2 Corinthians: A Bibliography is intended to be a complete bibliography until 2007. It contains almost 1,900 entries of academic publications on Paul's Second Letter to the Corinthians. Making use of the standard bibliographical tools (both printed and electronic), the goal was to include as many references as possible. However, there is no pretense of being exhaustive. 2 Corinthians: A Bibliography builds on the list published in Reimund Bieringer & Jan Lambrecht, Studies in 2 Corinthians (BETL, 112), Leuven: University Press - Peeters, 1994, pp. 3-66. The list of entries up to 1993 was corrected, updated and supplemented with the works published between 1994 and 2007. In addition to a full alphabetical list at the end, this book contains a list of commentaries, a list of references ordered according to the pericopes of 2 Corinthians and according to themes contained in the letter. In order to increase user friendliness full references are used in each list.

"Noli me tangere," these are the words of the risen Christ to Mary Magdalene in the Latin Bible translation of John 20:17. Few expressions from the Bible have stimulated so much interest among artists and theologians alike as these three intriguing words. The "Noli me tangere" motif serves as the basis of an interdisciplinary research programme supported by the Fund for Scientific Research - Flanders, and entitled "Mary Magdalene and the Touching of Jesus: An Intra- and Interdisciplinary Investigation of the Interpretation of John 20:17 in Exegesis, Iconography and Pastoral Care." In cooperation with the Centre for Women's Studies Theology of the Faculty of Theology of the Katholieke Universiteit Leuven (Belgium), the research team organised an exhibition in the Maurits Sabbe Library under the title "Noli me tangere: Mary Magdalene: One Person, Many Images (Maria Magdalena in veelvoud)" (23 February to 30 April 2006). In the first part of the present volume, the four members of the research team , Sabine Van Den Eynde, Reimund Bieringer, Karlijn Demasure and Barbara Baert explore the significance of the "Noli me tangere" motif each from the perspective of their own particular discipline. The second part of the volume contains a catalogue of the exhibited works with a colour photograph and a short description. The artworks stem from a number of historical periods, running from the fifteenth to the twenty-first centuries. A variety of genres and artistic media are also represented in this exhibition: graphics, paintings, sculpture and miniatures side by side with devotional art. The research team also invited contemporary artists to contribute their interpretation of the "Noli me tangere" motif to the exhibition. The painting of the Indian artist Lucy D'Souza represents the fine line between Christianity and Hinduism. The photographer Malou Swinnen photographed a woman from the Philippines while the calligrapher Brody Neuenschwander created a sculpture covered with a veil of letters. The painter Claire Vanden Abbeele was found willing to make her already existing "Noli me tangere" available for the occasion. The exhibition thus combines artistic periods, artistic media and the various continents of the world. "Noli me tangere: Mary Magdalene: One Person, Many Images" hopes to provide a glimpse of Mary Magdalene that unites both past and present.

The problem of anti-Judaism in the Forth Gospel is a complex matter that has historical, sociological, and theological dimensions. It involves the study of the original texts and their reception and effects throughout history as well as their ethical and theological implications in the perspective of Christian-Jewish dialogue. A selection of essays from the 2000 Leuven Conference, Anti-Judaism and the Fourth Gospel presents the views of Johannine scholars from around the world on this important topic.

The 'New Perspective on Paul' cleared Judaism contemporary to Paul of the accusation that it was a religion based on works of righteousness. Reactions to the New Perspective, both positive and critical, and sometimes even strongly negative, reflect a more fundamental problem in the reception of this paradigm: the question of continuity and discontinuity between Judaism and Christianity and its assumed implications for Jewish-Christian dialogue. A second key problem revolves around Paul's understanding of salvation as exclusive, inclusive or pluralist. The contributions in the present volume represent at least six approaches that can be plotted along this axis, considering Paul's theology in its Jewish context. William S. Campbell and Thomas R. Blanton consider Paul's Covenantal Theology, Michael Bachman provides an exegetical study of Paul, Israel and the Gentiles, and Mark D. Nanos considers Paul and Torah. After this chapters by Philip A. Cunningham, John T. Pawlikowski, Hans-Joachim Sander, and Hans-Herman Henrix give particular weight to questions of Jewish-Christian dialogue. The book finishes with an epilogue by pioneer of the New Perspective James D.G. Dunn.

The New Perspective on Paul cleared Judaism contemporary to Paul of the accusation that it was a religion based on works of righteousness. Reactions to the New Perspective, both positive and critical, and sometimes even strongly negative, reflect a more fundamental problem in the reception of this paradigm: the question of continuity and discontinuity between Judaism and Christianity and its assumed implications for Jewish-Christian dialogue. A second key problem revolves around Pauls understanding of salvation as exclusive, inclusive or pluralist. The contributions in the present volume represent at least six approaches that can be plotted along this axis, considering Pauls theology in its Jewish context. William S. Campbell and Thomas R. Blanton consider Pauls Covenantal Theology, Michael Bachman provides an exegetical study of Paul, Israel and the Gentiles, and Mark D. Nanos considers Paul and Torah. After this chapters by Philip A. Cunningham, John T. Pawlikowski, Hans-Joachim Sander, and Hans-Herman Henrix give particular weight to questions of Jewish-Christian dialogue. The book finishes with an epilogue by pioneer of the New Perspective James D.G. Dunn.

Noli me tangere', zegt de verrezen Christus tegen Maria Magdalena volgens de Latijnse bijbelvertaling van Johannes 20,17. Weinig bijbelse uitspraken hebben zoveel interesse gewekt van zowel kunstenaars als theologen als deze drie intrigerende woorden. Het "Noli me tangere"-motief ligt aan de basis van het door het Fonds voor Wetenschappelijk Onderzoek - Vlaanderen gefinancierde interdisciplinaire onderzoeksproject 'Maria Magdalena en het aanraken van Jezus. Een intra- en interdisciplinair onderzoek naar de interpretatie van Johannes 20,17 in exegese, iconografie en pastorale begeleiding'.In samenwerking met het Centrum Vrouwenstudies Theologie van de Faculteit Godgeleerdheid van de Katholieke Universiteit Leuven organiseerde de onderzoeksgroep in de Maurits Sabbebibliotheek een tentoonstelling onder de titel '"Noli me tangere". Maria Magdalena in veelvoud' (23 februari tot 30 april 2006). In het eerste deel van deze tentoonstellingscatalogus exploreren de vier promotoren van dit project, Sabine Van den Eynde, Raimund Bieringer, Karlijn Demasure en Barbara Baert de betekenis van het "Noli me tangere"-motief elk vanuit de eigen discipline. In het tweede deel van de catalogus worden de bijna dertig tentoongestelde stukken telkens met een kleurenafbeelding geillustreerd en besproken. De kunstwerken zijn afkomstig uit diverse periodes, gaande van de vijftiende tot de eenentwintigste eeuw. Diversiteit is ook troef als men de genres en de artistieke media bekijkt: grafiek, schilderkunst, beeldhouwkunst en miniatuurkunst naast volkse reproducties.De onderzoeksgroep heeft ook hedendaagse kunstenaars uitgenodigd om hun visie weer te geven op het "Noli me tangere"-motief. De Indiase kunstenares Lucy D'Souza maakte een schilderij op het snijpunt van christendom en hindoeisme. De fotografe Malou Swinnen portretteert een Filippijns model, terwijl de kalligraaf Brody Neuenschwander een sculptuur gemaakt heeft bedekt met een sluier met letters. De schilderes Claire Vanden Abbeele en de schilder Jan Vanriet waren bereid om hun reeds bestaande "Noli me tangere" ter beschikking te stellen. Op deze manier verbindt de tentoonstelling artistieke periodes, artistieke media en diverse werelddelen. "Noli me tangere: Maria Magdalena in veelvoud" wil u een Maria Magdalena aanbieden die verleden en heden verbindt.