中世纪晚期宗教改革的音乐变奏:约翰内斯-耐德与多明我会守约礼仪

C. T. Jones
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摘要

多明我会修士约翰内斯-耐德(Johannes Nider,1380-1438 年)是当今众所周知的巫术文学之父,他在巴塞尔会议(1431-1449 年)上扮演了重要角色,是会议胡斯派代表团和宗教改革代表团的成员。尽管奈德作为宗教团体的改革者享有盛誉,但他对社区礼仪的研究方法并未引起人们的密切关注。本文的重点是他的广义理论论文《De reformatione religiosorum or De reformatione status cenobitici》(《论宗教国家的改革》),在该论文中,尼德阐述了改革的哲学概念,即恢复美,表现为井然有序和平衡的比例。为了使其具有普遍适用性,该论文仍然是抽象的。不过,同时代人对奈德的传记描述以及他写给女修道院的探访信显示,奈德是一位积极的礼仪领导者、一位声音洪亮的天才歌手、一位热衷于多明我会礼仪法规细节的专家。在这些背景下,De reformatione 中对礼仪疏忽的滔滔不绝的哀叹,以及对分寸拿捏得当的学术隐喻,都不仅仅是规则的锤炼和学术的花哨,而是奈德对多明我会音乐和礼仪实践承诺的普遍表达。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Musical Variation on Late Medieval Religious Reform: Johannes Nider and the Observant Dominican Liturgy
The Dominican friar Johannes Nider (1380–1438), known today as the father of witchcraft literature, played an important role at the Council of Basel (1431–49) on the Council's delegation to the Hussites and its deputation on religious reform. Despite Nider's reputation as a reformer of religious communities, his approach to communal liturgy has not attracted close attention. This article focuses on his broad theoretical treatise, De reformatione religiosorum or De reformatione status cenobitici (On the Reform of the Religious State), in which Nider articulates a philosophical concept of reform as the restoration of beauty, manifested in well-ordered and balanced proportion. In the interest of universal applicability, the treatise remains abstract. However, biographical descriptions of Nider from his contemporaries and the visitation letters he wrote to women's convents show Nider as an engaged liturgical leader, a talented singer with a robust voice, and a zealous expert in the legal particulars of Dominican liturgical regulations. In light of these contexts, De reformatione's sweeping laments over liturgical neglect and academic metaphors of well-disposed proportion are not just rule-hammering and scholastic fancy but rather universalized expressions of Nider's lived commitment to Dominican musical and ritual practice.
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