Soundscape, Weeping Scenes, and Resistance in the Acoustic Poetics of Revelation 18
By (author) Matthew Michael
Paperback (Forthcoming)
(July 2026)
ISBN: 9783161642777
6.1 x 9.13 inches
Price: $150.00
In stock
While past scholarship has emphasized graphic imagery, Matthew Michael engages in the soundscape of the book of Revelation. Blending biblical studies with sound theory, he shows the strategic use of sound, noise, and weeping scenes in challenging Rome’s power and the re-imagination of a new world.
English summary: In this book, Matthew Michael examines the strategic uses of weeping scenes as a powerful tool of protest, subversion, and defiance by providing fresh perspectives on the critical mapping of sounds against opponents in the book of Revelation. Treating God, Jesus, angels, creation, heaven, and earth as embodiment of sounds, he describes the intriguing acoustic insights into the politics of sounds in the book of Revelation. While past scholarship on the book of Revelation has engaged its graphic images, the author analyses the acoustic poetics in its weaponization of sounds against enemies. By tuning into the poetics of sound, he succinctly offers a new perspective on Revelation which does not only speak to biblical readers alone but also to anyone interested in how sound, grief, and resistance can shake empires and envision justice. German description: In seinem Beitrag zur Erforschung der Klangwelt der Offenbarung des Johannes untersucht Matthew Michael den strategischen Einsatz von Trauerszenen als machtiges Instrument des Protests, der Subversion und des Trotzes. Er begreift Gott, Jesus, die Engel, die Schopfung, den Himmel und die Erde als Verkorperungen von Klangen und entdeckt eine faszinierende Politik der Klange im Buch der Offenbarung. Wahrend sich die Forschung bislang vorwiegend mit den Bildern der Offenbarung beschaftigt hat, analysiert der Autor ihre akustische Poetik als Bewaffnung gegen Feinde. Damit bietet er eine neue Perspektive auf die Offenbarung, die sich nicht nur an Bibelleser wendet, sondern auch an alle, die sich dafur interessieren, wie Klang, Trauer und Widerstand Imperien erschuttern und fur Gerechtigkeit sorgen konnen.
Chapter I: Introduction
1.0. Introduction
1.1 Weeping Scenes, Literary Markers and Functions in Revelation
1.2 Research Methodology
1.3 Objectives & Significance of the Study
1.4 The Overview of Chapters
1.5 Summary
Chapter II: Weeping Scenes, Emotion and Power in the Soundscape of Revelation
2.0 Introduction
2.1 Soundscape, Emotions and Revelation
2.2 Soundscape, Power and Revelation
2.3 Soundscape, Resistance and Revelation
2.4 Summary
Chapter III: Weeping Scenes, Sonic Hegemony, and Soundscape of Revelation
3.0 Introduction
3.1 Divine Voice, Enthroned Acoustics and Weeping Scenes in Revelation
3.2 Christology, Weaponised Acoustics and the Weeping Scenes in Revelation
3.3 Angels, Punitive Acoustics and the Weeping Scenes in Revelation
3.4 Ecclesia, Traumatised Acoustics and the Weeping Scenes in Revelation
3.5 Gender, Feminised Acoustics and the Weeping Scenes in Revelation
3.6 Ecology, Exploitative Acoustics and the Weeping Scenes in Revelation
3.7 Territory, Violent Acoustics and Weeping Scenes in Revelation
3.8 Summary
Chapter IV: Weeping Scenes, Acoustic Poetics and the Soundscape of Revelation 18
4.0 Introduction
4.1 Soundscape of City-Laments and the Background of Revelation 18
4.2 Soundscape, Literary Context and Revelation 18
4.3 Soundscape, Literary Structure and Revelation 18
4.4 Soundscape, Lexicography and Revelation 18
4.5 Soundscape, Acoustic Poetics and Revelation 18
4.6 Summary
Chapter V: Weeping Scenes, Sonic Disobedience, and Resistance in Revelation 18
5.0 Introduction
5.1 Dangerous Acoustics, Sonic Disobedience, and Resistance
5.2 City-lament, Lethal Soundscape and Resistance
5.3 Acoustic Poetics of Resistance in Revelation 18
5.4 Summary
Chapter VI: Conclusion
Born 1977; 2010 PhD in Old Testament from Jos ECWA Theological Seminary, Jos, Nigeria; 2024 PhD in New Testament Studies from Stellenbosch University South Africa; Deputy Dean, Faculty of Arts, Nasarawa State University, Nigeria.
- By (author) Matthew Michael
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