音乐、祈祷和“理解的东西”

IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES
Camilo Peralta
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引用次数: 0

摘要

在中世纪,基督教神学家开发了各种方法来解决上帝的不可言喻,或难以描述的性质。例如,人们可以采用冷漠主义或“消极”神学,或者用音乐和祈祷来比喻宇宙的和谐以及我们与上帝的关系。本文考察了法国作家让·莫内和英国诗人乔治·赫伯特对这些和其他不可言喻的方法的使用。尽管莫莱内的《年表》(1474-1504)和赫伯特的《祈祷(一)》(1633)相隔数百年,用不同的语言写成,但它们都依靠一系列印象派的隐喻来传达各自主题(音乐和祈祷)的不可言喻之处。为了描述那些难以用语言表达的东西,他们都求助于基督教神秘主义的悠久传统,尤其是伪狄奥尼修斯和波伊提乌的作品。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Music, Prayer, and “Something Understood”
During the Middle Ages, Christian theologians developed various means for addressing God’s ineffable, or indescribable, nature. One could, for instance, employ apophatic or “negative” theology, or use music and prayer as metaphors for the harmony of the universe and our relationship with Him. This paper examines the use of these and other approaches to the ineffable by the French indiciare Jean Molinet and the English poet George Herbert. Despite being written hundreds of years apart and in different languages, Molinet’s Chroniques (1474–1504) and Herbert’s “Prayer (I)” (1633) both rely on a series of impressionistic metaphors to convey something of the ineffability of their respective subjects (music and prayer). In their efforts to describe that which is difficult, if not impossible, to capture in words, both turn to the long tradition of Christian mysticism, and in particular the works of Pseudo-Dionysius and Boethius.
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来源期刊
Explorations in Renaissance Culture
Explorations in Renaissance Culture MEDIEVAL & RENAISSANCE STUDIES-
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