Recovering The Feminine Voice: The Language Of Virginity In Methodius Of Olympus, Ambrose Of Milan And Hildegard Of Bingen

2008 ◽  
Author(s):  
Amy K. BROWN
Keyword(s):  
Hildegard Of Bingen ◽  
Feminine Voice ◽  
The Feminine ◽  
Ambrose Of Milan

Learning from Disequilibrium and Educating the Feminine Voice in Philosophy

2021 ◽  
Author(s):  
Naoko Saito
Keyword(s):  
Female Voice ◽  
Democratic Politics ◽  
University Education ◽  
Biological Origin ◽  
Feminine Voice ◽  
Political Criticism ◽  
The Feminine ◽  
The Subject ◽  
The Voice ◽  
Alternative Idea

This article broaches what can sometimes be seen as the suppression of the female voice, sometimes the repression of the feminine. To address these matters involves the reconsideration of the political discourse that pervades education and educational research. This article is an attempt to disclose inequity in apparently equitable space, through the acknowledgment of the voice of disequilibrium. It proposes to re-place the subject of philosophy, and the subject of woman, through an alternative idea of the feminine voice in philosophy. It tries to reconfigure the female voice without negating its fated biological origin and traits, and yet avoiding the confining of thought to the constraints of gender divides. In terms of education, it shall argue for the conversation of justice as a way of cultivating the feminine voice in philosophy: as the voice of disequilibrium. This is an occasion of mutual destabilization and transformation of man and woman, crossing gender divides, and preparing an alternative route to political criticism that not only reclaims the rights of women but releases the thinking of men and women, laying the way for a better, more pluralist, and more democratic politics. The feminine voice can find a way beyond the dominance of instrumental rationality and calculative thinking in the discourse on equity itself. And it can, one might reasonably hope, have an impact on the curriculum of university education.

Birds and Humanity

2017 ◽  
Author(s):  
Mark Hertica
Keyword(s):  
Spoken Word ◽  
The Body ◽  
Feminine Voice ◽  
The Feminine ◽  
Rubber Boom ◽  
The Aesthetic

This chapter presents translations and interpretations of six women's songs that speak to the power of the feminine voice and the feminine soul. These songs feature feminine shape-shifting relations between birds and women, fish and women, and similar mimetic transformations in history, such as the rubber boom. In this context, the spoken word becomes musicalized, and the body realizes different cosmological capacities. The chapter shows that the aesthetic features of these songs resonate with the mythological and metaphysical qualities of the Iluku bird, discussed in Chapter 3. These women's songs are also a form of shamanic practice in which the singer experiences her body as a special locus of subjectivity as defined by relations with birds and other alters. When women sing, they report feeling the power (ushay) “in their flesh” (paygunác aychay) of the birds or animals about which they sing.

In a Different Voice: Women's Conceptions of Self and of Morality

1977 ◽  
Vol 47 (4) ◽  
pp. 481-517 ◽  
Author(s):  
Carol Gilligan
Keyword(s):  
Developmental Psychology ◽  
Research Data ◽  
Developmental Theory ◽  
Moral Judgments ◽  
Educational Goals ◽  
Stage Theory ◽  
Not Given ◽  
Feminine Voice ◽  
Literary Sources ◽  
The Feminine

As theories of developmental psychology continue to define educational goals and practice, it has become imperative for educators and researchers to scrutinize not only the underlying assumptions of such theories but also the model of adulthood toward which they point. Carol Gilligan examines the limitations of several theories,most notably Kohlberg's stage theory of moral development, and concludes that developmental theory has not given adequate expression to the concerns and experience of women. Through a review of psychological and literary sources, she illustrates the feminine construction of reality. From her own research data, interviews with women contemplating abortion, she then derives an alternative sequence for the development of women's moral judgments. Finally, she argues for an expanded conception of adulthood that would result from the integration of the "feminine voice" into developmental theory.

scholarly journals For hendes ansigt skinnede som solen

1997 ◽  
Author(s):  
Britt Istoft
Keyword(s):  
Virgin Mary ◽  
Hildegard Of Bingen ◽  
Central Figure ◽  
Spiritual World ◽  
The Feminine ◽  
The World ◽  
Anima Mundi ◽  
Feminine Divine

The Gernman abbess and mystic Hildegard of Bingen (1098-1179) developped a richly nuanced theology of the feminine. At the heart of her spiritual world stands the numinous figure she called Sapientia or Caritas: Wisdom or Love, a theophany of the feminine aspect of the divine. In Hildegard's visionary work De operatione Dei, "The Book of Divine Works", written between 1163-1173, Caritas/Sapientia plays an important part. She is the central figure in five out of the ten visions, that comprises De operatione Dei. The first two visions picture Caritas as Anima Mundi, the world soul - the divine presense in the cosmos - and Creatrix, who creates the world by existing in it as an eternal, circling motion. The eighth vision presents Caritas/Sapienta as the "living fountain", that both quickens and reflects all creatures, and inspires the prophets, including Hildegard herself. The theme of the ninth vision is "Wisdom's vesture". Because Wisdom is both a cosmic and a microcosmic figure, her garb can represent the workmanship og either God or man. In the tenth vision Caritas rests in the center of the wheel of eternity and history, and is presented as the eternal archetype of the Virgin Mary. Besides being a theological necessity as mediator of creation, incarnation and salvation Hildegard's feminine divine also serves as a model for women, particularly consecrated virgins, who represent the feminine divine on earth.

scholarly journals "Imago expandit splendorem suum". Hildegard of Bingen’s Visio-Theological Designs in the Rupertsberg Scivias Manuscript

Eikon / Imago ◽  
2013 ◽  
Vol 2 (2) ◽  
pp. 1-68
Author(s):  
Nathaniel M. Campbell
Keyword(s):  
Hildegard Of Bingen ◽  
Salvation History ◽  
Visual Markers ◽  
Original Manuscript ◽  
The Feminine ◽  
Theological Discourse ◽  
Color Scheme ◽  
Feminine Divine ◽  
The Church ◽  
Significant Point

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.

The Feminine Voice in Global Journalism: The Example of Ukraine

2014 ◽  
Vol 1 (1) ◽  
Author(s):  
Nicole Madeleine Wiart
Keyword(s):  
New York ◽  
New York Times ◽  
Future Research ◽  
Feminine Voice ◽  
Starting Point ◽  
The Feminine ◽  
American Media ◽  
Primary Focus ◽  
New Perspective ◽  
Ukraine Crisis

This study is designed to identify a discrepancy, if any, between the number of female and male journalists reporting on the crisis in Ukraine. Using a combination of quantitative and qualitative analysis, as well as primary and secondary research, the following paper attempts to bring attention to gendered differences in crisis reporting, and explain how those gendered differences affect the interpretation of a conflict. Previous research shows women are more inclined to cover crises from a human interest or human suffering standpoint, whereas men cover crises through politics and violence. The study concludes that while the majority of journalists reporting on the Ukraine crisis for The New York Times are male, it does not find a concrete correlation between the primary focus of the sample articles and the gender of the journalist. The analysis provides a starting point for future research, as well as a new perspective to a modern conflict heavily covered by North American media.

Sign in / Sign up

Export Citation Format

Share Document