Spencer-Hall_Article - Revised-FINAL
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Spencer-Hall_Article - Revised-FINAL
The Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALilis (a. 1150-1224). an account of the miraculous life and three deaths of an unenclosed holy woman from the Low Countries. The text opens with an explicit vindication of Christina’s return(s) as divinely mandated. Yet. the narrative shows that her community struggle to deal with the revenant in the Spencer-Hall_Article - Revised-FINALir midst. Through her example, they must confront the terrifying mechanics of purgatory.resurrection, and the co-incidence of body and soul. A similarSpencer-Hall_Article - Revised-FINAL
unease is found in modern scholarship, in which Christina is typically referred to dismissively in terms more commonly applied to cinematic monsters.The Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINAL terms of filmic zombie-ism. fresh insights are revealed as to the ways in which the holy woman is al once exemplarily orthodox and thoroughly terrifying.IntroductionFatemur quidem. & verum est. narrationem nostrum omnem hominis intellectual excedere. utpote quae secundum cursum nature fieri nequaqu Spencer-Hall_Article - Revised-FINALam possent. cum tamen sint possibilia Creatori’ FCM prol.3.650.)[I admit — and it is true — that my account surpasses all human understanding, inasmucSpencer-Hall_Article - Revised-FINAL
h as these things could by no means have occurred according to the course of nature, yet they are possible to the Creator'. (VCMEng, prol.3.128).]WithThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINAL hagiography that heintroduces with these proleptic remarks. A few sentences later, the Dominican friar anderstwhile Augustinian canon makes good on his promise of weird happenings, and begins his1The Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century •Zombie’ Saintbiography of Christina M Spencer-Hall_Article - Revised-FINALirabilis (d. 1224).1 Written in 1232, Thomas’ vita is an extraordinary account of the singular life, complete with miraculous three deaths, of a cowheSpencer-Hall_Article - Revised-FINAL
rding orphan turned holy woman from Sint-Truiden. The text opens with the death of its protagonist, as Christina succumbs to a deleterious illness broThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINAL to the realm of the living. She will now experience the torments of purgatory on earth by divine will (1.6-8.651-52). Her post-mortem body will be able to withstand such suffering miraculously, and she will remain seemingly unharmed by the multitudinous punishments to come. The revenant Christina e Spencer-Hall_Article - Revised-FINALxhibits supremely bizarre behaviour, including jumping into ovens, hanging herself for days, sitting on the bottom of the river for six or more days aSpencer-Hall_Article - Revised-FINAL
t a time, and flying (1.9.652; 1.11.652; 2.19.654; 2.20. 654).Although never formally canonized, it is little wonder that Christina is hailed as the pThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALus in relation to monastic institutions. The Vila records three distinct periods of Christina's spiritual practice. After her first death in 1182. Christina remains part of the laity, albeit becoming a lay woman renowned for her bizarre and/or miraculous acts (FCAf. 1.1-3.37.651-56). lor some nine y Spencer-Hall_Article - Revised-FINALears(c. 1210-C.1218). she resides with Julia ofBorgloon, a recluse in the castle of Loon (4.38-46.657-58). During her time with Jutta. Christina doesSpencer-Hall_Article - Revised-FINAL
not become reclusive, however. She enmeshes herself in the politics of the region and cultivates a deep spiritual bond with Louis 11. count of Loon. CThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALear of her life. Christina transfers to St. Catherine’s, a Benedictine monastery near Sint-Truiden (4.46-5.54.658-59), though she does not take the veil. It is only in death that Christina becomes assimilated fully into a monastic institution. Her body isThe Horror of Orthodoxy: Christina .Xiirabili Spencer-Hall_Article - Revised-FINALs, Thirteenth-Century •Zombie’ Saintburied in St. Catherine's grounds, and translated to Nonnemielen (north of Sint-Truiden) in 1231 as part of a moveSpencer-Hall_Article - Revised-FINAL
of the entire monastic complex.Despite, or perhaps because of. the uncanny and perplexing events contained in Christina's vita. extant versions of thThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALe? A library catalogue dating to the seventeenth century reveals that the abbey of Sint-Truiden housed Christina’s biography, alongside the vitae of other thirteenth-century holy women from the region such as Marie of Oignies and Lutgard of Aywieres (Brussels, Bibliothèque des Bollandistes, MS 98, f Spencer-Hall_Article - Revised-FINALol. 345v; Mulder-Bakker, 2011, 39). This is noteworthy as it potentially sheds light on the reception of Christina's vita. The biography of hermit GerSpencer-Hall_Article - Revised-FINAL
lach of Houthem (d. 1165). composed by an anonymous Premonstratensian canon in Liège c. 1227, testifies that the laity were sometimes invited to the aThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALe, then, that Christina's text was recited at such events as an entertaining yet authentic representation of piety to a diverse audience of men and women, formally religious and lay alike.Further evidence of the usage of Christina's text as a focus of collective faith practice is provided if we turn Spencer-Hall_Article - Revised-FINAL to the Middle Dutch version of Christina’s biography. The vernacular work was composed c. 1280-1290 at the behest of the nuns of St. Catherine's forSpencer-Hall_Article - Revised-FINAL
the purpose of public readings (Mulder-Bakker, 2011, 40; Simons, 2001, 175 n. 45). The nuns obviously considered Christina's text suitable material foThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALiegesis itself. Christina regularly visits with the nuns of St. Catherine’s, falling into ecstasy and belting out mystical songs as a result of her disquisitions about Christ (PCM 3.35-36.656). In one instance, the entire community of St. Catherine's runs to her side and3The Hon or of Orthodoxy: Chr Spencer-Hall_Article - Revised-FINAListina Mirabilis, Thirteenth-Century 'Zombie* Saintjoin in her rendition of the Te Deum laudamtis. The nuns, we are told, ‘greatly rejoiced in ChristiSpencer-Hall_Article - Revised-FINAL
na’s solace’ (VCMEng, 36.146) (‘kvlabatur cnim multum Christina: solatio’, VCA'i. 3.36.656). The holy woman inspires the nuns to praise Christ more inThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALthe composition of the readership of Christina’s vita. What is dear, however, is that this biography of a lay holy woman (bcguinc) was accepted — al least by some — as an effective means for inspiring faith, even for members of the clergy and monastics.5Though the medieval audience of Christina’s te Spencer-Hall_Article - Revised-FINALxt may recognise it as an important source of religious inspiration, the people with which she lived do not share such a positive view of the holy womSpencer-Hall_Article - Revised-FINAL
an, at least initially. Instead, the townspeople of Sint-Truiden — including her friends and family — believe Christina to be a demoniac. They captureThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALooden yoke, presumably with the aim of ‘curing’ her (IZCM 1.9.652; 2.18.653; 2.19.654.) She provokes ‘horror and trembling’ (VCMEng 46.150) (‘horrore & Iremore’. IZCM 4.46.658) in those who encounter her firsthand.This uneasy response to Christina on a narrative level finds its counterpart in the ma Spencer-Hall_Article - Revised-FINALjority of modern scholarship devoted to the holy woman.* Critics struggle to classify the holy woman decisively, seemingly unable to assimilate her inSpencer-Hall_Article - Revised-FINAL
to the canon of equally oddball medieval hagiographic protagonists. Instead. Christina is held offal a distance by a near ubiquitous rhetoric of otherThe Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century ‘Zombie' SaintAbstractIn 1232. Thomas of Cantimpré wrote his Life of Christina Mirabi Spencer-Hall_Article - Revised-FINALis described as a ‘ghost or zombie’, ‘something other than typically “human*”, belonging to ‘the living and the dead at the same time’, an outlandish figure from ‘pious folklore’ or ‘just plain4The Horror of Orthodoxy: Christina Mirabilis, Thirteenth-Century •Zombie' Saintweird' (respectively: Newma Spencer-Hall_Article - Revised-FINALn. 1999. 50; Giglio, 1998, 116; Passenier, 2001. 153; King. 1987, 147; Newman. 2008, 30). These descriptions tend toward a figuring of the saint as aSpencer-Hall_Article - Revised-FINAL
horror monster — the terrifying and terrorizing otherworldly creature to be avoided — rather than an example of holiness to be venerated. Such phraseoGọi ngay
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