No other female image has been so strongly influenced by the
culture and history of past European centuries as Mary Magdalene.
From ancient times to the present, Mary Magdalene has been a
summary image of the feminine in each era. Despised as a sinner,
revered as a saint, admired as a model disciple, Mary Magdalene
became the symbol of al women whose fate she shared throughout
history: honored, defamed, pushed to the margins, elevated to
unreality, and degraded.
Ingrid Maisch examines Mary Magdalene's life from the
perspectives of the biblical witnesses through Christian
Gnosticism, the early Church interpreters, the Middle Ages to the
present. She shows that while the biblical Mary Magdalene still had
a leading role in the Jesus movement, in the Middle Ages she
gradually became a saint held up to console sin-conscious
Christians. In the Reformation and the baroque era, she was seen
primarily as a penitent, then as an image of melancholy and
resignation. Bourgeois modernity adopted the secularized figure of
the Magdalene as a tool for social criticism, especially regarding
the treatment of women. In recent decades critical exegesis of the
biblical texts and feminist theology revealed another image of Mary
Magdalene: the first witness of the Resurrection.
Mary Magdalene is one of the great women of the Bible, yet
attitudes toward her in the Church and in art, history, and society
have wavered between veneration of her as a saint and curiosity
about her sinful" past. In "Mary Magdalene" Ingrid Maisch stresses
that reflecting on Mary Magdalene means not only looking behind the
history of the influence of the woman from Magdala but also
inquiring about women in general, for the image of Mary Magdalene
in every era is an indicator of the image borne by women at the
time.
Chapters are "Mary Magdalene in the New Testament," "The Heiress
of the Empire of Light: The Gnostic Mary Magdalene," "Mary
Magdalene as Interpreted by the Medieval Mystics," "Mary Magdalene
as Saint: The Middle Ages," "The Penitent Magdalene: A Symbol of
the BaroqueEra," "Mary Magdalene Between Religion and Aesthetics,"
"A Peal More Precious than al Others: Magdalene in Brentano's
Jesus-Novel," "The Fallen Woman, the Noble Courtesan," "The Woman
at Jesus' Feet: Mary Magdalene in Modern Spiritual Poetry," "The
'sinful Magdalene from Bethany': The Confused Image Today," and
"Freed from Sins, Demons, and Subjection." Includes eight pages of
full color images of Mary Magdalene from earliest to most recent
times."
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