Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2008. / Vita. Includes bibliographical references (leaves 57-58).

Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2008. / Vita. Includes bibliographical references (leaves 57-58).

Inaug. Diss.--Greiswald. / Vita. "Aufstellung der benutzten literatur": p. 12-18.

Scholarly surveys of the medieval Magdalene tend to conclude at the opening of the sixteenth century, dismissing any role she may have had in the teaching of Protestant reformers. Protestant and Catholic attitudes towards sanctity and sainthood have been the object of scholarly work, but my dissertation is the first comparative examination of the different confessions' uses of the Magdalene tradition through the early modern period. Mary Magdalene was of one of several scriptural women to whom Protestants in Germany, France, Switzerland, and England referred in debating the legitimacy of female and lay preaching. Lutheran and Reformed pastors, Anabaptists, and Quakers all adapted the medieval Magdalene tradition to advance Evangelical theologies of the forgiveness of sins, the sacraments, and the priesthood of all believers. Early modern women also seized on these possibilities, claiming for themselves the Magdalene's title as preacher and devoted disciple of the Word. The Catholic cult of the Magdalene shifted as well, serving the needs of the Catholic Reformation. In reaction to the Protestant specter of lay and female preaching, male authors in their sermons and devotional work set aside earlier descriptions of the Magdalene as "apostle to the apostles" and emphasized instead her identity as a penitent prostitute. Catholic women investigated the Magdalene's relation to her sister Martha to develop new images of female sanctity. As the medieval separation between clergy and laity was questioned, reform-minded Christians both Protestant and Catholic explored new understandings of the shape of Christian life. The Magdalene's call to confess the Gospel was a missionary imperative that transcended the boundaries of the ordained clergy. Similarly, the contemplation of Mary's contemplation and the worldly work of her sister Martha could no longer be divided among different groups, but had to be integrated by each individual. Early modern Christians from Luther to Teresa of Avila discussed the terms of this reconciliation, attempting to understand secular work as a vocation, the fruit and expression of contemplation. What have often been taken to be distinct preoccupations of opponents in reform are revealed to have shared a common dialogue, framed by the life of Mary Magdalene.

Historically, the Roman Catholic Church has used visual imagery as a powerful didactic tool to support and validate the patriarchal structure of the Christian faith. This study focuses on the prevalent visual portrayal of Mary Magdalene as a penitent prostitute. This visual conceptualisation is exposed as an unjust condemnation of a biblical woman whose apostolic calling is validated by the Gospel accounts. A critical examination of the Christian iconography within a representative selection of Mary Magdalene imagery further identifies a bias of condemnation towards women's sexuality. Thus, Mary Magdalene is epitomised as the archetypal immoral woman, and unfavourably contrasted to the chaste purity of the Virgin Mary. The study evaluates the ethical implications of this mis-representation, and proposes, as a corrective to the imbalance, the creative actualisation of positive woman-affirming imagery. · An extended chronological index of Mary Magdalene imagery is appended to the study as Appendix A / M.Th. (Theological Ethics)

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Fine Arts / Master / Master of Philosophy

This thesis explores the ceramic work ofIan Garrett and Magdalene Odundo, in order to examine the manner in which two artists of opposite identity in terms of race, gender and global location, come to create art which is visually, technically and conceptually similar. It is the intention ofthis study to focus primarily on the cross-cultural aspect of the two artist's work. However, it has been necessary to include biographical and technical information as this information gives a more complete understanding ofthe cross-cultural issues involved. Most ofthe information for this study has been gained through interviewing the artists. Copies oftwo interviews with Ian Garrett are appended at the back ofthis thesis. The interviews were conducted with Garrett in Cape Town. The first interview took place in 1998 and the second interview was conducted in the year 2000. Aweek was spent with Magdalene Odundo in Surrey, England, during May 2000. In this time similar questions to those asked ofIan Garrett in October 2000 where put to Odundo. The interview was, however, conducted in a conversational form and was not recorded as Odundo finds recording an interview has the potential to be a limiting factor, preferring her work to remain open-ended. This thesis discusses the broader implications ofGarrett and Odundo's art. The study makes an attempt to situate their work globally, suggesting not only that their work plays an active role in narrowing the boundaries which exist between African art and western art, but that it also plays a part in closing down the distinctions which continue to exist between art and craft. Finally, the thesis suggests that Garrett's and Odundo's art can be seen as a symbol of current cultural conditions and global affairs. / Thesis (M.A.)- University of Natal, Pietermaritzburg, 2001.

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