Tesis para optar al grado de Magíster en Historia / Aquí me interesa ingresar al estudio de la voz, escritura e imagen de una mujer del siglo XII, en el Occidente medieval. La revisión de su obra, posiblemente en lo más original de su creación, esto es, sus escritos basados en un particular modo de decir y de enunciar desde lo divino, a partir de una experiencia visionaria, que algunos estudios llaman escritura de revelación o profética, será nuestro cuerpo de estudio. También su obra poético-musical de carácter lírico y su Vita, (biografía que contiene relatos autobiográficos). Éstas y aquellas me permiten plantear la posibilidad de estudio de una trama discursiva, en torno a la historia, a partir de la cual es posible distinguir dispositivos morfológicos para su enunciación, particularmente, algunos referentes simbólicos, figurativos y metafóricos.

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The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."

Hildegard of Bingen's Ordo Virtutum (c.1141), the earliest liturgical morality play, presents in small compass some of the Neoplatonic doctrines which formed the common property of theologians in the twelfth century, the most pervasive of which was that which posited a disparity between the sense-perceptible and intelligible realms, true reality being supposed to belong to the latter. For Hildegard, like her contemporaries, such a world-view is inseparable from symbolist modes of thought, and in this thesis explanations for the form and effect of Hildegard's use of rhetorical devices such as symbol and metaphor in the Ordo will be sought within the framework of a discussion of "medieval linguistic epistemology" (Neoplatonic). The Latin text and English translation of the play are also provided.

Würzburg, Univ., Diss., 2009.

This thesis examines the visionary writings of Elisabeth of Schönau, a nun of Schönau monastery, which was a double house in the diocese of Trier between 1152 and 1165. I argue that Elisabeth’s works dynamically engaged various religious audiences (monastic and clerical) in order to provide spiritual guidance to diverse types of people (monks, nuns, abbots, abbesses, and clerics). Elisabeth’s writings not only represent the self-reflection of a twelfth-century woman visionary, but also demonstrate the ways in which Elisabeth forged her spiritual authority by reacting to, and at times anticipating, the reception of her visions by her community. While Elisabeth rhetorically described herself as a passive receptor of divine knowledge, she actively worked to shape the practice of worship first within her monastic community and then, once her authority grew beyond Schönau, amongst a wider audience.

Made available in DSpace on 2014-11-01T01:01:42Z (GMT). No. of bitstreams: 1 000462320-Texto+Completo-0.pdf: 1011107 bytes, checksum: 44408553e2e1a45d9f6231a4bc545ba9 (MD5) Previous issue date: 2014 / The present work aims to illuminate the life of St. Hildegard of Bingen, canonized and proclaimed a Doctor of the Church in 2012. This Benedictine nun was in mid twelfth century, writer, composer, doctor, abbess, mystic and prophet. Benedict XVI, on the Apostolic Letter in which proclaims Hildegard doctor of the Church says:"(...) the attribution of the title of Doctor of the Universal Church to Hildegard of Bingen has great significance for today’s world and an extraordinary importance for women." In this sense, besides proposing the knowledge of this extraordinary woman, who is still little studied in Brazil, we attempt to deepen in which sense her life and work can offer contributions to the reflections and challenges of the Church and the world at the present times. For this purpose, we will use bibliographic research, anchoring us in the rich material left by Hildegard and also by many researchers who have studied her with great interest in many countries. In the first chapter, we intend to make a historical and social analysis of the surrounding environment of Hildegard. Secondly, we follow through the activities and interests of the nun, seeing her by various prisms: prophecy, leadership, arts, sciences, and the ramifications of them in each one of the many occupations that she developed. Finally, we will give an especial attention to the metaphors and concepts that she used about the Trinity and the Holy Spirit, aiming to approach her concept of Viriditas or Greenness, which designates the creative and productive power of God, and used by her in a poetic and original way. / O presente trabalho tem o objetivo de lançar luz sobre a vida de Santa Hildegarda de Bingen, canonizada e proclamada doutora da Igreja em 2012. Esta monja beneditina foi, em pleno século XII, escritora, compositora, médica, abadessa, mística e profetisa. Bento XVI, na Carta Apostólica em que a proclama doutora da Igreja afirma: “(...) a atribuição do título de Doutor da Igreja universal a Hildegarda de Bingen tem um grande significado para o mundo de hoje e uma extraordinária importância para as mulheres.” Nesse sentido, além propormos o conhecimento da figura desta extraordinária mulher, ainda pouco estudada no Brasil, intentamos aprofundar em que sentido sua vida e sua obra podem oferecer contribuições para as reflexões e desafios da Igreja e do mundo no atual momento. Para tanto, nos utilizaremos da pesquisa bibliográfica, ancorando-nos no rico material deixado por Hildegarda e também pelo material de muitos pesquisadores que vêm estudando-a com grande interesse em diversos países. No primeiro capítulo pretendemos fazer uma análise histórica e social do ambiente circundante de Hildegarda. Num segundo momento, iremos nos deter nas atividades e interesses da monja, enfocando-a sob os diversos prismas: profecia, liderança, artes, ciências, e os desdobramentos de cada um deles nas muitas ocupações a que se dedicou. Por fim, daremos especial atenção as metáforas e conceitos que emprega para pensar a Trindade e o Espírito Santo, com vistas a nos aproximarmos do seu conceito de Viriditas ou Viridez, designativo da força criativa e fecunda de Deus, e usado por ela de modo original e poético.

Music theory of Hildegard of Bingen’s era articulated a cosmological worldview, providing thinkers with a way of understanding human beings, the world, the heavens, and how they all interact with each other in musical terms. Hildegard was familiar with this music theory through her theological predecessors. This dissertation argues that a better understanding of Hildegard’s theology requires a deeper consideration of how this musical cosmology influenced her because of the way music pervades her work. Music theory is a major piece of what undergirds her Benedictine, liturgical worldview. To demonstrate this, I take up the task of explicating and illuminating Hildegard’s Christology in terms of her understanding of music and music theory. This task is different from previous scholarship which analyzes Hildegard’s writing about music in terms of her broader theology. I bridge the gap between musicologists and liturgists, on the one hand, who focus on Hildegard’s theology of music but neglect broader consideration of her theology and, on the other hand, theologians who acknowledge music as an integral part of Hildegard’s life but largely consider her theological visions in abstraction from it. I argue that Hildegard uses music theory to define and explicate Christ and Christ’s interactions with the world, sometimes explicitly, but primarily implicitly. Her theological vision centers Christ in a resounding universe. By understanding Christ as symphonia, Hildegard emphasizes the Son’s unique relationship with humanity. While readers cannot understand every aspect of Hildegard’s Christology by considering music theory, music theory helps to illuminate it in a particular way, enabling us to understand Hildegard’s theology more deeply. Thus, this study provides an example for how future scholars can continue to interpret Hildegard’s understanding of various theological loci. In addition, it submits Hildegard as an example of how to unite music/liturgy and theology in a fruitful way for both the Academy and the Church. / 2025-04-25T00:00:00Z

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