Relevant bibliographies by topics / Ordo virtutum

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Ordo virtutum'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "Ordo virtutum"

1

Cameron, Kenneth, and Hildegard of Bingen. "Ordo Virtutum." Theatre Journal 38, no. 4 (December 1986): 484. http://dx.doi.org/10.2307/3208296.

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Costa, Débora Duarte. "Ordo virtutum de Hildegard de Bingen." Nuntius Antiquus 16, no. 2 (December 21, 2020): 147–74. http://dx.doi.org/10.35699/1983-3636.2020.25954.

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Este trabalho apresenta uma tradução inédita no Brasil do drama de música sacra Ordo Virtutum, bem como breve resumo da vida de sua autora, Hildegard de Bingen, monja beneditina nascida no final do século XI e figura de destaque no século XII. Algumas explicações referentes à tradução introduzem ainda o texto.
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Potter, Robert. "The Ordo Virtutum: Ancestor of the English Moralities?" Comparative Drama 20, no. 3 (1986): 201–10. http://dx.doi.org/10.1353/cdr.1986.0017.

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4

Campbell, Thomas P. "The "Ordo Virtutum" of Hildegard of Bingen: Critical Studies.Audrey Ekdahl Davidson." Speculum 69, no. 3 (July 1994): 764–65. http://dx.doi.org/10.2307/3040871.

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5

Kobialka, Michal. "Corpus Mysticum et Representationem: Hildegard of Bingen's Scivias and Ordo Virtutum." Theatre Survey 37, no. 1 (May 1996): 1–22. http://dx.doi.org/10.1017/s0040557400001393.

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Ever since the project of supplying objective knowledge was challenged by the debates about colonialism, gender, sexual orientation, and ethnicity, academics from different fields have begun to share a conception of knowledge as representational, differing primarily in the accounts of how their, “representations” are related to objects that are represented. Understandably, Plato's and Aristotle's definitions of mimesis have acquired new currency. According to Plato, whenever “you see one, you conceive of the other.” According to Aristotle, the relationship between techne and phusis is contained in the formulation that, on the one hand, art imitates nature; on the other hand, art carries to its end what nature is incapable of effecting. Both Plato and Aristotle perceive mimesis as the process of either epistemological or ontological repetition or doubling in which “one” (thought or subject) becomes “two” (thought or subject doubles as idea or object), in theatre studies, for example, the prevailing tradition defines representation in terms of a promise of a performative act. Such an act signifies that the “I” or “we” making the promise understands or knows the problem, the object, or the text and will be able to transfer it from nature, that is, from the real space, to the theatrical, “imaginary” space where the declaration of its existence and the formulation of its speech will be staged in a tight spotlight. This process is authorized by an institutional structure that safeguards the promise, its execution, and its use.
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LEE, JI YOUNG. "A Study on the Musical Characteristics of Ordo Virtutum : Focusing on the Systematic Musical Composition." Journal of the Musicological Society of Korea 22, no. 1 (May 31, 2019): 83–111. http://dx.doi.org/10.16939/jmsk.2019.22.1.83.

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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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8

Collins, Fletcher. "The Ordo Virtutum of Hildegard von Bingen ed. by Audrey Ekdahl Davidson." Comparative Drama 20, no. 1 (1986): 81–82. http://dx.doi.org/10.1353/cdr.1986.0041.

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9

Dabke, Roswitha. "The Hidden Scheme of the Virtues in Hildegard of Bingen's Ordo Virtutum." Parergon 23, no. 1 (2006): 11–46. http://dx.doi.org/10.1353/pgn.2006.0065.

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10

Palazzo, Éric. "Mariona Vernet et Eulalia Vernet (éd. et trad.), Ordo Virtutum: Hildegarda de Bingen." Cahiers de civilisation médiévale, no. 252 (December 1, 2020): 309–10. http://dx.doi.org/10.4000/ccm.5435.

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Dissertations / Theses on the topic "Ordo virtutum"

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Jolliffe, Christine. "Neoplatonic influences in Hildegard of Bingen's Ordo Virtutum : with Latin text and English translation of the play." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22438.

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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.
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Books on the topic "Ordo virtutum"

1

Tabaglio, Maria. Ordo virtutum: Il cammino di anima verso la salvezza. San Pietro in Cariano (Verona): Il Segno dei Gabrieli, 1999.

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2

Ziegler, Gabriele. Der Weg zur Lebendigkeit: Nach dem Ordo virtutum der hl. Hildegard von Bingen. Münsterschwarzach: Vier-Türme-Verlag, 1993.

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3

Hildegard. Symphonie des harmonies célestes =: Symphonia harmoniae caelestum revelationum : suivi de l'Ordre des vertus = Ordo virtutum. Grenoble: J. Millon, 2003.

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4

Hildegard. Ordo virtutum =: Spiel der Kräfte : das Schau-Spiel vom Tanz der göttlichen Kräfte und der Sehnsucht des Menschen. Augsburg: Patloch, 1991.

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5

Bingen, Hildegard von. Ordo Virtutum. Hildegard Publishing Company, 2002.

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Hildegar, S. Ordo Virtutum. Western Michigan Univ Medieval, 1985.

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Bingen, Hildegard von. Ordo Virtutum Spiel der Krafte. Pattloch Verlag, M??nchen, 1991.

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8

The "Ordo virtutum" of Hildegard of Bingen: Critical studies. Kalamazoo, Mich: Medieval Institute Publications, Western Michigan University, 1992.

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9

Hildegard Von Bingen's Ordo Virtutum: A Musical and Metaphysical Analysis. Taylor & Francis Group, 2018.

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10

Davidson, Audrey E. The Ordo Virtutum of Hildegard of Bingen: Critical Studies (Early Drama, Art, and Music Monograph Series). Medieval Institute Publications, 1992.

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Book chapters on the topic "Ordo virtutum"

1

Gardiner, Michael C. "A metaphysical medieval assemblage." In Hildegard von Bingen’s Ordo Virtutum, 1–49. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267814-1.

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Gardiner, Michael C. "Analytic introduction." In Hildegard von Bingen’s Ordo Virtutum, 51–82. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267814-2.

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Gardiner, Michael C. "Deterritorialized bodies." In Hildegard von Bingen’s Ordo Virtutum, 83–142. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267814-3.

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Gardiner, Michael C. "The taking-place of prayer." In Hildegard von Bingen’s Ordo Virtutum, 143–95. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267814-4.

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Gardiner, Michael C. "On reterritorialization." In Hildegard von Bingen’s Ordo Virtutum, 197–222. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315267814-5.

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Astey, Luis. "EL ORDO VIRTUTUM DE HILDEGARD VON BINGEN." In Reflexiones lingüísticas y literarias, 17–52. El Colegio de México, 1992. http://dx.doi.org/10.2307/j.ctv47wf58.5.

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Meconi, Honey. "New Creations." In Hildegard of Bingen, 35–52. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252033155.003.0004.

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In this chapter Hildegard’s presumed output before Liber vite meritorum is discussed, including Scivias, her correspondence, Physica, Cause et cure, the Lingua ignota and Litterae ignotae, the Gospel homilies, commentary on the Benedictine Rule, and her musical collection Symphonia armonie celestium revelationum. The structure of Scivias, its illuminations, and the musically important closing concert, with its song texts and short version of Ordo virtutum, are emphasized. The nature and genesis of the Symphonia is examined, and its differing structure in the Dendermonde and Riesencodex is laid out and explained. The significance of the 1150s for Hildegard’s activity closes the chapter.
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Meconi, Honey. "A New Life." In Hildegard of Bingen, 14–26. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252033155.003.0002.

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The chapter compares Hildegard’s new life at Rupertsberg with her previous time at Disibodenberg, with emphasis on the Opus dei component of monastic life, the limited opportunities for musical performance while at Disibodenberg, and her newfound freedom at Rupertsberg. It examines music possibly used in connection with the rededication of the Rupertsberg church, including O orzchis ecclesia and the musical play Ordo virtutum (The Play of the Virtues). It discusses the play’s plot and structure; musical characterization; performing forces; the range, length, and mode of individual parts (including Victory and Chastity); costuming possibilities; Hildegard’s likely role as Humility; possible reasons for the play’s genesis; and Hildegard’s ongoing interest in the virtues, especially in Scivias.
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