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see Mary MagdaleneMary Magdalene
[traditionally Greek,=of Magdala], Christian saint, a woman widely venerated in Christendom. The name Madeleine is a French form of Magdalene. She appears in the New Testament as a woman whose evil spirits are cast out by Jesus, as a watcher at the Cross, as an
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I love that I may love," says the monk, and the missionary replies, "Love is not ruled with reason but with love" (SCC 83.4; Marie Magdalens Funeral Teares 52-53).
SO while it is true that O'Faolain's female martyr, Maggy, is also based on the historical continuity of female Christian sainthood, which is reinforced by her illustrious birth name of "Magdalen Mary Cashin" ("Daughters of Passion" 46), her position as an Irish woman rebel and martyr disrupts the predominantly male character of her country's nationalist politics.
The laws from 1882 to 1920 provided that local private reformatories, like the Protestant Episcopal House of Mercy, the Roman Catholic House of Good Shepherd, the New York Magdalen Benevolent Society, and the Jewish Protectory and Aid Society, could serve as the sites for young women's moral rehabilitation.
In her new book, Artemisia Gentileschi Around 1622, Garrard has appli ed this premise to three problematic works: two paintings of the Magdalen (one in Seville Cathedral, and the other, until recently, in a French private collection) and one of Susanna and the Elders (in the Burghley House collection).
As a young girl she was sent to a brutally strict orphanage in Limerick - attached to a Magdalen laundry, where many unmarried mums were sent to work.
Pentientiaries, capable by the end of the century of 'graduating' 7000 magdalens a year, brought devout upper-class women into unprecedentedly intimate contact with working-class women of the streets.
The Holy Week procession in Seville, with its "super-human Virgins dressed in brocade and laden with jewels, Magdalens with genuine hair, Christs who show in their flesh the abjectness of suffering" (130), produced in Spitzer "something like a horror at once half mystical and half carnal" (130).
What Badir comes to argue in this first chapter--that the idea of the sacred in early modern art begins to overshadow the medieval notion of the sacred embodied in the art--she teases out by turning her attention to the work of several English Catholic writers, most importantly, Robert Southwell, whose Marie Magdalens Funeral Teares, is published in 1591.
He favoured using the Magdalens run by the churches for 'fallen women' for this purpose, and proposed that they be paid a per capita subsidy for the purpose.
Elizabeth Anne Holmes, daughter of Mr and Mrs Holmes of Oldfield Road, Chapelfields, Coventry and Kevin Wears, son of Mr and Mrs Wears of Coronation Road, Hillfields, Coventry, at St Mary Magdalens Church.
As Southwell writes in Marie Magdalens Funeral Teares: In a garden Adam was deceived, and taken captive by the divell.
During the fifteen years between 1620 and 1635 van Dyck painted numerous religious pictures which, in their passion and fervour, had little in common with his subsequent portraits of the Caroline nobility, although in the slipped bodices of his Magdalens he anticipates some of his likenesses of the ladies of the court.