Joan Valero

Mary Magdalene in Medieval Culture. Conflicted Roles

Estudios que tratan sobre la figura de María Magdalena en el arte y la cultura de la Edad Media

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PETER LOEWEN; ROBIN WAUGH. Mary Magdalene in Medieval Culture. Conflicted Roles, Routledge, 2014, 304 p.
ISBN: 978-0-415-81315-0

KATHERINE L. JANSEN: Foreword.
PETER LOEWEN; ROBIN WAUGH: Introduction: Where Sacred Meets Secular: The Many Conflicted Roles of Mary Magdalene.

Part I: Roles in Development

LARISSA JULIET TAYLOR: Apostle to the Apostles: The Complexity of Medieval Preaching about Mary Magdalene.
ALICIA SCARCEZ: The Proto-Cistercian Office for Mary Magdalene and Its Changes in the Course of the Twelfth Century .
HEIDI HORNIK: The Invention and Development of the ‘Secular’ Mary Magdalene in Late Renaissance Florentine Painting.

Part II: Roles in Tension

ELIZABETH MONROE: Mary Magdalene as a Model of Devotion, Penitence, and Authority in The Gospels of Henry the Lion and Matilda.
JOANA ANTUNES: The Late Medieval Mary Magdalene: Sacredness, Otherness, and Wildness.
DONNA ALFANO BUSSELL: Challenging Cluny in England?: Effacing the Priest in the Magdalene Liturgies at Lewes and Pontefract.

Part III: Mary Magdalene’s Roles in Action

DIANE APOSTOLOS-CAPPADONA: From Apostola Apostolorum to Provençal Evangelist: On the Evolution of a Medieval Motif for Mary Magdalene.
PETER LOEWEN: Mary Magdalene Converts Her Vanities Through Song: Signs of Franciscan Spirituality and Preaching in Late-Medieval German Drama.
JULIETTE VUILLE: “I wolde I wer as worthy to ben sekyr of thy lofe as Mary Mawdelyn was:” The Magdalene as an Authorizing Tool in the Book of Margery Kempe.

Part IV: Mary Magdalene’s Proto-feminist and other Subversive Roles

ROBIN WAUGH: The Voice of the Heart in a Box in the Middle English Lamentation of Mary Magdalene.
JOANNE FINDON: ‘Now is aloft þat late was ondyr!’: Enclosure, Liberation, and Spatial Semantics in the Digby Mary Magdalene Play.
CORINNA HERR: The Singing Prophetess: Mary of Magdala in J. S. Bach’s St. Matthew Passion.

THERESA COLETTI: Afterword.