This is a visually scintillating exploration of medieval visual culture through the lens (and layers) of the Shrine Madonna, an extraordinary type of sculpture of the Virgin and Child (c. 1270–1500) that opens to reveal other sacred devotional imagery. Following on from the success of Gertsman’s last book on ‘The Dance of Death’, Worlds Within is an equally significant monographic study of an extraordinary aspect of the medieval imagination, the first of its kind since Gudrun Radler’s descriptive catalogue. In this case, Gertsman benefits from the last two decades of progress in Marian scholarship. She also sets out to achieve a monumental task; to present the first investigation of the perception and reception of the Shrine Madonna and, using them as a ‘Barthium punctum’ (p. 8), to gauge what these special statues reveal about late medieval devotional culture. Beginning with a description of the venomous attacks on the Shrine Madonna by Jean Gerson (d. 1429) and Johannes Molanus (d. 1585), Gertsman presents the long lives of these sculptures, which elicited such strong reactions that many were damaged, mutilated or totally destroyed. By considering their complex material history, Gertsman applies an all-encompassing art-historical approach, situated somewhere between that of Hans Belting and David Freedberg, to study what they both refer to as ‘the power of images’, but she explores her subject matter from the viewpoint of the medieval audiences’ ‘sensual involvement in the processes of beholding’ (p. 10). In so doing, she fuses the history of the image and text with performance theory and cognitive science. The first chapter, ‘Secrets’, focuses on the act of opening and closing the Shrine Madonna, a motion which both conceals and reveals her insides, in relation to theories of vision in medieval optics as well as modern-day neurophenomenology. The former approach engages with recent literature concerning the impact of medieval understanding of vision, namely how intromission and extramission (here primarily referring to the writings of Francis Bacon) shaped the growing significance of visibility within devotional objects. The medievalist reader is then taken out of their comfort zone through the incorporation of Alva No€e’s concept of perceptual Reviews

中文翻译：

---

内在世界：打开中世纪圣地麦当娜

这是通过麦当娜神殿的镜头（和各层）对中世纪视觉文化的一次视觉闪烁，这是圣母和儿童（约1270年至1500年）的非凡类型的雕塑，可以揭示其他神圣的灵修图像。继盖茨曼（Gertsman）上一本有关“死亡之舞”的著作取得成功之后，《内心世界》是一部对中世纪想象力非凡方面的同等重要的专题研究，这是自古德伦·拉德勒（Gudrun Radler）描述性目录以来的第一次。在这种情况下，格茨曼从玛丽安奖学金的最近二十年中受益。她还着手完成一项艰巨的任务。展示了对麦当娜神殿的感知和接受的首次调查，并将其用作“钡餐点”（第8页），来衡量这些特殊雕像对中世纪晚期虔诚文化的启示。从描述让·格森（卒于1429年）和约翰内斯·莫拉努斯（卒于1585年）对麦当娜神社的猛烈攻击开始，盖茨曼（Gertsman）展示了这些雕塑的长寿，引起了强烈的反响，以至于许多雕塑遭到破坏，残缺或残缺。完全被摧毁。考虑到他们复杂的物质历史，格茨曼采用了一种涵盖汉斯·贝尔丁和戴维·弗里德伯格之间的无所不包的艺术-历史方法，研究了它们都被称为“图像的力量”，但是她探索了自己的主题。从中世纪听众的“感官参与注视过程”的角度来看（第10页）。通过这样做，她将图像和文本的历史与性能理论和认知科学融合在一起。第一章“秘密”，着重于打开和关闭麦当娜神殿的动作，这一动作既隐藏又揭示了她的内心，与中世纪光学和现代神经现象学的理论有关。前一种方法与最近有关中世纪对视觉理解的影响的文献相结合，即内向性和外向性（这里主要指弗朗西斯·培根的著作）如何塑造了灵修对象内可见性的日益重要的意义。然后，通过结合Alva No€e的感性评论概念，将中世纪的读者带出他们的舒适区 与中世纪光学以及现代神经现象学中的视觉理论有关。前一种方法与最近有关中世纪对视觉理解的影响的文献相结合，即内向性和外向性（这里主要指弗朗西斯·培根的著作）如何塑造了灵修对象内可见性的日益重要的意义。然后，通过结合Alva No€e的感性评论概念，将中世纪的读者带出他们的舒适区 与中世纪光学以及现代神经现象学中的视觉理论有关。前一种方法与最近有关中世纪对视觉理解的影响的文献相结合，即内向性和外向性（这里主要指弗朗西斯·培根的著作）如何塑造了灵修对象内可见性的日益重要的意义。然后，通过结合Alva No€e的感性评论概念，将中世纪的读者带出他们的舒适区