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Artículos de revistas sobre el tema "Hildegard of Bingen"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

John, Helen J. "Hildegard of Bingen: A New Twelfth-century Woman Philosopher?" Hypatia 7, n.º 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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2

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, n.º 8 (31 de diciembre de 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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3

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

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4

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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5

Kreutziger-Herr, Annette. "Hildegard of Bingen conference". Early Music XXVII, n.º 1 (febrero de 1999): 156–57. http://dx.doi.org/10.1093/earlyj/xxvii.1.156.

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6

Johnson, S. "Interpreting Hildegard von Bingen". Early Music 42, n.º 1 (1 de febrero de 2014): 139–41. http://dx.doi.org/10.1093/em/cau013.

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7

Duran, Jane. "Hildegard of Bingen: A Feminist Ontology". European Journal for Philosophy of Religion 6, n.º 2 (21 de junio de 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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8

Cirlot, Victoria. "La ciudad celeste de Hildegard von Bingen". Anuario de Estudios Medievales 44, n.º 1 (30 de junio de 2014): 475–513. http://dx.doi.org/10.3989/aem.2014.44.1.15.

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9

Tarnawska, Joanna. "Obraz św. Hildegardy z Bingen w polskiej kulturze współczesnej". Załącznik Kulturoznawczy, n.º 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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10

Zátonyi, Maura. "Rebell oder Mitarbeiter Gottes? Hildegard von Bingen zu einem bekehrten Umgang mit der Schöpfung". Studia Universitatis Babeș-Bolyai Theologia Catholica 66, n.º 1-2 (15 de diciembre de 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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11

Łepko, Zbigniew y Ryszard F. Sadowski. "Ekofilozoficzne znaczenie przesłania Hildegardy z Bingen". Studia Ecologiae et Bioethicae 12, n.º 2 (30 de junio de 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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12

Sweet, Victoria. "Secrets of God: Writings of Hildegard of Bingen. Hildegard of Bingen , Sabina Flanagan". Isis 89, n.º 1 (marzo de 1998): 124–25. http://dx.doi.org/10.1086/383940.

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13

Hildegard, Von Bingen. "Hildegard – ein Mythos?" Deutsche Heilpraktiker-Zeitschrift 13, n.º 04 (junio de 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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14

Bertini, Ferruccio. "LE VISIONI DI ILDEGARDA DI BINGEN". Revista Internacional de Culturas y Literaturas 9, n.º 9 (2010): 94–102. http://dx.doi.org/10.12795/ricl.2010.i09.07.

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15

Volek, Peter. "Aktuálne inšpirácie ekologickými podnetmi z myslenia Hildegardy z Bingenu". Verba Theologica 21, n.º 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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16

Costa, Débora Duarte. "Ordo virtutum de Hildegard de Bingen". Nuntius Antiquus 16, n.º 2 (21 de diciembre de 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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17

Urberg, Michelle. "Hildegard of Bingen by Honey Meconi". Notes 77, n.º 3 (2021): 440–42. http://dx.doi.org/10.1353/not.2021.0019.

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18

Poizat, Michel. "Hildegard von Bingen : la voix sacrée". Les Cahiers du GRIF 2, n.º 1 (1996): 49–64. http://dx.doi.org/10.3406/grif.1996.1901.

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19

Miljević, Bojan. "Musical world of Hildegard of Bingen". New Sound, n.º 42 (2013): 167–82. http://dx.doi.org/10.5937/newso1342167m.

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20

Newman, Barbara. "Hildegard of Bingen: Visions and Validation". Church History 54, n.º 2 (junio de 1985): 163–75. http://dx.doi.org/10.2307/3167233.

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Some years ago, wrote the Flemish monk Guibert to his friend Radulfus, strange and incredible rumors reached his ears at the Benedictine monastery of Gembloux. They concerned an old woman, abbess of the Benedictine foundation at Bingen-am-Rhein, who had gained such fame that multitudes flocked to her convent, from curiosity or devotion, to seek her prophecies and prayers. All who returned thence astonished their hearers, but none could give a plausible account of the woman, save only that her soul was “said to be illumined by an invisible splendor known to her alone.” Finally he, Guibert, impatient with rumor and zealous for the truth, resolved to find out for himself. In the year 1175 he wrote to this famed seer, Hildegard, with mingled curiosity and awe. Surely she had received “rare gifts, till now practically unheard of throughout all ages”; in prophecy she excelled Miriam, Deborah, and Judith; but let her recall that great trees are uprooted sooner than reeds, and let her keep herself humble.

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21

Maiello, James Vincent. "Hildegard of Bingen by Honey Meconi". Fontes Artis Musicae 66, n.º 3 (2019): 306–8. http://dx.doi.org/10.1353/fam.2019.0034.

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22

Boyce-Tillman, June. "An Evening with Hildegard of Bingen". Feminist Theology 1, n.º 3 (mayo de 1993): 106–14. http://dx.doi.org/10.1177/096673509300000314.

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23

Wagner, Fritz. "Die Welt der Hildegard von Bingen". AMSTERDAMER BEITRÄGE ZUR ÄLTEREN GERMANISTIK 51, n.º 1 (17 de noviembre de 1999): 306–7. http://dx.doi.org/10.1163/18756719-051-01-90000051.

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24

Emily Sutherland. "Hildegard of Bingen: Entry into Disibodenberg". Parergon 27, n.º 1 (2010): 53–66. http://dx.doi.org/10.1353/pgn.0.0188.

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25

Stahler-Gey, S. "Das Heilwissen der Hildegard von Bingen". Psych. Pflege Heute 13, n.º 1 (febrero de 2007): 23–26. http://dx.doi.org/10.1055/s-2006-927353.

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26

Gresser, G. "Medizinische Ethik bei Hildegard von Bingen". Ethik in der Medizin 10, S1 (septiembre de 1998): S92—S103. http://dx.doi.org/10.1007/pl00014828.

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27

Lee, Minji. "Cambridge Companion to Hildegard of Bingen". Journal of Medieval Religious Cultures 49, n.º 1 (enero de 2023): 143–46. http://dx.doi.org/10.5325/jmedirelicult.49.1.0143.

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28

Meis Wörmer, Anneliese. "Symphonia de Sancta Maria. La ≪mística dogmática≫ de Hildegard von Bingen". Anuario de Historia de la Iglesia 16 (18 de abril de 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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29

Fedorak, Dar’ia. "Hildegard of Bingen’s musical work in the aspect of the phenomenon of author’s style". Aspects of Historical Musicology 19, n.º 19 (7 de febrero de 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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30

Campbell, Nathaniel M. ""Imago expandit splendorem suum". Hildegard of Bingen’s Visio-Theological Designs in the Rupertsberg Scivias Manuscript". Eikon / Imago 2, n.º 2 (20 de septiembre de 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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31

Foxhall, Katherine. "Making Modern Migraine Medieval: Men of Science, Hildegard of Bingen and the Life of a Retrospective Diagnosis". Medical History 58, n.º 3 (19 de junio de 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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32

Marinho Nogueira, Maria Simone y Ana Rachel G. C. de Vasconcelos. "CIÊNCIA E FÉ EM HILDEGARD VON BINGEN". Basilíade - Revista de Filosofia 4, n.º 8 (5 de junio de 2022): 57–72. http://dx.doi.org/10.35357/2596-092x.v4n8p57-72/2022.

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Este artigo tem por objeto o pensamento de Hildegard von Bingen, uma importante mulher que viveu no século XII e deixou diversas obras escritas. Em suas obras médico-científicas e visionárias, é possível tanto identificar as suas principais influências intelectuais como compreender a sua visão sobre o homem e o universo. A partir daí, muito do contexto em que ela viveu – da conflituosa transição da cosmologia simbólica platônica para a astronomia de Aristóteles e Ptolomeu – se torna mais claro. Em seu tempo, a filosofia começava a ter contornos próprios, mais definidos, descolando-se da teologia e até mesmo investigando questões concernentes à fé, o que incomodou a muitos. Este artigo traz a postura de Hildegard diante desta contenda: ela, como monja beneditina, mesmo conhecendo e sendo influenciada por pensadores importantes e valorizando o papel do conhecimento para a prática da religião, reverbera o pensamento tipicamente monástico de desconfiança ante a valorização da dialética e tece críticas à postura dos filósofos escolásticos, enfatizando, em oposição a eles, a humildade e a proeminência da fé.

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Nogueira, Maria Simone Marinho y Ana Rachel Gondim Cabral de Vasconcelos. "HILDEGARD VON BINGEN E ELISABETH VON SCHÖNAU:". Trilhas Filosóficas 13, n.º 1 (7 de septiembre de 2020): 35–54. http://dx.doi.org/10.25244/tf.v13i1.2396.

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Neste artigo pretendemos apresentar, a partir das duas primeiras cartas trocadas entre Hildegard von Bingen (1098-1179) e Elisabeth von Schönau (1129-1164), a relação de amizade e inspiração dessas duas mulheres, que foram importantes místicas visionárias cristãs do século XII e influenciaram sobremaneira a cristandade medieval. Apresentaremos, assim, aspectos da vida e da obra da sibila do Reno e sua influência sobre Elisabeth von Schönau, delimitando também algumas das diferenças entre elas, inclusive no que se refere à mística.

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Fekete, Gabriella. "Hildegard von Bingen és a kolostori medicina". Kaleidoscope History 10, n.º 19 (2019): 266–93. http://dx.doi.org/10.17107/kh.2019.19.266-293.

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Dronke, Peter. "The Symbolic Cities of Hildegard of Bingen". Journal of Medieval Latin 01 (enero de 1991): 168–84. http://dx.doi.org/10.1484/j.jml.2.303958.

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Potter, Robert. "The holy spectacles of Hildegard of Bingen". European Medieval Drama 2 (enero de 1998): 179–96. http://dx.doi.org/10.1484/j.emd.2.300910.

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Daey Ouwens, Ingrid. "Hildegard von Bingen en de ‘epileptische persoonlijkheid’". Epilepsie, periodiek voor professionals 21, n.º 3 (16 de septiembre de 2022): 16–19. http://dx.doi.org/10.54160/epilepsie.12875.

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Nog altijd worden mensen met epilepsie ten onrechte geconfronteerd met de veronderstelling dat epilepsie gepaardgaat met ongunstige persoonlijkheidskenmerken. Deze veronderstelling draagt bij aan epilepsie-gerelateerde stigmataen vergroot de ziektelast. In deze bijdrage wordt ‘de epileptische persoonlijkheid’ beproken aan de hand van de ‘casus’van Sint Hildegard von Bingen. Ook is er aandacht voor een nieuw model om gedragsafwijkingen bij mensen metepilepsie te evalueren en behandel- en preventiestrategieën te ontwikkelen.

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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, n.º 2 (diciembre de 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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Marder, Michael. "The Ecological Literacies of St. Hildegard of Bingen". Philosophies 6, n.º 4 (29 de noviembre de 2021): 98. http://dx.doi.org/10.3390/philosophies6040098.

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Literacy is, literally, a question not of education but of the letter. More than that, it is the question of the letter in the two senses the word has in English: as a symbol of the alphabet and a piece of correspondence. It is my hypothesis that ecological literacies may learn a great deal from the literalization, or even the hyper-literalization, of the letter and that they may do so by turning to the corpus of twelfth-century Benedictine abbess, polymath, and mystic St. Hildegard of Bingen. After all, Hildegard, who was exquisitely attuned to the vegetal world, which was at the core of her theological and scientific endeavors, corresponded through letters with the leading personalities of her times and also invented a language, called lingua ignota (the unknown language) replete with ignotas litteras (the unknown letters). Who better than her can spell out the senses of ecological literacy?

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Barcala, Martin Santos y Paulo Augusto De Souza Nogueira. "Medicina ou magia? O contexto cultural e religioso das práticas curativas de Hildegard von Bingen". Caminhando 25, n.º 1 (11 de mayo de 2020): 163. http://dx.doi.org/10.15603/2176-3828/caminhando.v25n1p163-182.

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O presente artigo é uma investigação do tema da magia e religião popular nas obras de Hildegard von Bingen, teóloga, mística visionária e monja beneditina do século 12. O objetivo é demonstrar como a magia articula a interação entre Hildegard e a religião popular de sua época, borrando as fronteiras ortodoxas de sua reflexão teológica, que ora condena a prática da magia, ora se imiscui em rituais que em nada diferem daqueles praticados por magos, bruxas ou feiticeiros.

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Schütz, Connie. "Intimate Narratives: The Letters of Hildegard of Bingen". Scottish Journal of Theology 49, n.º 4 (noviembre de 1996): 429–42. http://dx.doi.org/10.1017/s0036930600048493.

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This article will utilize some of the letters of Saint Hildegard of Bingen (1098–1179) and several of the autobiographical passages included in her Vita to demonstrate how she constructed herself in these writings as a prophetess, a woman imbued with the authority of spirit, which could, at times, override the authority of office of the male ecclesiastics around her.

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Choongbum Lee. "The Arts of War of Hildegard of Bingen". Studies in Religion(The Journal of the Korean Association for the History of Religions) ll, n.º 52 (septiembre de 2008): 339–62. http://dx.doi.org/10.21457/kars..52.200809.339.

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Neuheuser, Hanns Peter. "IV. Hildegard von Bingen als Lehrerin des Liturgierechts". Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Kanonistische Abteilung 101, n.º 1 (1 de agosto de 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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McNamara, Jo Ann y Sabina Flanagan. "Hildegard of Bingen, 1098-1179: A Visionary Life." American Historical Review 96, n.º 2 (abril de 1991): 494. http://dx.doi.org/10.2307/2163250.

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Thompson, O. P. Augustine. "Hildegard of Bingen on Gender and the Priesthood". Church History 63, n.º 3 (septiembre de 1994): 349–64. http://dx.doi.org/10.2307/3167533.

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Hildegard, the twelfth-century Benedictine abbess of Bingen, is best understood not as a mystic, but as a visionary prophetess. The spectacular visions that introduce the sections of her three great works, theScivias, theLiber Vitae Meritorum, and theLiber Divinorum Operumhave dazzled modern readers, but they are not the only or even the most important expressions of her prophetic inspiration. Her prophetic insight also allowed her to understand the figures of the Scriptures and relate them to contemporary theological and political questions. Nor can her visions, however central they are to her symbolic theology, be separated from her interpretations of them, her understanding of scriptural typology, or her role as a reforming prophetess.

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Cooper, Austin. "Book Review: Hildegard of Bingen: An Integrated Vision". Pacifica: Australasian Theological Studies 16, n.º 2 (junio de 2003): 231–33. http://dx.doi.org/10.1177/1030570x0301600214.

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Collingridge, Lorna. "Book Review: The Letters of Hildegard of Bingen". Pacifica: Australasian Theological Studies 10, n.º 2 (junio de 1997): 264–67. http://dx.doi.org/10.1177/1030570x9701000213.

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Mirkes, Renée. "Hildegard of Bingen, Nicole Oresme, and Conjugal Ethics". New Blackfriars 76, n.º 896 (septiembre de 1995): 378–92. http://dx.doi.org/10.1111/j.1741-2005.1995.tb07117.x.

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McGinn, B. "Hildegard of Bingen, 1098-1179: A Visionary Life". German History 8, n.º 3 (1 de julio de 1990): 346–47. http://dx.doi.org/10.1093/gh/8.3.346.

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Boyce-Tillman, June. "Hildegard of Bingen: A Woman for our Time". Feminist Theology 8, n.º 22 (septiembre de 1999): 25–41. http://dx.doi.org/10.1177/096673509900002203.

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