ABSTRACT The Digby Mary Magdalene—a fifteenth-century East Anglian play about the life of Mary Magdalene—racializes many “enemies” of Christianity: devils who tempt Mary into sin and anachronistically Muslim rulers of Marseilles whom Mary converts. This article examines their shared racialization and argues that the play depicts the devils applying black to each other onstage in order to destabilize ideas of natural, bodily race. This destabilization forces the audience to seek other connections between the black-skinned devils and the Muslims, who are not depicted as visually different from the Christians. The play links Muslims and Devils through shared racial performances that repeat visual, auditory, olfactory, and psychological elements. These shared performances ultimately show that race in the play functions as a spectrum based on the soul–body binary. This spectrum marks a character’s place on a hierarchy from the damned to the saved, with the unrepentant associated with the body and the physical world, while the converted are associated with the spirit and the spiritual world. This fluid identity allows the characters in the play to perform their race and to change their performances as they convert and become closer to the Christian ideal.

中文翻译：

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Ower Felaws Blake：Digby Mary Magdalene的黑脸，种族和穆斯林Muslim依

摘要迪格比·玛丽·玛格达琳（Digby Mary Magdalene）是一部关于玛丽·玛格达琳（Mary Magdalene）的生活的十五世纪戏剧，它使基督教的许多“仇敌”种族化：魔鬼诱使玛丽犯罪，并误以为马里convert依了马赛的穆斯林统治者。本文考察了他们共同的种族化现象，并认为该剧描述了在舞台上将黑人互相应用以破坏自然，自然种族观念的魔鬼。这种动荡迫使观众在黑皮肤的魔鬼和穆斯林之间寻求其他联系，他们在视觉上与基督徒没有什么不同。该剧通过共同的种族表演将穆斯林和魔鬼联系在一起，这些表演重复了视觉，听觉，嗅觉和心理元素。这些共同的表演最终表明，戏剧中的种族起着基于灵魂-身体二元性的光谱的作用。这个光谱标志着一个角色在从该死的到被保存者的层次结构中的位置，而re悔与身体和物理世界有关，而the依的人与精神和精神世界有关。这种流畅的身份使剧中的角色能够进行比赛并改变他们的表演，因为他们转变并变得更加接近基督教的理想。