Reviewed by:

• Santos y Reliquias: Sonido. Imagen. Liturgia. Textos ed. by Maricarmen Gómez Muntané
• Jane Morlet Hardie

This extraordinary collection of studies is by a group of twelve scholars, each of whom is a leader in their own field, most of whom have worked together in an environment of collaboration and mutual respect at the Universidad Autónoma de Barcelona (UAB) for many years. Initially conceived as a one-day symposium at the UAB but cancelled due to the Covid-19 pandemic, this book joins its two related predecessors as a paean to the humanities. Like the two earlier books, La Sibila: Sonido. Imagen. Liturgia. Escena (Editorial Alpuerto, 2015) and El Juicio Final: Sonido. Imagen. Liturgia. Escena (Editorial Alpuerto, 2017), this volume was conceived and edited by Maricarmen Gómez Muntané. (The two earlier books were reviewed in Parergon, 36.1 (2019), 200–02.) All three of the books in this series are ‘interdisciplinary’ by virtue of each of the contributors working within (or starting from) their primary discipline and producing a collection that speaks [End Page 261] to the humanities in the broadest sense. However, as this third book demonstrates, each of the authors, while starting within their primary discipline, moves beyond it. While, technically, the contributors can be identified simply as art historians, textual scholars, and musicologists, their material stretches boundaries to address issues of the veneration of saints, movement of relics, architectural history, liturgical and/or sacred space, music, images, iconography, and texts. Indeed, this book, whose subtitle ‘Sounds, Images, Liturgy, Texts’ suggests four separate but complementary strands, leads the reader into a much richer and more complex landscape in which in each chapter some, or all, of the strands are intertwined.

The scene is set in this collection by the thoughtful ‘Prólogo’ by Joan Francesc Mira, and the extensive and informed ‘Introducción’ by the editor Maricarmen Gómez. The twelve chapters range in time from 844 (Daniel Rico, ‘Rabano Mauro: las reliquias romanas y sus inscripciones en verso’) to 2017 (Germán Gan, ‘La doncella de Orléans a escena. Observaciones sobre Jeanne d’Arc au bûcher, de Arthur Honegger (y otras músicas in honorem Ioannae Arcensis)’). Additionally, several authors follow both saints and relics from Cappadocia (Manual Castiñeiras, ‘San Jorge, un santo transcultural del Mediterraneo: de Capadocia a Cataluña’) to many areas of Spain and elsewhere (Isabel De Riquer, ‘Pedro el Ceremonioso y Juan I en busca de reliquias: la cabeza de san Jorge y el cuerno del unicornio’; Anna Orriols ‘Certificando el prodigio: narraciones visuales y textuales del traslado y posesión de reliquias en el Medioevo’; Joan Duran-Porta, ‘La reutilización de objetos como contenedores de reliquias en el Medioevo’; and Carles Sánchez, ‘Domingo de la Calzada y los santos constructores: un modelo de santidad al servicio de la apertura de la ruta jacobea’).

It is as if each scholar, from the perspective of vast experience in their own discipline, has been able to draw together material and insights gathered over a career. Each chapter is characterised not only by a wealth of detail, but also by a broad interpretive view that in most cases transcends the conventional boundaries of each discipline.

As a result of this approach, it is impossible to fit each of the twelve chapters neatly into only one of the four strands of the subtitle. For example, the chapter by Maricarmen Gómez, ‘Música y reliquias: de la capilla real de Francia a la capilla real de Aragón (1237–1437)’, moves between music, liturgy, images, and texts. Eduardo Carrero, in ‘San Lesmes, su capilla y su monasterio de San Juan, a las puertas de la ciudad de Burgos’, takes us into the world of liturgy, images, and sacred space in his role of art/architectural historian. In her chapter ‘Relicarios de representación antropomorfa de san Valero en Aragón: bustos y brazos de orfebrería’, art historian Carmen Morte discusses images, relics, and liturgy as she sets the scene for David...

审阅者：

• 桑托斯·雷利奎亚斯：索尼多。图像。礼拜仪式。文本编辑。作者：马里卡门·戈麦斯·蒙塔内
• 简·莫莱特·哈迪

这本非凡的研究成果由十二名学者组成，他们每个人都是各自领域的领导者，他们中的大多数人在巴塞罗那自治大学 (UAB) 合作和相互尊重的环境中合作多年。本书最初设想在 UAB 举办为期一天的研讨会，但由于 Covid-19 大流行而取消，本书与两本相关的前作一起成为对人文学科的赞歌。就像之前的两本书一样，《La Sibila：Sonido》。图像。礼拜仪式。Escena（Alpuerto 社论，2015 年）和El Juicio 决赛：Sonido。图像。礼拜仪式。Escena（Alpuerto 社论，2017 年），本卷由 Maricarmen Gómez Muntané 构思和编辑。（前两本书在Parergon上有评论，36.1（2019），200–02。）本系列中的所有三本书都是“跨学科的”，因为每个贡献者都在其主要学科范围内工作（或从其主要学科开始），并制作了一本讲述[结束页261]的书集]属于最广泛意义上的人文学科。然而，正如第三本书所表明的那样，每位作者在从自己的主要学科出发的同时，也逐渐超越了它。虽然从技术上讲，贡献者可以简单地识别为艺术史学家、文本学者和音乐学家，但他们的材料延伸了边界，以解决圣人的崇拜、文物的移动、建筑史、礼拜仪式和/或神圣空间、音乐、图像等问题、图像和文本。事实上，这本书的副标题“声音、图像、礼拜仪式、文本”暗示了四个独立但互补的线索，引导读者进入一个更丰富、更复杂的景观，在每一章中，一些或全部线索交织在一起。

琼·弗朗西斯科·米拉 (Joan Francesc Mira) 深思熟虑的“Prologo”和编辑 Maricarmen Gómez 提供的内容广泛、信息丰富的“Introducción”为这本合集设定了场景。这十二章的时间范围从 844 年（Daniel Rico，“Rabano Mauro：las reliquias romanas y sus inscripciones en verso”）到 2017 年（Germán Gan，“La doncella de Orléans a escena”。Observaciones sobre Jeanne d'Arc au bûcher，de Arthur Honegger（向 Ioannae Arcensis 致敬的其他音乐）'）。此外，一些作者追踪卡帕多西亚的圣人和遗迹（Manual Castiñeiras，“San Jorge，un santo transculture del Mediterraneo：de Capadocia a Cataluña”）到西班牙和其他地方的许多地区（Isabel De Riquer，“Pedro el Ceremonioso y Juan I”） enbusca de reliquias: la cabeza de san Jorge y elcuerno del unicornio'; Anna Orriols 'Certificando el prodigio: Medioevo 中的视觉叙述和文本叙述以及遗物姿势；Joan Duran-Porta，“La reutilización de objetos como contenedores de reliquias en el Medioevo”；和Carles Sánchez，“Domingo de la Calzada y los santos constructores：un modelo de santidad al servicio de la apertura de la ruta jacobea”）。

就好像每个学者都能够从自己学科的丰富经验的角度出发，汇集在职业生涯中收集的材料和见解。每一章不仅具有丰富的细节，而且具有广泛的解释观点，在大多数情况下超越了每个学科的传统界限。

由于这种方法，不可能将十二章中的每一章整齐地放入副标题的四个部分中的一个中。例如，马里卡门·戈麦斯 (Maricarmen Gómez) 的章节《音乐与圣物：法国的圣歌和阿拉贡的圣歌 (1237-1437)》在音乐、礼拜仪式、图像和文本之间移动。爱德华多·卡雷罗（Eduardo Carrero）在《圣莱斯梅斯，苏卡皮利亚和苏圣胡安修道院，布尔戈斯城的门》中，以艺术/建筑历史学家的角色，带我们进入礼拜仪式、图像和神圣空间的世界。艺术历史学家卡门·莫特在她的章节“阿拉贡圣瓦莱罗的人类代表文物：bustos y brazos de orfebrería”一章中，在为大卫设定场景时讨论了图像、文物和礼拜仪式……