Mary of Magdala: The Evolution of an Image by Rachel Owen Under the Direction of Louis A. Ruprecht, Jr. ABSTRACT In this study, Mary of Magdala will be presented as a cumulative character consisting of multiple layers rather than as a concrete historical figure, for this allows one to see the opaque connections between her divergent textual and traditional (medieval) images. The “historical” Mary does, however, find a place here--she is presented only as a persistent early Christian belief in the veracity of her figure, and as the foundation for both the textual and traditional Mary. In light of this, the textual, the “historical,” and the medieval will be examined as these comprise the materials out of which Mary’s cumulative layers were made--the understanding of one aids in the understanding of another. Ultimately, this study will examine the many layers of Mary’s character in hopes that the contradictions existing between the “historical,” the textual, and the traditional will diminish, thus giving equal consideration to all. INDEX WORDS: Mary of Magdala, Canonical texts, Gnostic texts, Medieval saint, Apostles, Saint Mary Magdalene, Early Christianity

This thesis addresses the gap in the scholarly record pertaining to the explicit relationship between gospel genre and implied audience. This thesis challenges the consensus that the canonical gospels were written to/for individual communities/churches and that these documents (gospels) address the specific historical/social circumstances of each community. It is argued in the thesis that the Evangelists chose the genre of biography because it was the genre that was best suited to present the words and deeds of Jesus to the largest possible audience. The central thesis is supported by four lines of evidence: two external and two internal (Chapters 3-6). Furthermore, the thesis is bolstered by a new typology for Greco-Roman biography that arranges the biographical examples within a relational matrix. Chapter 2 is integral to the main thesis of this dissertation in that it proposes nuanced language capable of being applied to specific kinds of biographies with the emphasis on the relationship to implied audience. Chapter 2 sets the boundaries of the discussion of genre as a vital factor in potentially determining audience as well as raising the important consideration that genres are representative of authorial choice and intent. Chapters 3 and 4 take up the discussion of the two lines of external evidence pertinent to placing the Gospels within the relational typology proposed in chapter 2. Chapter 3 supports the main argument of the thesis in that it demonstrates that the earliest Christian interpreters of the Gospels did not understand them to be sectarian documents written specifically to and/or for specific sectarian Christian communities. The second line of external evidence, taken up in chapter 4, deals with the wider context of Jesus literature in the second/third century. We argue that these texts, if any of them are indeed biographies, were part of the wider Christian practice of writing and disseminating literary presentations of Jesus and Jesus traditions. Chapters 5 and 6 address the lines of internal evidence and chapter 5 deals specifically with the difficulty in reconstructing the various gospel communities that might lie behind the gospel texts. It is argued that the genre of biography does not allow us to reconstruct these communities with any detail. Finally, chapter 6 is concerned with the ‘all nations’ motif present in all four of the canonical gospels. The ‘all nations’ and ‘sending’ motifs in the Gospels suggest an evangelistic tone for the Gospels and further suggest an ideal secondary audience beyond those who could be identified as Christian.