In the lesser arcana, Venus rules the sevens on cabbalistic grounds.
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Among the lesser arcana, Saturn is assigned to the threes on cabbalistic grounds.
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In the minor arcana, Mars is assigned on cabbalistic grounds to the fives.
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He discovered a large metal door, glowing with subtle and intriguing colors, covered in cabbalistic glyphs.
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All other cabbalistic writings are to be regarded as merely commentaries on this, or extracts from it.
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More fell not only into the mystical notions of the later Platonists, but even of the cabbalistic writers.
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On the other hand, cabbalistic works become almost unreadable on account of the prevalence of Semitic over German words.
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He now published several works, of which the Heptaplus is a cabbalistic exposition of the first chapter of Genesis.
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Because of heredity, our lives are actually as full of cabbalistic signs and spells as if sorcery really did exist.
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The one is that which is given with great diffuseness in cabbalistic writings, and has been brought into a system.
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There is this cabbalistic relationship between the government and its contractors, whether they are in the defence industry or in pharmaceuticals.
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The room is an almost excessively rich joy to the eye, as well as being a sort of one-man cabbalistic text.
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Israfil appears in cabbalistic lore as well as 19th-century Occultism. He was referenced in the title of Aleister Crowley's Liber Israfel (formerly Liber Anubis), a ritual which in its original form was written and utilized by members of the Golden Dawn. This is a ritual designed to invoke the Egyptian god, Thoth,Crowley, A., and A. Bennet. Liber Israfel.
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About 1486 he lived at Fratta, near Perugia, in the house of Giovanni Pico della Mirandola, whom he instructed in Aramaic. He is now best known as the translator for Pico della MirandolaThe Jewish Encyclopedia says for Pope Sixtus IV; thirty-eight fragments in Vatican MSS. Nos. 189-191. of the Bibliotheca Cabalistica, a large 3500 pages of manuscript compilation of cabbalistic literature.E.g. this PDF, p.49.
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With this in mind, the Masonic system provides an adequate structure for this course taken using occultist methods. The teachings address essentially major themes relating to the Judeo-Christian tradition, but from an esoteric point of view, under the Cabbalistic and Valentinian-gnostic influences found in Pasqually’s own texts, rituals and catechisms. They drew upon the power of Church prayers, banished the influence of Satan from humanity.
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The scream may have invited "spiritual intervention", allowing the children's escape by rendering them invisible in Isak's trunk, while the children seemingly appear lying on the floor to Edvard. Törnqvist hypothesised that Jewish pantheism replaces Christian belief in "grace and punishment" in the story. Royal Brown argued that Isak's "cabbalistic magic and animism" is closer to the Ekdahls' Christianity than to Edvard's. Törnqvist identified Ismael as "one of the more enigmatic features" of Fanny and Alexander, commenting on the character as a fusion of elements.
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He was a great admirer of Aristotle, who was to him the representative of natural knowledge as the Bible was of the supernatural. There were the two Kimchis, especially David (died 1235) of Narbonne, who was a celebrated grammarian, lexicographer, and commentator inclined to the literal sense. He was followed by Nachmanides of Catalonia (died 1270), a doctor of medicine who wrote commentaries of a cabbalistic tendency; Immanuel of Rome (born 1270); and the Karaites Aaron ben Joseph (1294), and Aaron ben Elias (fourteenth century).
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In one series of his works Ofek used mirrors to project Hebrew letters, words with religious or cabbalistic significance, and other images onto soil or man-made structures. In his work "Letters of Light" (1979), for example, the letters were projected onto people and fabrics and the soil of the Judean Desert. In another work Ofek screened the words "America", "Africa", and "Green card" on the walls of the Tel Hai courtyard during a symposium on sculpture.See: Benjamin Tammuz, The Story of Israeli Art (Masada Publishers, Tel Aviv, 1980), pp. 238–240.
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"Cosway was not only a famous and fashionable painter; he was also a mesmerist and magician who practised arcana related to alchemical and cabbalistic teaching. There are reports of erotic ceremonies, the imbibing of drugs or 'elixirs', and ritual nudity. Blake was no stranger to the symbols or beliefs of a man such as Cosway – the manuscript of the poem he was writing contains many drawings of bizarre sexual imagery, including women sporting giant phalli and children engaged in erotic practices with adults." In 1829 the Catholic church of Our Lady was built.
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Others have seen the influence on Rimbaud of his reading of esoteric and cabbalistic literature, or of his own conception of the voyant, "seer", adumbrated in his "Lettre du voyant". According to Robert Faurisson, a secondary school teacher in Vichy in the early 1960s, it is an erotic poem; this interpretation provoked a debate which brought into play the national media, including Le Monde, and several academics, including René Étiemble. It has also been argued by several critics that there is no system behind the choice of correspondances to the various vowels.
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She also illustrated the poem, which was influenced by George Russell. In June 1896, her drawing The Offering of Pan appeared in The Commonweal, and in 1897 she illustrated T. W. Rolleston's Deirdre: the Feis Ceoil Prize Cantata. Around this time she and Yeats became interested in the Hermetic Order of the Golden Dawn, the cabbalistic iconography of which influenced her design of the cover of Yeats's book The Secret Rose (1897). She also designed the cover of his Poems (1899) and The Wind among the Reeds (1899) and created a cover design for Father Matthew Russell's The Idylls of Killowen (1898).
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Dubrovitsy manor, where the count lived in total seclusion After his return from abroad in 1817 he retired to his manor near Moscow, where he lived until 1823 in perfect seclusion, only seldom venturing into town: "During some years he saw not even one of his servants. All he needed was kept within a separate room; there, too, he left his written instructions. The walls of his bedroom were decorated with strange pictures with cabbalistic, but also erotic scenes". In the opinion of contemporary historians the count showed signs of mental disturbance already in 1817, such as a proclivity to a secluded lifestyle, growing a beard, and wearing "Russian garb".
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His characters are often outsiders, and his satirical view on South African issues embodies alchemistic, Jungian and Cabbalistic theories and philosophies, with the novel reading like a palimpsest with different levels of meaning. This style had a profound influence on writers such as Ingrid Winterbach (Lettie Viljoen), Alexander Strachan, and Etienne van Heerden's magical realist novels. With the war in Angola, grensliteratuur (border literature) started playing an important role, such as Slagoffers, Christiaan Bakkes's Skuilplek and Alexander Strachan's 'n Wêreld sonder grense. After political changes in 1994, an emphasis on the past has become an important feature as South Africans attempted to make sense of their past, of which Dan Sleigh's Eilande and André P. Brink's Duiwelskloof are examples.
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As compared with other Sephardic groups, the minhag of the Spanish and Portuguese Jews is characterised by a relatively low number of cabbalistic additions. The Friday night service thus traditionally starts with Psalm 29, "Mizmor leDavid: Habu LaA.”. In the printed siddurim of the mid-17th century, “Lekhah Dodi" and the Mishnaic passage Bammeh madlikin are also not yet included, but these are included in all newer siddurim of the tradition except for the early West London and Mickve Israel (Savannah) Reform prayerbooks, both of which have Spanish and Portuguese roots. Of other, less conspicuous, elements, a number of archaic forms can be mentioned—including some similarities with the Italian and Western Ashkenazi traditions.
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At the request of Duke Guglielmo he wrote two medical treatises in Latin, which he dedicated to his patron, under the titles Consilia Medica and Dialogi Tres de Auro respectively; the latter treatise was published in 1584. His Shilte ha-Gibborim (or Shiltei, meaning shields of the heroes – other works share this title) was an encyclopedic work:Included in the central theme of the description of Solomon's temple and the liturgical service are scientific and profane subjects. Related to the theatra mundi, the work originates in the meeting of Lullyian medieval mnemotechnical theories with Hermetic Cabbalistic thought. Solomon’s temple acquires a metaphysical meaning: the tempus sapientiae takes the place of the theatrum mundi.
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Such elements include the shorter form of the Birkat hammazon which can be found in the older Amsterdam and Hamburg/Scandinavian traditions. The Livorno (Leghorn) tradition, however, includes many of the cabbalistic additions found in most other Sephardi traditions. The current London minhag is generally close to the Amsterdam minhag, but follows the Livorno tradition in some details—most notably in the Birkat hammazon. One interesting feature of the tradition (at least in New York and Philadelphia) is that, when reading the haftarah on Simhat Torah and Shabbat Bereshit, the Hatan Torah and Hatan Bereshit chant two extra verses pertaining to bridegrooms from Isaiah 61:10 and 62:5 at the end of the standard haftarot for the days themselves.
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Hornology for horn (2004), a quasi-theatrical solo work that may be considered the most complex music written for the instrument is a perfect illustration of the above. Other examples in this vein are the Three Organic Pieces (2004) for organ and Marrakesh Bop for microtonal flute and guitar (1999) based on an original maqam and the densest microtonal inflections realized by pulling guitar strings. A pinnacle in the total media realization using cabbalistic permutations on Hebrew alphabet is found in Radiant, Inner Light (1998–2000) for speaker, musical saw, metal percussion, percussion fountain, projections and calligrams. This piece occupied an evening of performance and exhibition space for invented metal instruments (in collaboration with Steven Pevnick) played in multi-tempi polyphonies and visuals.
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