Le présent travail enrichit la thématologie à un double niveau, à la fois par une réflexion méthodologique sur les différents modes de manifestation du thème, et par une meilleure connaissance d'un "mythe" littéraire précis, celui de sainte Marie-Madeleine, dont la vitalité ne laisse aucun doute, tant dans la fréquence de l'utilisation du personnage depuis deux mille ans, que dans l'originalité des interprétations, malgré d'inévitables redites et banalités. Sur la base d'une analyse minutieuse des différentes composantes du thème magdaléen dans la littérature franco-belge d'expression française après 1814, et des incarnations féminines qui s'en dégagent, cette thèse définit les contours du visage de la Madeleine de ces deux derniers siècles, et démontre la raison fondamentale de la permanence de la figure évangélique à travers les siècles : sa rencontre immédiate, et constante, avec le motif de la Femme dans la civilisation judéo-chrétienne.

Made available in DSpace on 2016-03-15T19:45:54Z (GMT). No. of bitstreams: 1 Wellington de Assis Silva.pdf: 1206773 bytes, checksum: d989c961684d0a0692f54651f704b0c3 (MD5) Previous issue date: 2013-02-20 / The novels The Gospel According to Jesus Christ by José Saramago and The Gospel of Barrabas by Jose Roberto Torero and Marcus Aurelius Pimenta dialogue with the biblical text as a parody of the canonical gospels. The present study aims at analyzing the characters Mary of Magdala and Mary Magdalene, respectively, in order to check how close they are and at the same time how different they are from the figure of Magdalene from the Holy Bible as well as what differences and similarities exist between them. In order to achieve this objective, this study considers the studies of Comparative Literature, more precisely, Bakhtin s Dialogic Theory. Moreover, it enters into issues of multiple identities and gender in order to verify in what sense male and female coexist and complement each other and how the displacement of identities helps to construct the subject, regarding the self-consciousness which the characters give to one another through the contact with the other. / Os romances O Evangelho segundo Jesus Cristo, de José Saramago e O Evangelho de Barrabás, de José Roberto Torero e Marcus Aurelius Pimenta travam um diálogo com o texto bíblico, sendo paródia dos evangelhos canônicos. O presente estudo visa analisar as personagens Maria de Magdala e Maria Magdalena, respectivamente, almejando verificar em que sentido elas se aproximam e, ao mesmo tempo, se distanciam da figura da Madalena bíblica e o que há de semelhante e diferente entre elas. Para tal, parte dos estudos de Literatura Comparada, mais precisamente, da teoria do dialogismo bakhtiniano. Ademais, adentra em questões de identidades múltiplas e de gênero para verificar em que sentido o masculino e o feminino convivem e se complementam e de como o deslocamento das identidades auxilia no processo de construção do sujeito, no que tange à autoconsciência que as personagens dão umas às outras através do contato com o outro.

Made available in DSpace on 2016-08-03T12:20:47Z (GMT). No. of bitstreams: 1 Francisca Rosa da Silva.pdf: 448483 bytes, checksum: 881fff0469d450bba1d714992c70d5f0 (MD5) Previous issue date: 2008-12-09 / The objective of this study is to research women s leadership in the primitive Christianity, starting from the figure of Mary Magdalene in Jo 20,1-18. The exegetic, view as well as research on women s situation in the first century, show: a) Women that followed Jesus were part of the disciples group, and Mary Magdalene had strong influence among them in the community; b) she accompanied Jesus since the beginning of his ministry in Galilee, and her leadership and authority in primitive Christianity conferred her the disciple status c) the Pericope that is studied has as a fundamental concept the conflict of leaderships among three traditions: John s, the Peter s and Mary Magdalene s. Comparing the Pericopes of John with certain Gnostic writings, its noticeable that in these writings Mary Magdalene s leadership is manifested with stronger intensity, and the conflict with Peter is more accentuated. She is considered the Master of the disciples. The research not only rescues the leader figure of Christianity, but also shows, via the exegesis, the process of the cooptation of women s leadership.(AU) / O objetivo deste trabalho é pesquisar a liderança das mulheres no cristianismo primitivo, a partir da figura de Maria Madalena em Jo 20,1-18. A abordagem exegética, bem como a pesquisa sobre a situação das mulheres no primeiro século, aponta: a) as mulheres que seguiam a Jesus faziam parte do grupo dos discípulos, e Maria Madalena tinha uma grande influência entre eles na comunidade; b) ela acompanhou Jesus desde o início do seu ministério na Galiléia, e a sua liderança e autoridade no cristianismo primitivo lhe confere o status de discípula; c) a perícope estudada tem como contexto um conflito de lideranças entre três tradições: a joanina, a petrina e a de Maria Madalena. Comparando a perícope joanina com alguns escritos gnósticos percebemos que nesses escritos, a liderança de Maria Madalena é manifestada com maior intensidade e o conflito com Pedro é mais acentuado. Ela é considerada Mestra dos discípulos. A pesquisa não só resgata a figura de uma líder do cristianismo, como também mostra, na exegese, o processo de cooptação da liderança feminina.(AU)

The painting Seated lady writing has undergone a technical investigation where its material characteristics were unveiled using non-invasive analytical techniques employing different wavelengths of the spectrum. The panel was analyzed from a material and a visual culture perspective. The thesis aimed to answer what the panel has undergone through time, how its materiality relate to its function, and where and when it was created. In addition, the aim was to investigate the objects portrayed and their value within the artwork’s historical cultural context. The panel show diverse damages that might relate to insect activity, carving with a sharp tool in the face area, stabilization methods evident from remnants of a removed cradling and a possible dimensional reduction. Preparatory features including both free hand underdrawing for minor details, and a tracing technique used for the initial rendering of the female figure and some of the textiles were identified. A blend of meticulously rendered detailing with areas of lesser quality in terms of execution together with the use of common pigments, point to an overall aim of producing art in anefficient way. Later interventions are evident such as the turquoise overpaint on the dress covering the original authentic violet or burgundy color. Visible in X-ray, a dense element covering the bust may be interpreted as a painted thin fabric. The lack of the superficial viscous modelling layers reduce the face of its plasticity and many colors have altered and darkened. The setting and the woman’s fashion indicates an early Dutch 16th century courtly aesthetic. The objects in the rich interior alludes to religious symbolism referring to the Magdalene. The paintings attribution to the Master of the Female Half-Lengths was made in the early 20th century according to the panel’s stereotypical motif, despite the stylistic differences of the figure types. The panel differs from the other attributed panels in thesetting, where the woman seems contemplating in front of a diary, whereas the other women areportrayed writing, playing music or reading. This master has been regarded as synonymous with a workshop production, painting for the blooming 16th century art market in Flemish cities such as Antwerp. This thesis proposes that the paintings ought to be understood in the context of a genre The Female Half-Lengths, as opposed to adhering to one and the same attributed master.

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[pt] A presente dissertação de Mestrado estuda a perícope de Jo 20,11-18, na qual é apresentada a narrativa, em forma de diálogo, da aparição de Jesus ressuscitado a Maria Madalena. A pesquisa volta-se para a dimensão teológica do ver em distintas perspectivas ao longo da perícope. Por meio da pesquisa bibliográfica, do método Histórico-Crítico e do método da Análise Retórica Bíblica Semítica, o texto é analisado, tendo como foco a personagem de Maria Madalena, como a primeira testemunha ocular da ressurreição. A expressão de Maria Madalena, Vi o Senhor (Jo 20,18), destaca-se como o ponto culminante da narrativa, elemento que simboliza a transformação do medo e tristeza em alegria, força e esperança. A validação de Maria Madalena como a primeira testemunha ocular da ressurreição sublinha a importância do encontro pessoal com Jesus como meio de reconhecimento do ressuscitado. / [en] This Master s thesis studies the pericope of John 20:11-18 in which the narrative is presented, in the form of a dialogue, of the appearance of the resurrected Jesus to Mary Magdalene. The research focuses on the theological dimension of seeing in different perspectives throughout the pericope. Through bibliographical research and the Historical-Critical Method, as well as the Semitic Biblical Rhetorical Analysis approach, the text is analyzed, focusing on the character of Mary Magdalene as the first eyewitness to the resurrection. Mary Magdalene s expression, I saw the Lord (John 20:18), stands out as the culmination of the narrative, an element that symbolizes the transformation of fear and sadness into joy, strength and hope. The validation of Mary Magdalene as the first eyewitness to the resurrection highlights the importance of the personal encounter with Jesus as a means of recognizing the resurrected One.

Le culte de sainte Marie-Madeleine, élaboré dès le second quart du XIème siècle au monastère de Vézelay, sous l’abbatiat de Geoffroi, est unanimement célébré par les foules de fidèles et inspire la sainte plèbe de Dieu sur le chemin du repentir. Particulièrement fécond et consacrant Vézelay, ville gardienne du tombeau de la sainte pénitente des Evangiles comme un haut-lieu de pèlerinage, le culte périclite et plonge dans une situation bipolaire dès le quatrième quart du XIIIème siècle suite à la découverte supposée du véritable corps de la Madeleine à Saint-Maximin en Provence. Beaucoup d’auteurs envisagent le déclin du pèlerinage bourguignon or, il est plus juste d’observer une contraction régionale. En effet, la persistance des témoignages dévotionnels au sein de son berceau primitif et l’implication progressive de la famille ducale de Bourgogne dans la promotion du culte vézelien concourent très largement à une relecture du culte de la sainte.D’une politique monastique, primitivement élaborée par les moines de Vézelay,à une politique princière, s’affirmant pleinement avec l’avènement de la dynastie des Valois, le culte vézelien de la Madeleine est constamment perçu comme une gloire de la Bourgogne. Des sources écrites aux sources liturgiques,à travers le foisonnement des indices dévotionnels en son honneur (reliques,sanctuaires, autels,…) et un corpus iconographique bourguignon la mettant en scène, en regard de l’implication des chanoines de Saint-Maximin et des comtes de Provence - fervent soutien du culte provençal de la Madeleine, les destinées du culte magdalénien, d’une échelle régionale à un ensemble plus grand englobant l’Occident chrétien, méritaient ainsi d’être redéfinies par une approche critique / Appeared from the second quarter of the eleventh century at the monastery ofVezelay, under the abbot Geoffroy, the cult of St. Mary Magdalene is universally celebrated by Christians and inspires pious faithful on the path of repentance.Fruitful, the cult of Magdalene consecrate Vézelay as a place of pilgrimage which conserve Mary Magdalene’s tomb. By the beginning of the fourth quarterof the thirteenth century, the cult declines and become bipolar following the supposed discovery of the Magdalene’s grave in Saint-Maximin (Provence). If historians consider the decline of the Vézelay’s pilgrimage, it should be noted that the cult operate a regional contraction. Indeed, acts of devotion persist in this region and dukes of Burgundy largely support the promotion of the cult –inviting to a new reading of magdalenian cult.The cult is considered as a Burgundy’s glory for the Vézelay’s monks and dukes of this region. Exploring written sources, liturgy and devotional testimonies (relics, sanctuaries, altars,…) also an iconographic corpus, it is necessary to redefine the cult of St. Mary Magdalene in Burgundy and more broadly in the Christian West by a critical approach

In his most popular prose work, Mary Magdalens Funeral Teares (1591), English Jesuit Robert Southwell adapts the Mary Magdalene tradition by incorporating the meditative practices of St. Ignatius Loyola coupled with the Petrarchan language of poetry. Thus, he creates a prose work that ministered to Catholic souls, appealed to Protestant audiences, and initiated the literature of tears in England. Southwell readapts the traditional image of Mary Magdalene for a Catholic Early Modern audience by utilizing the techniques of Jesuit meditation, which later flourished in the weeper texts of Richard Crashaw and George Herbert. His vividly imagined scenes also employ the Petrarchan and Ovidian language of longing and absence and coincide with both traditional and mystic early church writers such as Bernard and Augustine. Through this combination, Southwell’s Marie Magdalens Funeral Teares resonated with Catholics deprived of both ministry and the presence of Christ in the Eucharist. These contributions solidify Southwell’s place as a pivotal figure in the religious and literary contexts of Early Modern England.