This week’s New Testament Apocrypha class focused on John and his Opponents. Taking a page from Gregory Riley and Helmut Koester, we looked at the possibility that characters in John are intended to represent other Christian groups with which John’s community was in conflict. Doubting Thomas, therefore, represents the group behind the Gospel of Thomas (which too seems to “doubt” physical resurrection) and Mary Magdalene represents the group behind the Gospel of Mary (which seems to portray Mary as a visionary). I’m not entirely convinced by the Riley-Koester argument but I do think it’s worth considering (everything is “worth considering,” especially when I don’t feel compelled to take a stand).

One student commented on how so much early Christian literature is devoted to conflict between Christian groups. And it’s a good point. Christian proselytizing seems to have been primarily an oral discipline, while texts were for apologetic or polemical purposes.

Our orthodoxy/heresy discussion focused on two aspects of John. The first is John’s sources. As many scholars maintain, John was constructed in layers with the primary layer being a “Signs Gospel.” Like Q, this text no longer exists and is not included in the NT and therefore is non-canonical, but it is preserved in a sense through John’s use of it, which makes it canonical. Another source for John is the story of the Woman Caught in Adultery. This story is not original to the text, and even shows up in the Gospel of Luke (and, incidentally, according to a note in one manuscript of John, it ultimately derives from a “Gospel of Thomas”). Technically, this is a non-canonical story—text critics should argue for its removal from John (like Romans 16:24, which can be tricky to find in many Bibles)—but it is a treasured story so it remains canonical.

The other aspect of John related to orthodoxy and heresy deals with John’s relationship to the Synoptic Gospels. I had the students read an article by D. Moody Smith (“The Problem of John and the Synoptics”). In the article, Smith discusses the assumptions made about apocryphal gospels—they are late, derivative of canonical texts, and contain bizarre embroideries and expansions of canonical texts. By such a definition, John looks like an apocryphal gospel. Matthew and Luke seem to consider Mark “scriptural”—it is clearly an authority for them and they follow its structure and style. But John does not. Also John is not featured as prominently as the Synoptics in the Apostolic Fathers, and its esteem among non-proto-orthodox groups made orthodox writers suspicious (the Muratorian Canon features a lengthy justification for its inclusion in the list; Hippolytus wrote a defense of John against Gaius who wanted it eliminated because it disagreed with the Synoptics). In essence, Smith is saying that John is apocryphal because it does not follow Mark, but its inclusion in the NT makes it canonical.

Our discussions of Thomas and Mary were fairly standard fare (overview of sources, theories of origin, etc.). We focused more on the use of the characters of Mary and Thomas and possible parallels between the texts and John than on each text’s particular theology or christology (I have to hold some things in reserve for next semester’s Gnosticism class). I like to spend time on both liberal and conservative arguments for the value and utility of these texts. This time we looked at Craig Evans’ statements (from Fabricating Jesus) about the composition of Gospel of Thomas; my summary was very quick and may have been unclear, but it can be read in my post about Evans’ book HERE.

Update on Secret Mark: if you want to continue to follow the discussion of the authenticity of Secret Mark, click HERE for Peter Jeffery’s extremely polite response to Scott Brown’s lengthy review of The Secret Gospel of Mark Unveiled.

Why should Jesus be the subject of all the movies? Director Abel Ferrara has done for Mary what Denys Arcand did for Jesus in Jesus of Montreal in his film-within-a-film about Mary Magdalene. The Toronto Film Festival synopsis describes the film as:

"A sharply observed rejoinder to those who cynically exploit faith in God for money, power and fame, Mary finds Abel Ferrara on familiar and fruitful turf. Although unspoken and oblique in the film, the controversy around Mel Gibson's The Passion of the Christ has clearly irked the infamous director and the impressive cast surrounding him on this project. The result is a spare, angry work of cinema that forces us into difficult thinking about the thorny role of Christianity in mass media. It is easily Ferrara's best film since Bad Lieutenant, amplifying its complex conception of faith in exciting new ways."

Trailers for the film are available here and here.

What is interesting for our purposes is the film’s apparent use of the Gospel of Mary. According to Matt Page of the Bible Films Blog, the film’s protagonist Marie Palese (played by Juliette Binoche) is “an actress who is inspired by her role playing Mary Magdalene in a Jesus movie and so heads to Jerusalem in search of spiritual enlightenment.” Not much of this film-within-a-film is shown but Page offers this tantalizing comment:

"At best, only five scenes from the movie are included – and two of these may simply be in Marie Palese's, mind. Of the other three, two are taken solely from the non-canonical, Gospel of Mary. Thus, the only scene from the film that definitely is taken from the gospels is that of Jesus washing the disciples' feet. And the sound accompanying this clip is not even from Childress's fictional movie, but from an academic explaining how this act demonstrated Jesus's message of love."

Can anyone tell us more about the film? What scenes are taken from the Gospel of Mary?