Music, Spirituality and Material Culture in the Choirbooks of the Cistercian Convent of Seligenthal

1232年，巴伐利亚公爵夫人卢德米拉在靠近雷根斯堡教区边界的兰施特市内建立了塞利根塔尔修道院。到1260年，这是一个繁荣的女性社区，并在1262年至14世纪初，它获得了一个逐步(《基本法补充》)。MS 16950)和反音(BSB CLM 23046)。这些手稿构成了我提出的博士学位的重点，其中我最主要的研究问题是：在中世纪晚期，这本书的媒介以什么方式捕捉到了机构身份的表现？如果我们将每一本书理解为机构历史上的一个常量，那么在几百年的历史中，有什么证据表明它的个性和不断变化的身份？我提议的研究本身就是基于这样一个事实，即合唱书是由中世纪修道院范围内的女性专门为女性制作的。它的目的是将每本书都框定为一个动态的对象；礼拜手稿不仅可以被理解为古地理项目或音乐来源，而且可以被理解为生活经验的表现形式。我会问，塞利根塔尔的妇女是如何从个人和社会政治的角度与她们的社区接触的，书籍如何被用来滋养她们的精神生活，以及现存的手稿如何帮助她们驾驭她们的虔诚经历和构建她们独特的礼拜实践。

In 1232 the Bavarian Duchess Ludmilla founded the small Cistercian convent ofSeligenthal within the city of Landshut, close to the border of the diocese ofRegensburg. By 1260 this was a thriving female community, and between 1262 andthe early fourteenth century it acquired a gradual (BL Add. MS 16950) and anantiphonal (BSB Clm 23046). These manuscripts form the focus of my proposed PhD,in which my overarching research question is: 'in what ways is the performance ofinstitutional identity captured in the medium of the book during the late medievalperiod?'. If we understand each book as a constant throughout the institution's history,what evidence of individuality and changing identity has been encapsulated within itspages over the course of several hundred years? My proposed research anchors itselfaround the fact that the choirbooks were made specifically by women, for women,within the medieval monastic sphere. It aims to frame each book as a dynamic object;liturgical manuscripts can be understood not just as palaeographical items or musicalsources, but as manifestations of lived experience. I will ask how the women ofSeligenthal engaged with their community from both a personal and socio-politicalstandpoint, how books were used to nurture their spiritual lives, and how extantmanuscripts helped them navigate their devotional experiences and construct theirunique liturgical practice.