Gender, Dress, and Franciscan Tradition in the Mary Magdalen Chapel at San Francesco, Assisi

IF 0.8 1区 艺术学 0 ART GESTA-INTERNATIONAL CENTER OF MEDIEVAL ART Pub Date : 2019-03-01 DOI:10.1086/701601
P. Jolly
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引用次数: 1

Abstract

Through the inclusion of newly invented scenes, innovative handling of established narratives, and symbolic use of clothing and hair, the Magdalen Chapel at San Francesco in Assisi (ca. 1305–19) presents a Magdalen who successfully models Franciscan values of renunciation, penitence, and caritas, her images thus resonating throughout the Upper and Lower Churches. Yet her position at San Francesco remains equivocal. As a New Testament saint, she logically functions as a model for St. Francis. His vita, however, anachronistically transforms her life, inspiring new narrative episodes—for example, her receipt of a garment—or reshaping established scenes, as at her conversion when demons fly from her submissive body toward the very altar where Francis exorcised sinners. Despite being honored in her chapel, she consistently appears needy, a passive recipient of charity and miraculous works, rather than a miracle worker. As a female, she carries the taint of sexual sin through her exposed and eroticized body; she thus needs to be clothed by a hermit, as elsewhere at San Francesco destitute individuals are clothed by Saints Francis and Martin. A terrible sinner, she is exorcised by Christ, just as Francis posthumously exorcises pilgrims visiting his nearby tomb. And as Christ is honored by the Magdalen’s submissive washing of his feet, so Francis is honored by the humble simpleton. Not obviously a miracle-working saint, Mary Magdalen remains like the Assisi pilgrims petitioning for assistance. Yet her power as intercessor remains unchallenged as her very weaknesses offer audiences hope: if she can be saved, so can they.
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阿西西圣弗朗西斯科抹大拉玛利亚礼拜堂的性别、着装和方济各会传统
通过融入新发明的场景、对既定叙事的创新处理以及对服装和头发的象征性使用,阿西西圣方济各的抹大拉礼拜堂(约1305-19年)展现了一位成功塑造方济各放弃、忏悔和博爱价值观的抹大乐人,她的形象在上下教堂引起了共鸣。然而,她在圣弗朗西斯科的立场仍然模棱两可。作为《新约》中的圣人,她在逻辑上是圣方济各的榜样。然而,他的简历不合时宜地改变了她的生活,激发了新的叙事情节——例如,她收到了一件衣服——或者重塑了既定的场景,比如当恶魔从她顺从的身体飞向方济各驱邪的祭坛时,她的转变。尽管在她的小教堂里受到了表彰,但她始终显得贫穷,是慈善和奇迹作品的被动接受者,而不是奇迹工作者。作为一名女性,她裸露的、色情的身体上带着性犯罪的污点;因此,她需要由一位隐士穿衣服,就像在圣弗朗西斯科的其他地方,穷人由圣弗朗西斯和马丁穿衣服一样。作为一个可怕的罪人,她被基督驱魔,就像方济各死后为参观附近坟墓的朝圣者驱魔一样。正如基督因抹大拉顺从地洗脚而受到尊敬一样,方济各也因谦逊的傻瓜而受到尊敬。玛丽显然不是一个奇迹般的圣人,她仍然像阿西西朝圣者一样请求援助。然而,她作为说情者的力量仍然没有受到挑战,因为她的弱点给观众带来了希望:如果她能被拯救,他们也能。
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来源期刊
CiteScore
0.50
自引率
25.00%
发文量
8
期刊介绍: The Newsletter, published three times a year, includes notices of ICMA elections and other important votes of the membership, notices of ICMA meetings, conference and exhibition announcements, some employment and fellowship listings, and topical news items related to the discovery, conservation, research, teaching, publication, and exhibition of medieval art and architecture. The movement of some material traditionally included in the newsletter to the ICMA website, such as the Census of Dissertations in Medieval Art, has provided the opportunity for new features in the Newsletter, such as reports on issues of broad concern to our membership.
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