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Soundscape, weeping scenes and the constructs of resistance in Revelation 18
Thesis (PhD)--Stellenbosch University, 2024.
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Stellenbosch : Stellenbosch University
2025
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| _version_ | 1867613801012002816 |
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| access_status_str | Open Access |
| author | Michael, Matthew |
| author2 | Punt, Jeremy |
| author_browse | Michael, Matthew Punt, Jeremy |
| author_facet | Punt, Jeremy Michael, Matthew |
| author_sort | Michael, Matthew |
| collection | Thesis |
| dc_rights_str_mv | Stellenbosch University |
| description | Thesis (PhD)--Stellenbosch University, 2024. |
| format | Thesis |
| id | oai:scholar.sun.ac.za:10019.1/131834 |
| institution | Stellenbosch University (South Africa) |
| last_indexed | 2026-06-10T12:41:54.752Z |
| license_str | Other — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository |
| publishDate | 2025 |
| publishDateRange | 2025 |
| publishDateSort | 2025 |
| publisher | Stellenbosch : Stellenbosch University |
| publisherStr | Stellenbosch : Stellenbosch University |
| record_format | dspace |
| source_str | SUNScholar — Stellenbosch University Repository |
| spelling | oai:scholar.sun.ac.za:10019.1/131834 Soundscape, weeping scenes and the constructs of resistance in Revelation 18 Michael, Matthew Punt, Jeremy Stellenbosch University. Faculty of Theology. Dept. of Old and New Testament. Christian life -- Biblical teaching Bible -- Revelation Church and social problems UCTD Thesis (PhD)--Stellenbosch University, 2024. ENGLISH SUMMARY: The dissertation engages the acoustic poetics of the book of Revelation by examining the strategic use of sounds as a subversive instrument of resistance in Revelation 18. It interrogates Revelation in the construct of its animated soundscape, and the lethal appropriation of this sensory space for its subversive polemics against Rome in the double ciphers of Babylon and the Prostitute. While past scholarship has generally ignored the central importance of weeping scenes in the study of Revelation, this dissertation underscores the acoustic poetics of the weeping scenes and the subversive deployment of city-laments for the purpose of resistance in Revelation 18. Using a sound-centred approach, it repositions the studies in Revelation, and apocalyptic literature in general for an interdisciplinary conversation with the emerging field of sound studies. Thus, the first chapter of the dissertation introduces the critical importance of soundscape and weeping scenes in the book of Revelation, the sound-driven hermeneutics, the research questions, the research scope and objectives respectively. Chapter Two examines the rhetorical character of weeping scenes in the book of Revelation in direct conversation with the sonic enthronement of the divine voice, the weaponised acoustics of its Christology, the sonic representation of a traumatised church, the aural operations of its punitive angels, the exploitative acoustics of its ecology, and the auditory character of its territorial spaces. Chapter Three focuses on Revelation 18 through its acoustic background, genre, literary environment, chiastic structure, the interactive character of the weeping voices, and the distinctive sonic features of Revelation 18 as an important weeping scene in the construct of a city-lament. In Revelation 18, we encounter the entire empire of Rome in mourning, and the vocal protest of its hegemonic control, powers and global order. In particular, the acoustics of this city-lament projects the defeat of God’s enemies whose cries in Revelation 18 resonate with the earlier cries of the martyrs, and fulfil their longing for vengeance (6:9-10 cf. 7:10; 8:2-3). Chapter Four describes the important acoustic devices in Revelation 18 which are creatively deployed to the task of resistance. In this site of great resistance, Revelation 18 presents subversively the loud acoustics of angelic protests, the polemics of dystopian sounds, the sonic attacks of boycotts, the alienating power of sonic sanctions, the acoustic design of mimicries, the polemic identities of submerged voices, and the sonic constructs of disability and animal sounds in cohesive attacks against Rome. In its resistance against the established order, the poetics of Revelation 18 harnessed the lethal character of lament that called defiantly for the destruction of the status quo, the birth of a new world, and the dramatic reordering of the present society. Lastly, Chapter Five concludes the findings of this dissertation which are primarily centred on the acoustic importance of weeping scenes in the book of Revelation, the lethal character of its soundscape as instrument of resistance, the polemic construct of Revelation 18 as a city-lament, the interactive symphony of Revelation 18, and its contribution to the acoustic agenda of apocalyptic literature. AFRIKAANSE OPSOMMING: Die proefskrif fokus op die akoestiese poetika van die boek Openbaringdeur die strategiese gebruik van klank as 'n ondermynende instrument van weerstand in Openbaring 18 te ondersoek. Dit ondersoek Openbaring in die konstruering van sy geanimeerde klank-landskap, en die dodelike toeeiening van hierdie sintuiglike ruimte vir die ondermynende gebruik daarvan in polemiek teen Rome in die tweevoudige simbole van Babilon en die Prostituut. Terwyl vakkundiges oor die algemeen die sentrale belangrikheid van huil-tonele in die studie van Openbaring geignoreer het, beklemtoon hierdie proefskrif die akoestiese poetika van die huil-tonele en die ondermynende ontplooiing van stadsklaagliedere vir die doel van weerstand in Openbaring 18. Deur die gebruik van 'n klankgesentreerde benadering, herposisioneer dit studies in Openbaring, en apokaliptiese literatuur in die algemeen, vir 'n interdissiplinere gesprek met die opkomende veld van klankstudies. Die eerste hoofstuk van die proefskrif stel dus die kritieke belangrikheid van klank-landskap en huil-tonele in die boek Openbaring, die klankgedrewe hermeneutiek, die navorsingsvrae, en die navorsingsomvang en -doelwitte onderskeidelik aan die orde. Hoofstuk Twee ondersoek die retoriese karakter van huil-tonele in die boek Openbaring in direkte gesprekke met die soniese troonbestyging van die goddelike stem, die gewapende akoestiek van sy Christologie, die soniese voorstelling van 'n getraumatiseerde kerk, die gehoor-bedrywighede van sy straf-engele, die uitbuitende akoestiek van sy ekologie, en die ouditiewe karakter van sy territoriale ruimtes. Hoofstuk Drie fokus op Openbaring 18 deur sy akoestiese agtergrond, genre, literere omgewing, chiastiese struktuur, die interaktiewe karakter van die huilstemme, en die kenmerkende soniese eienskappe van Openbaring 18 as 'n belangrike huil-toneel in die konstruksie van 'n stadsklaaglied. In Openbaring 18 ontmoet ons die hele ryk van Rome in rou, en die vokale protes van sy hegemoniese beheer, mag en globale orde. In die besonder projekteer die akoestiek van hierdie stadsklaaglied die nederlaag van God se vyande wie se uitroepe in Openbaring 18 resoneer met die vroeere uitroepe van die martelare, en hul verlange na wraak vervul (6:9-10 vgl. 7:10; 8: 2-3). Hoofstuk Vier beskryf die belangrike akoestiese toestelle in Openbaring 18 wat kreatief ontplooi word vir die taak van weerstand. Op hierdie terrein van groot weerstand bied Openbaring 18 subversief die harde akoestiek van engeleprotes, die polemiek van distopiese klanke, die soniese aanvalle van boikotte, die vervreemdende krag van soniese sanksies, die akoestiese ontwerp van nabootsings, die polemiese identiteite van ondergedompelde stemme. en die soniese konstrukte van gestremdheid en dieregeluide in gekoordineerde aanvalle teen Rome. In sy weerstand teen die gevestigde orde het die poetika van Openbaring 18 die dodelike karakter van klaaglied ingespan wat uitdagend gevra het vir die vernietiging van die status quo, die geboorte van 'n nuwe wereld en die dramatiese herordening van die huidige samelewing. Laastens verskaf die slot-hoofstuk die bevindinge van hierdie proefskrif wat hoofsaaklik gesentreer is op die akoestiese belangrikheid van huil-tonele in die boek Openbaring, die dodelike karakter van die klank-landskap daarvan as instrument van weerstand, die polemiese konstruk van Openbaring 18 as 'n stadsklaaglied, die interaktiewe simfonie van Openbaring 18, en die bydrae daarvan tot die akoestiese agenda van apokaliptiese literatuur. Doctoral 2025-04-01T09:01:38Z 2025-04-01T09:01:38Z 2024-12 Thesis https://scholar.sun.ac.za/handle/10019.1/131834 Stellenbosch University ix, 190 pages application/pdf Stellenbosch : Stellenbosch University |
| spellingShingle | Christian life -- Biblical teaching Bible -- Revelation Church and social problems UCTD Michael, Matthew Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title | Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title_full | Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title_fullStr | Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title_full_unstemmed | Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title_short | Soundscape, weeping scenes and the constructs of resistance in Revelation 18 |
| title_sort | soundscape weeping scenes and the constructs of resistance in revelation 18 |
| topic | Christian life -- Biblical teaching Bible -- Revelation Church and social problems UCTD |
| url | https://scholar.sun.ac.za/handle/10019.1/131834 |
| work_keys_str_mv | AT michaelmatthew soundscapeweepingscenesandtheconstructsofresistanceinrevelation18 |