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The Charioteer is a romantic war novel by Mary Renault (pseudonym for Eileen Mary Challans) first published in London in 1953. Renault's US publisher (Morrow) refused to publish it until 1959, after a revision of the text, due to its generally positive portrayal of homosexuality.
Hekhalot literature (sometimes transliterated as Heichalot), from the Hebrew word for "Palaces," relates to visions of ascents into heavenly palaces.The genre overlaps with Merkabah or "Chariot" literature, which concerns Ezekiel's chariot, so the two are sometimes referred together as "Books of the Palaces and the Chariot" (ספרות ההיכלות והמרכבה ).
A traditional depiction of the chariot vision, based on the description in Ezekiel, with an opan on the left side. The ophanim (Hebrew: אוֹפַנִּים ʼōp̄annīm, ' wheels '; singular: אוֹפָן ʼōp̄ān), alternatively spelled auphanim or ofanim, and also called galgalim (Hebrew: גַּלְגַּלִּים galgallīm, ' spheres, wheels, whirlwinds '; singular: גַּלְגַּל ...
The noun merkavah "thing to ride in, cart" is derived from the consonantal root רכב r-k-b with the general meaning "to ride". The word "chariot" is found 44 times in the Masoretic Text of the Hebrew Bible—most of them referring to normal chariots on earth, [5] and although the concept of the Merkabah is associated with Ezekiel's vision (), the word is not explicitly written in Ezekiel 1.
'Work of the Chariot') is a Hebrew-language Jewish mystical text dating from the Gaonic period that comprises a collection of hymns recited by the "descenders" and heard during their ascent. It is part of the tradition of Merkabah mysticism and the Hekhalot literature. The text was first edited by Gershom Scholem (1965). [1]
Ma'aseh Bereshit (following Genesis 1) comprises the cosmogony of the Talmudic times; Ma'aseh Merkavah (based on the description of the Divine Chariot in Ezekiel 1, and on other prophetic descriptions of divine manifestations, such as Isaiah 6), is concerned with the theosophic views of those times.
Completed in 1950 and lasting for under half an hour only, it represents Copland's longest work for solo voice. [1] He assigned the first line of each poem as the song title, since Emily Dickinson had not written a title for any of the pieces. The exception is "The Chariot," which was Dickinson's original published title.
The book begins with an epigraph from The Marriage of Heaven and Hell, in which William Blake imagines a conversation with the prophets Isaiah and Ezekiel.Asked how he could dare to claim that God had spoken to him, Isaiah says he came to sense the infinite in everything and concluded that the voice of honest indignation was itself the voice of God.