Reprezentarea sfintelor femei în bisericile pictate în timpul lui Ștefan cel Mare în Moldova. Două exemple

The aim of this paper is to present some results of my research regarding the representation of holy women in the Moldavian churches during the reign of Stephen the Great. Most frequently, these images are found in the narthex of the church, a space of lesser spiritual intensity. A general explanation for the depiction of holy women in the narthex is related to the actual presence of women in this space during the mass and to their role in the funerary ritual and the commemoration of the dead which take place here. My study focuses on the cases of Saints Mary of Egypt and Marina the Great Martyr, the two most depicted saints in the Moldavian churches. Firstly, they have a specific way of representation, in a narrative scene. Saint Mary of Egypt is depicted as an ascetic figure together with Saint Zosimas from whom she receives the Holy Eucharist, while Saint Marina wears a red maphorion and is depicted hammering a demon. Secondly, they both have a well-defined place on the church walls, as a result of the hagiography, playing a symbolic role in the economy of space and in the iconographic program. Saint Mary of Egypt has a place in the passageway areas, in interaction with the architecture. Her representation offers an example of repentance for the believers, reassuring them of the mercifulness of God. Saint Marina is placed close to the entrances of the church, may they be doors or windows, for her role in protecting the sacred places.

The Transformation of Perfection

Chapter 5 argues that the spiritual experiences of late medieval holy women, in particular their doubts about the Eucharist and their own salvation, were in many respects responses to orthodox figurations of sacred embodiment and the pollution fears that were repeatedly projected onto women. In this context, this chapter examines the Scale of Perfection, a work composed by the English writer Walter Hilton (d. 1394) who manages a set of ongoing contests over rival notions of perfection. Following a growing insistence among orthodox writers on Eucharistic devotion, the Scale subsumes the spiritual legitimacy of charismatic women to the sacrament and does so in a way that marginalizes the devotion of such women to their angels. It is also within the Scale and other late medieval religious writing that the prominent and intersecting ideals of perfection, the virtues, and sacred embodiment came to express a deepening suspicion of angelic charisms.

More ‘Holy Women’ in Early Christianity

This chapter explores ‘More “Holy Women” in Early Christianity: The Gospels of Mary and Marcion’. It provides a comparison between the role of women as described by the Gospel of Mary and Marcion’s Gospel (and Apostolikon) to that of the canonical Gospels. It emerges that in the two non-canonical texts women were regarded as true witnesses, prophets, and apostles of Christ in contrast to the ambiguous, if not dubious role of the twelve, and especially of that of Peter. The chapter also looks into the role of women in the Roman church where, for example, in Hippolytus (In Song of Songs 25.6) they are still known as ‘Apostles to the Apostles’. This picture differs considerably from what we are used to read, at least at face value, in the canonical texts, and ultimately asks us to consider the editing process that resulted in certain versions of the earliest stories to be erased.

Clothing and Female Reclusion in The Life of Mary of Egypt and The Life of Christina of Markyate

Over the past two decades, medieval feminist scholarship has increasingly turned to the literary representation of textiles as a means of exploring the oftensilenced experiences of women in the Middle Ages. This article uses fabric as a lens through which to consider the world of the female recluse, exploring the ways in which clothing operates as a tether to patriarchal, secular values in Paul the Deacon’s eighthcentury Life of Mary of Egypt and the twelfth-century Life of Christina of Markyate. In rejecting worldly garb as recluses, these holy women seek out and achieve lives of spiritual autonomy and independence.

Performing Female Sanctity—and Reading it: The Visitatio Sepulchri of Wilton and Barking Abbey

This article discusses two traditions of the Visitatio Sepulcri enacted by women religious in late medieval England, based on the exceptional surviving documentation of liturgical performances from the abbeys of Barking and Wilton. Although these documents do not give access to what happened in these Easter morning performances, they do provide evidence for how the agency of the nuns was encoded into every aspect of their respective liturgical tradition. One of the most striking dimensions of this agency is that the abbesses and nuns shaped performance practices to conceptions of their embodiment. I explore how each abbey grounded authority within the bodies of holy women in relation to biblical episodes in which they touch the resurrected body of Christ, and via the teachings of the apostolorum apostola, Mary Magdalene. Of central concern are the critical tools necessary to read the embodied practices that each abbey crafted through their repertoire of movement and use of artifacts.

The Gender Troubles of Feofan Prokopovich

This essay constitutes a close reading of the works of Feofan Prokopovich that touch upon gender and womanhood. Interpretively it is informed by Judith Butler’s book Gender Trouble, specifically by her model of gender-as-performance. Prokopovich’s writings conveyed a negative characterization of holy women and Russian women of power, a combination of glaring silences and Scholastic dual codes that in toto denied the association of womanhood with glory or wisdom. In this he stood apart from other East Slavic Orthodox homilists of his day, even though they too invariably associated virtue with masculinity (muzhestvo). For Prokopovich, wisdom, strength, constancy, etc., were innately masculine. Women, by contrast, were weak, inconstant, non-rational, and guided by emotion. His sermons nominally in praise of Catherine I and Anna Ioannovna were suffused with narrative gestures that, to those attuned to the nuances of Scholastic rhetoric, ran entirely counter to their nominal message. Several panegyrics to Anna, for example, made no mention of her at all, a practice in sharp contrast to his sermons to male rulers, which typically placed the honoree firmly in the foreground. Even more startling is his singularly minimalist approach to Mary, for whom he composed almost no sermons and whose presence he barely mentioned in tracts where one would have expected otherwise. This essay concludes that this attitude reflected both his personal preferences and influence that Protestant Pietism had on his thinking.