This book analyzes and describes the development and aspects of
imagery techniques, a primary mode of mystical experience, in
twentieth century Jewish mysticism. These techniques, in contrast
to linguistic techniques in medieval Kabbalah and in contrast to
early Hasidism, have all the characteristics of a full screenplay,
a long and complicated plot woven together from many scenes, a kind
of a feature film. Research on this development and nature of the
imagery experience is carried out through comparison to similar
developments in philosophy and psychology and is fruitfully
contextualized within broader trends of western and eastern
mysticism.
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