pilgrimages” (171ff), for example with Veronica to an imaginative Jerusalem in order to help her wipe the face of Christ with her veil. In the end, Observant reforms of the late 1400s did eventually take hold and gradually art objects stressed reform themes such as community over individuality and the vanity of possessions. Chapter 7 examines how nuns “walked in the footsteps of Christ” in both external and internal observances directed toward passion piety. Mecham notes that “theological imagination and devotional memory” combined with communal artwork in a performance space to create a “liminal space,” that is “a place where past and present united in devotional experience” so that they might know Christ’s “appearance, emotions, and pain” thus allowing “mental and visual piety” to coalesce for the nuns (238f). As a result, “Because many religious women were banned from direct physical imitation of Jesus via the vita apostolica, imaginative meditation on Passion narratives and spiritual pilgrimages provided some of the few ways in which they could engage in the imitatio Christi” (259). Mecham and her colleagues convincingly conclude that the Heidelklöster are unique for the amount of documentary and material evidence that has survived, but finally “the devotional practices observed by the nuns of this region were not unusual.” The performative devotional practices that they embraced, however, serve as a “hermeneutical model for female monastic devotion in communities from which far less information survives” (264). Indeed, Mecham’s compelling and passionate desire to bring to light the hidden lives and struggles of the Heidelklöster nuns, along with her colleagues devotion to have Mecham’s work be made available, has produced a worthy legacy of fine scholarship.

中文翻译：

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马丁·路德：有远见的改革家。斯科特·H·亨德里克斯（Scott H. 康涅狄格州纽黑文：耶鲁大学出版社。2015.xxiv + 341 pp。$ 35.00布。

朝圣”（171ff），例如与维罗妮卡（Veronica）前往富有想象力的耶路撒冷，以帮助她用面纱擦拭基督的脸。最终，在1400年代后期进行了观察性改革，最终艺术品逐渐强调了改革主题，例如社区对个人的个性化和财产的虚荣感。第7章研究了修女在对激情虔诚的内在和内在遵守中如何“走在基督的脚步上”。麦卡姆指出，“神学想象力和灵修性记忆”与公共艺术作品在表演空间中相结合，创造了一个“极限空间”，即“过去和现在在灵修体验中团结在一起的地方”，因此他们可能知道基督的“外表，情感”。 ，和痛苦”，从而使“精神和视觉上的虔诚”融合为修女（238f）。因此，“由于许多信奉宗教的妇女被禁止通过维他命使徒对耶稣的直接身体模仿，对激情叙事和精神朝圣的富有想象力的沉思为她们提供了一些模仿克里斯蒂的方式”（259）。麦卡姆和她的同事令人信服地得出结论，海德克洛斯特犬在幸存的大量文献和材料证据中是独一无二的，但最终“该地区修女所观察到的奉献精神并不罕见。” 然而，他们所接受的表演性奉献做法却是“在信息得以生存的社区中，女性修道奉献的诠释模型”（264）。确实，麦卡姆（Mecham）强烈而热情的愿望是要揭露海德勒斯特修女的隐性生活和斗争，