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Abstract
The article discusses sensual piety as a distinct phenomenon of medieval performance culture, centred on the body as a site and vehicle for the emergence of social and religious meanings. Cultural practices such as affective meditation, the kissing of devotional images, and the spectatorship of various kinds of religious performances are presented from this somatic perspective employing concepts of sensorimotor imitation, kinesthetic empathy, and visceral seeing from the methodological toolkit of phenomenology and cognitive studies. These terms can be instrumental in explaining the mimetic nature of the theological concept of compassio, which is inherent in all of the above-mentioned practices.
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