About Me

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I am a medievalist, a social studies teacher at Knox Central High School, and an adjunct instructor in history at Union Commonwealth University. My research includes medieval theologies of history, text/image relationships in visionary and mystical texts, and the writings of the twelfth-century Doctor of the Church, St. Hildegard of Bingen. I am also a translator of medieval Latin and German texts, especially as relate to my research. My translation of Hildegard's Book of Divine Works is available from Catholic University of America Press here. I completed a Master's in Medieval Studies at the University of Notre Dame in 2010, a Fulbright Fellowship in Germany in 2008, and a B.A. in Classics and German at Boston College in 2007.
Showing posts with label Academic Presentations. Show all posts
Showing posts with label Academic Presentations. Show all posts

Wednesday, May 15, 2013

Imago expandit splendorem suum: Hildegard of Bingen’s Visio-Theological Designs in the Rupertsberg Scivias Manuscript

Imago expandit splendorem suum...
Scivias II.3: The Church and Baptism.
Rupertsberg MS, fol. 51r.

Update: The full article on which this presentation was based has now been published in Eikón / Imago 4 (2013:2), pp. 1-68, available electronically here.

A major point of contention within Hildegard studies is the question of her role in the production of the illuminated Scivias manuscript known as the Rupertsberg Codex.[1] Much current German scholarship has tended to preclude Hildegard’s hand by dating the manuscript’s production after her death in 1179, based on stylistic comparisons to firmly dateable contemporary manuscripts or on the many places where the images in the manuscript diverge from or even contradict the text of the visions. Pre-war German scholars, however, 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. Today, I argue for Hildegard’s direction of the images based on their function as a theological discourse refracting the text. I propose that the manuscript was produced in the late 1160’s or early 1170’s, at about the same time Hildegard was writing the Liber Divinorum Operum; and that she designed the images specifically to offer a visual record of the work’s theology.

Saturday, February 14, 2009

Divine Love as both Creative and Rational: The Theophany of Caritas in Hildegard of Bingen's Liber Divinorum Operum

“Love” today is often primarily understood to signify a passionate, sensual, or even creative feeling; when we think upon it further, we may discover deeper levels of connotation, but they still fall distinctly into the emotional, affective range—what we might call a “right-brained” conception of love rooted in the heart. This is the love that we often see at the center of human interaction, that indescribable and powerful connection that binds one human being to another—the love of neighbor enjoined in the Gospel. As Christians, we see the pinnacle of this Love expressed in the passion and death of Jesus on the Cross—an outpouring of Love in the most anguished moments of human pain and suffering, the humanity of Jesus in its sharpest and most brutal detail. On the other hand, we have the “first and great commandment” to love God with every fiber of our being—agape in Greek, caritas in Latin, from whence derives the English word “charity”. This is that Love that John identifies with God (1 John 4:16), whose pinnacle we also find in Jesus the Son of God, His Logos or Word. This is rational, intellectual Love—what we might call “left-brained” love rooted in the mind—and is often expressed by us in our love of learning, our “philosophy” or “Love of Wisdom.”