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In Worlds Within, Elina Gertsman investigates the Shrine Madonnas, or Vierges ouvrantes--sculptures that conceal within their bodies complex carved and/or painted iconographies. The Shrine Madonna emerged in Europe at the end of the 1200s and reached a peak of popularity during the following three centuries. Gertsman argues that the appearance of these objects--predicated as they are on the dynamic of concealment, revelation, and fragmentation--points to the changing roles of vision and sensation in the complex, performative ways in which audiences were expected to engage...

Sacred and profane, public and private, emotive and ritualistic, internal and embodied, medieval weeping served as a culturally charged prism for a host of social, visual, cognitive, and linguistic performances. Crying in the Middle Ages addresses the place of tears in Jewish, Christian, and Islamic cultural discourses, providing a key resource for scholars interested in exploring medieval notions of emotion, gesture, and sensory experience in a variety of cultural contexts.

Gertsman brings together essays that establish a series of conversations with one another, foregrounding...