Praising God beside the Sea
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This study offers a creative combination of methodologies to provide grounded intertextual procedure for the apocalyptic genre with impact on understanding Revelation 15. Along with the analysis on narrative elements (to prove the similarity in the scenery background) and examinations of the designation and context of the songs, this research reveals thematic parallels in the contents of the songs in Exodus 15:1-18 and Revelation 15:3-4, not argued fully to this point in studies of the Apocalypse. These diverse analyses of the intertextuality between Exodus 15 and Revelation 15 strengthen the ...
This study offers a creative combination of methodologies to provide grounded intertextual procedure for the apocalyptic genre with impact on understanding Revelation 15. Along with the analysis on narrative elements (to prove the similarity in the scenery background) and examinations of the designation and context of the songs, this research reveals thematic parallels in the contents of the songs in Exodus 15:1-18 and Revelation 15:3-4, not argued fully to this point in studies of the Apocalypse. These diverse analyses of the intertextuality between Exodus 15 and Revelation 15 strengthen the argument that Exodus 15 should be considered as the OT source of Revelation 15:3-4. John's elaborate, deliberate skills interweaving the Exodus theme with his eschatological vision can be observed in the whole book of Revelation, in the vision of the bowl judgments (Revelation 15-16), in the song of Moses and the song of the Lamb (Revelation 15:3-4), and even in the duality of the song's title. John offers a glimpse of the readers' ultimate victory in their present time and at the eschaton by reminding them of their almighty God, who saved the Israelites in the Exodus journey, especially at the Red Sea.
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