The final book of the Bible, Revelation prophesies the ultimate judgement of mankind in a series of allegorical visions, grisly images and numerological predictions. According to these, empires will fall, the "Beast" will be destroyed and Christ will rule a new Jerusalem. With an introduction by Will Self.

In this lively introduction, J. Nelson Kraybill shows how the book of Revelation was understood by its original readers and what it means for Christians today. Kraybill places Revelation in its first-century context, opening a window into the political, economic, and social realities of the early church. His fresh interpretation highlights Revelation's liturgical structure and directs readers' attentions to twenty-first-century issues of empire, worship, and allegiance, showing how John's apocalypse is relevant to the spiritual life of believers today. The book includes maps, timelines, photos, a glossary, discussion questions, and stories of modern Christians who live out John's vision of a New Jerusalem.

This book fills these gaps in a striking and original way by means of ten concise thematic chapters which explain the origins of these concepts from the book of Revelation in an accessible way. These explanations are augmented and developed via a carefully selected sample of the ways in which the concepts have been treated by artists through the centuries. The 120 visual examples are drawn from a wide range of time periods and media including the ninth-century Trier Apocalypse, thirteenth-century Anglo-Norman Apocalypse Manuscripts such as the Lambeth and Trinity Apocalypses, the fourteenth-century Angers Apocalypse Tapestry, fifteenth-century Apocalypse altarpieces by Van Eyck and Memling, Dürer and Cranach's sixteenth-century Apocalypse woodcuts, and more recently a range of works by William Blake, J.M.W. Turner, Max Beckmann, as well as film posters and film stills, cartoons, and children's book illustrations.

Edition of D. H. Lawrence's last book, Apocalypse, along with other writings on the Revolution.

Edmondo Lupieri's main goal in A Commentary on the Apocalypse of John is to introduce readers to the mental and spiritual world of John as both a first-century Jew and a follower of Jesus. The fruit of over ten years of research, a constructive response to postmodern criticism, and an academic best-seller in its Italian edition, Lupieri's commentary offers both new proposals and traditional interpretations to shed light on this complex coda to the biblical message. In an illuminating preface Lupieri discusses the strange world of the Apocalypse and promises an open commentary, full of original treatments of knotty interpretive problems. Maintaining a strong historical perspective throughout, he examines the text of the Apocalypse line by line, paying careful attention to the Greek text, offering a new translation, making wide use of apocryphal, pseudepigraphal, and Qumran literature, and often analyzing John's Apocalypse as compared to other Jewish apocalypses. Thoughtful, thorough, and nonsectarian, Lupieri's Commentary on the Apocalypse of John will appeal to anyone with a serious interest in the meaning of the biblical text.

The Book of Revelation's legacy of visual imagery is evaluated here, from the 11th century to the end of World War 2 illuminated manuscripts, books, prints and drawings of apocalyptic phases are examined.

This interdisciplinary book breaks new ground by systematically examining ways in which two of the most important works of late medieval English literature – Julian of Norwich’s Revelations of Love and William Langland’s Piers Plowman – arose from engagement with the biblical Apocalypse and exegetical writings. The study contends that the exegetical approach to the Apocalypse is more extensive in Julian’s Revelations and more sophisticated in Langland’s Piers Plowman than previously thought, whether through a primary textual influence or a discernible Joachite influence. The author considers the implications of areas of confluence, which both writers reapply and emphasise – such as spiritual warfare and other salient thematic elements of the Apocalypse, gender issues, and Julian’s explications of her vision of the soul as city of Christ and all believers (the fulcrum of her eschatologically-focused Aristotelian and Augustinian influenced pneumatology). The liberal soteriology implicit in Julian’s ‘Parable of the Lord and the Servant’ is specifically explored in its Johannine and Scotistic Christological emphasis, the absent vision of hell, and the eschatological ‘grete dede’, vis-à-vis a possible critique of the prevalent hermeneutic.

A Non-Interpretive And Literary Approach To The Last Book Of The English Bible.

“There has never been a book provoking more delirium, foolishness and irrational movements, without any relationship to Jesus Christ [than the Book of Revelation].” —Jacques Ellul, Introduction Known for his trenchant critique of modernity and of those Christians who celebrate their captivity to it, Ellul here cuts to the heart of the theological intention of the Book of Revelation, and thereby reveals the liberating gospel in all its offensiveness. Neither an exhaustive commentary nor a work of historical-exegetical analysis, Apocalypse is a provocative, independent interpretation. Ellul seeks to rescue Revelation from the reassuring and orthodox banality to which commentators often reduce it. The goal is to perceive the totality of the book in its movement and structure. “Architecture in movement” is the key to understanding Revelation’s puzzling but simple message. This edition also comes with a new foreword by Jacob Marques Rollison who provides an essential aid for guiding readers through Ellul’s thorough engagement with Revelation.