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1
Bain, Jennifer 1967. "Selected antiphons of Hildegard von Bingen : notation and structural design". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23206.
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The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."
2
Paquette, Megan. "Migraine auras and hypergraphia and their connection to Hildegard Von Bingen". Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/244.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
Art History
3
Collingridge, Lorna Marie, i n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
4
Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
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Maurer, Marie Theresa. "The Feminine as Salvific in Hildegard von Bingen's Letters". PDXScholar, 1994. https://pdxscholar.library.pdx.edu/open_access_etds/4860.
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Hildegard alleged a spiritual connection with the physical world in her claim that she, a woman, was chosen by God to incarnate His Word on earth as Christ had done in the flesh years before. Woman, the embodiment of the feminine, was connected to the physical world in the medieval era. It was with this idea in mind that Hildegard attached an important significance to nature and the Virgin, seeing each as the ultimate expressions of the feminine divine on earth. However, included in the incarnation, according to Hildegard, was the Church itself along with the clergy, both men and women. In earth, in mankind, in all of nature, she saw a dimension of God, a dimension that found its expression uniquely in the world yet paralleled the God beyond this world. Using Hildegard's letters in German translation, I will show how, in a patriarchal world of the 12th century, Hildegard emphasized the feminine as salvific as a means to establish a balance in the world, a balance that had been offset by the corrupt behavior of Church and State. I will preface this with a brief discussion of the era (p. 6). In Chapter II, I will focus first on how Hildegard saw the feminine manifested in the world and how, for various purposes, she expressed it in her letters. Secondly in Chapter II, by citing further examples in her letter, I will concentrate on how she saw a lack of feminine expression in the world and how she viewed the negative result of this lack. Finally in Chapter IV, I will show how she achieved the expression of this balance. In concluding my paper, I will consider whether she was successful in her efforts: Did she achieve, from others as well as from herself, the balance she sought or were her efforts in vain?
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Mayer, Kruse Heidi Jo. "Gender, Faith, and Holistism as Prophetic Vision the Legacy of Hildegard Von Bingen's Rhetoric of 'Marriage of God'". Thesis, North Dakota State University, 2015. https://hdl.handle.net/10365/27026.
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Hildegard von Bingen, a 12th century German Catholic nun, became one of the most influential voices in a time when women, especially in the realm of religion, were suppressed. Yet, Hildegard overcame these suppressions through her writing and work subsequently legitimizing her status today as a saint and Doctor of the Church. Hildegard?s influential writings hold weight beyond the Catholic Church especially in feminist circles. This thesis applies rhetorical criticism as the scholarly lens from which to analyze a sample of Hildegard?s writings for the purposes of understanding her contemporary influence. Aided by Kenneth Burke?s interpretive method of logology, this project argues that Hildegard?s legacy is shaped by her consistent use of the ?marriage to God? metaphor. The ?marriage to God? metaphor functions persuasively, I argue, because its prophetic vision emphasizes a union with God, rather than as a disenfranchisement from God.
7
Rode, Susan Lill. "The sexual theology of Hildegard of Bingen /". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64007.
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Sperber, Christian. "Hildegard von Bingen - eine widerständige Frau". Aichach Schwarten, 2003. http://edocs.ub.uni-frankfurt.de/volltexte/2006/3583/.
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Doran, Geraldine. "Hildegard of Bingen as an educator : the body as conduit to knowledge". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22581.
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This study investigates how Hildegard of Bingen (1098-1179), a medieval abbess used visions received during the prodromal stages of migraines to reconstruct herself symbolically. In her visions she believed that God, the "Living Light" instructed her "to write and say the Secrete Dei". By obeying, she obtained extensive influence and power, appropriating functions reserved for the medieval male elite only.Hildegard is contextualized within the politico-socio-intellectual parameters of the twelfth century in general and within convent life in particular. Events are chronicled to examine how she reconstructed her weaknesses--gender and infirmity--using them to construct knowledge, and to demonstrate how she used that knowledge to educate by writing, teaching and preaching. The source of Hildegard's knowledge is analysed in an attempt to determine whether it is divinely inspired, neurologically based, or derived from secondary religious and secular writings. Whatever the source, Hildegard herself refused to grant the name of "Knowledge" to any insight unless it came to her in the heavenly voice via the "Living Light." The study culminates with a brief discussion on the questions asked in the introduction regarding research in the history of education.
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Starks, Gwendolyn. "The living light Hildegard von Bingen's visionary life : a one act play /". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
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Poll, Maria Carmen Gomes Martiniano de Oliveira van de. "A espiritualidade de Hildegard Von Bingen: profecia e ortodoxia". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08032010-113221/.
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Hildegard von 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 visão. Segundo Hildegard, suas visões a acompanhavam desde sua infância, e nelas ela via uma Luz Viva e recebia mensagens divinas. O Scivias que, segundo Hildegard, consistia na transcrição dessas mensagens divinas, era uma obra com ensinamentos em ortodoxia doutrinária. O caráter profético da obra aliado à sua ortodoxia garantiu-lhe pronta aceitação no meio eclesiástico e deu a Hildegard a reputação de profetisa. Devido à sua fama de profetisa, Hildegard passou a ser buscada como a um oráculo espiritual, como conselheira espiritual em diversos assuntos. Monges, abades, abadessas, bispos e imperadores consultavam Hildegard em busca de conselho, consolo e mesmo solução para os seus problemas. A vasta correspondência da religiosa atesta este fato. Neste estudo, procuramos entender, através da análise de um relato mítico incluído no Scivias e de parte de sua correspondência, de que maneira profecia e ortodoxia, como expressões da espiritualidade de Hildegard, manifestaram-se em sua obra.Hildegard von Bingen, religious Benedictine woman who lived in the twelfth century, claimed to have written her first book, the Scivias, under a prophetic call, that came to her in a vision. According to Hildegard, her visions had been with her since her childhood, and in them she saw a Living Light and received divine messages. The Scivias which, according to Hildegard, consisted of the transcription of these messages, was a work with teachings in doctrinal orthodoxy. The prophetic character of the book, allied to its orthodoxy, guaranteed it with acceptation in the ecclesiastical environment and gave to Hildegard the reputation of a prophetess. Due to her fame as prophetess, people began to search Hildegard as a spiritual oracle, as a spiritual counsellor in different subjects. Monks, abbots, abbesses, bishops and emperors consulted Hildegard in search of admonition, advice, consolation and even solution for their problems. The vast correspondence of Hildegard bears witness to this fact. In this study, we try to understand, through the analysis of a mythical account included in the Scivias and of part of her correspondence, in what ways prophecy and orthodoxy, as expressions of Hildegards spirituality, were manifested in her work.
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Walker, Rebecca Anne. "Unadorned by Silence: Rereading Obedience in the Writing of Perpetua, Dhuoda, and Hildegard of Bingen". PDXScholar, 1993. https://pdxscholar.library.pdx.edu/open_access_etds/4642.
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In her fourth letter to Abelard, Heloise asks the question, "Oh what will become of us obedient ones?" The question presents a paradox. By putting her question in writing, Heloise violates the code of silence imposed on medieval women. The medieval church and the literate aristocracy agreed with Sophocles and Aristotle: silence is the adornment of women. Gender roles in medieval society were unambiguous. Men, by nature, belonged in the public, political arena where they directed the affairs of the world, in part, by thinking, speaking, and writing. Obedient to male authority, a woman's natural place was in the private, domestic domain where she was expected to perform the duties of daughter, sister, wife, and mother in muted obscurity. In spite of these restrictions, a few women put pen to parchment during the Middle Ages. This thesis examines the writing of three of these women, Perpetua, Dhuoda, and Hildegard of Bingen. Like Heloise, they considered themselves obedient even though they created texts in which they made their ideas and experiences available to readers in the male-dominated public discourse community. Research indicates that, because they were born into upperclass families, Perpetua, Dhuoda, and Hildegard probably enjoyed an education comparable to that of upperclass men. Although the curriculum available to each of these women included reading and writing Latin, researchers agree that writing was not considered an appropriate activity for medieval women. In addition to the cultural belief that good women were obedient and silent, it was also assumed that women were intellectually inferior to men and therefore not equipped to be competent writers. Research into theories about the process of thinking and writing has demonstrated that once such cultural assumptions are embedded in the human meaning-making system they are rarely questioned. These assumptions are perpetuated because the process of defining experience and developing ideas involves recombining patterns and metaphors provided by other writers and thinkers who usually share these beliefs. Perpetua's, Dhuoda's, and Hildegard's texts indicate that they accepted these cultural assumptions about women and did not question the fact that patterns and metaphors created by female writers were not available to them. Nevertheless, it is evident throughout the writing of all three women that they possessed genius and skill equal to that of men with similar intellectual gifts and educational opportunities. Yet the texts written by these women are often dismissed as less significant than texts written by men. Further research in rhetorical theory led to the realization that Perpetua, Dhuoda, and Hildegard have often been considered inferior writers, not because they were, but because the reader knows that he or she is reading a text written by a woman. Readers of these texts traditionally have assumed that these authors were obedient because they accepted their subservient position to men and the belief that women were, by nature, less intelligent and capable than men. This has led to the assumption that if the author acknowledges her inferiority she must indeed be a less competent artist than her male counterparts. Such readings have resulted in assessments of theses texts that ignore the complexity, art and significance of the work. This thesis demonstrates that the reader willing to suspend these assumptions in the process of reading Perpetua, Dhuoda, and Hildegard may find writing that is anything but the work of obedient, submissive women. He or she may also find authors whose thinking and writing skills equal those of male writers and whose opinions, observations, and experiences are more than marginal glosses on their historical context
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Roth, Gregory E. "Ave Maria, o auctrix vite: Mary in the visions of Hildegard of Bingen (1098-1179)". IMRI - Marian Library / OhioLINK, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=udmarian1430754980.
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Stühlmeyer, Barbara. "Die Gesänge der Hildegard von Bingen : eine musikologische, theologische und kulturhistorische Untersuchung /". Hildesheim ; Zürich ; New York : G. Olms, 2003. http://catalogue.bnf.fr/ark:/12148/cb39011455f.
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Rinke, Stefanie. "Das "Geniessen Gottes" Medialität und Geschlechtercodierungen bei Bernhard von Clairvaux und Hildegard von Bingen". Freiburg i. Br. Berlin Rombach, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2838817&prov=M&dok_var=1&dok_ext=htm.
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Fuentes, Bardelli Italo. "Morfología del Discurso Visionario y Poético, como Representación de la Historia, en Hildegard von Bingen". Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/108987.
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Aquí me interesa ingresar al estudio de la voz, escritura e imagen de una mujer del siglo XII, en el Occidente medieval. La revisión de su obra, posiblemente en lo más original de su creación, esto es, sus escritos basados en un particular modo de decir y de enunciar desde lo divino, a partir de una experiencia visionaria, que algunos estudios llaman escritura de revelación o profética, será nuestro cuerpo de estudio. También su obra poético-musical de carácter lírico y su Vita, (biografía que contiene relatos autobiográficos). Éstas y aquellas me permiten plantear la posibilidad de estudio de una trama discursiva, en torno a la historia, a partir de la cual es posible distinguir dispositivos morfológicos para su enunciación, particularmente, algunos referentes simbólicos, figurativos y metafóricos.
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Torres, Bustos Francisco Javier de. "El verbo hecho carne: palabra, visión y creación en la obra de Hildegard Von Bingen". Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/108662.
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La presente investigación se propone realizar una lectura interpretativa de textos seleccionados de las obras de la priora y visionaria alemana Hildegard von Bingen (1098 – 1179), en las que se manifestaría su intención de representar simbólica y alegóricamente la relación entre lo celestial y lo terrenal a través de la utilización de una palabra revelada (logos) en sus visiones proféticas. Para ello, se rastrearán las diversas formas en las que el fenómeno visionario era entendido en el entorno de Hildegard en el s. XII, determinando la importancia que ella le otorgaba a la Palabra Encarnada y a la imagen (iconológica e iconográfica) como medios para configurar una ‘verdad’ y aproximarse a un ‘saber’ entendido como universal. Reconociendo la pretensión hildegardiana de asignar valores originarios y creativos (onomatésicos) al lenguaje y de hacer legible y discernible su experiencia visionaria (noein), intentaremos explicar cómo el acto escritural de nuestra autora busca articular una cosmovisión en la que la tríada cuerpo-naturaleza-divinidad parece estar fundida, y cuya estructura teológico-didáctica encontraremos presente toda su obra.
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Salomón, Gebhard José Luis. "Ceremonias de escritura: Actos de habla y técnica confesional en Scivias de Hildegard von Bingen". Tesis, Universidad de Chile, 2007. http://repositorio.uchile.cl/handle/2250/108995.
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La investigación teórica en torno a la obra de Hildegard von Bingen ha asumido, en el último tiempo, una diversidad de perspectivas y enfoques que no sólo demuestran el carácter heterogéneo de sus textos, sino también el fundamento interdisciplinario que sostiene los actuales estudios literarios. En el caso del texto que aquí se analiza, su obra visionaria Scivias, los enfoques literarios y teológicos han suscitado lecturas interpretativas a partir, principalmente, del conjunto de sus alegorías visionarias, sin dejar por ello de recurrir a los diversos datos aportados por los enfoques históricos y biográficos que emanan de su lectura. En la tesis que aquí se presenta, se ha intentado una aproximación a un aspecto específico del Scivias, relacionado, por una parte, con la situación histórica de producción del texto, pero, por otra parte, con la propia representación de los momentos de enunciación que el texto contiene. Es decir, esta tesis busca definir los modos de representación en que Hildegard se constituye como autor y como objeto representado de su texto. Para ello, el marco teórico de esta tesis se inscribe dentro de la denominada teoría de los Actos de Habla, y en especial, del concepto de performatividad, entendiendo este último como una operación lingüística que teatraliza al sujeto enunciante y lo instala más allá de toda definición de su texto como lenguaje ficticio o lenguaje ordinario. Esta puesta en escena del sujeto, como autor representado, constituye el punto central de análisis de esta tesis. Tal movimiento de escenificación, sin embargo, es entendido como un acto ceremonial fuertemente reglamentado por las convenciones históricas y literarias que restringen la producción del texto. En este sentido, el concepto de ceremonia que aquí se atrae alude a los contextos institucionales que sostienen la enunciación de Scivias como un acto lingüístico performativo, como una ceremonia de escritura.
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Embach, Michael. "Die Schriften Hildegards von Bingen : Studien zu ihrer Überlieferung und Rezeption im Mittelalter und in der Frühen Neuzeit /". Berlin : Akademie Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb39123714j.
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Mayer-Nicolai, Christine. "Vergleich der durch die historischen Autoren Hildegard von Bingen und Leonhart Fuchs pflanzlichen Arzneimitteln zugeschriebenen mit aktuell anerkannten Indikationen". kostenfrei, 2008. http://www.opus-bayern.de/uni-wuerzburg/volltexte/2009/3396/.
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Waterboer, Eveline [Verfasser], i Heiko [Akademischer Betreuer] Schulz. ""Als das Wort Gottes erklang" : die theologische Bedeutung des Klangs bei Hildegard von Bingen. / Eveline Waterboer ; Betreuer: Heiko Schulz". Duisburg, 2020. http://d-nb.info/1212362500/34.
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Diener, Laura Michele. "Gendered Lessons: Advice Literature for Holy Women in the Twelfth Century". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1204677363.
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Graz, Alina. "Hildegard von Bingens 'Physica'. Untersuchungen zu den mutmaßlichen Quellen am Beispiel der Heilanwendungen exotischer und ausgewählter heimischer Gewürzpflanzen". Doctoral thesis, 2020. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-199480.
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Ziel der Arbeit war es die Quellenlage Hildegard von Bingens ‚Physica‘ zu beleuchten. Dazu werden die Kapitel der exotischen Gewürze (Kap. I,13-21 und I,26-27), der Duftpflanzen (Kap. I,22-25), und der heimischen Gewürze (Kap. I,63-70) mit den entsprechenden Kapiteln aus ‚Macer floridus‘ (Odo Magdunensis), ‚Circa instans‘ (Matthaeus Platearius), ‚Liber graduum‘ (Constantinus Africanus), ‚Naturalis historia‘ (Plinius der Ältere) und ‚Materia medica‘ (Pedanius Dioskurides) verglichen. Es konnten verschiedenartige Bezüge zur Tradition hergestellt werden, jedoch ist hervorzuheben, dass Hildegard dennoch in den Anwendungen eine ausgeprägte Originalität aufweistThe object of the thesis was to clarify the sources of the Hildegard von Bingen‘s “Physica”. Chapters of the exotic spices (I,13-21 und I,26-27), plants with perfume (I,22-25) and local spices (I,63-70) were compared with correspondent chapters in “Macer floridus” (Odo Magdunensis), “Circa instans” (Matthaeus Platearius), “Liber graduum” (Constantinus Africanus), “Naturalis historia” (Pliny the Elder) and “Materia medica” (Pedanius Dioscorides). Various references to the tradition were depicted but it must be emphasized Physica’s distinct originality
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王真心. "The Healing Garten of St. Hildegard von Bingen-- a garden on the farmland and "heart"land by calling". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/e7f26k.
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博士輔仁大學
心理學系
104
This thesis is about how I, Helga Wang, was called by God to start and to painstakingly cultivate a botanical and medicinal garden according to the vision of natural medicine and cures of Saint Hildegard, my patroness. In this thesis I also recorded how the reflections I got from translating Saint Hildegard’s works into Chinese helped me improve my garden. This dissertation begins with a detailed description of Saint Hildegard’s life stories and her achievements in her interdisciplinary studies. The concept and practice of natural medicine and cures by this multi-talented heroine of the Middle Age is the central focus of this work. At the ending part I also recorded how I reinforced the design and arrangement of my garden, which located on a mountain in Long-tan, Taoyuan, Taiwan, with historical background and some theological texts. At the very end of the thesis, I, as a psychologist, also depicted how the writing of this work is also the process of my fears conquered, which surprisingly uncovered a hidden truth in my life.
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Mayer-Nicolai, Christine [Verfasser]. "Vergleich der durch die historischen Autoren Hildegard von Bingen und Leonhart Fuchs pflanzlichen Arzneimitteln zugeschriebenen mit aktuell anerkannten Indikationen / vorgelegt von Christine Mayer-Nicolai". 2009. http://d-nb.info/993213200/34.
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