This article explores the conspicuous role of singing in the hagiographical construction of saintly women in the thirteenth-century Diocese of Liège. The constellation of Lives about Liégeois women occupies a prominent place in the “origin story” of the new spirituality in the later Middle Ages. However, one aspect of these women's perceived religiosity—their musical and vocal talent—though omnipresent in the sources, has received only sparse attention from scholarship. This article focuses on two of the most important Lives in this group, those of Mary of Oignies and Christina of Sint-Truiden, and demonstrates that hagiographers, mobilizing liturgical vocabulary and ritual ideas identifiable to a local audience, consistently represented women's singing as magnificent ritual performance. By doing so, the hagiographers highlighted these women's privileged access to the divine and distinct potency as intercessors for the living and the dead. This article also intends to show the highly sophisticated ways in which Latin liturgy and its vernacular appropriation, popular ideas and scholastic theories about music were negotiated, developed, and together contributed to a distinctive religious rhetoric in the articulation of female sanctity in thirteenth-century Europe.

中文翻译：

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中世纪圣徒和他们的神曲：13世纪列日的祭祀、丧葬和女性圣洁的建构

本文探讨了歌唱在 13 世纪列日教区的圣女圣徒形象建构中的显着作用。关于列日女性的生命星座在中世纪后期新灵性的“起源故事”中占有重要地位。然而，这些女性所感知的宗教信仰的一个方面——她们的音乐和声乐天赋——虽然在资料中无处不在，但在学术界只得到了很少的关注。本文重点关注这一群体中最重要的两个生平，即奥伊尼的玛丽和圣特鲁伊登的克里斯蒂娜，并证明圣徒传记作者利用当地观众可识别的礼仪词汇和仪式理念，始终将女性歌唱视为宏伟的仪式表现。通过这样做，圣徒传记作者强调了这些女性作为生者和死者的代祷者，享有获得神圣和独特力量的特权。本文还打算展示在 13 世纪欧洲，拉丁礼仪及其白话挪用、流行观念和经院音乐理论经过协商、发展并共同促成了一种独特的宗教修辞方式，以表达女性的神圣性。 .