Caputi, Jane

This dissertation examines the sixteen songs to Mary in the Symphonia armonie celestium revelationum of twelfth century nun composer, Hildegard of Bingen (1098-1179). The analysis demonstrates that the idiosyncratic musical style of the Symphonia cycle represents an innovative application of the rhetorical procedures of the medieval ars praedicandi and the ars dictamen to music centuries in advance of an articulated concept of musical rhetoric, and that one goal of the Marian repertory was to affect the self-consciousness of the all-female audience in a positive direction. The effect is achieved through the strategically constructed and inextricable relationship between text and melody. The study reveals that Hildegard's deployment of repeated melody, and the predominance of such factors as wide pitch ranges, high ranges, elaborate melismas, the use of key modal tones as demarcating devices, and the predominance of uncharacteristically large leaps, serve as musical-rhetorical substructures by which the import of the text is enhanced, and additional levels of meaning are created. In accordance with the feminist agenda, the optimistic images that are presented in the songs are designed to challenge the contemporary devaluation of women and to restore the feminine to its formerly sacred place in the divine plan. The attribution of aspects of divinity to Mary, which closely resonate with the precepts of the ancient goddess thealogies, and which present her as an essential partner of the Godhead in the Redemption and as an and active, independent Salvatrix, offer the female monastic audience an alternative to the solely-masculine concept of the divine.

This dissertation puts economically disadvantaged American women at the center of analysis. I turn to standpoint theory to demonstrate that low-income women construct knowledge out of resistance to systemic oppression in their everyday, concrete worlds. In addition, I create a distinct theory on low-income women's standpoint to show that poor and working-class women are grounded in and produce knowledge from the messiness of contradictions and the murkiness of ambiguity in the immediate, material world. Therefore, their forms of resistance is as complex, ambiguous, and messy as the world from which they struggle. Discerning and analyzing low-income women's standpoint does not create a value hierarchy that places more worth on one form of resistance than on another. Nor does it make an ethical judgment on how low-income women resist or uphold moral absolutism that categorizes their acts of resistance as "good/healthy" or "bad/dysfunctional." Rather, uncovering and examining low-income women's standpoint focuses on how poor and working-class women struggle to be whole, complex beings who daily fight against economic oppression under structural limitations and within contradictory situations. Low-income women's standpoint theory acknowledges the messiness of life and the imperfection of humanity. Furthermore, it illustrates that knowledge is an ongoing process of seeking "truth"; there is no one correct way of finding "truth." Hence, low-income women's standpoint theory shows that there is "truth" in the murkiness and confusion of contradictions and ambiguity. My dissertation is set up as the following: in chapter one, I explain what poor and working-class women's standpoint is and highlight how their resistant knowledge is grounded in their immediate and everyday world; in chapter two, I examine how low-income female performing artists and writers openly express their sexuality as "bad girls" through their art and writing to claim sexual agency; in chapter three, I analyze how low-waged female workers encountering structural limitations negotiate power relations in the workforce; and, in chapter four, I look at how low-income women deal with emotional pain and anger as they resist being crushed by economic and social oppression.