Project Overview 

This project by Karo Moret-Miranda, explored the intersectional dimensions of Hildegard von Bingen’s Scivias (c. 1152), focusing on the representation of the racialised-feminine, gender, (dis)ability, colourism, and emotions within the manuscript. Utilizing Kimberlé Crenshaw’s intersectionality framework alongside Aby Warburg’s relational methodological model, the research analyzed the interplay of textual and visual content, establishing a dialogue between the affective gestures of Scivias’ miniatures and the broader theological and aesthetic visions of the abbess. The primary goal was to map intersectional axes of privilege and oppression within the manuscript, revealing dimensions of otherness, subaltern agency, and heterodox thought. By combining Warburg’s concept of pathosformel, gestural residues transmitting emotion across time, with contemporary critical theories of race and gender, the project uncovered the complex ways Hildegard incorporated marginalised or “averse” subjects into her visionary universe. 

Methodology 

The methodology integrated textual analysis, visual mapping, and intersectional theory. Five axes: gender, race, (dis)ability, colourism, and emotions were selected to navigate Scivias. These axes allowed for a nuanced analysis of the interplay between privilege and oppression, while Warburg’s relational model guided the mapping of recurring gestures and visual motifs across the manuscript. A comparative dialogue was also established with my own artistic practice and with contemporary visual artists like Kara Walker, Wangechi Mutu, and Kuninjku Yirawala, situating the analysis of Scivias within broader discussions of subaltern representation and racialised-feminine imagery. The project also incorporated public engagement through workshops, seminars, and presentations, fostering interdisciplinary feedback and dissemination of preliminary fi ndings. 

Key Findings 

Analysis of Scivias revealed a complex spectrum of racialised-feminine representation, encoded in the manuscript’s miniatures and textual descriptions. The visual and textual interplay demonstrates subtle gradations of colorism, from pallidam to nigra, while gestures convey moral, spiritual, and emotional meanings. Female fi gures exhibit fl uid agency, often blending attributes of masculine and feminine or engaging in subversive expressions of power. The exploration of (dis)ability highlighted the embodiment of difference in both affective and moral dimensions, while the mapping of emotions through pathosformeln revealed continuity between medieval gestures and contemporary aesthetic affect. Comparative analysis with contemporary artworks demonstrated that strategies of subaltern representation and racialised-feminine visibility resonate across temporal and cultural contexts.

Artworks Produced 

● karo Moret-miranda– Scivias Ororó (2023): Explored racialised-feminine representation and exposure Afro-Caribbean feminine in the Scivias experience (below) 

● karo Moret-miranda – Oya Ogbo (2025): Examined embodiment and maternal power in subaltern seniority feminine subjects (below) 

These artworks serve as both an interpretive extension of the Scivias analysis and a public-facing outreach, making the intersectional and visual-relational findings accessible to broader audiences. 

Impact and Contribution 

The project introduced intersectional methodology into medieval manuscript studies, uncovering new perspectives on subalternity, otherness, and agency in Hildegard von Bingen’s work. By linking textual analysis, visual mapping, and contemporary artistic practices, the research fostered an interdisciplinary dialogue bridging art history, gender studies, and critical race theory. The fi ndings also establish a methodological model