No description available.

No description available.

No description available.

Ziel der Arbeit war es die Quellenlage Hildegard von Bingens ‚Physica‘ zu beleuchten. Dazu werden die Kapitel der exotischen Gewürze (Kap. I,13-21 und I,26-27), der Duftpflanzen (Kap. I,22-25), und der heimischen Gewürze (Kap. I,63-70) mit den entsprechenden Kapiteln aus ‚Macer floridus‘ (Odo Magdunensis), ‚Circa instans‘ (Matthaeus Platearius), ‚Liber graduum‘ (Constantinus Africanus), ‚Naturalis historia‘ (Plinius der Ältere) und ‚Materia medica‘ (Pedanius Dioskurides) verglichen. Es konnten verschiedenartige Bezüge zur Tradition hergestellt werden, jedoch ist hervorzuheben, dass Hildegard dennoch in den Anwendungen eine ausgeprägte Originalität aufweist. / The object of the thesis was to clarify the sources of the Hildegard von Bingen‘s “Physica”. Chapters of the exotic spices (I,13-21 und I,26-27), plants with perfume (I,22-25) and local spices (I,63-70) were compared with correspondent chapters in “Macer floridus” (Odo Magdunensis), “Circa instans” (Matthaeus Platearius), “Liber graduum” (Constantinus Africanus), “Naturalis historia” (Pliny the Elder) and “Materia medica” (Pedanius Dioscorides). Various references to the tradition were depicted but it must be emphasized Physica’s distinct originality.

Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.

Made available in DSpace on 2015-04-15T12:50:31Z (GMT). No. of bitstreams: 1 462320.pdf: 1011107 bytes, checksum: 44408553e2e1a45d9f6231a4bc545ba9 (MD5) Previous issue date: 2014-08-28 / 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 lan?ar luz sobre a vida de Santa Hildegarda de Bingen, canonizada e proclamada doutora da Igreja em 2012. Esta monja beneditina foi, em pleno s?culo XII, escritora, compositora, m?dica, abadessa, m?stica e profetisa. Bento XVI, na Carta Apost?lica em que a proclama doutora da Igreja afirma: (...) a atribui??o do t?tulo de Doutor da Igreja universal a Hildegarda de Bingen tem um grande significado para o mundo de hoje e uma extraordin?ria import?ncia para as mulheres. Nesse sentido, al?m propormos o conhecimento da figura desta extraordin?ria mulher, ainda pouco estudada no Brasil, intentamos aprofundar em que sentido sua vida e sua obra podem oferecer contribui??es para as reflex?es e desafios da Igreja e do mundo no atual momento. Para tanto, nos utilizaremos da pesquisa bibliogr?fica, ancorando-nos no rico material deixado por Hildegarda e tamb?m pelo material de muitos pesquisadores que v?m estudando-a com grande interesse em diversos pa?ses. No primeiro cap?tulo pretendemos fazer uma an?lise hist?rica 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, lideran?a, artes, ci?ncias, e os desdobramentos de cada um deles nas muitas ocupa??es a que se dedicou. Por fim, daremos especial aten??o as met?foras e conceitos que emprega para pensar a Trindade e o Esp?rito Santo, com vistas a nos aproximarmos do seu conceito de Viriditas ou Viridez, designativo da for?a criativa e fecunda de Deus, e usado por ela de modo original e po?tico.

Bibliography: leaves 250-258 / vii, 258, 50, [48] leaves : 48 facsims ; 31 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, 1985

Thesis (Ph.D.)--Faculty of Music, University of Melbourne, 2000. / Typescript. Includes bibliographical references (p. 257-280).

Thesis (D. M. A.)--University of Oregon, 2003. / Sacred oratorio for female narrator, 4 solo female voices, SA chorus, and chamber orchestra. Libretto compiled from biblical sources and the writings of Makeda, Queen of Sheba, Mechthild of Magdeburg, and Hildegard of Bingen. Includes libretto, p. 309-313. Includes vita and abstract. Also available for download via the World Wide Web; free to University of Oregon users.

Tesis para optar al grado de Magíster en Literatura