Holy Body Research Articles

Food Culture, Religious Belief and Community Relations: An Ethnographic Study of the Overseas Chinese Catholic

Religion and food culture are two closely related topics in the Christian discourse and have been the subject of extensive anthropological research. This paper takes the Boston Chinese Catholics as a case study, and it adopts an ethnographic research methodology to explore the ways in which the sense of belonging develops in the Church community, based on the analysis of food culture in this context. Chinese Catholics in Boston are mainly Fujian and Hong Kong immigrants, and the class, status, and economic differences between these two communities are well apparent. The Boston Chinese Catholic Church divides food into sacred and secular. During religious rituals, all Catholics share the sacred food, the Holy Body and the Holy Blood, which symbolize the unity of the Catholic Church. In everyday life, Fujian Catholic and Hong Kong Catholic community members follow the dietary habits of their community to maintain a division between each community’s traditions. Over the years, the Boston Chinese Catholic Church has developed a flexible strategy—externally consistent and internally differentiated—to maintain the unity of the Church while embracing the cultural differences of its members. This flexible strategy has also influenced the way in which the Boston Chinese Catholic Church operates. This study indicates that we need to place more emphasis on the diversity and complexity of the members of the overseas Chinese Catholic Church and the specificities of the Catholic religion’s discourse so that we can better understand the overall practices and methods of overseas Chinese Catholicism. This study is a catalyst for the study of overseas Chinese Catholicism, as well as the study of food culture, religion, community, and identity in that context.

ARCHITEKCI ZAMKU W MIĘDZYBOŻU W OSTATNIEJ POŁOWIE XVI WIEKU JAN BĄK I KRZYSZTOF BODZAN. ŹRÓDŁA PRZECIWKO MITOM

This article informs for the first time that in the second half of the 16th century, a citizen of the city of Ternopil, Jan Bąk (“Jan Bonk” in English transcription), was employed by Mikołaj Sieniawski as the architect of Medzhybizh Castle (now in Khmelnytskyi region, Ukraine). The notice of this fact was found by the author in the first volume of the manuscript “Płac prawnych prac” (“A place for legal searches” – from Polish). This manuscript was written by Shymon Jerzy Cerenowicz in 1753-1755 as a result of his research in the archives of the Polish-Lithuanian Commonwealth, at the request of Prince August Aleksander Czartoryski. The “Płac prawnych prac” manuscript contains a lot of important information about events in the Podole Voivodeship in the 15th-18th centuries. One of the new facts is the following text (author's translation from Polish): “The Legislator of Medzhybizh, Mikołaj Sieniawski the Great, when he was alive, signed a contract with Jan Bąk, a Ternopil citizen and architect. This contract obliged to finish the construction of walls, build a bastion, etc. in Medzhybizh Castle. While the construction of the castle continued, Mikołaj Sieniawski died in Lublin during the Sejm. Therefore, this architect urgently registered the contract in the Сity court of Terebovlya, in 1569 on the eighth day after the Solemnity of the Most Holy Body of the Lord”. From this text, we learn for the first time about the previously unknown name of the architect Jan Bąk and about some of his works in Medzhybizh Castle. The author of the article notes that Christophus Bozzano “incola Russiae” also known as Krzysztof Bodzan was probably the next architect in Medzhybizh castle (according to V. Aleksandrovich). However, the widespread statements about Hiob (Job) Bretfus, Ambrogio Guagnini, Peter from Rome as the architects of the Medzhybizh Castle are not proven and are false.

The Blondes of Wisconsin

The Blondes of Wisconsin

엘렌 화이트(Ellen G. White)의 생기(vital force) 개념과 갈홍(葛洪)의 환정보뇌(還精補腦) 개념 비교 연구

Despite its historical importance, relatively little attention has been paid to the theory of vital force that nineteenth century health reformers put forward. Allegedly, the vital force is a life-sustaining energy peculiar to living organisms, including human beings, and different from all the other forces found outside in non-living creatures. In this vein, this article examines ideas of vital force that Ellen G. White, one of the co-founders of the Seventh-day Adventists, maintained in her series of books called The Spirit of Prophecy. Also, this article shows the historical context of contemporary vitalism that presumably induced her to discourage masturbation (self-abuse or solitary vice as she called it) because ostensibly vital force could be expended by reckless ejaculation. She believed that devout Christians’ aim to maintain a holy body would be seriously thwarted by arbitrary semen leakage. For the purpose of comparative explanation, the article compares White’s ideas with those of Daoists. According to the Daoist Ge Hong (葛洪), an ancient Chinese thinker from the Wei-Jin period, in his book “Neipian” of Baopuzi (抱朴子), anyone can become an immortal Daoist hermit (神仙) by means of ancient chinese sexual arts (房中術) by which one should refrain from wastefully expending his semen (jing 精). Finally, this article discusses the relationship between semen loss and brain damage in the context of White’s masturbation taboo as well as Daoist semen-keeping arts called haijingbunao (還精補腦).

Material Images and Mental Ziyāra: Depicting the Prophet’s Grave in North African Devotional Books (Dalāʾil al-Khayrāt)

Abstract The Dalāʾil al-Khayrāt (Guidelines to the Blessings) is a very popular book of prayers over the Prophet Muḥammad, originally written around the mid-fifteenth century by Muḥammad b. Sulaymān al-Jazūlī (d. 869/1465). The Dalāʾil is probably the only illustrated religious text in the Maghreb, where the image has been the subject of more profound reluctance than in the rest of the Muslim world. They show the sacred tomb of the Prophet inside the mosque of Medina, as well as his minbar, his miḥrāb and his sandals (naʿl), one of the most venerated relics in Islam. If the images in North African books have been systematically interpreted in a superficial way, this article proposes a reading at the crossroads of art history, codicology and a careful examination of the main text and the precious annotations added by the readers of some unpublished manuscripts. We will then understand that these illustrations have gradually acquired an autonomous place within the book. They act alongside the text, as memorial images of the sacred space hosting the holy body of the Prophet, and as a virtual substitute for the pilgrimage to Medina. It is in fact through this act, be it physical or virtual, that Muslims hope to visualize, in a dream, the figure of their loved one, Muḥammad.

Relics and Fragments

Relics and Fragments Ryan Giles It was an honor to participate in the session on Heather Bamford's splendid new monograph, and to celebrate her much-deserved La corónica Book Award this year. I only wish we could have toasted her achievement in person, en carne y hueso, and in Kalamazoo! Rereading her innovative research for this occasion brought to mind a stock metaphor that has had such a powerful hold on modern philology, and that—for those of us who specialize in pre-modern Iberian literatures and cultures—is closely identified with Ramón Menéndez Pidal's Reliquias de la poesía épica española. Started during the 1930s, this scholarly tour de force went on to become a foundational study for our discipline. The eminent philologist's book uncovered a body of literary relics, as Bamford points out, in what was a "celebration of all extant pieces and a reconstruction of others," using the idea of the fragment as a description of "the state of some of [End Page 13] the texts that are actually extant, but also … as the central piece of his methodology" (21). And, as Catherine Brown observed in an important La corónica article, the history of our field during the twentieth century was marked by a sorting through and what she called "mourning" of the "relics of Menéndez Pidal" (15). According to the Real Academia Española, the word reliquia is first-and-foremost meant to signify wholeness through the presence of surviving residue: part of a holy body detached from and evoking the whole, or what has come into contact with this body. By extension, it can also mean other vestiges of things from the past, any person or thing that is conspicuously old, sentimentalized—and finally the continuation of aches and pains that resulted from some past ailment or injury. Certainly the task of reconstructing wholeness on the basis of philologically reassembled fragments involved making contact with the secular holiness of national treasures, with an imagined, hallowed past that is longed for, a sentimental nostalgia for ancient origins that might still resonate in the present. E. Michael Gerli discussed this process of "Inventing of the Spanish Middle Ages" in another influential La corónica article (111). Definitely, philology has been used—some would say exploited—to put us in touch with pieces of the textual past whose ghostly lack of wholeness, like the remnants of martyred saints and the pained history of nations, can come back to haunt devotees of both. Most earlier work done on the fragmentary nature of texts that Bamford selects as emblematic examples in her book has, at the very least, paid some homage to this cult of relics and its hermeneutics of wholeness—from canonical texts like the Poema de mío Cid and Amadís de Gaula to those that have received less attention, such as the writings of Moriscos and apotropaic, religious inscriptions left in building materials. Bamford's book offers a rigorous and carefully researched antidote to many of the assumptions that have informed this legacy. To be sure, her work builds on and innovates the work of earlier scholars who constructively sought to reconsider and avoid pitfalls inherent in the Pidalian, philological cult of relics. John Dagenais immediately comes to mind, having first demonstrated in such an accessible way the benefits of [End Page 14] breaking away from this mold in his groundbreaking study of the manuscript culture of the Libro de buen amor (a title popularized by Menéndez Pidal), showing this poem's fragmented and damaged texts to be irreparably unwhole (not to mention, unholy), a residue of lost and variant performances. Bamford goes further, not just in her focus on and theorization of the intentional fragment as such, but, just as strikingly, through the breadth of her analysis. I admire her ability to bring together clear and convincing insights from an expansive array of texts that have most often been divided and separated chronologically and on the basis of traditional genres and specialties: epic, romance, jarchas, Jewish and Morisco writing. Like Dagenais's classic book, Bamford's work can not only have a lasting impact on...

Materiality, Documentary Authority, and the Circulation of the Katherine Group

Written in the decades before Ancrene Wisse, the Early Middle English hagiographies of the Katherine Group depict three virgin martyrs, Katherine, Margaret, and Juliana. Using touch and eyewitness accounts as measures of proof, the legend equates St. Margaret’s body with the textual corpus inscribed on animal hide. The manuscript’s documentary authority is verified through proximity to the holy body of the saint, and, in a similarly body-centred (and precarious) authority, the anchoress functions as the centre of an ephemeral textual community in the early thirteenth century. The Katherine Group narratives and codicological evidence indicate an anchoritic-lay literary culture operating adjacent to clerical manuscript culture, consistent with Catherine Innes-Parker’s theory about co-existing informal and formal vernacular textual cultures in the West Midlands. This “informal,” or ephemeral, textual community shaped lay literacy and manuscript use, including perceptions about the documentary authority of vernacular textual artifacts.

Slovenska nabožna pesem od Trubarja do Pohlina (1550–1799)

The article presents selected poetic texts with religious content that have been preserved in the literary tradition in both printed and manuscript form. These were printed and written in Slovenian lectionaries, catechisms, prayer books, alphabets, dictionaries, leaflets and independent hymnals. The focus is on the most commonly represented poetic genres, such as Mary’s, saintly, festive, eschatological and passion songs, as well as songs about the Holy Body of the Saviour. The content of well-known Latin hymns, sequences and antiphons is presented, such as Pange lingua, Ave maris stella, Stabat mater dolorosa and Dies irae, as well as some other poems found in Slovenian baroque hymnals.

Where His Feet Had Trodden: The Space of the “Eastern” Carpet in Hans Memling’s Saint John Altarpiece

“The heterotopia,” Michel Foucault writes, is “capable of juxtaposing in a single real place several places, several sites that are in themselves incompatible.” This paper argues for a heterotopic understanding of the Oriental carpet in its depicted form within Hans Memling’s paintings of Christ and Mary. Memling’s painted carpets are imagined territorially and to introduce a different kind of space into images otherwise tentatively whole. Such an understanding not only pushes against a narrative in which Eastern objects in Northern interiors primarily suggest a flourishing economy but also demonstrates the painted carpet’s participation in the tradition of virtual pilgrimage and the Holy Land relic. Though far from sacred in its domestic use in Northern Europe, the carpet achieves a latent symbolic function when represented in Memling’s painting. It is transformed into a generalized relic of walking and marks a moment of encounter between a holy body and an object made thereby holy too.

Droplets of Heaven: Tears Relics in the High and Later Middle Ages

Precious liquids associated with Christ, a saint, or holy sites were collected and treasured by pilgrims throughout the Middle Ages. By the high medieval period, flocks of pilgrims visited holy sites and saints’ tombs where liquids associated with a holy body could be collected. La Sainte Larme, the holy tear of Christ, boomed in popularity, leaving a trail of associated ampullae across Europe. Nor was it just the Sainte Larme that was revered. Saints’ lives from the twelfth to fourteenth centuries confirm the importance of heavenly droplets shed by would-be saints. At this time, lachrymose piety became a salient feature of sanctity for religious men and women. Using the vitae of thirteenth- and fourteenth-century holy women and a wide range of sources relating to the Saint Larme, this essay puts together a picture of these little-known, yet highly revered, relics. Applying an interdisciplinary and integrated approach that examines the material, visual, and written sources for tears relics, it provides a textured analysis of the methods of collection, preservation, use, and veneration of tears. The article explores how tears relics were particularly fertile bearers of meaning and how Christians lived their religion through interaction with the material. The use and veneration of tears was multisensory and emotive, and it will be shown how tears relics were an apposite medium for stimulating emotional responses. In sum, it argues that tears relics, unknown before the eleventh century, were the product of the particular spiritual climate of the high Middle Ages when a tide of lachrymal piety swept across Western Europe and an emotional and multisensory experience of relics was at the heart of pilgrims’ devotion.

L’immagine della martire Giulia in San Salvatore di Brescia: mobilità di maestranze, di materiali e di idee

From the tenth century the figure of Julia, the Carthaginian martyr venerated in San Salvatore of Brescia, becomes central in the self-consciousness of the monastery: this is the time when the first documentary sources of the dedication to the saint are found and when the big and refined workshops are called to decorate, through different ways, the most important spaces of the abbey, and this is the moment on which the memory of martyrdom, with the drafting of a new passio, is recovered. The story of the life of Julia, the wanderings of the holy body (between the ports of the Corsica and of the Tuscany, and than to Brescia) and the identification of her martyrdom with that of Christ, become a powerful tool of self-representation of the monastic community of Benedictine nuns; this allows the construction of an unprecedented hagiographic model that enables to the cloister to choose the use of lot of prestigious workshops that make the building yard of Brescia one of the most interesting for the rest of the Middle Ages.

Experiencing Alba Tressina’s Anima mea liquefacta est through Bodily Humors and the Sacred Erotic

Alba Tressina sits, lute in her lap, in the choir room behind her convent's sanctuary, a sheet of music written in her own hand laid out in front of her on a small table. It is a hot weekday in early August, and the windows are flung open to the wide, tree-filled park that wraps around the back of the convent and abuts the river. If she were to look out the windows and beyond the walls of her convent, she would see several upper-class families taking advantage of the last summer warmth, picnicking leisurely on the grass by the river, within earshot of the nuns' rehearsal. Tressina, however, is deep in conversation with the three sisters with whom she is rehearsing. Two stand near one another, sheets of music in their hands, while the third sits at a small, portable organ nearby. A young servant girl stands quietly next to the organ, ready to begin pumping its small bellows. Tressina is explaining to her ensemble that they will perform this piece, her latest, for the rest of the sisters and possibly their father confessor on the feast day of the Assumption of the Blessed Virgin Mary. She confides that she chose the text she did--Anima mea liquefacta est--because she wanted to demonstrate in music her close relationship with the Holy Mother, out of whose very body sprung the Lord Jesus Christ. Tressina asks the nuns to meditate on the Virgin Mary's holy body. During her pregnancy, her bodily humors--blood, phlegm, yellow and black bile--had become Jesus's humors, and after Christ's birth, her milk had fed and nourished the infant. In a similar manner, the Virgin Mary might spiritually nourish the nuns devoted to her. Finally, her Assumption--her bodily removal from the Earth to Heaven--demonstrated the sanctity of her body, as well as the physical merging of her body and soul with God. Tressina explains to her sisters that by meditating on these holy attributes of the Blessed Virgin, and by aspiring towards the perfection of the Holy Mother through prayer, music, and mystical practices, a nun might attain a higher level of closeness with God, perhaps even reaching ecstasy or a physical union with the Divine. Tressina asks the singers to pour their love for the Virgin Mary into their singing and to remember that although they would beperformingfor their own sisters they would also be performingfor the Holy Mother and for God himself. Thus, they must sing and play with a pure heart and absolute humility and love. In this article, I situate Tressina's Anima mea liquefacta est (1622) at the nexus of Renaissance and Early Modern intellectual and religious frameworks. I demonstrate the ways in which it connects with the sacred erotic, a major component of European religious thought in the seventeenth century, and Galenic humorism, which by the end of the Renaissance had regained popularity. (1) Through close reading of Tressina's composition, I explore the artistic and cultural celebration of the sacred erotic and its offshoot, liquid eros, as well as the link between humorism and musical performance. Finally, I analyze Anima mea with respect to humorism, mapping Galen's four humors and their cultural connotations line by line onto the piece itself in order to more fully appreciate the associations between sacred eroticism, the psychology and emotion of performance, and the physical bodies of the nuns who performed this music. Tressina's compositions employ many conventions of sacred polyphonic music popular in the late sixteenth and early seventeenth centuries. (2)Such pre-existing conventions function as a shorthand version of collectively agreed-upon cultural meanings, performing cultural work that is easily recognizable to a wide variety of listeners living in a common time, society, and geographic area. (3)By linking Anima mea to prevailing ideas about the body and its connection with the Divine, I demonstrate the extent to which Tressina interacted with and contributed to her artistic and political communities--not cut off from society, as many in the church hierarchy expected from a cloistered nun, but very much a part of it. …

The Cursed and the Holy Body: Burning Corpses in the Middle Ages

This essay looks at the practice of burning corpses in the Middle Ages. Much research has concentrated on the later medieval period; however, the punishment of burning and its specific motivations and rationales for crimes such as heresy, witchcraft, and magic go back to much earlier centuries. Scrutinizing sources for the earliest burnings of heretics and witches up to the eleventh century shows that these burnings were mere lynchings and not the outcome of juridical processes administered by secular or clerical authorities. Not until the twelfth century did authorities assent to such punishments and eventually accept burning as a legal form of punishment. Rejecting a purely theological or symbolic view of the dead consigned to the flames as representing the punishments of hell, this article stresses the parallel between the saints and the cursed. If from a medieval standpoint body and soul maintained a bond after death, the relics of heretics must have seemed as frightening as those of the saints seemed blessed. The essay thus stresses the close relationship between saints and heretics through the exceptional characteristics attributed to their bodies.

250 lat liturgicznego kultu Serca Jezusowego w Polsce – memoriał biskupów polskich z 1765 roku

The liturgical Solemnity of Most Sacred Heart of Jesus was approved 250 years ago. This solemnity is celebrating on the Friday after the octave of the Solemnity of the Most Holy Body and Blood of Christ (Corpus Christi). The Polish bishops Memorial of 1765 was really important document which helped in approval the Sacred Heart solemnity. That is why every Sacred Heart worshipper should read and know this document. 250 th anniversary of approval this worship is the best time to do this. The Memorial presents the beginning of Sacred Heart worship history and meaning this worship for every worshipper. What is more this document shows arguments for approval of the liturgical solemnity of the Sacred Heart. Memorial shows clearly that orthodox Sacred Heart worship exist in the Church and this worship is accepted and still promoting by the Holy See. That is why this worship needs official approval of the appropriate form of the Mass, and breviary. Polish Bishops Memorial especially ask for approval of these texts for Poland. One of the reasons of it is Polish people are real Sacred Heart worshippers and they believe that this Heart helps them in every difficult situation.

Analysis of the Impact of Microclimate in a Roof Space on a Gothic Truss Construction

The research in the field of historical trusses, carried out at the workplace of authors for a long time, is focused on monitoring and analysing microclimate with the aim of specifying environmental conditions that would be suitable for preservation of a historical structure for further generations. Currently, this investigation is running together with a blanket screening of historical trusses in Slovakia [1 and 2]. In each truss, there was recorded the general technical state as well as the way of ventilation in a roof space. To define the impact of microclimate in a roof space on the lifetime period and sustainability of a historical truss, long-term measurements of features regarding both a roof space and its surroundings are made. The gothic truss over the gothic Roman-Catholic church of the Most Holy Body of Christ was chosen as an experimental truss for this type of analysis because it is very well-preserved.

“A known holy body, with an inscription and a name”: Bishop Sancho Dávila y Toledo and the Creation of St. Vitalis

Während die Wundertätigkeit traditionell als entscheidendes Beglaubigungsmittel für die Heiligkeit eines als Reliquie betrachteten Objekts galt, wurden nur wenigen Reliquien himmliche Düfte, Wunderlichter oder Heilkräfte zugeschrieben, die für katholische Gläubige zentrale Erkennungzeichen des Heiligen waren. Wie aber war es frühneuzeitlichen Katholiken möglich, heilige von nicht-heiligen Leichen zu unterscheiden, wenn Überreste zu begutachten waren, die ihre Heiligkeit eben nicht im Zeichen des Wunders manifestierten? Dieser Beitrag beleuchtet die epistemologischen Probleme, die den Reliquien selbst, aber auch der Identifizierung von anonymen menschlichen Überresten als Körper von Heiligen zugrundelagen. Zunächst geraten dabei die Ängste und Praktiken ins Blickfeld, die mit der Identifizierung und der Frage nach der Authentizität von Reliquien einhergingen und mit sich wandelnden Betrachtungsweisen in der gelehrten christlichen Historiographie korrelierten. In einem zweiten Schritt wird dann am Beispiel der Reliquien des hl. Vitalis in den Händen des Bischofs Sancho Dávila y Toledo (1546-1625) erörtert, auf welche Weise Heiligkeit ‚produziert‘ werden konnte. Dabei offenbart die Untersuchung der Entdeckung des Märtyrerkörpers in den römischen Katakomben sowie die Lektüre von Dávilas Hagiographie „La vida de San Vidal mártyr“ als Akt der Frömmigkeit die Praktiken und Diskurse, die diese Leiche mit Bedeutung aufluden und damit ein unscheinbares Skelett in eine heilige Reliquie verwandelten.

Inventing the Past in Henry Bradshaw's Life of St Werburge

Henry Bradshaw's long hagiographic poem, The Life of St Werburge (before 1513), attempts to derive contemporary legitimacy for Chester Abbey from a reconstructed Mercian lineage. Werburge invents a continuous history for Bradshaw's monastic community, back to an Anglo-Saxon "golden age," through the genealogy and holy body of its patron saint, the seventh-century Mercian princess Werburgh. This article reads Werburge as a composite "poetic history," opening up the ways Bradshaw enlists poetic features to play precise historiographic functions, including his continual remetaphorization of Werburgh's body in order to transmit her Mercian heritage through time. Using Jocelyn Wogan-Browne's concept of a female saint's "dotality" — her ability to give herself — alongside Michel de Certeau's The Writing of History, the article traces the ways Bradshaw strives to overcome two major obstacles to the coherence of this history: the geopolitical distance between Chester and ancient Mercia, and the eventual decay of Werburgh's lineage-bearing, incorrupt corpse. Werburge demonstrates not only late medieval investment in the pre-Conquest era, but also the power of the holy female body to transmit that past into the late medieval present.

Figura

Abstract The question of whether relics which were part of the historical body of Jesus could exist, arose in the first decades of the 12th century, as the monks of St. Medard des Soissons claimed to have a tooth of Jesus. Based on historical and theological reasoning it seemed to Guibert of Nogent impossible that this kind of relic could exist or that they could mediate the redemption which Christ attained on the Cross. According to him, the prize of salvation could only be mediated through the eucharist. Guibert perceived a twofold mediality of the eucharist which at the same time reprents the holy body of Christ and mediates salvation. This medial dimension of the eucharist is denoted with the term figura. Since the Second Eucharist Debate and as a result of the criticism of Berengar of Tours the term figura became precarious. The discussion between Berengar and his opponents such as Durandus of Troarn, Guitmund of Adversa, Alger of Liège about the term figura can be viewed as a debate concerning mediality.

Old Traditions, New Techniques

Kyabje Ling Rinpoche, the senior tutor of His Holiness the fourteenth Dalai Lama, passed away shortly before noon on 25 December, 1983. On the recommendation of the Dalai Lama the decision was taken to preserve the body of the deceased Rinpoche. Over the next four years traditional Tibetan methods and modern sculpting techniques were used to create a ‘living likeness’ of the Rinpoche. This process culminated in a consecration ceremony during which the ‘spirit’ or ‘energy’ of Kyabje Ling Rinpoche was asked to enter back into the preserved body. The holy body, or mardung (dmar gdung), is today kept in a small room in the Dalai Lama’s private temple. Drawing on evidence gathered during fieldwork in a number of Tibetan Buddhist communities, this article attempts to build on recent scholarly work in the increasingly popular field of Buddhist relics. Originally conceived as a starting point for further research in the area of Tibetan Buddhist bodily preservation, this study also attempts to increase insight into traditional Tibetan preservation practices, and the views and beliefs of contemporary Buddhist practitioners. Beginning with an overview of previous scholarship in this area, this investigation addresses issues relating to terminology, motivations for the tradition, as well as contributing to broader methodological debates.

Relics, miracles and furta sacra: A contribution to the study of Serbo-Bulgarian relations in the 1230s

Relics, miracles and furta sacra: A contribution to the study of Serbo-Bulgarian relations in the 1230s