Parts of the vision suggest hologram-like images that enables us to see multi-dimension figures from different perspectives at one and the same time. It was the Scottish philosopher, David Hume, who observed that whatever their origin, dreams and visions express themselves in objects known to the person having the vision. Thus, too, it might be suggested that many of the tangible items in this chapter are redolent of objects in the Temple with which Ezekiel the Cohen would have been intimately familiar. His double role, as priest and prophet, may well be relevant here.
He has a vision, but it is tied to what is familiar to him as a servant of the people.
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Perhaps, therefore, a deeper connection with the revelation at Mount Sinai can be proposed. Rather the whole event was meant to be an experience that would emblazon itself on the souls of the children of Israel for ever. These were recent slaves; reading them their rights and obligations seven weeks after their miraculous exodus was hardly what they needed. Sinai was a multi-media production — thunder and lightning, the noise of shofarot, the springing up of flowers on the desert mountain, the intoxicating aroma that filled the air. Similarly here in Ezekiel, it might be possible to suggest that what he is describing is the experience that the Israelites had in the Temple.
The life of the first Temple is shrouded in mystery. Very little is written about it apart from the continuous fights over the sacrifices one king was for, another against , but the actual experience of being there is rarely spoken of. Where it might feature such as in the Book of Psalms 11, 27, 42 and 63 , it does so as hints rather than explicit observations. His is a memorial of a spiritual life that had been, and that was about to be extinguished.
Maybe he is trying to remind his listeners what they would be missing and urging them to repent, which is indeed the message of his next chapter.
Perhaps, too, the prophet is trying to strengthen his fellow exiles, by teaching them that revelation is still possible, even outside the land of Israel and beyond the temple precincts. This, too, would connect it to the experience at Sinai which is similarly beyond the bounds of normal civilisation. And a model for the conversations we need to have right now, right here in hell. She shows us how they diminish and distort—but never define—the lives of those who suffer them.
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In the beginning they all thought they would just be telling a story Angels with Dirty Faces is a superbly written, shocking, sensuous, sometimes sadistic and even scandalous binding of biographies struggling with the question: What does redemption actually mean? It is impossible for one to engage this work and not emerge on the other side profoundly affected. Written in such lyrical, fierce poetry it takes your breath away. Walidah Imarisha is a writer, organizer, educator, and spoken-word artist.
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Michael Curtiz is the classic example of a studio director in that he could turn his hand to almost anything. He could go from any genre to another, and somehow this Hungarian knew exactly how those genres worked. Like there was some innate storytelling skill in this man. Curtiz himself rarely expressed his philosophy or filmmaking style in writing since he was always too busy making films, so there is no autobiography and only a few media interviews.
He refused to even talk about the idea.
Cagney, however, was enthusiastic about the chance to play Rocky. He saw it as a suitable vehicle to prove to critics and front office honchos that he had a broad acting range that extended far beyond tough guy roles. The electric chair sequence in Angels with Dirty Faces is one of the most famous scenes in old Hollywood films.