Herzog-Ernst-Stipendiat*innen und Hiob-Ludolf-Fellows 2021


Dr. Patricia Aranha (Posen)

Eine Route zur letzten Grenze: Interpretationen und geographische Vorstellungen im brasilianischen Amazonas

Dr. Justin Begley (Helsinki)

Botany Before Linnaeus: Investigations of Vegetal Life in Europe, c. 1660-1740

Dr. Elias Buchetmann (Florenz)

Exploring Women's 'Political' Writings Around 1800

Mimi Cheng (Rochester, USA)

China on the Horizon

Aniket De (Cambridge, USA)

One Realm, Many Kings: Space and Sovereignty in Early Modern India

Rossella De Luca (Berlin)

Arabic Philology and the Circulation of Books among the Maronites between the 17th and 18th Centuries

Dr. Christian Flow (Princeton, USA)

Philological Observation

Dr. Dario Gurashi (Florenz)

Magic, history, prophecy. A study on Trithemius' De septem secundeis

Samuel Kidane Haile (Mekelle)

Bambilo Milash, Alawha Milash and Marab Milash in the Setting of Ethiopian History: A Geohistory of Northern Ethiopia in the 18th and 19th Centuries

Dr. Aychegrew Hadera Hailu (Bahir Dar)

A History of the Qemant

Dr. Georgina Hedesa (Oxford, U.K.)

The Structure of Friedrich I von Sachsen-Gotha-Altenburg (1646-1691)’s Alchemical Laboratory

Dr. Hyun-Ah Kim (Amsterdam)

Music, Rhetoric and Christian Hebraism in Early Modern Europe: Reuchlin's Reconstruction of the Modulata Recitatio

This project aims to demonstrate the relationship between music, rhetoric and Christian Hebraism within the intellectual, liturgical and religio-cultural context of early modern Europe, through examination of Reuchlin’s scholarship on the Hebrew cantillation and its relevance to humanist musical thought and practice. While there have been numerous studies about Reuchlin, few have delved into his scholarship on the Hebrew language itself. More fundamentally, existing studies of both Renaissance Christian Hebraism and Reuchlin have paid little attention to how the humanists studied Hebrew as the ‘divine language’ in which the Bible was not only written but also recited traditionally in tones. Also, modern scholarship on Renaissance rhetoric mainly concerns the ancient Greco-Roman legacy in the humanist writings, and no study has systematically evaluated the extent to which the Hebraist studies interacted with contemporary rhetoric and rhetorical music, and seldom do they consider the humanist scholarship on oriental languages and literature, which shows a unique cultural hybridity for its own sake in early modern Europe. Consequently, the relationship of rhetoric and Christian Hebraism remains unexplored, despite the central importance of biblical studies in the original languages in the early modern education. Focusing on Reuchlin’s scholarship on the cantillation and its influence on later Hebraist studies, this project seeks to reassess the importance of Reuchlin in relation to the humanist rhetoric and musical humanism that underlie the musical thought and practices of the Reformation. I demonstrate that Reuchlin’s Hebrew scholarship paved the way for the new oratorical framework of reciting and singing the biblical texts during the Reformation and thereafter. I argue that Reuchlin’s pedagogy of the Hebrew cantillation embodies the union of ‘rhetorical music’ (rhetorica musica) and ‘rhetorical theology’ (theologica rhetorica) – the two rhetorical notions which underlie the humanist revival of the ancient ‘modulated recitation’ (modulata recitatio). Furthermore, this project studies the impact of Reuchlin’s rhetorical approach to the cantillation on the new musico-liturgical practices of the Catholic Reformation, in terms of the humanist rhetoric which centred on the delivery (pronuntiatio). It thus demonstrates that the humanist Hebraic scholarship influenced the new musical theory and practice of the day, and examine the manner in which the cantillation was studied and utilised by Christian Hebraists, whose scholarship served for the new rhetorical framework of liturgical chant practice during the Reformation. Finally, this study will reflect on the religio-cultural and ethical implications of Reuchlin’s pedagogy of the cantillation and its legacy.  

Hyun-Ah Kim (b. 1972) is a musicologist and a Reformation scholar. Her areas of expertise include the history and theology of Christian music, the ethics and spirituality of music, music as rhetoric, and music and religious education, with a special focus on the Reformation and Renaissance humanism. After studying music, theology and history in South Korea and the U.K. she completed a PhD in Historical Musicology at Durham University (2005). She then conducted post-doctoral research under the auspices of various academic institutions: she was Post-doctoral Fellow, Eisenbichler Fellow and Research Fellow at the Centre for Reformation and Renaissance Studies, University of Toronto (2007 – 2018); Meeter Family Research Fellow at the H. Henry Meeter Center for Calvin Studies (2019); Hardenberg Fellow at the Johannes a Lasco Bibliothek, Emden (2017); and Mayers Fellow at the Henry E. Huntington Library and Art Gallery, California (2016). She was previously Regular Professor and Adjunct Professor at Trinity College in the University of Toronto and the Toronto School of Theology (2008 – 2015), where she taught a number of innovative courses on the intersections of music, theology, ethics, rhetoric, religion and spirituality. Currently, she is a Post-doctoral Research Fellow of the Theologische Universiteit Kampen and an International Research Fellow of the Europäische Melanchthon-Akademie Bretten, where she leads an international project, Reformation Musical History and Theology (RMHT). She is the author of three books, The Praise of Musicke 1586 (2017), The Renaissance Ethics of Music (2015) and Humanism and the Reform of Sacred Music in Early Modern England (2008), as well as numerous articles on the intersections of music, theology and ethics in the eras of Renaissance humanism and the Reformation and beyond. In addition, she is founder and coordinator of the International Network for Music, Ethics and Spirituality (INMES) which aims to promote research, teaching and creative work on the nexus of music, ethics and spirituality from perspectives that are cross-cultural, cross-disciplinary and cross-confessional.

Aiste Malonyte (Groningen)

Information and Communication in the pre-Enlightenment Public Sphere. The Scientific Epistolary Network of Stanisław Lubieniecki

Dr. Witalij Morosow (Moskau)

Das Corpus des Pseudo-Lullus in Gotha. Ein Beitrag zur Beschreibung und Erschließung der lullistisch-alchemischen Handschrift

Dr. Andreas Önnerfors

Zwischen Reaktion und Reform: die Gothaer Freimaurerloge „Ernst zum Kompaß“ in der deutschen Geistesgeschichte des frühen 19. Jahrhunderts

Dr. Zornitsa Radeva (Freiburg)

Provokationsabwehr am Fuße des Parnass? Johann Christoph Colers (1691-1736) Gelehrtenexistenz zwischen Gotha, Wittenberg und Weimar

Dr. John Romey (Fort Wayne, USA)

Constructing French Music, Myth and Identity: The Transnational Circulation of Jean-Baptiste Lully’s Music

My project extends my previous research on the circulation and reuse of Jean-Baptiste Lully’s music within France to the transnational performance of Lully’s operas, the reconfiguration and arrangement of his music as instrumental suites or intabulations, and the bourgeois culture of deconstructing French spectacles into fragments for social musicking and identity construction. This project will examine the transnational circulation of Lully’s ballets, operas, and detached or arranged tunes from larger spectacles during the murky period from Lully’s death in 1687 until he emerged as a symbol used to evoke French musical taste and “Frenchness” in the eighteenth century. In the year of a new premiere of one of Lully’s tragédies en musique, Parisian spectators were known to attend the same opera as many as forty times in a single season. Once Lully’s music left France, the social experience of spectators and consumers of his music changed in profound ways. A Huguenot refugee in Amsterdam or a courtier in Wolfenbüttel or Gotha might have an opportunity to experience or even perform in a tragédie en musique, but repeat performances of Lully’s music would have to be realized themselves in some kind of arrangement detached from the spectacle.

John Romey is Visiting Assistant Professor in Musicology at Purdue University Fort Wayne. He has recently published an article in Early Modern French Studies about songs on placards produced during the Fronde and has a forthcoming article in the Fall 2020 issue of the Journal of Musicology.

Philippe Schmid (St. Andrews)

Collections, Catalogues and Coins: Julius Carl Schläger (1706-1786) comes to Gotha

My research in Gotha focuses on Julius Carl Schläger (1706-1786), who was a fascinating and largely forgotton figure of early eighteenth-century scholarship. Born in Hanover in 1706, he was educated at the University of Helmstedt. After having served as a private tutor in the house of the counsel Johann Anderson (1674–1743) in Hamburg, who possessed a significant library and collection of coins, Schläger took up a position at Helmstedt in 1730. He was made a professor of greek and oriental languages in 1737, teaching courses on philology and antiquities. In 1744, he was made director of the Friedenstein collection of coins in Gotha by Frederick III, Duke of Saxe-Gotha-Altenburg (1699–1772). After the death of Ernst Salomon Cyprian (1673–1745) in 1746, he was also appointed as head librarian of the ducal library in Gotha. Schläger’s life and work merit closer scrutiny. He exemplifies the relationship between text-based philology, material culture and collecting practices in antiquarian research, having amassed a library on numismatics, which he used to catalogue ancient coins. Focusing on the period from 1744 to 1756, I will study Schläger as a collector, trying to gain a better understanding of the book culture of antiquarianism at the beginning of the eighteenth-century.

I was educated at Basel and Munich, before moving to the University of St Andrews as a PhD candidate in Modern History in 2018. My thesis is supervised by Andrew Pettegree and Graeme Kemp and studies book collecting culture in early modern Germany. From 2017 to 2018 I was a fellow at the Herzog August Library in Wolfenbüttel.

Dr. Benedikt Schubert (Weimar)

„regulirte kirchen music“ – Neue Perspektiven auf Johann Sebastian Bachs Zeit in Mühlhausen und protestantische Kirchenmusikideale um 1700

Dr. Anton Serdeczny (Florenz)

Intangible heritage and the fabric of science: around an exceptional Thuringian case study

Marina Ferrari Waligora (La Plata)

Coal mining and fossils: The work of Schlotheim in Gotha and the forging of a cosmopolitan science


Prof. Dr. Mirela Altić (Zagreb)

Mapping the Missionary World: 19th Century Missionary Atlases with Special Regard to Justus Perthes’ Production

Prof. Dr. Gioia Filocamo (Terni)

Music for Anatomical Dissections in Universities of the Modern Era

The project explores the possible reasons for the presence of music in some European anatomical theatres during the modern age, starting from the end of the sixteenth century, in order to finalize some conclusions in an original essay.
The anatomical theatre of Padua was the first permanent structure – finished at the end of 1594 and still existing – where human anatomy was taught also through the dissection of corpses. This practice, although also practiced previously, was explicitly permitted by the brief of Pope Sixtus IV which authorized autopsies in the University of Tübingen in April 1482. The lectures held in Padua by the legendary anatomist Girolamo Fabrici d’Acquapendente (1533-1619), Gabriele Falloppio’s favorite pupil who succeeded him as a university lecturer, recalled several foreign students in the city, including many Protestant Germans gathered in the Natio Germanica Artistarum. In fact, it was only at the University of Padua that the Protestants could bypass the Catholic professio fidei imposed on students about to graduate by Pope Pius IV, with the bull In sacrosancta (1564), in compliance with the dictates of the Council of Trent: the extraordinary doctoral colleges of the city allowed hospitality to Catholic and Reformed students without the obligation of any oath. And in Padua we know of German students who requested and obtained musical performances to lift their spirits during anatomical dissections. My research project investigates the complex meaning of this need and the function of music in this specific context, then the meaning assigned by the Protestant culture to the spiritual reassurance induced by music, and the ways in which this would have happened or, at least, it would have been hoped. To my knowledge, the presence of music in other anatomical theatres is also witnessed in the universities of Leiden and Bologna, but it could have been requested in other cities of which I am not currently aware.
This research is absolutely interdisciplinary, since it touches different areas but all connected to each other. Mainly: the history of university teaching, the history of university student society, the history of mentality, the history of philosophy (Platonic and Aristotelian), the social and religious function of music. This last aspect is what I would like to explore as much as possible. We know that music was present in the anatomical theatres of the modern age, but the chronicles refer mainly to celebratory and festive situations (inaugural lectures, carnival parties, etc.), which also included an autopsy to demonstrate the excellence of the teachers of the university itself: universities competed with each other also through this sort of events. But the case of Padua also testifies a peculiar context: some German students requested music during anatomy lessons intended for them, lessons that foreigners considered one of the main reasons of appeal in the university especially starting from the presence of Andreas Vesalius (1514-1564), a famous professor of anatomy in Padua until 1542. Vesalius was the author of the revolutionary De humani corporis fabrica libri septem (Basel, Johannes Oporinus, 1543), a treatise that completely changed the approach of academic knowledge on the human body. According to his innovative vision, the anatomical dissection was needed to investigate the human body as a curious detective would have done, not only to confirm the structural details as they were described in classic books based on the intellectual framework drawn from Galenic medicine and Aristotelian natural philosophy. For Vesalius, this investigative activity on the human body was a physician’s task, and this opinion subverted the status of the typical anatomical lesson conducted until then in the universities, where there was the interaction up to three different subjects: (1) the lector, who sat far and above the corpse, ex cathedra, and declaimed the description of the human body by reading it from a classical Galenic treatise; (2) the ostensor, who showed on the naked body through a stick what the professor had just read from his book; (3) the dissector, the one who physically operated the dissection on the corpse starting with a cut from the sternum to the pubis: he was a surgeon-barber, a professional figure traditionally devoted to bloodletting and the treatment of venereal diseases. Therefore, Vesalius accompanied anatomical science at the gates of the seventeenth-century scientific revolution which undermined the model of Aristotelian interpretation of the world. The new vision of anatomy is clearly visible from the image shown on the frontispiece of his De humani corporis fabrica: we see Vesalius himself, the professor, portrayed while working on the corpse surrounded by the crowd of students. Modern science was beginning its journey.
Coming back to the interesting case of the University of Padua, and to what I would like to understand better in relation to the changes in progress: why, then, did the demand for music during anatomical dissections come from German students? Is it possible that their education and background have been significant in formulating this request at the university? In particular: could there be a causal link between the Protestant mentality of German students and their need for music? Is it really certain that the presence of music in this peculiar context can only be linked to the ceremonial aspect of the anatomy? (this is the opinion of CYNTHIA KLESTINEC, Theaters of Anatomy: Students, Teachers, and Traditions of Dissection in Renaissance Venice, Baltimore, The Johns Hopkins University Press, 2011, pp. 106-107). What was the specific calming effect that one hoped to receive from the music itself during the disturbing ‘show’ of the anatomical lesson? And could this benefit have a religious value in some way linked to the awareness that the object of study lying on the anatomical table had an immortal soul? The chronicles document a very detached lexical attitude when anatomy teachers and medical students referred to the corpse to be dissected (called ‘the subject’), a corpse sometimes even stolen by the students themselves. But most of the time the corpses for anatomy belonged to healthy men died as a result of a death sentence: subjects, therefore, who linked the infamy of condemnation and ‘judicial killing’ to further infamy – considered dishonourable at most – of public anatomy. There were special city confraternities dealing specifically with the comfort of those condemned to death, the oldest of which originated at Bologna in 1336 and called “Santa Maria della Morte” (Saint Mary of Death). These institutions assured the prisoner full absolution from sins and the burial of his body in consecrated land in exchange for his full submission to his hard destiny, but sometimes the judicial authorities allowed medical students to take advantage of these corpses for their anatomical inquiries.
I started the study around the project a few weeks ago, and my impression is that this research can be set from different points of view. I would mainly like to explore the presence of music in anatomical theatres to penetrate its specific emotional function: the De vita coelitus comparanda (1489, the third book of De vita) by the neoplatonic thinker Marsilio Ficino (1433-1499), for example, enhances the medical qualities of music for the human soul, a direct energetic emanation of the divine love present in the cosmos. Music would be able to take care of the human spirit in parallel with what medicine does with the body: the dynamism of music would bring the soul closer to the higher spheres, purifying it.
I am very interested to understand if the Protestantism of the German students enrolled at the University of Padua could be linked in some way to the philosophical conceptions circulating at that time. And to this goal, the rich section devoted to the cultural history of Protestantism in Early Modern Europe of the Gotha library would certainly provide a precious support difficult to find in other research centres. The library also stores several sixteenth- and seventeenth-century publications by Girolamo Fabrici d’Acquapendente, books on Andreas Vesalius (including the 1975 facsimile of his De humani corporis fabrica), and a very useful secondary bibliography on the conception of anatomy at the turn of the sixteenth and seventeenth centuries that I have not yet been able to consult in Italy. It would therefore surely be very fruitful to be able to spend a period of study in this important German research centre.

Gioia Filocamo teaches Poetry for Music and Musical Dramaturgy at the Istituto superiore di Studi musicali di Terni (Italy), and Music and Society in the Medieval and Renaissance Age at the University of Parma. She received a Diploma in Piano (1988), a Degree in Drama, Art, and Music Studies (1994), a Ph.D. in the Philology of Music (2001), and a Ph.D. in Modern History (2015). She has held post-doctoral research fellowships in Bologna (University), Chicago (Newberry Library), Wolfenbüttel (Herzog August Bibliothek), and a scholarship at St John’s College, Cambridge. She has produced a complete critical edition of an anthology of late fifteenth- and early sixteenth-century music, Florence, BNC, Panciatichi MS 27: Text and Context (Brepols 2010), co-edited Uno gentile et subtile ingenio, a Festschrift in honour of Bonnie Blackburn (Brepols 2009), and has published articles on various aspects of musical life in modern age Italy. Her interest focuses mainly on how music interacted with social life in the fifteenth and sixteenth centuries, but she has also worked on opera.

Prof. Dr. Elene Gogiashvili (Tbilissi)

Reiseberichte und Märchensammlungen: Kulturtransfer und seine narrativen Elemente in deutschen Reiseberichten über Georgien vom 17. bis 19.Jahrhundert

Prof. Dr. Inga Groote (Zürich)

Eine Wissensgeschichte der frühneuzeitlichen Musik

Prof. Dr. Carina Johnson (Claremont, USA)

Identity Markers and Boundaries in Early Modern Europe

Prof. Dr. Hiram Kümper (Mannheim)

Protestantischer Wucherdiskurs und Marktteilhabe

Prof. Dr. Ralf Lützelschwab (Berlin)

Negligenda? Spuren mendikantischer Predigttätigkeit in der Gothaer Forschungsbibliothek