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Communal song and the theology of voice in medieval German mysticism.

机译:中世纪德国神秘主义中的公共歌曲和声音神学。

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摘要

In the Middle Ages, embodied religious practice did not necessarily manifest itself as self-starvation, physical castigation, or illness. Some mystics understand vocal performance to be a bodily practice of mysticism on the same order as illness or pain even in the absence of paramystical phenomena such as stigmata or visions. Although many medieval women contributed to this mystical practice, the experience explodes the category of gender to create new configurations of community based on a bodily activity shared by all. Historical traces of mystical vocal practice may often be found in songs, prayers, liturgical rites, and devotions which served as models for speech. I focus on a particular variation on ritual prayer: communal song in the liturgy, the ritual of worship in which a fixed set of texts adapted mostly from the Bible was sung daily. Through studies of the writings of Hildegard of Bingen (1098-1179), Gertrud the Great of Helfta (1256-1301/2), Meister Eckhart (1260-1327) and Johannes Tauler (1300-1361), and Johannes Meyer (1422-1485), I show that performance of the liturgy is a form of asceticism and many medieval religious women and men understood it and approached it as such. I show that performance of the liturgy could become self-manipulation and these writers approached it as such and encourage their readers to engage in liturgical performance as a method of self-transformation.;Two main issues concern these medieval writers, namely, the relationship of the self to that which is called God, and the role of the body and bodily modes of being-with in shaping a self that can perceive this relation. Similar concerns still trouble philosophy in the twenty-first century, although the problems are now expressed as the radical dependence of the subject, the phenomenological possibility of revelation, and bodily experience. While the questions are fundamentally the same, the thought of the medieval writers moves along different paths and their approaches and insights often pierce through problems that seem impenetrable to twenty-first century philosophy. At issue in both the medieval and modern texts is the human experience of togetherness and excess given to the subject in communal performance.
机译:在中世纪,具体的宗教实践并不一定表现为自我饥饿,身体上的侮辱或疾病。一些神秘主义者将声乐表演理解为是一种神秘主义的身体练习,即使在没有诸如耻辱感或视觉等副神秘现象的情况下,也与疾病或痛苦相同。尽管许多中世纪的妇女为这种神秘的作法做出了贡献,但经历却激增了性别的范畴,并根据所有人的身体活动创造了新的社区形态。神秘的声音练习的历史痕迹通常可以在歌曲,祈祷,礼仪仪式和献身仪式中找到,这些语言可以作为演讲的典范。我将重点放在仪式祈祷的一种特殊变化上:礼拜仪式中的共同歌曲,是一种礼拜仪式,每天都会唱一组固定的文本,这些文本大部分都来自圣经。通过研究Bingen(1098-1179)的Hildegard,Helfta大帝(1256-1301 / 2),Meister Eckhart(1260-1327)和Johannes Tauler(1300-1361)和Johannes Meyer(1422-)的著作1485年),我表明礼拜仪式的表演是禁欲主义的一种形式,许多中世纪的宗教妇女和男人都理解并接受了礼拜仪式。我表明礼拜仪式的表演可以变成自我操纵,这些作家就这样开始自我操纵,并鼓励他们的读者以礼节表演作为自我转化的一种方法。;这些中世纪作家所关注的两个主要问题是:自我被称为上帝的自我,以及身体和身体的存在方式在塑造可以感知这种关系的自我中的作用。在二十一世纪,类似的问题仍然困扰着哲学,尽管这些问题现在被表达为对主题的根本依赖,启示的现象学可能性和身体经验。尽管问题基本相同,但中世纪作家的思想却走了不同的道路,他们的方法和见解常常贯穿二十一世纪哲学似乎无法理解的问题。在中世纪和现代的文本中,争论的焦点是人类在集体表演中给人以团结与过度的体验。

著录项

  • 作者

    Jones, Claire Taylor.;

  • 作者单位

    University of Pennsylvania.;

  • 授予单位 University of Pennsylvania.;
  • 学科 Literature Germanic.;History Medieval.;Music.;Religion History of.
  • 学位 Ph.D.
  • 年度 2012
  • 页码 315 p.
  • 总页数 315
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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