Graduted work "Cosmological Themes and Geometric Conception in islamic art" is about relationship betweewn religion and cosmological themes in philosophy opinions and their influence to fine art. Theoretic part is about signs of islamic art and give a simply look on religious, science, philosophic, generaly cultural and art influences of islamic culture of "Golden Age" to global culture. The next part is about cosmologie. Third part is about influence of cosmological themes to geometric forms in individual examples of fine art. The last part is about expresive interpretation symbols of cosmologii and geometry. Practic part have video form of own dance creative, which is expresive interpretation influenced by theme od diplom work. Pedagogic part is koncept of Art Project for second degree of Basic School (High school) , which is partly documented and reflected in practic works

The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".

La problématique de cette thèse : la conjonction, dans l'oeuvre du philosophe chrétien Stanislas Breton, entre poétique et politique, dans une même visée de l'humain en tant qu'humain et de son rapport au monde. Ce rapport consiste en un habiter-dans le monde : habiter-avec-autrui et habiter-ensemble. On se demande si l'homme - en dépit de son humaine condition marquée par la double difficulté d'être et de dire - est à même, et de quelle manière, d'habiter poétique et politiquement le monde en se faisant ce qu'il a à être, et en se donnant le monde dans lequel il habite. Il y arrive en vertu de ce germe de non-être qui, au fond de son âme, l'ouvre à une liberté créatrice. Il y parvient également en sachant conjuguer l'« être-dans » et l'« être-vers », ce double mode de notre être-au-monde ; autrement dit, en pratiquant la « fonction-ménique » et la « fonction-méta » qui culminent en une fonction mystique de la Croix. Dans cette quête permanente de sens, il n'oublie pas que, selon Breton, « Là où le coeur demeure est plus large, et toujours en-deçà des murs. » Ou encore, que « Faire le bien, ce n'est pas seulement donner quelque chose mais faire qu'il y ait quelqu'un et quelque chose dans le don qui éveille à la vie ». / The problematic of this thesis: In the work of the Christian philosopher, Stanislas Breton, the conjunction between poetics and politics in the purpose of the life of man as a human being and his relationship with the world. This relationship consists of living in the world, living with the world and living together in the world. One wonders if man - in spite of his human condition, marked by the double difficulty of being and communicating - is capable, and in what manner, of living poetically and politically in the world, doing what he must to be and assuming the world in which he lives. He manages that by virtue of this germ of non-being which, deep in his soul, opens to him the possibility of creative liberty. He is also capable of knowing how to combine "being in" and "being towards"; this double system of our "being for the world", in other words practising the "function-ménique" and the "function-méta" which culminates in the mystical function of the Cross. In this permanent quest for meaning, according to Breton, he does not forget that "There where the heart dwells is greater and always beyond walls." Or again, that "Doing good is not only giving something, but giving in such a way that there is someone or something in the gift which awakens to life".

Submitted by Jailda Nascimento (jmnascimento@pucsp.br) on 2016-09-27T19:33:58Z No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) / Made available in DSpace on 2016-09-27T19:33:59Z (GMT). No. of bitstreams: 1 Admilson Eustáquio Prates.pdf: 1506138 bytes, checksum: 8968db22fb2f3c53ee3d7d629376d949 (MD5) Previous issue date: 2016-06-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The research focuses on a classic work of Spanish Christianity of the Sixteenth Century, whose purpose is to study the Material and Mystical Imagination: traces of the four natural elements present in the work Interior Castle of St. Teresa d'Ávila. The object of research is composed of two aspects, one material or general and other formal or specific. The material aspect is the work Interior Castle of St. Teresa of Jesus. The formal aspect of the object is to identify traces of the four symbolic natural elements present in the mystical narrative. For that, we turn to the theoretical Gaston Bachelard in order to identify the four natural elements in the work. The ways, methodological procedures, which intended to follow to the resolution of the problem of this research are theoretical. In the theoretical field, will be developed a literature search (presented the authors / researchers in justification and bibliography) that approximates the question of religiosity, spirituality and mystic with the question of culture. First, we will do an approximatively reading to familiarize with the text, from the lens of the four natural elements, that is, imagination material in Gaston Bachelard. Then we will perform the collection of the Castle Interior work passages that indicate the presence of the four natural elements, that is, the material imagination. Thus, will be held the book report of the work and explored the passages according to the prospect of symbolic hermeneutics based on Gaston Bachelard. The third, final step in this process, is to apply the interpretation methodology, that is, the symbolic hermeneutic. That way, we will use for this research the symbolic hermeneutics in the work Interior Castle, from studies about material imagination in Gaston Bachelard / A pesquisa focaliza uma obra clássica do Cristianismo espanhol do século XVI, cuja finalidade é estudar a Imaginação Material e Mística: traços dos quatro elementos naturais presentes na obra Castelo Interior de Santa Teresa d'Ávila. O objeto da pesquisa é composto por dois aspectos, um material ou geral e outro formal ou específico. O aspecto material é a obra Castelo Interior, de Santa Teresa de Jesus. O aspecto formal do objeto é identificar traços dos quatro elementos naturais simbólicos presentes na narrativa mística. Para tanto, recorreremos ao teórico Gaston Bachelard a fim de identificar os quatro elementos naturais na obra. Os caminhos, procedimentos metodológicos, que se pretendem seguir para a resolução do problema desta pesquisa são teóricos. No campo teórico, desenvolver-se-á uma pesquisa bibliográfica (apresentados os autores / pesquisadores na justificativa e na bibliografia) que aproxime a questão da religiosidade, espiritualidade e mística com a questão da cultura. Primeiro, faremos uma leitura aproximativa para familiarizar com o texto, a partir da lente dos quatro elementos naturais, ou seja, imaginação material em Gaston Bachelard. Em seguida, realizaremos a coleta dos trechos da obra Castelo Interior que indiquem a presença dos quatro elementos naturais, ou seja, a imaginação material. Dessa forma, será realizado o fichamento da obra e explorados os trechos conforme a perspectiva da hermenêutica simbólica baseada em Gaston Bachelard. O terceiro, último passo nesse processo, é aplicar a metodologia de interpretação, isto é, a hermenêutico simbólica. Dessa maneira, utilizaremos para essa pesquisa a hermenêutico simbólica na obra Castelo Interior a partir dos estudos sobre a imaginação material em Gaston Bachelard

Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Sonia Regina Lyra.pdf: 1194972 bytes, checksum: cd5d999e915355075a87996fe9f6f5ae (MD5) Previous issue date: 2010-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / God is the target and the quest of Nicholas of Cusa s theory of knowledge. Disjunction and conjunction constitute the wall of coincidence of opposites beyond which God exists, unlinked of everything that can be said or thought. The daring characteristic of the Cusan proposal is in putting forward the enigma, highly speculative, of seeing the invisible through the created visible things, which is sought in an invisible way especially in his works De Docta Ignorantia (Of Learned Ignorance) and De visione Dei (On the Vision of God). The non-other one of the most accurate names according to Nicholas of Cusa to denominate the unnamable had already been predicted by Dionysius the Areopagite at the end of his De Mystica Theologia (Mystical Theology). Every concept, every definition is, therefore, conjectural about the first principle. Defining is setting limits and, above all, knowing, even though the definition itself cannot be determined by anything due to its anteriority. Once it is the definition that allows the excellence of knowledge, setting limits and determinations, the search for learned ignorance, which accompanies the path of theory, goes on circumscribing knowledge and leaving aside everything that it is not, following a negative theology. Considered as self-defining of itself in its ontological principle, the definition differentiates itself as a statement of reason and as a gnosiological principle. It is then that the discourse allows imposing a conceptual limit in relation to the thing and to what it is not. Being the first principle, intellectual principle, it is not possible to have as an object of thought anything other than itself and, with this, it is the sole principle of being and of knowing - principium essendi et cognoscendi. The mystical dimension of this theory of knowledge can be seen in De visione Dei (On the Vision of God), where Cusa prepares and indicates the path to be traveled from the sensitive point to the transumptive jump beyond the wall of coincidence of opposites. Understood as imago Dei, man has in parallel with the divine mind the humana mens, even though this notion implies in showing the inadequacy of the image in relation to its specimen / Deus é o alvo e a busca da teoria do conhecimento proposta por Nicolau de Cusa. A disjunção e a conjunção constituem o muro da coincidência dos opostos, para além do qual Deus existe desvinculado de tudo aquilo que pode ser dito ou pensado. A ousadia da proposta cusana está em propor o enigma fortemente especulativo, que é ver o invisível, através das coisas criadas visíveis, o qual é buscado de modo invisível especialmente em suas obras De docta ignorantia e A visão de Deus. O não-outro, um dos nomes mais precisos segundo Nicolau de Cusa para denominar o inominável, já tinha sido prenunciado por Dionísio Areopagita no final da sua De mystica theologia. Todo conceito, toda definição é, pois, conjectural em torno do primeiro princípio. Definir é dar limites e acima de tudo, conhecer ainda que a própria definição não possa ser definida por coisa alguma em virtude de sua anterioridade. Uma vez que é a definição que permite a excelência do conhecimento, dando limites e determinações, a busca da douta ignorância que acompanha a tragetória da teoria vai circunscrevendo o conhecimento e deixando de fora tudo aquilo que ele não é, seguindo por uma teologia negativa. Considerada como autodefinidora de si mesma em seu princípio ontológico a definição se diferencia dela mesma enquanto enunciado da razão e como princípio gnoseologico. É então que o discurso permite impor um limite conceitual à respeito da coisa e daquilo que ela não é. Sendo o primeiro princípio, princípio intelectual, não pode ter como objeto do pensamento, outro que não a si mesmo, e, com isso, é princípio único do ser e do conhecer principium essendi et cognoscendi. A dimensão mística dessa teoria do conhecimento pode ser vista no A visão de Deus onde o Cusano prepara e indica a trajetória a ser percorrida desde o sensível até o salto transsumptivo para além do muro da coincidência dos opostos. Entendido como imago Dei o homem tem em paralelo com a mente divina a humana mens ainda que essa noção implique em apontar para a insuficiência da imagem com relação ao seu exemplar

Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Maruzania Soares Dias.pdf: 3780218 bytes, checksum: 08c5254231f62b64ab99b9e197aca369 (MD5) Previous issue date: 2010-11-18 / This dissertation examines, from the perspective of Lacanian psychoanalysis, the jouissance of God in the work of Marguerite Porete, The Mirror of Simple Souls. The aim was to understand the mystical jouissance as a face of jouissance feminine and to investigate the hypothesis of the mystical jouissance in the work of Porete considered as ethical jouissance. The mystique found in this compelling book, written in the language of Courtly Love and developed as an allegory that addresses the itinerary of the protagonist Alma in her search of the perfect union with God, is sustained by the assumptions of apophatic mysticism - the dynamics of Christian mystical experience that is expressed as of empty budget. With nothing to hold her, the soul becomes nothing. The experience of mystical ecstasy allows, for a brief moment, the jouissance of God, the jouissance of this glorification, where time and eternity come together as a causeway linking the created and uncreated. By demonstrating the centrality of jouissance in the subjective economy, Lacanian psychoanalysis has established the field of jouissance and reformulated the difference between the genders providing a place that, until now, never existed for females: the logic of all-non phallic, where there is a plus-de-jouir, a jouissance that goes beyond the phallic reference. As this Other's jouissance is impossible to symbolize, we have the love as a substitute to the lack of sexual relationship between sex, given that logic Lacanian will show us that Woman does not exist 1, while universal category, which is a correlate of the enunciation there is no sexual relationship , therefore, that is no sexual proportion / A presente dissertação analisa, pela abordagem da psicanálise lacaniana, o gozo de Deus na obra de Marguerite Porete, O Espelho das Almas Simples e Aniquiladas e que Permanecem Somente na Vontade e no Desejo do Amor. O objetivo foi compreender o gozo místico como uma face do gozo feminino e averiguar a hipótese de ser o gozo místico na obra de Porete um gozo estabelecido numa posição ética. A mística encontrada neste livro instigante, escrito na linguagem do Amor Cortês e desenvolvido numa alegoria que aborda o itinerário da protagonista Alma em sua busca da perfeita união com Deus, é sustentada pelos pressupostos da mística apofática dinâmica da mística cristã que se expressa como experiência de esvaziamento. Sem nada reter de seu, a Alma torna-se nada. A experiência do êxtase místico permite, por um breve momento, o gozo de Deus, o gozo dessa glorificação, onde tempo e eternidade se fundem como um istmo que vincula o criado e o incriado. Ao demonstrar a centralidade do gozo na economia subjetiva, a psicanálise lacaniana estabeleceu o campo do gozo e reformulou a diferença entre os sexos possibilitando um lugar até então inexistente para o feminino: a lógica do não-todo fálico, onde há um mais-gozar, um gozo que vai além da referência fálica. Dado que esse gozo do Outro é impossível de simbolizar, temos o amor como suplência à inexistência da relação sexual, uma vez que a lógica lacaniana vai nos mostrar que , enquanto categoria universal, A Mulher não existe , que é correlato do enunciado não há relação sexual , isto é, não há proporção sexual

Made available in DSpace on 2016-04-25T19:20:56Z (GMT). No. of bitstreams: 1 Catia Cilene Lima Rodrigues.pdf: 1039621 bytes, checksum: ff7c5adb8051d281d9a995862fcdfa15 (MD5) Previous issue date: 2008-12-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study investigates the mystical and religious meaning of pregnancy, childbirth and postnatal in two separate groups of women: a) women whose pregnancy means adversity in their personal history, and b) women whose pregnancy is synonymous of personal achievement. The aims of the study are: understanding the way these motherhood processes are understood by women, and how they are prepared psychologically from the body transformation that occurs in reproduction; observing the existence of mystical and symbolic elements in this universe; investigating the thorough meaning of the elements that were expressed and possible differences in mystical experience, in both symbolic and religious groups; observing possible changes of consciousness since the gestational experience when lived in the conviction in God. According to the hypothesis that there is an experience of transcendence into the experience of immanent and natural reproduction - which expands the consciousness of women, increasing its existential meaning which consists the pregnancy, childbirth and postnatal psychological experience as an archetypal experience - this research examined the speech and the drawings of 25 women about their own pregnancy, childbirth and postnatal, conceded by them as they experienced those conditions. Fourteen women were accompanied in the Amparo Maternal shelter - charity institution that shelters abandoned pregnant women and women without individual earnings of survival - and eleven women who wanted / planned the pregnancy and present some social structure in favor of this condition, referred to this research by the health professionals. To analyze the assumptions, in this sample, three instruments were used: interview, questionnaire of mystical experience in the nursery (based on Hood, Valle, Allport-Ross and Hardy) and projective technique of drawing (with the theme of "being a mother"). Through the collected material quantitative, qualitative and comparative analysis, among the methods and in the two groups were analyzed, using the theoretical structure of social psychology - especially Vergote, Paiva and Valle - of Jungian psychology - Campbell, Neumann, Chevalier-Gheerbrant - and the psychology of Pregnancy - second Maldonado, Harding and Hrdy. The results demonstrate that there is an archetypal meaning in the experience of motherhood lived during the pregnancy, childbirth and postnatal, pointing to a mystical experience; indicating growth and development for women as an increase of the respectability of itself even though social conditions and economic adversity. In a deep-level of understanding, the processes that were observed show to be agent promoters of the process of individuation, as well as elements of spiritual emancipation for women. In conscious level, motherhood is presented in both groups as profound experience of God and as a trigger for mystical experience for the woman; differences between the groups in this regard were not observed. However, in the comparative analyses, occasional differences about the meaning of mystical experience were more frequently identified, in each group, with more repetition of meaning of Blessing, Fear, Rejection, Guilt, Redemption, Conversion and sanctity in Group A; and sanctity, Spiritual development, Blessing and power for Group B / Este trabalho investiga o sentido místico e religioso da gestação, parto e puerpério em dois grupos distintos de mulheres: a) mulheres cuja gravidez significa adversidade em sua história pessoal; e b) mulheres cuja gravidez é sinônimo de realização pessoal. Os objetivos do estudo são: compreender de que modo estes processos da maternidade são compreendidos pela mulher e como são elaborados psicologicamente a partir da transformação do corpo presente na reprodução; observar a existência de elementos místicos e simbólicos neste universo; analisar o significado profundo dos elementos manifestados e as possíveis diferenças da experiência mística, simbólica e religiosa nos dois grupos; e observar possíveis alterações da consciência a partir da experiência gestacional quando vivenciada como experiência de Deus na vida da mulher. Decorrendo da hipótese de que existe uma experiência de transcendência dentro da experiência imanente e natural de reprodução que amplia a consciência da mulher, expandindo seu sentido existencial e que constitui a gestação, o parto e o puerpério como vivência psicológica de uma experiência arquetípica esta pesquisa analisou o discurso e os desenhos de 25 mulheres sobre a própria gestação, parto e puerpério, concedidos por elas enquanto vivenciavam estas condições. Foram acompanhadas 14 mulheres abrigadas no Amparo Maternal instituição de caridade que abriga gestantes e parturientes abandonadas e sem recursos individuais de sobrevivência e 11 mulheres que desejaram/planejaram a gravidez e que apresentam alguma estrutura social favorável a esta condição, encaminhadas à pesquisa por profissionais da saúde. Para trabalhar as hipóteses nesta amostra foram utilizados três instrumentos: entrevista, questionário de experiência mística na maternidade (baseado em Hood, Valle, Allport-Ross e Hardy) e técnica projetiva do desenho (com o tema ser mãe ). Com o material colhido foram realizadas análises quantitativas, qualitativas e comparativas entre os métodos e nos dois grupos, utilizando referencial teórico da Psicologia Social sobretudo Vergote, Paiva e Valle da Psicologia Junguiana Campbell, Neumann, Chevalier-Gheerbrant e da Psicologia da Gravidez com Maldonado, Harding e Hrdy. Os resultados demonstram que há um significado arquetípico na experiência da maternidade vivida na gestação, parto e puerpério, que aponta para uma experiência mística, significando crescimento e evolução para a mulher, bem como acréscimo de respeitabilidade a si mesma mesmo quando em condições sociais e econômicas adversas. Em nível profundo, os processos observados revelaram-se agentes promotores do processo de individuação, bem como elementos de emancipação espiritual para a mulher. Em nível consciente, a maternidade apresentou-se em ambos os grupos como vivência profunda de Deus e como desencadeadora de experiências místicas para a mulher, não tendo sido observadas diferenças consideráveis entre os grupos neste aspecto. Contudo, na análise comparativa observaram-se diferenças pontuais quanto ao sentido da experiência mística mais freqüente em cada grupo, com uma maior repetição de significado de Benção, Medo, Rejeição, Culpa, Redenção, Conversão e Santidade para o grupo A; e de Santidade, Crescimento Espiritual, Benção e Poder para o grupo B

No description available.

Parallèlement au pur amour pour Dieu, c’est le rêve d’une pure écriture que Fénelon semble poursuivre lorsqu’il rédige ses œuvres dévotes. Pour le mystique, parvenir à l’amour pur suppose d’anéantir totalement sa volonté pour ne laisser place, en soi, qu’à la volonté de Dieu. De même, pour l’écrivain, la pure expression est celle qui fait parler le « Verbe », tout en faisant taire « le bruit des créatures » (Lettre à la sœur Charlotte de Saint-Cyprien, 10 mars 1696). Nous avons donc mis au jour une analogie entre la recherche d’une écriture idéalement transparente au Verbe et la doctrine du pur amour pour Dieu, par le même effacement du moi. L’enjeu de ce travail de thèse a été d’analyser les phénomènes linguistiques ressortissant à cette analogie, ainsi que leurs présupposés théologiques, philosophiques, et même parfois psychanalytiques. Pour ce faire, notre travail suit la trajectoire stylistique singulière de Fénelon dans ses œuvres dévotes : du paradoxe à la répétition. L’association des deux figures, qui ne va pas de soi à première vue, informe, en effet, une réflexion en acte sur la pure écriture. Si le paradoxe est le moyen d’expression le plus pur pour les poètes baroques et mystiques dont Fénelon a été vu comme un continuateur, il est un procédé ignoré ou condamné par les logiques, rhétoriques et grammaires classiques. En outre, lorsqu’il est brillant et incisif - ce que nous nommons paradoxe rhétorique - le procédé ne satisfait pas le nécessaire effacement du moi requis par le pur amour. C’est pourquoi, la quête de la pure écriture passe de la difficile reprise du paradoxe baroque par le mystique du Grand Siècle à son échappatoire dans la répétition.Dans une première partie, après avoir étudié les différentes définitions du paradoxe selon les temps, les types de paradoxe, les disciplines de référence et selon les théoriciens, nous situons la position de Fénelon en le replaçant dans son contexte historique. Puis nous mettons au jour, dans une seconde partie, l’effort de Fénelon pour parvenir à une pure écriture, effort qui est pris dans une ambiguïté entre condamnation du paradoxe rhétorique comme instrument mondain de langage et expression du paradoxe mystique. Fénelon tente d’atténuer le paradoxe, soit qu’il essaie, en le transformant en pseudo-paradoxe, d’éliminer l’effet de violente surprise qu’il comporte, soit même qu’il cherche à prendre une distance avec le paradoxe mystique en le réduisant par l’abondance des explications, tout en cultivant l’effacement énonciatif. La dernière partie démontre comment cette abondance s’exprime à travers l’usage infiniment développé de la répétition, au sein duquel nous distinguons ce qui vient d’une pulsion de mort et ce qui s’origine dans une pulsion de vie, dans le pur amour d’un Dieu infini, foncièrement équivoque. / Besides pure love for God, Fénelon searches pure writing in his devout works.For the mystic, reaching pure love means to completely annihilate one’s will to leave room wholly to the will of God. Similarly, for the writer, the pure expression is the one that allows God to speak while silencing “the noise of creatures" (Letter to the sister Charlotte of Saint-Cyprien, 10 March 1696). Thus, we underlined the parallel between a writing perfectly transparent to God and the pure love for God, as the same deletion of the self is required in both. The aim of this thesis was to reveal and analyze the linguistic phenomena generated by this parallel between pure love and pure writing, and to review their theological, philosophical, and sometimes psychoanalysis presuppositions.To do so, our study follows the singular stylistic trajectory of Fénelon’s devout works: from paradox to repetition. The combination of the two figures - which is not obvious at first -, informs, indeed, a reflection on pure writing. As a matter of fact, the paradox is the purest expression for baroque and mystic poets among which Fénelon has been seen as a successor. It is, however, a process ignored or condemned by the classical theorists. Furthermore, when it is bright and sharp - what we call rhetorical paradox - the process does not meet the necessary erasing of the self, required by pure love. Therefore, Fénelon’s quest for pure writing moves from the difficult resumption of baroque paradox to his escape in repetition.In the first part, after considering the different definitions of paradox amongst times, types of paradox, fields and theorists, we situate Fénelon in his historical context. Then we study Fénelon’s effort to achieve a pure writing through the use of paradox. This effort lies in an ambiguity between the condemnation of the rhetorical paradox as a mundane instrument of language and the expression of the mystical paradox. Fénelon attempts to mitigate the paradox in two ways. On the one hand, he tries to turn it into a pseudo-paradox, by eliminating his effect of violent surprise. On the other hand, he seeks to distance himself from the mystical paradox by an abundance of explanations. The last part shows how this abundance is expressed through the infinite use of repetition. In that part, we distinguish between the repetition coming from a pulse of death – because of the mystical asceticism, and what was originally a pulse of life - because of the pure love of an infinite God.

Dissertation work 'Theology of Hildegard von Bingen' introduces theology of this medieval abatyss, teacher, preacher and holy woman. First part of this work is a summary of Hildegard's life and it also outlines the nature of her work. It is followed by explanation of Hildegard von Bingen's position as a female theologist. Further, the work offers an overview of intepretations of Hildegard's theology in the works of great theologians interested in mysticism of twentieth century. Namely the legacy of Hildegard von Bingen in the works of Evellin Underhill, Dorothee Soelle and Matthew Fox. To understand Hildegard's theology it is vital to understand her theological method and the way her visionary works are constructed. Therefore next chapter deals with Hildegard von Bingen as a mystic and her use of knowledge and experience as a source of her mystical visions. Last part is about Hildegard's theology itself. Her possitive cosmology, mariology, ethics, soteriology and all above her theology of creation.