Hildegard Of Bingen Research Papers

Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

The fugue is often regarded as a genre defined by strict procedural guidelines. It is notable that three historically important composers, Johann Sebastian Bach (1685-1750), Georg Friedrich Handel (1685-1759), and Wolfgang Amadeus Mozart (1756-1791), all employed a closely related fugue subject in three different works. An analysis of each of these works individually, and a comparison of these works collectively reveal numerous latent and salient features, and a reflection of the composers’ style within these works. Analyses also provide an outlook into the fluidity in certain aspects and rigidity in others of the form itself, reflected historically. The three composers analyzed fall closely together in history. J.S. Bach and G.F. Handel were contemporaries, whereas Mozart was born six years after Bach’s death and three years before Handel’s death. Analytically, the angularity of these similar fugue subjects presupposes a treatment regardless of the composer. Because of the shared intervallic content among the subjects of these fugues, despite being written by several different composers, a surprising number of similarities arise. Therefore, it is reasonable to assert that compositional choices made in the construction of the fugue subjects limit the number of results possible.

The visual elements in a work of art can be made up of various different types of elements. “Composition, harmony, proportion, light, color, line, texture, mass, and motion are all part of the vocabulary of sight. We tap this vocabulary, and the patterns that go with it, when we compose or frame images”. The visual elements that are portrayed in the engraving of “Ullysses at the Table of Circe” by Flaxman consists of lines, shape, space, texture, and color. “Viewers bring to the act of seeing individual sets of conscious and unconscious reactions that affect their response to the visual stimulus put before them. This is the beauty of images, even in their most minimal form— such as a single line”. The lines that are used in this work of art are

Growing up as a child, no one expects a young one to be out in the fields, in factories or even being a slave working their precious lives away. During one of America’s toughest generations, children were seen doing some of the same jobs and tasks that adults were having to take on. Making less than twenty to twenty five cents a day, children’s lives were at risk for nothing. As time went on, child labor laws were enacted to save children from abuse, neglect, serious injury and even death in the work place. As we sit in history classes, tour museums and take upon us the emotional and sometimes gruesome images from this time period, no words can describe how awful it must have been for one involved. But on the other hand, there was a positive side to the growth and construction of the American Nation through the New York City skyline. As one wraps up inside each photo, they most of the time do not realize who truly has captured them. Born Lewis Wickes Hine in Oshkosh, Wisconsin on Sept. 26, 1874, Hine was best known for his photography to reach prestigious goals of social reform. Producing some of the most emotional and life changing photographs of the time, Hine is to be considered a hero for many of many

Hildegard von Bingen, a German prophetic visionary and polymath, lived in the twelfth century at a time when the church was becoming corrupt and unstable. As a young nun in the Benedictine community at Rupertsburg and under Jutta’s tutelage, Hildegard acquired a prolific knowledge of the Christian scriptures as well as the doctrines and theology of the Church. She was able to use this knowledge to shape her ideas and to lobby for church reform. Throughout her life, Hildegard received visions that were believed to have been divinely inspired. She was encouraged to write down these ‘visions’ in her exemplary work, the Scivias—‘Know the Ways of the Lord’— which was approved by papal imprimatur and as such was motivated to carry God’s Work. The

The memoirs of Glueckel of Hameln begin with a discussion of God and how best to serve him (Glueckel, 2). She wanted her children to understand that as long as they are true to themselves and treat their neighbours with respect, then in the eyes of God there is no better way to serve him. It is clear that Glueckel was a God-fearing woman (Glueckel of Hameln, 1), but she made it clear from the start of her memoirs that they were not written as a guide to serving God (Ibid). In essence, her memoirs were written as a means to distract herself from the passing of her husband (Glueckel, 1). She wrote them for her children and gives them an in-depth account of her life as a Jewish woman from her infancy until her last years (Glueckel, 1). What is

Hildegard of Bingen was born on September 17, 1098 in Bemersheim, West Franconia (now Germany), into a noble family. By the age 8, her parents sent her to a 400-year-old Benedictine monastery, which had just recently added a section for women. A noblewoman and resident there, Jutta, became the mentor of young Hildengard. Jutta taught Hildegard how to read and write.

The following chapter, Cosmos: The Quest for Order, looks at the development of cosmology as it related to Christianity during the religion's early years. The Christian ideas on cosmology were heavily influenced by Stoicism and Platonism, two of the leading philosophic traditions of the time period (34.) Both schools of thought followed the belief that the universe exhibited clear signs of order in its design which were clearly the work of a creator.

Chapter seven opens with the assumption of a cosmography concept of the universe from all history civilization. In particular, the perception of ANE society in terms of how they described the picture of the universe as a whole. Today, one can create a better map with the main features of the universe due to science and technology has evolved. At the same time, to have a better understanding of how the earth, the sun, and starts functioned within their area of operation.

The things they carried were largely determined the region. Among these things were two to three pairs of gloves, several wool hats, cigarettes, two ice axes, crampons, parkas, matches, an altimeter, flares, a folding knife, a tent and stakes, goggles, two or three canteens of water, and some bread with cheese wrapped up in cloth. Together these items weighed between 20 and 25 pounds, depending on the climbers eating habits and preferred equipment. Eckard Hohenlohe, who was a bigger man, carried an entire cheese wheel; he was especially fond of brie, with fresh French Fougasse with a heavy dosage of olive oil. Hannes Tauscher, who had immaculate hygiene, carried extra tooth powder, a toothbrush, some string for flossing, and a few bars

Neil deGrasse Tyson is a contemporary astrophysicist, cosmologist, author, and television host. He is best known for starring in numerous television shows explaining the universe in terms of physics. He states, “During our brief stay on planet Earth, we owe ourselves and our descendants the opportunity to explore — in part because it 's fun to do. But there 's a far nobler reason. The day our knowledge of the cosmos ceases to expand, we risk regressing to the childish view that the universe figuratively and literally revolves around us.” The universe has been a constant mystery and challenge to humankind. Humans wish to understand what is beyond their immediate environment. Cosmology is the study of the universe, more specifically, the origins, evolution, history, structure, and ultimate fate. In Greek, the term “cosmos” means universe, which is the very foundation of the study. Cosmology’s largest critic is Creationism; thus, science and religion battle it out to discover what is true and right in the world. The history of the universe extends past the beginning of humankind and the following philosophers, mathematicians, and astronomers will attempt to provide explanations of what is known today as the Great Unknown.

In 1944, Max Planck said that there is a “matrix” of energy that provides the blueprint for our physical world. Some simply call it the “field”, others the “mind of God”. This is the missing link that bridges our spiritual experiences of belief, imagination, and prayer with the miracles that we see in the world around us.

Throughout history, people have asked the ultimate question 'Where did it all begin?' For the majority of fundamentalist Christians, the belief is that the beginning of all life itself came from the supreme power of the Almighty Lord God. This point of view appears in the Bible, but can this be taken in a completely literal sense? Did one God create it all? Through examination of the literal and contextual meanings

The final decades of the fourteenth century witnessed one of the strangest developments on the entire history of music. Characterized primarily by extremes of notational and