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Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2023

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1

De Gussem, Jeroen. "Larger than Life? A Stylometric Analysis of the Multi-Authored 'Vita' of Hildegard of Bingen." Interfaces: A Journal of Medieval European Literatures, no. 8 (December 31, 2021): 125–59. http://dx.doi.org/10.54103/interfaces-08-08.

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This article explores by aid of stylometric methods the collaborative authorship of the Vita Hildegardis, Hildegard of Bingen's (auto-?)biography. Both Hildegard and her biographers gradually contributed to the text in the course of the last years of Hildegard's life, and it was posthumously completed in the mid-1180s by end redactor Theoderic of Echternach. In between these termini a quo and ante quem the work was allegedly taken up but left unfinished by secretaries Godfrey of Disibodenberg and Guibert of Gembloux. In light of the fact that the Vita is an indispensable source in gaining historical knowledge on Hildegard's life, the question has often been raised whether the Life of Hildegard is – by dint of contributions by multiple stakeholders – a larger-than-life depiction of the visionary's life course. Specifically the 'autobiographical' passages included in the Vita, in which Hildegard is allegedly cited directly and is taken to recount biographical information in the first-person singular, have been approached with suspicion. By applying state-of-the-art computional methods for the automatic detection of writing style (stylometry), the delicate questions of authenticity and collaborative authorship of this (auto?)hagiographical text are addressed.

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2

Neuheuser, Hanns Peter. "IV. Hildegard von Bingen als Lehrerin des Liturgierechts." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 101, no. 1 (August 1, 2015): 150–76. http://dx.doi.org/10.7767/zrgka-2015-0107.

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Abstract Hildegardis Bingensis teaching liturgical law - Relations between documented visions and normative texts in the middle ages. Texts in the context of subjective experiences of visions on the one hand and norms looking for the highest levels of objectivity on the other hand seem to stand in insuperable opposition. Therefore it may be surprising that Hildegardis Bingensis in the eucharistic tract of her work Sci vias not only describes single elements of rites but also the duties of the priests concerning a correct execution of the rites including potential misunderstandings and abuses. The present contribution categorizes this phenomenon in the theological context and reports comparable sources (Otloh Ratisbonensis/Emmeramensis, Elisabeth Schoenaugiensis) dealing with defects of the administration of the mass and juridical instructions of the ecclesiastical discipline. The result is a new sight of the relation between the theology of the liturgy and the discipline of liturgy in the perspective of the developed liturgical law in the high middle ages.

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3

Dürrigl, Marija-Ana. "Od poznatih motiva do nepoznatih riječi – uz dva leksička neologizma svete Hildegarde iz Bingena." Diacovensia 30, no. 3 (2022): 389–406. http://dx.doi.org/10.31823/d.30.3.4.

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Dva se latinska neologizma, prilozi tunicaliter i flammanter, zapisani u Liber vitae meritorum svete Hildegarde iz Bingena, promatraju kao stilogeni elementi, naglašena mjesta u odlomku iz vizije, te kao svojevrstan nadomjestak za definirane teološke pojmove. Hildegarda se izražava slikovito kako bi potaknula osjećaje, maštu, ali i razmišljanje u primatelja. Pritom ti prilozi stvaraju poveznice s poznatim sadržajima (osobito sa Svetim pismom), te se istodobno otvaraju novi vidici za promišljanje izloženoga teksta. Razumijevanje leksičkih inovacija dijelom je otežano jer je riječ o hapax legomena, pa interpretacija treba uključiti simboliku tunike i plamena (imenica od kojih su prilozi izvedeni) u Hildegardinu vizionarskom opusu uopće. Uz njih zanimljiva je i sintagma officiale opus kojom Hildegarda neizravno određuje čovjeka i njegovu ulogu u spasenjskoj povijesti svijeta.

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4

Hayton, Magda S. J. "Narvaja, José Luis, ed. Hildegard of Bingen, Hildegardis Bingensis “Testamentum propheticum”: Zwei Briefe aus dem Wiesbadener Riesenkodex." Journal of Medieval Latin 26 (January 2016): 380–83. http://dx.doi.org/10.1484/j.jml.4.000031.

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5

John, Helen J. "Hildegard of Bingen: A New Twelfth-century Woman Philosopher?" Hypatia 7, no. 1 (1992): 115–23. http://dx.doi.org/10.1111/j.1527-2001.1992.tb00701.x.

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Three recent publications—Barbara Newman, Sister of Wisdom: St. Hildegard's Theology of the Feminine; Hildegard of Bingen, Scivias, translated by Mother Columba Hart and Jane Bishop; and Sabina Flanagan, Hildegard of Bingen, 1098–1179: A Visionary Life—provide access in English to Hildegard's vast and complex intellectual achievement. Reviewing these works 1 suggest why Hildegard's thought has only begun to be studied by philosophers, why such study is important, and I propose ways to approach Hildegard's work.

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6

Campbell, Nathaniel M. ""Imago expandit splendorem suum". Hildegard of Bingen’s Visio-Theological Designs in the Rupertsberg Scivias Manuscript." Eikon / Imago 2, no. 2 (September 20, 2013): 1–68. http://dx.doi.org/10.5209/eiko.73380.

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A significant point of contention within studies of the twelfth-century visionary saint and Doctor of the Church, Hildegard of Bingen, is the question of her role in the production of the illuminated Scivias manuscript known as the Rupertsberg Codex. While current German scholarship has tended to preclude Hildegard’s hand, pre-war German scholars, who had access to the original manuscript before it was lost, and most modern Anglophone scholars have argued more or less strongly for Hildegard’s influence on the design. This paper argues for Hildegard’s direction of the images based on their function as a theological discourse refracting the text. The images are not ancillary to or derivative of the work; they are integral to it. A key area of the manuscript design that reveals these authorial interventions is the color scheme. The use of certain colors, such as green and red, that have particular meanings in Hildegard’s symbolic vocabulary—even when at odds with the colors described in the recorded vision text—reveals the theological place of each image within Hildegard’s perception of salvation history. Furthermore, the extensive use of silver, gold, and blue in the manuscript can be understood both through Hildegard’s likely use of actual jewelry that contained enamel work and those metals, and through the theological meanings with which Hildegard imbues the metallic pigments. Such visual markers invested with theological significance thus argue for Hildegard’s design of the manuscript and aid the viewer- reader in interpreting the complex visual allegories at work in Hildegard’s often enigmatic visions. Finally, they reveal the dynamic ways in which Hildegard used the images to emphasize her theological insights into the feminine divine and its connection especially to her and her community as virgin members of a virgin Church.

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7

Frischeisen, Konrad. "Healing Noble Brains and Nobel Laureates as Peacemakers." Neuroscience and Neurological Surgery 5, no. 2 (December 17, 2019): 01–03. http://dx.doi.org/10.31579/2578-8868/110.

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8

Fassler, Margot E. "Allegorical Architecture in Scivias:." Journal of the American Musicological Society 67, no. 2 (2014): 317–78. http://dx.doi.org/10.1525/jams.2014.67.2.317.

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Hildegard of Bingen's Ordo Virtutum has come to occupy a major role among Western European dramatic musical works, with scenes widely anthologized, multiple studies in print, and several recordings. I argue that the “setting” of Hildegard's Ordo Virtutum is the allegorical architecture created in her first major treatise, Scivias, written in the 1140s and early 1150s. In this period, while Hildegard was composing the play and writing her first major theological work, she was also designing a complex of new monastic buildings, which helps explain her concentration on architectural themes and images. Hildegard has situated the main “acts” of the play within allegorical towers, and the musical dimensions of the play are driven by its unfolding within this architectural understanding, including the “climbing” through the modes and the development of longer processional chants that link the action in one tower or pillar to that of another. We can see that the particular characters chosen for the play from a broad array of possibilities, underscore themes that relate to the lives and governance of Benedictine nuns. Hildegard's work provided parallels for her community between the allegorical architecture of Scivias, the play and its music, and the new church whose building was overseen by Hildegard.

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9

Sakalauskaitė-Juodeikienė, E. "Melancholijos samprata ir gydymas Hildegardos Bingenietės (c. 1098-1179) raštuose." Neurologijos seminarai 25, no. 89 (September 1, 2021): 121–29. http://dx.doi.org/10.29014/ns.2021.17.

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Viduramžių vienuolė ir abatė, mistike, kompozitorė, poetė ir medicinos knygų autorė Hildegarda Bingenietė (c. 1098-1179) buvo viena iš nedaugelio viduramžių epochos moterų, rašiusių ne vien teologinius, bet ir mokslinius, medicininius tekstus. Šiame straipsnyje nagrinėjau Hildegardos sudarytą Liber subtilitatum diversarum naturarum creaturarum („Įvairių prigimčių būtybių subtilybių knygą“), parengtą maždaug 1151-1158 m. ir susidedančią iš dviejų knygų – Physica ir Causae et curae. Siekiau sužinoti, kaip melancholijos fenomeną trimis jo prasmėmis (kaip organizmo skystį, charakterio tipą ir ligą) suvokė viena ryškiausių ir svarbiausių viduramžių mąstytojų. Melancholijos aiškinimui ir gydymo metodams pagrįsti Hildegarda pasitelkė ne tik Biblijos Pradžios knygą, bet ir iš antikos laikų atėjusią humoralinę doktriną bei viduramžių liaudies medicinos žinias. Melancholija Hildegardos moksliniuose tekstuose suvokta ir kaip širdies bei galvos smegenų liga, ir kaip vidaus organų patologija, kurią sukelia blužnyje gaminamos juodosios tulžies perteklius bei žalingas poveikis. Juodosios tulžies pertekliui mažinti ir melancholijai gydyti Hildegarda rekomendavo įvairias augalinės (pankolis, dedešva, raktažolė, našlaitė ir kt.), gyvūninės (stručio, garnio vidaus organai, skruzdėlės) ir mineralinės (oniksas) kilmės medžiagas. Autorė gydymo efektą aiškino, remdamasi tiek humoraline teorija, contraria contrariis principu, tiek viduramžių liaudies medicinos, žolininkystės bei religinio ir maginio gydymo žiniomis.

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10

Kerby-Fulton, Kathryn. "Hildegard of Bingen and Anti-mendicant Propaganda." Traditio 43 (1987): 386–99. http://dx.doi.org/10.1017/s0362152900012629.

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The question of Hildegard's influence and reputation in the centuries following her death is an elusive and vexing one for scholars. We do know that the medieval prophetic tradition is one of the few spheres in which her writings and her reputation sustained anything like their original high profile. To a large extent this popularity was the direct result of two things: first of all, a compilation of extracts from her prophecies made by Gebeno of Eberbach around the year 1220; and secondly, the association of Hildegard's name and a few of her genuine writings with the tradition of anti-mendicant propaganda. These two survivals give us a different but not unrelated view of how Hildegard was known to the later Middle Ages, and in particular what she was best known for: that is, for her prediction of a coming chastisement of the clergy to be brought about partly through the agency of a group of pseudo-prophets. The testimony of Gebeno in his prologue to his compilation of her prophetic works and the testimony of various contemporary chroniclers all agree on one thing: Hildegard had succeeded in scaring the wits out of the local clergy, and even decades after her death they feared the chastisement she had predicted.

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11

Foxhall, Katherine. "Making Modern Migraine Medieval: Men of Science, Hildegard of Bingen and the Life of a Retrospective Diagnosis." Medical History 58, no. 3 (June 19, 2014): 354–74. http://dx.doi.org/10.1017/mdh.2014.28.

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AbstractCharles Singer’s retrospective diagnosis of Hildegard of Bingen as a migraine sufferer, first made in 1913, has become commonly accepted. This article uses Hildegard as a case study to shift our focus from a polarised debate about the merits or otherwise of retrospective diagnosis, to examine instead what happens when diagnoses take on lives of their own. It argues that simply championing or rejecting retrospective diagnosis is not enough; that we need instead to appreciate how, at the moment of creation, a diagnosis reflects the significance of particular medical signs and theories in historical context and how, when and why such diagnoses can come to do meaningful work when subsequently mobilised as scientific ‘fact’. This article first traces the emergence of a new formulation of migraine in the nineteenth century, then shows how this context enabled Singer to retrospectively diagnose Hildegard’s migraine and finally examines some of the ways in which this idea has gained popular and academic currency in the second half of the twentieth century. The case of Hildegard’s migraine reminds us of the need to historicise scientific evidence just as rigorously as we historicise our other material and it exposes the cumulative methodological problems that can occur when historians use science, and scientists use history on a casual basis.

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12

Kowalewska, Małgorzata. "Ze Starego Średniowiecza do Nowego." Roczniki Kulturoznawcze 11, no. 4 (February 26, 2021): 51–69. http://dx.doi.org/10.18290/rkult20114-3.

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Głównym celem artykułu jest przedstawienie wybranych aspektów funkcjonowania w XX i XXI wieku myśli i twórczości Hildegardy z Bingen. Szerokie zainteresowanie ową twórczością jest w tym artykule formą prezentacji rosnącej tendencji do wznowienia dawno utraconego duchowego wymiaru życia. Zainteresowanie twórczością i osobą Hildegardy zaczęło wzrastać po okresie prac filologicznych, który przypomniał jej twórczość. Twórczość Hildegardy stała się źródłem inspiracji dla filologów, filozofów, teologów, artystów i muzykologów. Istnieje wiele Towarzystw Przyjaciół Hildegardy, które propagują jej idee. W kontekście dzisiejszego kryzysu kultury jej przestrogi skierowane do duchowieństwa i jej idee filozofii człowieka wydają się bardzo aktualne. W tej dziedzinie idea humanizmu chrześcijańskiego jest szczególnie ważna. Aktualne i ważne są jej poglądy na temat badań naukowych, w szczególności na temat rozróżnienia między dobrą a złą wiedzą (scientia bona, scientia mala). Także idea umiaru i idea relacji człowieka z ziemią. Zapewne z tego powodu jej dietetyka i medycyna są w dzisiejszych czasach tak popularne. Dzięki temu Hildegarda z Bingen ze starego średniowiecza wkracza w nowe średniowiecze, które być może nastąpi.

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13

Scotti, Alba, and Michael Klaper. "Reduktion und Liturgisierung." Die Musikforschung 70, no. 1 (September 22, 2021): 2–22. http://dx.doi.org/10.52412/mf.2017.h1.363.

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Es wird untersucht, inwieweit die zu beobachtenden Unterschiede zwischen den zwei Handschriften D (Kodex 9 in Dendermonde) und R (Handschrift 2 in der Hochschul- und Landesbibliothek RheinMain, der sogenannte "Riesenkodex") Aufschluss gewähren über die ihnen zugrunde liegenden Redaktionsprozesse. Dies geschieht in vier Schritten: Erstens wird der Überlieferungsbefund detailliert aufgenommen, und zwar unter Berücksichtigung paläographischer, liturgischer und musikalischer Gesichtspunkte. Zweitens wird diskutiert, welche Funktion der Angabe von "differentiae" in den Hildegard-Handschriften zukommen könnte; wie darzulegen ist, dürfte es sich bei diesen Angaben weniger um Hinweise auf eine gefestigte liturgische Praxis als vielmehr um das Ergebnis einer nachträglichen Liturgisierung handeln. In einem dritten Schritt werden die Probleme behandelt, die sich einer Interpretation der "differentiae" in den Hildegard-Handschriften stellen. Viertens wird der Blick auf andere Überlieferungen des 12. Jahrhunderts gerichtet, um die Gesänge Hildegards präziser im Kontext ihrer Zeit lokalisieren zu können.

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14

Mews, Constant J. "Peter Dronke, Christopher P. Evans, Hugh Feiss, Beverly Mayne Kienzle, Carolyn A. Muessig, Barbara Newman, eds. Hildegardis Bingensis Opera minora." Journal of Medieval Latin 20 (January 2010): 305–7. http://dx.doi.org/10.1484/j.jml.3.59.

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15

Fedorak, Dar’ia. "Hildegard of Bingen’s musical work in the aspect of the phenomenon of author’s style." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 312–30. http://dx.doi.org/10.34064/khnum2-19.18.

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Statement of the problem. Today national musicology is beginning to actively show interest in the study of Western European medieval monody. However, there is still no scientific information about the unique personality of the Middle Ages – Hildegard of Bingen and her musical creativity – in particular about the liturgical drama «Ordo virtutum», although there are some musicology methods for analyzing this music. The relevance of this study is due to the filling of this gap. Taking in account that a musical work of the 11–12th centuries is usually considered only within the context of the “historical style”, it seems interesting to have the opposite approach – to identify the characteristic features of authorship in the work of a medieval composer, whose music is becoming more and more popular in the world concert repertoire. The purpose of the article is to consider the work of Hildegard of Bingen in the aspect of the phenomenon of the author’s style and to identify the invariant features of the individual style model. The liturgical drama “Ordo Virtutum” (“Series of Virtues”) of 1150 by Hildegard of Bingen was chosen as the material for the study, in which several types of art – music, literature and theater are combined, and which is the earliest survived sample of this genre. The “libretto” of the drama is written by Hildegard own and fixed in the so-called “Rizenkodeks” – the majestic manuscript book of 25 pounds, which stored in Wiesbaden Landesbibliothek. The author of this study used the following research methods: historical and contextual due to the need to identify the specifics of creative thinking of Hildegard of Bingen in the context of the theory and practice of the liturgical monody of her time; intonation-dramaturgical analysis aimed at a holistic comprehension of the musical content as such, which is guided by the search for unifying patterns of the intonation plan, and the text-musical semantic analysis of the holy chants fot covering the synergistic aspect of understanding style. Results of the study. Theological themes were the main issues of Hildegard’s life, because from the age of eight she lived and studied in a Benedictine monastery, and later founded her own monastery in Rupertsberg. So, the work of Hildegard of Bingen, along with the music of such well-known, but much younger than her, contemporaries, masters of polyphony, like Leonin and Perotin, provides a unique opportunity to trace the peculiarities of the manifestation of authorship in the monody of the 12th century. The Gregorian chant became a genre that fully embodies the aspirations of the church. However, from the 11th century onwards, secular elements were gradually introduced into church music: from Easter or Christmas tropes, which contained intonations of folk songs, to theatrical episodes based on Scriptures, or “actions” called liturgical drama. The musical drama “Ordo Virtutum” (“A Series of Virtues”) was created to consecrate the Hildegard Convent in Rupertsberg and is impressive primarily because it is the first fully preserved, not fragmentary, liturgical drama. Unlike traditional liturgical drama, the work also surprises with its unusualness and multidimensionality. The text of the drama is related to the themes, characters and prophetic visions presented in one of the main theological works of Hildegard – “Scivias”. As for music, it is a monody, which, thanks to its innovations, significantly expands the tonal and intonational boundaries of music of that time. “Ordo Virtutum” is a Christian philosophical parable dedicated to the struggle for the human soul between the sixteen Virtues (Faith, Hope, Love, Humility, Docility, Innocence, Modesty, Divine Love, Divine Knowledge, Prudence, Patience, Chastity etc.) and the devil. This is the story of a “prodigal daughter” tempted by the devil, who gradually repented and returned with joy to the bosom of the Church. The manuscript of the drama is not divided into actions, but modern editions divide the work into six parts: the prologue, four scenes and the finale. There are a total of 82 different melodies, 80 of which are performed by women. The presence of a large number of female roles (as evidenced by the mostly high register of singing) indicates that the drama “Ordo Virtutum” was composed and performed for the first time in a nunnery. A peculiar struggle takes place between the features of the traditional Gregorian genre, secular influences and signs of Hildegard’s own style of singing, which leads to their synthesis in her compositional work and the opening of new musical horizons. The content of her songs is based on spiritual and cultural context, on the one hand, and personal and psychological attitudes, on the other. Hildegard’s monody is individual in relation to the models of Gregorian chants described in the scientific literature and is unorthodox. Following the text, the melody is divided into lines, which are combined into structural constructions of a higher level – stanzas. The structural and semantic unity of the whole is achieved due to the commonality of melodic motives, and the structure of lines and stanzas is determined by the motive formula. The presence of the above-mentioned integrating principle together with the multiplicity of its incarnations within the unique author’s individuality makes it possible to assert that Hildegard of Bingen’s music is a systemic phenomenon and demonstrates its own compositional style, like the music of Leonin or Perotin. On the example of the analysis of the musical characteristics of different heroes of the work, we see that the liturgical drama “Ordo Virtutum” is not just a collection of typified chorales, as it may seem at first glance. We have before us a real composer opus, endowed with its own unique authorial style, which is “lighting” through each element of this harmonious systemic compositional and semantic integrity. Conclusions. The liturgical drama of Hildegard of Bingen, in fact, was the first, which means that it is advisable to talk about the “phenomenon of a musical work” (the term of N. Gerasimova-Persidskaya), which is inevitably associated with authorship. It was also revealed that the characteristic features that add originality to the musical writing of St. Hildegard are the construction of special short intonational-motive formulas, as well as the frequent use of melismas and musical figures of ascending leaps, extended to an octave. The interaction of these and other qualities forms the uniquely individual author’s style of Hildegard of Bingen, the phenomenon of which lies in his exceptional integrity.

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Duran, Jane. "Hildegard of Bingen: A Feminist Ontology." European Journal for Philosophy of Religion 6, no. 2 (June 21, 2014): 155–67. http://dx.doi.org/10.24204/ejpr.v6i2.183.

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Two major lines of argument support the notion that Hildegard of Bingen’s metaphysics is peculiarly gynocentric. Contra the standard commentary on her work, the focus is not on the notion of viriditas; rather, the first line of argument presents a specific delineation of her ontology, demonstrating that it is a graded hierarchy of beings, many of which present feminine aspects of the divine, and all of which establish the metaphysical notion of interpenetrability. The second line of argument specifically contrasts her thought to that of Aquinas and Meister Eckhart, noting areas of similarity and difference. It is concluded that the visionary origins of Hildegard’s work may have to some extent precluded our understanding of it, and that her work merits consideration not only philosophically and theologically but from the standpoint of its early presentation of a gynocentric worldview.

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17

Rabassó, Georgina. "Traces of Augustine of Hippo in Hildegard of Bingen’s Visual Thoughts on Eternity and Time." Mediaevalia Textos e estudos 38 (2019): 73–95. http://dx.doi.org/10.21747/21836884/med38a4.

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Geometry has proven to be a valuable resource in the history of philosophy for representing a range of concepts in the semantic domain of time. A series of segments, lines, circles, polygons and other figures have been used to translate visually and symbolically the ideas of time and eternity for the purposes of understanding them better, fostering reflection, and explaining them in a didactic manner. Time is central to Augustine of Hippo’s thought, and Book XI of the Confessiones is the main vehicle for its transmission. While it is not known whether Hildegard of Bingen read these pages, the Rhenish magistra’s vision of eternity and time shows a notable affinity with aspects of Augustinian thought. The visual representations in Hildegard’s Liber diuinorum operum (I, 2-3; III, 5) are used here to illustrate this possible influence (or confluence). In the visions and the miniatures that accompany them, the circle represents eternity, the diameter represents time, and the dot represents the present instant that connects both

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18

Pfau, Marianne Richert. "Hildegard’s extraordinary life." Early Music 47, no. 3 (July 23, 2019): 408–9. http://dx.doi.org/10.1093/em/caz057.

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19

Newman, Barbara. "Commentary on the Johannine Prologue." Theology Today 60, no. 1 (April 2003): 16–33. http://dx.doi.org/10.1177/004057360306000103.

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This article is a translation of Hildegard's commentary on the Johannine prologue, taken from her Book of Divine Works, with an introduction emphasizing the themes of the divine image and the holiness of the human body as an analogue of both the cosmos and the creative power of God. The note introducing the translation comments on Hildegard's prophetic, pictorial style and explains why her highly gendered thought cannot be rendered in contemporary gender-neutral language.

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20

Hildegard, Von Bingen. "Hildegard – ein Mythos?" Deutsche Heilpraktiker-Zeitschrift 13, no. 04 (June 2018): 60–63. http://dx.doi.org/10.1055/a-0594-3881.

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SummaryHistorische Quellen legen die Vermutung nahe, dass Hildegard von Bingen vielmehr eigenwillige Denkerin als Universalgelehrte war. Ob Dinkelbier oder Hildegard-Fasten: Viele Nahrungsmittel, Konzepte und Rezepte werden fälschlicherweise Hildegard zugeschrieben. Kaum bekannt ist, dass sich Hildegard intensiv der Heilwirkung von Bäumen, zum Beispiel Esskastanie, Olive und Birne, widmete.

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21

Bertini, Ferruccio. "LE VISIONI DI ILDEGARDA DI BINGEN." Revista Internacional de Culturas y Literaturas 9, no. 9 (2010): 94–102. http://dx.doi.org/10.12795/ricl.2010.i09.07.

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22

Tarnawska, Joanna. "Obraz św. Hildegardy z Bingen w polskiej kulturze współczesnej." Załącznik Kulturoznawczy, no. 1 (2014): 60–86. http://dx.doi.org/10.21697/zk.2014.1.03.

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The article St. Hildegard of Bingen in Contemporary Culture was based on fragments of Licence Work.: St.Hildegard of Bingen – medival “feminist” and contemporary doctor of Church. The author concentrates on great interest of Saint Hildegard – the most interesting and best known monk of medieval ages. Saint Hildegard is a authority and inspiration for many different societes generating discussions. This work tries to answer questions on manipulation and use of Hildegard by contemporary culture. It also underlines stereotypes of thinking about medival ages and position of women in Church

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Mews, Constant. "Vita Sanctae Hildegardis. Edited by Monika Klaes. (Corpus Christianorum Continuatio Mediaevalis, cxxvi.) Pp. 224 incl. II plates + 124. Turnhout: Brepols, 1993. 2 503 04262 7; 2 503 03000 9 (series) - Hildegard von Bingen. Die theologische Grundlegung ihrer Ethik und Spiritualität. By Gabriele Lautenschläger. Pp. 423. Stuttgart–Bad Canstatt: Frommann-Holzboog, 1993. DM 88. 3 7728 1600 2." Journal of Ecclesiastical History 45, no. 4 (October 1994): 694–96. http://dx.doi.org/10.1017/s0022046900010885.

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Mews, Constant. "Hildegardis Bingensis. Opera minora. Edited by Peter Dronke, Christopher P. Evans, Hugh Feiss, Beverly Mayne Kienzel, Carolyn A. Muessig and Barbara Newman. (Corpus Christianorum. Continuatio Mediaevalis, 226.) Pp. 596. Turnout: Brepols, 2007. €265. 978 2 503 05261 8." Journal of Ecclesiastical History 59, no. 4 (October 2008): 743–44. http://dx.doi.org/10.1017/s0022046908005265.

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Meckler, Michael. "Christopher P. Evans, Jeroen Deploige, Sara Moens, Michael Embach, and Kurt Gärtner, eds., Hildegardis Bingensis Opera minora II. (Corpus Christianorum Continuatio Mediaevalis 226A.) Turnhout: Brepols, 2016. Pp. 400; 4 color figures. €230. ISBN: 978-2-503-54837-1." Speculum 93, no. 1 (January 2018): 205–6. http://dx.doi.org/10.1086/695938.

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Khun, Hildegarde. "Hildegarde Khun." Diplômées 278, no. 1 (2021): 215–17. http://dx.doi.org/10.3406/femdi.2021.10705.

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Oliveira, Maria Carmen Gomes Martiniano de. "A peregrinação da alma no Scivias de Hildegard de Bingen: criação, queda, redenção e salvação." História (São Paulo) 32, no. 2 (December 2013): 209–40. http://dx.doi.org/10.1590/s0101-90742013000200011.

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Hildegard de Bingen, religiosa beneditina que viveu no século XII, alegava ter escrito sua primeira obra, o Scivias, obedecendo a um "comando divino" que ela teria recebido em uma de suas visões espirituais. Segundo Hildegard, essas visões a acompanhavam desde sua infância, e nelas ela recebia mensagens "divinas". O Scivias, escrito entre 1141 e 1151, consistia, de acordo com Hildegard, na transcrição dessas mensagens e era uma obra com ensinamentos em ortodoxia doutrinária. A obra, contendo as visões de Hildegard, é dividida em três partes de tamanho desigual que tratam respectivamente da criação e queda (primeira parte), da redenção e da salvação. Este artigo visa a analisar a quarta visão da primeira parte do Scivias em que Hildegard narra a peregrinação de uma alma pecadora. A caminhada dessa alma é interessante à medida que sintetiza, em sua jornada, as etapas doutrinárias cristãs trabalhadas em todo o Scivias, a saber, criação, queda, redenção e salvação.

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Cheek, Martin, and Greg Leach. "Hildegardia (Sterculiaceae) New to Australia." Kew Bulletin 46, no. 1 (1991): 72. http://dx.doi.org/10.2307/4110744.

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Cheek, Martin, and Greg Leach. "PLANTS IN PERIL, 20: HILDEGARDIA." Curtis's Botanical Magazine 11, no. 2 (May 1994): 88–94. http://dx.doi.org/10.1111/j.1467-8748.1994.tb00415.x.

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Peck, Steven L. "Additions to St. Hildegard’s Physica." Prairie Schooner 91, no. 2 (2017): 85–92. http://dx.doi.org/10.1353/psg.2017.0021.

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Friesen, Ilse. "St. Hildegard." Canadian Art Therapy Association Journal 9, no. 2 (June 1995): 16–30. http://dx.doi.org/10.1080/08322473.1995.11432209.

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Łepko, Zbigniew, and Ryszard F. Sadowski. "Ekofilozoficzne znaczenie przesłania Hildegardy z Bingen." Studia Ecologiae et Bioethicae 12, no. 2 (June 30, 2014): 11–25. http://dx.doi.org/10.21697/seb.2014.12.2.01.

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This article presents the medieval thought of Hildegard of Bingen, which seems to be very topical at this time of ecological crisis. In a prophetic way, this outstanding, European, medieval figure saw the challenges that civilized humankind faces in our time. In her works we find the roots of such popular ideas as a holistic view of the world and sustainable development. According to Hildegard of Bingen, original harmony between God, mankind, and the world is upset by irresponsible human deeds. Hildegard points out that mankind, which is the first victim of its own deeds, is able to recognize a critical situation and take steps to overcome the crisis. Hildegard of Bingen’s work expresses optimism about mankind’s ability to change its attitude towards nature This optimism is derived from the spiritual and intellectual skills of mankind.

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Jimenez, Michele de Oliveira, and Terezinha Oliveira. "HILDEGARDA DE BINGEN E O PODER FEMININO NO SÉCULO XII:." Revista Educação e Linguagens 10, no. 19 (July 20, 2021): 22–40. http://dx.doi.org/10.33871/22386084.2021.10.1922-40.

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Hildegarda de Bingen (1098-1179) viveu e escreveu durante um período de grandes transformações na sociedade medieval: surgimento das cidades e início do comércio, cruzadas, combate às heresias dos cátaros e crescimento das ordens religiosas. Nesse sentido, este artigo pretende demonstrar como as virtudes obediência e humildade foram utilizadas para justificar a manutenção da ordem social no século XII, de acordo com a obra Scivias de Hildegarda de Bingen. Para tanto, o trabalho apresentará uma pequena biografia de Hildegarda de Bingen, uma breve contextualização do século XII, descrição das virtudes obediência e humildade, e como foram utilizadas para justificar as hierarquias sociais entre os homens, de forma a garantir a manutenção da ordem social no século XII.

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ZHAO, ZENG QI, MICHAEL SURREY, WELLCOME HO, MILEN MARINOV, CAROLYN BLEACH, BRENT ROGAN, and BRETT ALEXANDER. "First record of Bursaphelenchus hildegardae Braasch et al., 2006 (Nematoda) in New Zealand with updated information on morphology, sequencing and a key to species of the eggersi-group." Zootaxa 5071, no. 1 (November 22, 2021): 151–65. http://dx.doi.org/10.11646/zootaxa.5071.1.9.

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Bursaphelenchus hildegardae Braasch et al., 2006 was collected from pine wood (Pinus radiata) growing in Kaingaroa Timberlands, and a bark beetle, Hylastes ater Paykull, 1800 in New Zealand. This is a new record for B. hildegardae, occuring in New Zealand, and the second report from the southern hemisphere in addition to Australia. In general, the New Zealand isolate of B. hildegardae corresponds well with the description of B. hildegardae given by Braasch et al. (2006) from Germany. The New Zealand isolate is characterized by having an adult body length of 807–1190 μm, medium a ratios (47.5–58.5 for female and 44.6–60.1 for male), b ratios of 9.8–14.5 (female) and 10.2–12.7 (male), c ratios of 18.8–25.2 (female) and 21.6–32.4 (male), c’ ratios of 4.0–4.4 (female) and 2.1–2.7 (male), and is characterised by having three incisures in the lateral fields, thorn-shaped spicules with a distinctly dorsally-bent thin hook-like condylus, and a dorso-ventally visible terminal bursa. In addition, molecular phylogeny using near full length small subunit (SSU), D2/D3 expansion segments of the large subunit (LSU) and the internal transcribed spacer region (ITS1 and 2) of the ribosomal rDNA supports the identification. A key to Bursaphelenchus species in the eggersi-group is given.

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Cirlot, Victoria. "La ciudad celeste de Hildegard von Bingen." Anuario de Estudios Medievales 44, no. 1 (June 30, 2014): 475–513. http://dx.doi.org/10.3989/aem.2014.44.1.15.

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Weiss, Sonja. "Cloud and Clothe : Hildegard of Bingen's metaphors of the fall of the human soul." Acta Neophilologica 49, no. 1-2 (December 15, 2016): 5–18. http://dx.doi.org/10.4312/an.49.1-2.5-18.

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The paper examines Hildegard's use of metaphors in her visions of the human fall, and the way she combined the biblical motif of Original Sin with the philosophical question of a soul's embodiment, particularly in her moral play, Ordo virtutum, but also in her medical and visionary writings. The metaphor of the cloud sometimes blends with the metaphor of clothing (as in, "to clothe"), since the corporeal vestment of the soul before the Fall is said to resemble a cloud of light. Both metaphors are present in Hildegard's other works, particularly the image of the cloud, which is frequently used to illustrate cosmological implications of Original Sin. The metaphor of clothing, on the other hand, reveals parallels with certain Christian Gnostic revelations, blended with the Neo-Platonic doctrine of the soul as enslaved to the body.

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Meis Wörmer, Anneliese. "Symphonia de Sancta Maria. La ≪mística dogmática≫ de Hildegard von Bingen." Anuario de Historia de la Iglesia 16 (April 18, 2018): 245–63. http://dx.doi.org/10.15581/007.16.10101.

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La presente investigación aborda la pregunta: ¿Hildegard es una verdadera mística en la Symphonia de Sancta Maria de la Visio XIII de Scivias? Se intenta demostrar que Hildegard es una eminente voz teológica dogmática, pero que como tal articula una importante mística, teniendo esta su paradigma en María, la profetisa. La interpretación del complejo «Cántico de María» esclarece la racionalidad propia de dicha Symphonia, su índole pneumatológica y la mirada amorosa del Padre Supremo sobre María, para verificar la concreción dogmática de la mística hildegardiana en cuanto mariana. En efecto, dicha interpretación evidencia que Hans Urs von Balthasar con razón llama a Hildegard una «mística dogmática».

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Zátonyi, Maura. "Rebell oder Mitarbeiter Gottes? Hildegard von Bingen zu einem bekehrten Umgang mit der Schöpfung." Studia Universitatis Babeș-Bolyai Theologia Catholica 66, no. 1-2 (December 15, 2021): 221–31. http://dx.doi.org/10.24193/theol.cath.2021.10.

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Rebel or collaborator of God? Hildegard of Bingen about a converted creation approach. Hildegard of Bingen (1098-1179) describes the consequences of the destruction of nature with surprising modern illustrations. At the same time, she shows ways to change for the better. Instead of rebelling against God and the order of creation, man is invited to take his position in the heart of creation. Obedience frees man to deal with creation in a compliant manner. This way he can respond to God’s love and act with responsibility in the world. Keywords: Hildegard von Bingen, Schöpfung, Gottes Liebe, Freiheit, Vernunft, Verantwortung, Gottesvergessenheit, Umkehr, geschöpfliches Dasein, Gehorsam.

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Lozano, Federico, and Danielle Anjos-Santos. "Acanthagrion hildegarda Gloger, 1967 (Odonata: Zygoptera: Coenagrionidae): new records and geographic distribution map." Check List 8, no. 1 (February 1, 2012): 177. http://dx.doi.org/10.15560/8.1.177.

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Acanthagrion hildegarda Gloger, 1967 (Odonata: Zygoptera: Coenagrionidae) is a common inhabitant of lentic environments in Argentina and Uruguay. However, precise georreferenced data are scarce in the literature. This work provides the first updated georreferenced list of localities and map of distribution of A. hildegarda, including new country records for Brazil and departamental records for Uruguay, accompanied by illustrations and scanning photographs of its main diagnostic characters.

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Myland, BPM, and Steenis CGGJ van. "Franciscodendron (Sterculiaceae), a new tree genus from Queensland." Brunonia 10, no. 2 (1987): 211. http://dx.doi.org/10.1071/bru9870211.

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A new monotypic genus, Franciscodendron B. Hyland & Steenis is described for the first time, based on Sterculia laurifolia F. Muell. A comparison with nine genera of the tribe Sterculieae indicates that Franciscodendron has its closest relationship with Hildegardia.

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Marder, Michael. "Saint Hildegard’s Vegetal Psycho-Physio-Theology." Religions 9, no. 11 (November 13, 2018): 353. http://dx.doi.org/10.3390/rel9110353.

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Besides a series of psycho-physiological correspondences between parts of the soul and physical processes, one finds in Hildegard’s corpus an entire hagiography and a theography mapped onto parts of plants in a sort of spiritual botany. The analogies mixed together with the non-analogical emanations of viriditas are complex, insofar as they involve particular species of plants or plant organs, psychic faculties, and chief actors in the Judeo-Christian theological drama.

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Schulz, Heike, and Dagmar Weiße. "Vom traumatisierten Kind zur anerkannten Künstlerin." PPH 24, no. 02 (March 23, 2018): 80–86. http://dx.doi.org/10.1055/s-0043-125158.

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Zusammenfassung Interview Um ein Kriegstrauma zu bewältigen, kommunizierte die Malerin Hildegard Wohlgemuth (1933 bis 2003) seit ihrer frühesten Jugend mit Stimmen, die sie in ihrem Inneren hörte. Im Gespräch mit der PPH erläutert die Psychotherapeutin Dr. Heike Schulz vom Wohlgemuth-Archiv Bayreuth, welche Bedeutung die Stimmen für Hildegard Wohlgemuth hatten und wie die Malerei zu einer wichtigen Ressource in ihrem Leben wurde.

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Volek, Peter. "Aktuálne inšpirácie ekologickými podnetmi z myslenia Hildegardy z Bingenu." Verba Theologica 21, no. 2 (2022): 73–87. http://dx.doi.org/10.54937/vt.2022.21.2.73-87.

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This article looks at the inspiration from the ideas of Hildegard of Bingen to change people’s behavior to solve the current ecological crisis. This topic is very actual, it was also addressed by Pope Francis in the encyclical Laudato Si’. Hildegard of Bingen based her works on the visions she had. According to her, the world was created in harmony and in the fullness of life, which manifested itself in nature as greenness (viriditas). It was violated by the first sin of Adam. Jesus’ redemptive work restored this harmony. Every person can restore harmony in nature by striving for a virtuous life, by sins and vices he moves away from it and thereby causes spiritual decline in the soul. It also contributes to the destruction of greenness in nature and the increase in dryness (ariditas). Hildegard of Bingen recommends abandoning extreme anthropocentrism in the relation to the nature and obedience to God. Compared to the encyclical of Pope Francis Laudato Si’, Hildegard considers the cause of dryness and ecological damage not only ecological sins, but all sins, because human actions affect all things all things that are interconnected.

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Serrão, Ricardo. "Canto para Hildegard." Revista Vórtex 8, no. 3 (2020): 1–5. http://dx.doi.org/10.33871/23179937.2020.8.3.1.44.

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Schulze, Emilie. "Hildegard: A Trailblazer?" Musical Offerings 12, no. 2 (2021): 63–75. http://dx.doi.org/10.15385/jmo.2021.12.2.3.

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GÖSMANN, Elisabeth. "Hildegard von Bingen." Journal of the European Society of Women in Theological Research 1 (January 1, 1993): 161–68. http://dx.doi.org/10.2143/eswtr.1.0.2017344.

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Kurtz, Lester R. "Hildegard Goss-Mayr." Peace Review 13, no. 3 (September 2001): 457–61. http://dx.doi.org/10.1080/13668800120079193.

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Bain, Jennifer. "Was Hildegard Forgotten?" Journal of Musicological Research 34, no. 1 (January 2, 2015): 1–30. http://dx.doi.org/10.1080/01411896.2015.985520.

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Suzanne M. Phillips and Monique D. Boivin. "Hildegard and Holism." Philosophy, Psychiatry, & Psychology 14, no. 4 (2008): 377–79. http://dx.doi.org/10.1353/ppp.0.0140.

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Dirks, Patricia. "Hildegard Westerkamp: Transformations." Computer Music Journal 23, no. 1 (March 1999): 91–92. http://dx.doi.org/10.1162/comj.1999.23.1.91.

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