performed in Vienna in 1938. Schmidt describes the breaking of the ﬁrst seal as the proclamation of the Christian message which is followed by chaos, reﬂecting a pattern of interpretation that goes back at least to Victorinus (Schmidt 1938, and see below on Rev 6).
Bale offered a reﬁnement of the Augustinian appropriation of the two cities doctrine (Bale (1849): 252), whereas Brightman’s use of the Apocalypse (taken up later by Joseph Mede) is very much in the tradition of Joachim of Fiore, as he aims to understand the sequence of the periods of history and the position of the present Tudor state in God’s providential ordering (Bauckham 1978; Firth 1979: 32–68, 150–79). Reaction to such application of the Apocalypse to contemporary history is reﬂected in Roman Catholic commentators like Francisco Ribera (1537–91), Luís de Alcázar (1554–1613) and Robert Bellarmine (1542–1621), who resorted to preterist or futurist interpretations in order to counteract this ‘actualizing’ method of interpretation (Wainwright 1993: 62–3; Armogathe in McGinn 2000: 190–1), though Bellarmine did claim that the demonic ﬁgure who rules over the pit in Rev 9:11 refers to Luther and Lutheranism (in Newport 2000: 69).
Mede’s Clavis Apocalyptica (The Key of Revelation) is divided into two parts; the ﬁrst, more important part provides the hermeneutical key based on synchronisms, and the second gives an example of how to apply it. Many in the seventeenth century thought Mede’s own application of his method pointed to imminent fulﬁlment within a generation or two (though Mede himself was always extremely guarded about this). Mede’s emphasis on ‘synchronisms’ anticipates interpretative approaches that have had wide currency in modern scholarship, and it also resembles to some extent the recapitulative method of earlier interpreters such as Victorinus and Joachim of Fiore.
The Apocalypse of Jesus Christ by Judith Kovacs, Christoper Rowland