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Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries.
Taking the Noli me tangere and Doubting Thomas episodes as a focal point, this study examines how visual representations of two of the most compelling and related Christian stories engaged with changing devotional and cultural ideals in Renaissance and Baroque Italy. This book reconsiders depictions of the ambiguous encounter of Mary Magdalene and Christ in the garden (John 20:11-19, known as the Noli me tangere) and that of Christ?s post-Resurrection appearance to Thomas (John 20:24-29, the Doubting Thomas) as manifestations of complex theological and art theoretical milieus. By focusing on key artistic monuments of the Italian Renaissance and Baroque periods, the authors demonstrate a relationship between the rise of skeptical philosophy and empirical science, and the efficacy of the senses in the construction of belief. Further, the authors elucidate the differing representational strategies employed by artists to depict touch, and the ways in which these strategies were shaped by gender, social class, and educational level. Indeed, over time St. Thomas became an increasingly public--and therefore masculine--symbol of devotional verification, juridical inquiry, and empirical investigation, while St. Mary Magdalene provided a more private model for pious women, celebrating, mostly behind closed doors, the privileged and active participation of women in the faith. The authors rely on primary source material--paintings, sculptures, religious tracts, hagiography, popular sermons, and new documentary evidence. By reuniting their visual examples with important, often little-known textual sources, the authors reveal a complex relationship between visual imagery, the senses, contemporary attitudes toward gender, and the shaping of belief. Further, they add greater nuance to our understanding of the relationship between popular piety and the visual culture of the period.
Beginning in the twelfth century, clergy and laity alike started wondering with intensity about the historical and developmental details of Jesus' early life. Was the Christ Child like other children, whose characteristics and capabilities depended on their age? Was he sweet and tender, or formidable and powerful? Not finding sufficient information in the Gospels, which are almost completely silent about Jesus' childhood, medieval Christians turned to centuries-old apocryphal texts for answers. In The Quest for the Christ Child in the Later Middle Ages, Mary Dzon demonstrates how these apocryphal legends fostered a vibrant and creative medieval piety. Popular tales about the Christ Child entertained the laity and at the same time were reviled by some members of the intellectual elite of the church. In either case, such legends, so persistent, left their mark on theological, devotional, and literary texts. The Cistercian abbot Aelred of Rievaulx urged his monastic readers to imitate the Christ Child's development through spiritual growth; Francis of Assisi encouraged his followers to emulate the Christ Child's poverty and rusticity; Thomas Aquinas, for his part, believed that apocryphal stories about the Christ Child would encourage youths to be presumptuous, while Birgitta of Sweden provided pious alternatives in her many Marian revelations. Through close readings of such writings, Dzon explores the continued transmission and appeal of apocryphal legends throughout the Middle Ages and demonstrates the significant impact that the Christ Child had in shaping the medieval religious imagination.
The Digby Play of Mary Magdalene is a rare, surviving example of the Middle English saint play. It provides a window on the deep embedding of biblical drama and performance in late medieval devotional practices, social aspiration and critique, and religious discourses. Fully annotated and extensively glossed, this edition adds to the METS Drama series an essential resource for the study of late medieval English religious drama.
An international team of twenty scholars under Edmondo F. Lupieri’s direction produced Mary Magdalene from the New Testament to the New Age and Beyond. While the historical figure of the Magdalene may be lost forever, the construction of her literary images and their transformations and adaptations over the centuries are a lively testimony to human creativity and faith. Different pictures of Mary travelled through time and space, from history to legend and mythology, crossed religious boundaries, going beyond the various Christianities, to become a “sign of contradiction” for many. This book describes a special case of biblical reception history, that of the New Testament figure of a woman whose presence at the side of Jesus has been disturbing for some, but proves to be inspiring for others.
This innovative and multidisciplinary collection visits representations and interpretations of Mary Magdalene in the medieval and early modern periods, questioning major scholarly assumptions behind the examination of female saints and their depictions in medieval artworks, literature, and music. Mary Magdalene’s many and various characterizations from reformed prostitute to conversion-figure to devotee of Christ to "apostle to the apostles" to spiritual advisor to the Prince of Marseilles to hermit in the desert, to list just a few examples, mean that the many conflicted representations of Mary Magdalene apply to a staggering variety of cultural material, including art, liturgy, music, literature, theology, hagiography, and the historical record. Furthermore, Mary Magdalene has grown into an extremely popular and controversial figure due to recent books and movies concerning her, and due to a groundswell of general speculation concerning her relationship to Jesus: was she his acquaintance, follower, companion, wife, family-member, or lover? This volume employs a broad spectrum of theoretical methodologies in order to present poststructuralist, postcolonial, postmodernist, hagiographic, and feminist readings of the figure of Mary Magdalene, addressing and interrogating her conflicting roles and the precise relationship between her sacred and secular representations.
The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.
In Interruptions and Transitions Barbara Baert discusses the in-between space where humans and their artistic expression meet by linking the sensory experiences in medieval and early modern visual culture, the hermeneutics of imagery, and the interdisciplinarity of contemporary Art Sciences.
This interdisciplinary essay collection investigates the various interactions of people, feelings, and things throughout premodern Europe. It focuses on the period before mass production, when limited literacy often prioritised material methods of communication. The subject of materiality has been of increasing significance in recent historical inquiry, alongside growing emphasis on the relationships between objects, emotions, and affect in archaeological and sociological research. The historical intersections between materiality and emotions, however, have remained under-theorised, particularly with respect to artefacts that have continuing resonance over extended periods of time or across cultural and geographical space. Feeling Things addresses the need to develop an appropriate cross-disciplinary theoretical framework for the analysis of objects and emotions in European history, with special attention to the need to track the shifting emotional valencies of objects from the past to the present, and from one place and cultural context to another. The collection draws together an international group of historians, art historians, curators, and literary scholars working on a variety of cultural, literary, visual, and material sources. Objects considered include books, letters, prosthetics, religious relics, shoes, stone, and textiles. Many of these have been preserved in international galleries, museums, and archives, while others have remained in their original locations, even as their contexts have changed over time. The chapters consider the ways in which emotions such as despair, fear, grief, hope, love, and wonder become inscribed in and ascribed to these items, producing 'emotional objects' of significance and agency. Such objects can be harnessed to create, affirm, or express individual relationships, as, for example, in religious devotion and practice, or in the construction of cultural, communal, and national identities.
From faithful apostle and seductress to feminist icon, Mary Magdalene's many complex roles in Christian history have fascinated us for 2000 years. Illustrated in full colour, this visual history reveals how images and presentations have created a Mary who is often far different from the real woman, the first witness of the Resurrection in the gospels, or even from her appearances in the works of the Church Fathers. Beginning with the earliest sources, uncover who the real Mary was, and what she meant in her own time, before embarking on a fast-paced tour of Magdalene's depictions in great works of art, forgotten masterpieces and contemporary visual culture. Considering relics, statuary, paintings, sculpture and recent works for stage and screen, discover how Mary Magdalene has been seen across time as a witness, a sinner, a penitent, a contemplative, a preacher and a patroness. Above all her complex roles, Mary has emerged as a powerful feminist icon, the closest person to Jesus himself, with a visual history as rich and varied as the roles she has fulfilled in numerous contexts of faith and worship for two millennia.
