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Bespeak of Departure

Bron: wikipedia.org

Mary Magdalene is peradventure 1 of the nigh famous and surely also the most infamous woman of the New Testament. The contemporary interest for her person in books, movies, and visual arts shows united states of america that she is a woman with the appeal of a true star. All the same, Mary Magdalene's star has not always been as bright as it is today. Throughout history, she has been the victim of gross injustice, having been attacked for beingness a adult female, a sinner and a prostitute.

We do not know much almost Mary Magdalene. Her name tells us that her home was in Magdala. She travelled through Galilee alongside Jesus and was nowadays at Jesus' way to the cantankerous, his crucifixion and probably also at his burial. In the Gospel of John she is even privileged to be the kickoff to feel a christophany [the appearance of the risen Christ]. The risen Lord also appears earlier Mary Magdalene in the other gospels, merely in those instances she is ever role of a group with other women. The fact that Mary Magdalene is alone when Jesus appears before her in the Gospel of John, is not the only thing that makes her position special in this passage (John 20:eleven-18).

Her eyes flooded by tears, Mary does not recognise Jesus instantly and takes the human before her as a gardener. When he calls her name, she recognises Christ and addresses him as 'Rabbouni', 'Teacher' (John twenty:sixteen), a term that was only used by the disciples in other passages in the gospel (John 1:38.49; 3:ii; 4:31; 6:25; 9:ii; 11:8). If Mary was a disciple of Jesus', why then was she then frequently branded as a fallen woman in afterward times? Subsequently her recognition of Jesus every bit the risen Christ, Jesus utters the famous words that went into (art) history as the 'Noli me tangere' (the Latin translation of the Greek 'Me mou haptou'). These three words tin can be translated in diverse means: 'Do non bear upon me', 'Do not hold me', and 'Do non come about me'.

The exhibition 'Mary Magdalene, One Person, Many Images' that ran in the Maurits Sabbe Library in Louvain from Feb 23 to Apr 30 2006 specifically focused on this 'Noli me tangere' motif. It gathered a rich collection of images which each individually interpreted and depicted this one scene in their own mode. The works collected for the exhibition, dating from the 16th century to our mod day, showed that Mary Magdalene was and is a woman with many sides.

Mary Magdalene and her various interpretations offer usa the possibility to bargain with a diversity of themes in Organized religion classes. Mary Magdalene's position as important adult female in the early on church communities makes us reflect on the position of women in the Church today. The utterance 'Noli me tangere' evokes the tension between the desire to touch or hold, and the exhortation not to touch on or to let go. This offers enriching impulses that brand information technology possible to address the delicate problem of sexual corruption. Mary's historically distorted epitome as a degenerate woman can be translated unto the modern 24-hour interval view of sexuality and prostitution. It is our ambition to spur on the involvement in Mary Magdalene'due south person by the collection of impulses beneath. A manifold of themes, caught in an always challenging outlook.

Hermeneutical Intersections Philosophical and Religious Education

1. Mary Magdalene, the prostitute and/or the 'apostola apostolorum'?

Mary Magdalene is a woman that still appeals to the imagination. Not in the least because she was a adult female. History turned her into a fallen woman, an paradigm for the (repentant) sinner and prostitute. Nonetheless she is as well called by the title 'apostola apostolorum' (campaigner to the apostles). Do these two titles not contradict each other? Who actually was Mary Magdalene?

2. Mary Magdalene: Ane Person, Many Images

Each of the dissimilar gospels presents us with a different epitome of Mary Magdalene. In the interpretations of those images, Mary is all besides oftentimes reduced to 'the prostitute' with which she was identified in the later on church history. In numerous literary texts (the gospels, the gospel of Mary, the many later legends) and works of art, however, nosotros can also run into a multitude of visions on this remarkable adult female. Don't these images have a greater appeal than the mere searching for the historical facts?

3. 'Noli me tangere', do not touch me? Mary Magdalene in John 20

In the Gospel of John, Mary Magdalene is the kickoff person before whom Jesus appears after the resurrection, which gives her a special position. Notwithstanding, however, Mary'due south image in this passage can also exist interpreted in negative terms. Why is information technology that Jesus does not want her to bear upon him? Or did Jesus hateful 'exercise non approach' or 'exercise not hold me' -- let become of me, in other words. What is the meaning of these 3 words, both at present then? Does the evolution of their meaning influence the position of women today? Or can this sentence, and the woman to whom it is uttered, likewise speak to us in a constructive way?

4. Intertextuality and estimation

Mary Magdalene was and is an ambivalent figure that still appeals to the imagination of many. She escapes every attempt to capture her one time and for all in give-and-take or sign. As such, she in her own way embodies the 'exercise not hold me'. Tin can't Mary Magdalene be resurrected as a character that yet challengingly looks us in the eye? The tension between touching/property/releasing and the fact that a loyal disciple of Jesus' became a repentant prostitute through historical distortions challenges united states to reflect on the conceptualisation of women and the respect for bodily integrity – for instance in the concrete terms of the contemporary problem of prostitution and traffic in women.

Links with the Flemish curriculum for secondary education

Area Stories
1st year, 1st grade
Curriculum p. 87-88

• The Bible is a story that through many stories tells u.s.a. nearly the experience of God's bond with his people and how we are (or are non) an answer to that bond
• Showing the appeal in some – also Biblical – stories

Area Inner self
2d year, 1st grade
Curriculum p. 96

• Clarifying the coherence between symbolic linguistic communication and the experience of faith in Bible stories

Surface area Choices
2nd year, 2nd class
Curriculum p. 109

• Authentic choices in the life stories of actual persons (also have attention for female figures)

Surface area Growing Personal Delivery
3rd year, third and 4th class
Curriculum p. 189

• Bible stories every bit a mirror for people searching for themselves

Area Love and friendship
2nd year, 3rd form TSO/KSO
Curriculum p. 176

• Jesus and the Beloved Disciple, Peter, Judas, Mary Magdalene

Groundwork Information

1. Mary's in the New Testament

When one thinks of the characters in the New Attestation, one ofttimes assembly them with men. It is articulate, however, that women played a significant role in Jesus' life. The virtually famous adult female probably is Mary, Jesus' mother. Besides this Mary, the New Testament is populated past several other Mary'due south, of which Mary Magdalene ranks among the most famous and certainly is the most infamous in church history.

The name Mary comes from the Hebrew name Miriam. Its meaning has not been determined. It may exist related to the Hebrew term for 'being fat' (a symbol of wealth) or for 'souvenir (of God)'. If we make the connexion to the proper noun to an Egyptian derivation (Mirjam was Moses'  Egyptian built-in sister in the Sometime Testament), it tin besides mean 'loved one'.

There are seven women with the proper noun of Mary in the New Attestation:

• Mary, wife of Joseph and female parent of Jesus (e.g. Mt ane:16; Luke 1:41; Acts 1:14)
• Mary Magdalene (Mt 27:56.61; Mt 28:1; Luke viii:2; John 20:16)
• Mary of Bethany, sister of Martha and Lazarus (Luke 10:39-42; John xi; 12:one-8)
• Mary, mother of James the younger and Joses (Marker 15:40.47; 16:i; Luke 24:ten)
• Mary, the wife of Clopas (John 19:25)
• Mary, the mother of John Mark (Acts 12:12)
• Mary, who worked very hard in Rome (Rom 16:6)

Although usually not much is said about these women, and although they are usually referred to in terms of 'wife of' or 'mother of', it does become clear that all of them individually and collectively played their role in the coming to beingness of the Jesus movement and the beginning of Christianity.

 In a homily in 591, pope Gregory the Cracking associated Mary Magdalene with the anonymous sinner in Luke 7. The New Testament, all the same, nowhere legitimises such an identification. Preachers ofttimes harmonised the gospel stories in their preaching, and in this case it was not uncommon that the story of Mary of Bethany, who dried Jesus' feet with her pilus (John 12:1-eight), was combined with the story of an anonymous sinner in Luke 7, who makes a similar gesture. Thus the anonymous sinner became a Mary, and because the Mary Magdalene is for the get-go time identified every bit 1 of Jesus' disciples in the following chapter (Luke viii:1-3), she is identified with the sinner in the preceding story. Because Mary'south so-called 'sin' was interpreted as a 'sexual sin', she has traditionally gone into history every bit a prostitute.

The historical setting in which the gospels were written, was markedly patriarchal. In such a lodge it was not uncommon for women who took up leading positions in the public sphere to exist denigrated by the accusation of sexual irregularities. Information technology tin be assumed that such a mechanism was also at work in the case of Mary Magdalene. Even equally a converted prostitute, Mary stayed a prostitute for many, and thereby her part equally a loyal disciple of Jesus and a proclaimer of the risen Christ is minimised.

2. Mary Magdalene in the gospels

i. The Synoptic gospels

Foto: wikipedia.org

Whereas Mary Magdalene symbolises religion in the resurrection in the Gospel of John, this is not the instance in the first iii (Synoptic) gospels. We volition briefly discuss the role and place of Mary Magdalene in these gospels:

The Markean Mary Magdalene (disciple of Jesus and witness)

Text: http://www.devotions.net/bible/41mark.htm

In the Gospel of Mark, Mary Magdalene remains unmentioned until Jesus' crucifixion. Together with Salome and some other Mary she is part of a group of women that watch the scene from a distance (15:twoscore-41). Mary Magdalene had followed from Galilee onwards (ten:28) and she too served him (15:41). She was nowadays at Jesus' death at the cross, his burial and at the discovery of the abandoned tomb. In the Gospel of Marking, the accent lies on the 'beingness witness'. It seems as if it is self-axiomatic that women follow Jesus. That is why the women are specifically mentioned only when the men have fled. When Mark goes through a group of women, he ever mentions Mary Magdalene offset.

Conclusion: For Mark, Mary Magdalene belongs to the women who self-evidently follow Jesus.

The Matthean Mary Magdalene (caretaker and supplier)

Text: http://world wide web.devotions.cyberspace/bible/40matthew.htm

In the Gospel of Matthew, Mary Magdalene is, together with the other Mary, present at every essential moment in the period between Jesus' crucifixion and His resurrection. All the same, the importance of women – and thus also that of Mary Magdalene – is markedly diminished past a couple of interventions on Matthew'southward function. Women are not real followers of Jesus, permit lonely disciples. They accompany Jesus from Jerusalem to take care of Him. They practise not function as witnesses of Jesus' death just every bit guards of his tomb. Neither do they see the abased tomb, as they are stopped from doing so by an angel. When the risen Lord appears, non the human relationship between Jesus and Mary is central, but that betwixt Jesus and 'his disciples', whom He calls 'my brothers'.

Conclusion: Matthew especially emphasises the role of the male disciples and tones downward that of the women. Yet, he cannot go beyond the fact that in the Christian tradition there were women nowadays at the most important moments of Jesus' expiry and resurrection.

The Lukan Mary Magdalene (cured woman in Jesus' visitor)

Text: http://www.devotions.cyberspace/bible/42luke.htm

The Gospel of Luke is the only Synoptic gospel wherein Mary Magdalene is also nowadays in Jesus' public life in Galilee. Luke writes that Jesus travels through the country to spread the message of the Kingdom of God. Not merely the apostles, simply also women joined Him on his journey. Amid them, there were 'some women who had been cured of evil spirits and infirmities' (Luke viii:two) and 'and many others, who provided for them out of their resources' (Luke viii:iii). The names of the women in the first group are mentioned, and Mary Magdalene is one of them 'from whom vii demons had gone out' (Luke 8:2). It must be noted that Mary Magdalene explicitly did not vest the group of women who provided for Jesus – the emphasis lies on her being cured. She disappears into a group of bearding women (e.yard. the group of women at the abandoned tomb in Luke 24:x) at the crucifixion. Also noteworthy is the presence of Peter, who also is the one to be the first witness to Jesus' resurrection instead of Mary Magdalene.

Conclusion: Mary Magdalene is embedded in a larger group of women in the Gospel of Luke. Everywhere women play a part in Jesus' story, Luke also mentions men. For that reason, Mary Magdalene and other women play a much smaller role.

2. The Gospel of John (first witness to the resurrection)

Text: http://www.devotions.net/bible/43john.htm

In the Gospel of John, Mary Magdalene appears for the beginning time at the crucifixion. What is remarkable in this gospel, is Mary'due south addressing the risen Jesus equally 'Rabbouni' ('instructor') in twenty:seven. This implies that she was a disciple of Jesus'. Mary Magdalene does not really play a role of importance before the resurrection in the Gospel of John. She, for example, is not the bodily witness of Jesus' expiry at the cross. This office is allotted to the Beloved Disciple (John 19:35). Neither are there women present at the burying. The mission that the risen Christ gives Mary will in after times lead to her honorary title 'apostle to the apostles'.

Decision: Mary Magdalene's role is centred on the resurrection. She is portrayed every bit a loyal disciple of Jesus'. She is the first ane to see the risen Lord: 'I have seen the Lord' (20:xviii). Nonetheless, however, her testimony is non indispensable, equally Jesus also appears before his male person disciples.

3. Conclusion

Unlike roles are assigned to Mary Magdalene in the four gospels: disciple, witness, caretaker and a woman cured from evil spirits. In all four gospels Mary Magdalene is a prominent woman that, in the visitor of other women, accompanied Jesus through Galilee and even joined him in Jerusalem. Apart from Peter, Jacob and John, her name is mentioned more often in the Synoptic gospels than those of the twelve apostles. She e'er came to be a central figure when the male disciples deserted Jesus. She (together with other women) was present at the crucifixion and went to the grave on the showtime mean solar day of the week. It is assumed that the Markean Mary Magdalene is the most true image of this remarkable adult female in historical terms. An unambiguous reconstruction of her person, however, remains problematic from an historical and hermeneutical bespeak of view. Mary Magdalene prefers to speak to us in manifold.

3. How Mary Magdalene became a sinner/prostitute

iii. How Mary Magdalene became a sinner/prostitute

Mary Magdalene appears in different forms in several Bible passages throughout history. The post-obit pericopes are the center of the matter:

• Luke eight:2: Mary Magdalene is identified with the 'sinful woman' from the preceding pericope (7:36-50) who wets Jesus' feet with her tears, kisses and anoints them, and dries them with her pilus. Jesus tells her that her many sins are forgiven and that she shows nifty dearest.
• Luke vii:36-fifty: The adult female in this pericope is identified with the Mary who in John 12:1-8 anoints Jesus' feet with costly perfume and subsequently dries them with her pilus.
• Through the identification of the anonymous sinner in Luke 7 and Mary of Bethany in John 12:ane-8, Mary Magdalene is identified with Mary of Bethany, notwithstanding the fact that both Mary'southward were from different cities.

Three biblical women (Mary of Bethany, Mary Magdalene, and the sinful women in Luke 7:36-l) are thus reduced to ane adult female, Mary Magdalene. Additionally, the 'sin' in Luke 7 is interpreted as a 'sexual sin'. This process is significantly influenced by Gregory the Great, bishop of Rome, who in a homily in 951 brought these three women together in the effigy of i singular sinner. This outcome established the prototype of Mary Magdalene for the centuries to come up, leaving united states of america with an art drove, a church history, and a pastoral theology that hold a deceptive representation of Mary Magdalene as a prostitute and a sinner.

In the course of history, Mary Magdalene was also identified with Mary of Egypt, a hermitess who, co-ordinate to a 7th century legend, lived in a cavern in the desert, protected only by her hair and fed by the angels.

two. The historical Mary Magdalene

The oldest sources on Mary Magdalene are the gospels (end kickoff, outset second century A.D.). The petty material that we can reconstruct on this ground is the following:

• Mary Magdalene was from the Galilean town of Magdala, on the west declension of the Lake of Galilee.
• She accompanied Jesus in his public life, from Galilee to Jerusalem (Mark xv:41; cf. Mt 27:55; Luke 8:i-three).
• She was follower of Jesus' (Mark xv:40-41), she calls Him 'Rabbouni', 'Teacher', which makes her a disciple (John 20:17).
• She is i of the women who are nowadays at the crucifixion (Mark fifteen:xl-41; Luke 23:49 [implicitly]; Mt 27:55-56; John 19:25), who watch as Jesus is laid in the tomb (Mark xv:47; Mt 27:61; Luke 23,55 [implicitly]) and who visit the tomb the next mean solar day (Mark xvi:v; Mt 28:1; Luke 24:1).
• At the (abased) tomb, Mary, together with the other women, experiences a apparition of an angel and/or Christ (Mark sixteen:5-6 [a young homo]; sixteen:9 [Jesus, the ending of the Gospel of Marker was added later]; Mt 28:5-7 [an affections].9-10 [Jesus]; Luke 24:5-vii [two men]). According to John, Mary Magdalene (alone? with others?) went to the tomb. There she sees angels and there she is the outset one to behold the risen Christ (John 20:1.fifteen-18).
• Mary Magdalene receives a mission from Jesus (according to John 20:18 she is lonely, according to Mt 28:9-10 she is in the visitor of the other Mary).
• Co-ordinate to Luke viii:1-three, Jesus freed her from seven demons. One tin wonder whether this is historically correct, for we lack a drove of independent sources (Mark sixteen:9-20 was added to the Gospel of Mark in afterward times and is presumably based on Luke). Some authors telephone call Luke 8:1-3 a deliberate endeavour to discredit Mary Magdalene.

4. The gospel of Mary (Magdalene)

The gospel of Mary (Magdalene) is an apocryphal gospel that was institute in Cairo in 1896 and which was scientifically published in 1955. The gospel of Mary Magdalene as we know it today is estimated to date dorsum to the 3rd century A.D. The beginning of the text is missing. Mary Magdalene is presented as an of import follower of Jesus'. While the other disciples fear that they will share in Jesus' fate, Mary Magdalene reacts to Jesus' consignment with words of encouragement. In response to her effort, Peter asks Mary to speak about Jesus' words. Mary Magdalene tells of a vision of an run into with Jesus who shares all sorts of secrets with her. What follows is an statement among the disciples well-nigh Mary Magdalene's authority as a woman ànd a disciple. Andrew expresses doubts virtually the content of her bulletin (because the difference with the known words of Jesus is too keen) and Peter calls into question that Jesus would have spoken to a adult female to place her in a higher position than the other disciples. Levi makes a stand for Mary Magdalene and the company goes out to proclaim and preach.

More information can exist found in E. De Boer's helpful book: Mary Magdalene: Beyond the Myth, Harrisburg PA: Trinity Press, 1997.

5. Noli me tangere: John 20:17

Foto: wikipedia.org

In John 20, Mary Magdalene visits Jesus' tomb. She sees the displaced stone and returns to the disciples to study that the body is gone. Afterward the other disciples have left the tomb, Mary Magdalene stands crying when she sees a human being. She thinks information technology is the gardener and asks him where Jesus is. The gardener, notwithstanding, is Jesus himself, and he calls Mary by her name. Only then does Mary recognise Jesus, whom she addresses with his 'earthly' proper noun Rabbouni. Jesus replies to Mary'south joy with 'Noli me tangere', and explains this enigmatic utterance past saying that he has not yet ascended to the Father. He commissions Mary to tell the other disciples that He has risen.

'Noli me tangere' is the Latin version of the originally Greek phrase 'mê mou haptou'. These iii words tin be translated in different ways: 'do non touch me', 'do non hold me', 'practise not come near me' and and so on. Depending on the translation, Mary Magdalene's actions are interpreted differently. Does she try to affect Jesus, or to agree him, or to arroyo him and is this prohibited or not? Or has she held Jesus and does she have to adjust to a new human relationship to the risen Christ? Does she concur him and has to let go and then that both of them can become their ain way?

Whatever the original meaning of the phrase might have been, the 3 words 'Noli me tangere' take led to a chain of meanings and interpretations throughout history. This makes them a interesting and various entry point for the give-and-take of unlike theological disciplines like exegesis, pastoral theology, fine art and church building history, etc. These diverse approaches are elaborately presented in remainder of the present certificate. For the moment, we will deal with the great diversity of meanings which are elicited past these words.

Throughout history, the 'noli me tangere' motif has been depicted in a corking many works of art. Autonomously from any specific knowledge, the representation of the do non touch me/exercise not hold me will surely claiming a class grouping. What is depicted? Who is depicted and, above all, why are the characters portrayed equally such? Are these works of art involved with the touching? Or precisely with not touching? Or are they involved with the approaching, or not budgeted? Which optics cantankerous ours? That of a pious disciple of Jesus or that of a sinner, a prostitute? Where does her gaze wander off to? And where does information technology cross our gaze when we await effectually carefully?

6. Women and leadership. Pastoral perspectives

Every image that nosotros have of Mary Magdalene is the upshot of a dynamic interaction between unlike images, views and texts. By studying these images, views and texts, we can give meaning to the effigy and person of Mary Magdalene. She cannot exist narrowed down to ane fixed image, but is on the opposite a figure in which many unlike grapheme traits, attributes and qualities are gathered. Through the centuries, a great number of unlike interpretations of Mary Magdalene's person have led to a positive likewise as a negative view of women. The importance of the context wherein an estimation of Mary Magdalene happens is thus of significance. The actual, pastoral praxis makes united states of america reflect critically on the existing images of Mary Magdalene: are they suppressing for women rather than affirmative or vice versa? When one is out to investigate whether Mary Magdalene tin can even so exist a (religious) point of reference for women in the church building today, in religion or in life, ane has to exist prepared to question the portrayal of this woman and the consequences of that appetite for the estimation of the 'noli me tangere'.

Mary Magdalene can as well serve equally a model for many diverse purposes, as the conceptualisation of Mary Magdalene is the outcome of a mixture of several persons. In the catalogue for the exhibition of art centred around the motif of 'noli me tangere', professor Karlijn Demasure and dra. Hannelore Devoldere discuss ii radically dissimilar, pastoral perspectives on the figure of Mary Magdalene, namely the model of liberation and the model of oppression:

1. Mary Magdalene as a positive model of identification

In the Eye Ages, Mary Magdalene became an example for active, secular life (the laity) as a consequence of church reform. This spirituality is yet symbolised nowadays in the seven ointments that Mary Magdalene carries with her in a jar. These seven ointments stand for the seven proficient deeds. In addition, a couple of virtues were ascribed to her: caritas, humility, chastity, generosity and mercy. These v virtues were inextricably connected with each other, but due to the complication of Mary Magdalene's person, this caused some issues. Humility was the ideal path to spiritual perfection. This virtue could easily exist ascribed to Mary considering she had shown herself to exist apprehensive and had thrown herself at Jesus' feet. Chastity was more problematic, for the evident reason that people looked upon Mary as a sinner and a prostitute. Preachers tried to temper their listeners with a number of arguments. I of those was the fable that Mary Magdalene used to alive very shut to Mary, Jesus' mother, after her conversion. Afterwards that she was said to accept retired to the desert for 32 years. It was as well said that she was an apostle, a martyr of compassion, a preacher of the truth, and that she spiritually was a virgin considering of her humility.

2. Mary Magdalene every bit a model for the oppression of women

Two elements accept fabricated Mary Magdalene a model for the oppression of women:

• The interpretation of the 'noli me tangere' as a prohibition for women to speak in church and to serve the sacraments.
• The identification of Mary Magdalene with the sinner, the prostitute.

Ambrosius of Milano (334-379) had interpreted the 'noli me tangere' as a prohibition for women to teach in the Church building. He believed this privilege was for only for the more 'perfect', male priests.

Traditionally, a distinction is made between Mary Magdalene before and later on the resurrection. Before the resurrection, she was seen as a symbol of vanity, lust and pride. In addition, she was beautiful, wealthy and autonomous: characteristics which automatically led the medieval listen to the idea of prostitution.

7. Bibliography

• H.Due west. Attridge, 'Don't be touching me': Recent Feminist Scholarship on Mary Magdalene, in Amy-Jill Levine (ed.), A Feminist Companion to John (Feminist Companion to the New Attestation and Early Christian Writings, five), vol. two, London - New York: Sheffield Academic Press, 2003.
• R. Atwood, Mary Magdalene in the New Attestation Gospels and Early Tradition, Bern-New York: Peter Lang, 1993.
• B. Baert & R. Bieringer & K. Demasure & S. Van Den Eynde, Noli me tangere. Mary Magdalene: One Person, Many Images (Documenta libraria, 32), Louvain: Peeters, 2006.
• R. Bieringer, Mary Magdalene in the 4 Gospels, in The Bible Today 43 (2005) 34-41.
• E. de Boer, Mary Magdalene: Beyond the Myth, Harrisburg PA: Trinity Press, 1997.
• C. Doumergue, Marie-Madeleine. La Reine oubliée, vol. ane: Livre one à iv: L'Épouse du Christ, Nîmes: Éditions Lacour, 2004.
• H.M. Garth, Saint Mary Magdalene in Medieval Literature, Baltimore: The John Hopkins Press, 1950.
• S. Haskins,  Mary Magdalen. Myth and metaphor, London: Harper-Collins, 1993.
• Yard.L. Jansen, The Making of the Magdalen. Preaching and Popular Devotion in the Later Center Ages, Princeton-New Jersey: Princeton University Press, 2000.
• Thousand. Larow, The Iconography of Mary Magdalen. The Evolution of a Western Tradition until 1300, New York University, 1982.
• A. Marjanen, The Women Jesus Loved. Mary Magdalene in the Nag Hammadi Library and Related Documents, vol. 40, Leiden-New York: Brill, 1996.
• J.Fifty. Nancy, Noli me tangere. Essai sur la levée du corps, Paris: Bayard, 2003.
• 50.Thousand. Rafanelli, The ambiguity of touch: Saint Mary Magdalene and the Noli me tangere in early modern Italy, Phd, New York: Plant of Fine Arts, 2004.
• A. Reinhartz, To Love the Lord. An Intertextual Reading of John 20, in Fiona C. Black; Ronald Boer; Erin Runions (ed.), Labour of Reading, Atlanta: Society of Biblical Literature, 1999, pp. 53-69.
• V. Saxer, Le culte de Marie-Madeleine en Occident des origines à la fin du Moyen-Âge, Auxerre, Publications de la Société des fouilles archéologiques et des monuments historiques de l'Yonne, 1959, 2 voll.
• South.M. Schneiders, John 20:11-eighteen: The Encounter of the Easter Jesus with Mary Magdalene - A Transformative Feminist Reading, in Fernando F. Segovia (ed.), What Is John? Readers and Readings of the 4th Gospel, Atlanta GA: Scholars, 1996, pp. 155-168.
• P. Thimmes, Retentivity and Re-vision. Mary Magdalene Research since 1975 in Currents in Biblical Research six (1998) 193-226.
• M.R. Thompson, Mary of Magdala. Campaigner and Leader, New York: Paulist Press, 1995.

Didactic Impulses

i. Images

Have pupils cull an epitome out of a selection of works of art that are involved with the 'noli me tangere' motif, or have them perform a web search for an analogy of the coming together betwixt Jesus and Mary Magdalene.

A handy reference work for this activity is B. Baert & R. Bieringer & Thousand. Demasure & S. Van Den Eynde, Noli me tangere. Mary Magdalene: 1 Person, Many Images (Documenta libraria, 32), Louvain: Peeters, 2006.  This is an exhibition catalogue of the eponymous exhibition in the Maurits Sabbe Library in Louvain (23/2-thirty/iv/06), which features some thirty photographs and adjoining explanatory notes, and iv introductory articles. The catalogue gathers paintings, embroidery work, a statue, a photo, wood engravings, devotionals, a porcelain statue, and bibles.

Mary Magdalene and Jesus

Make a collection of art works and have pupils brand associations. How does the coming together between Jesus and Mary Magdalene look? What can you deduce from the piece of work of fine art? Examples in case are:

• True cat. nr. 16 (lithograph of 1899)
  
  • Intimate meeting between Jesus and Mary Magdalene
  • Ready in an open up space in the woods
  • In this dark setting, Jesus represents light
  • Jesus keeps a distance from Mary Magdalene: he leans back and keeps Mary away with both hands
  • Mary Magdalene, on her part, welcomes Jesus: she has kneeled downwards and holds her arms wide open
  • They do non look at each other
  • Estimation: Jesus and Mary Magdalene are, as it were, in a transcendental world wherein Mary, despite her desire to practise so, can not be nowadays for the moment
• Cat. nr. 24 (15th century devotional with illustration)
  • The distance betwixt Jesus and Mary Magdalene is very small
  • They almost touch each other
  • Jesus pulls Mary Magdalene toward him
  • He makes a blessing gesture
  • Mary Magdalene'southward posture shows humility, she kneels with her hands folded
  • The pot with ointment is adjacent to her
  • Both of them take a halo
  • Interpretation: the emphasis lies on the holiness and serenity of the meeting
  • Jesus is the risen Lord
  • Mary Magdalene recognises him as such
• True cat. nr. 20 (Claire vanden Abbeele - 2005)
  • Ii figures: who is Jesus? Who is Mary Magdalene?
  • Playing with 'foreground' and 'background', 'light' and 'darkness'
  • The shadow in a shaft of calorie-free
  • Interpretation: a portrayal of the cryptic relation betwixt connexion on the one hand, and keeping a distance on the other manus in the process of dealing with proverb adieu.

Mary Magdalene: One Person, Many Images

Brand a collection of several works of art and have pupils make associations.

• How does Mary Magdalene look?
• What can yous deduce from the work?
• Which interpretations have been given to Mary Magdalene throughout history?

Studying different works of art which feature Mary Magdalene shows u.s.a. that at that place are unlike representations of her person. She presents herself as an extremely flexible grapheme. Some examples:

• Cat. nr. i (late 15th century, illustration glued onto a Flemish manuscript)
  • Abstraction of the story line: simply two characters are represented
  • Female observation as a substitute for the Eucharist
  • Mary Magdalene every bit an example for nuns; platonic for convent life
  • Love relationship to Christ
  • Estimation: Mary Magdalene holds a strongly privileged position to a higher place all women
• Cat. nr. 2 (1500-1520, Christ meets Mary Magdalene, console of altarpiece)
  • Richly illustrated, detached from the story line, a snapshot of ii characters
  • Conversion from worldly to spiritual dearest, for example the conversion of sinner to disciple (her name was often given to reception places for women)
  • Mary as an case of the transformation of 'bad' into 'good'
  • Mary as a support and refuge for outcast women that want to start afresh and who asked for a 2nd chance
  • Interpretation: support and refuge
  • Hopeful
  • Exemplary part: the possibility of transformation
  • The altitude between Mary Magdalene and Jesus is very small
• True cat. nr. 22 (Malou Swinnen, 1994)
  • Mary Magdalene equally Philippine cleaning lady: actualisation
  • Cleaning Lady: Mary Magdalene'south servitude
  • Philippine Mary Magdalene as prostitute: not on beginning sight, only as a sub layer: cf. Mary Magdalene, her role as a prostitute is the result of faulty interpretation
  • Her blue clothes refer to the grace of heaven
  • Gloves: Mary Magdalene as patron saint of the glove makers
  • Symbol of purity: no direct contact, but sacral
  • Estimation: Ambiguousness: between chastity (sacral, cleaning lady) and sensuality (Philippine: hint to prostitution), between catholic and erotic

two. Movies

Foto: imdb.com

Conceptualisation
- U.k., 2002
- With: Ann-Marie Duff, Nora-Jane Noone, Dorothy Duffy
- Managing director: Peter Mullan
- 119 minutes

The Magdalene Sisters is a disconcerting drama that shows how the image of Mary Magdalene as a converted sinner has had disastrous consequences for the lives of immature women up to this day. The movie tells the story of three young girls who 364 days a year are forced to live and piece of work in a monastery/laundry under the supervision of the Magdalene sisters. Because of their 'sins' (existence too beautiful, getting raped, getting pregnant), they are exploited, abused, and denied of their identity.

Foto: imdb.com

Gender Bug

• Britain/United States, Czechoslovakia 1983
• With: Barbara Streisand, Mandy Patinkin, Amy Irving
• Director: Barbara Streisand
• 132 minutes

A possible approach of the gender problematics in Mary Magdalene's story could exist the flick Yentl, in which a daughter dresses upwardly like a boy to exist able to written report the Jewish Talmud. This picture show is especially involved with women's right to study.

Foto: imdb.com

Mary Magdalene: Many Images

• United States 1973
• With: Ted Neeley, Carl Anderson, Yvonne Elliman
• Director: Norman Jewison
• Music: Andrew Lloyd Weber and Tim Rice
• 108 minutes

The picture show Jesus Christ Superstar, which presents u.s. with a specific epitome of Mary Magdalene, can be a adept starting point for a discussion of the dissimilar images of Mary Magdalene in our history and culture.

Relevant questions:

• Which image of Mary Magdalene does the movie offer?
• On which biblical passages is this paradigm based?
• Can you imagine Mary Magdalene's feelings in the song 'I don't know how to honey him'?
• Do you consider the image Mary Magdalene to be positive? Why (non) so?
• Does the paradigm of Mary Magdalene in the movie correspond to the image you had of Mary? How (not) and then?

3. Poetry

The Brief Agony of Mary Magdalene

Jesus at that moment when Mary
mistook him for the gardener
himself to Himself already
a ghostly retentivity on the cross
allowed her a few more minutes
so he could lookout man her cry
and permit what he remembered as his middle
exist cleaved i more than fourth dimension.
The sugariness of it, so human being,
the biting sweet of abandonment.
He must accept wished and then
that he was indeed the gardener,
then he could linger to watch
the other face of the Incarnation
(the role he could never play)
resurrected by a single word, her proper noun,
pronounced with tender authority.
God's extended finger touching Eve.

Robert Longoni, Ramah, New Mexico - Winner of the St. Mary of Magdala Poetry Contest 2004

Song of Mary Magdalene

Weep not, though the Saviour
Has gone with the expressionless,
For the light and the glory
Still halo his head;
The sighs and the sorrows,
The stigmas, the stains:
The ache is over,
The glory remains.
Weep not for the Saviour:
His sorrows are o'er,
And his love shall encircle
Our hearts evermore;
The rainbow of promise!
The star ever bright!
The compass to guide through
The perilous night!
The light of the temple!
The eye of the blind!
The food of the hungry!
The friend e'er kind!
The well in the desert!
The shield from the nail!
The staff of the weary!
The refuge at last!
The sunday of our celebrity!
The light of our eyes!
Weep not for the Saviour,
For he shall ascend.

McLachlan, Alexander (1818-1896)

Mary Magdalene is Asked to Recall Her Seven Devils

It has been years since I recalled them.

They who were once formidable
driving my shame, anguish,
at present sit down earlier me in my listen
docile as drowsy children.
I was not cured so they would leave.
Information technology was a curing as "making useful,"
the way we cure a meat or cheese
then information technology will nourish after.
As they were cured, I came to know them
equally my own, facets or family.
They no longer mutter, shriek
and I listen, permit them speak.

The most fearsome is quiet now
who spun like a dervish of rage.
He appeared when I was young,
blasphemed from a docile girl.
His face up beat perpetual red,
torn and pulled by howling forces.
So it would all of a sudden whiten, stiffen
freeze and fix in solid detest
until the next outrage would suspension
in to find abraded red.
I can nevertheless feel the flame, contortion
ascension beneath my cheeks and forehead
when a girlchild is urged to silence,
broken to serve another's need.
But now I speak on her behalf,
now I chide the ignorant brutes.
I use my years, my wit, position
to serve the rage before information technology ices,
turn the moment to her side.

The second devil sits beside him.
She is very pocket-size, soft spoken,
She used to fret, huddle, cringe
Her centre would bound, similar new caught fish
in the boats at Magdala.
whenever she would attempt to show
a strength or gift she knew she had.
She would ponder coming failure,
delay, cower, make herself smaller,
feel the fish flee the netting,
make escape the work she chose.
Now, the fish swims underwater,
while she often works abreast me
reveling in what we do well.

The third shone rich, flashing her jewels
but easily turned to show her teeth,
when the world did not admit
entitlement to her demands.
Now, her glitter is put away.
I note the downcast eyes
that once quickly perused all others
for pearls, jasper, purple fabric
hairpins made of twisted aureate.
She has given nigh away,
delights in the prismatic refraction
rain makes on a blade of grass.
She fills bowls for local children,
finds each face repeats her healing
reminds her of the metanoia
holy beyond all price.

This next lies hither, a lusty ane, and is amusing
given depictions downwards the ages
of me weeping for sexual sins.
This one is perfumed and lovely,
enjoying her body's shine perfection.
She, who not many years before
had been coiled tight, ready to strike
if anyone would get too close,
now stretches here on the chaise longue
enjoying turning her talocrural joint bracelet.
But before this transformation,
she had to relearn the silken wanting,
her body'due south estrus, capacity,
the open energy as before rain.
Now, together nosotros enjoy seasons,
sunlight, leaves, laughter, water.
Nosotros delight in the twining thigh,
slickened kisses, requite, take.

This 5th 1 is an elegant figure
since the cure and transformation.
His peel is black, dark and velvet
he wears assuming tones of gorgeous material.
Earlier he taunted, threatened me,
an avalanche of sudden rocks
ready to shell my face and form.
Information technology took me many years to learn
to dear a face different my peoples',
to recognize in his nifty departure
strengths I'd never thought to own.
At present he sits regal before me,
together we share the varied earth.

The last two are siblings and withal
tin observe ways to unravel
this cocky I accept woven.
The youngest was eager to please,
empathized with others.
She would accept my coins,
buy salve and balm for lepers
but mostly she liked to view herself
as generous with the poor.
She was subtle because her deeds
were laudable simply also
they were her way of buying virtue,
separating herself apart.
She kept a secret mirror behind her
until I saw it and nosotros looked in.
At present we do the same things
but I work at vigilance
to know the motivation
and merely help when such assist flows
from beyond and through me.

More subtle still, her brother
came when I was just a child
and others noted to my female parent
my quiet meditations.
He loved the temple, the sacred words,
when others were bewildered.
I knew nosotros possessed something
beyond their comprehension
and sometimes I was certain
they were less close to God than I.
And with that came a small contempt
for unrefined, impuissant souls.
This blood brother sits, hands folded,
quietly watching, reminding me
to experience the globe below my feet,
warm and dusty, waiting.

So, there they are, my seven.
I keep them close, non exiled
to wander in the desert places
and return thirsty and restless,
each i increased by 7 more.
I shared my tale considering yous asked
and I hope my devils console you
as you retrieve about your own.
It was they who first called out
and recognized the Teacher,
the one who would pronounce a cure,
plough them around forever.
I followed, a prisoner at first,
then realized that the chains were gone
as they take been these many years
of perfect freedom. At present I atomic number 82.

Penelope Duckworth

four. Music

I don't know how to dearest him (Jesus Christ Superstar)

I don't know how to dearest him,

What to practise, how to move him.

I've been changed, yes, really changed.

In these by few days when I've seen myself

I seem like someone else.

I don't know how to take this

I don't run across why he moves me.

He's a human being, he's merely a man.

And I've had and so many men before

In very many ways:

He's just one more than

Should I bring him downwards?

Should I scream and shout?

Should I speak of dear -

let my feelings out?

I never thought I'd come to this -

what'south information technology all about?

Don't you think information technology's rather funny

I should be in this position?

I'm the one who's always been

So calm, so cool, no lover'southward fool

Running every prove

He scares me and then.

I never thought I'd come to this -

what's it all about

Yet, if he said he loved me

I'd be lost, I'd be frightened.

I couldn't cope, just couldn't cope.

I'd turn my head, I'd dorsum away,

I wouldn't want to know -

He scares me so.

I want him and so.

I love him so.

Marys Of The Sea (Tori Amos from the album the Beekeeper)

I know it's your mean solar day in the sun

Last time I checked he came to light the lamp for everyone

"Relax beloved" he said earlier he left

"Take those hands away from your eyes

From where I stand you're in my heaven"

Yous must go must flee

For they volition hunt you downward

You and your unborn seed

In all of Gaul is in that location safety?

Les Saint Marie de la Mer

You will dance the band

Marys of the Sea

The lost bride weeps

Les Saint Marie de la Mer

We volition dance your ring

Hey at that place'due south a new Jerusalem

Hey you built on stone that's on sand

For now you have hijacked the son

Last time I checked he came to low-cal the lamp for everyone

I hear a voice and it says

"The red of the red rose is its ain

And something no human tin can divide"

Then St. Jermaine hear the prayer of this supplicant

For ii scarlet women, Black Madonna

Hey I am not in your way

Hey no need to push me once more

I know it'southward your day in the sun

I know it's your twenty-four hours in the sun

Hey I am not in your way

Hey no need to push me once more

I know it's your day in the sun

Concluding time I checked he came to calorie-free the lamp for everyone

The Pinkish Flowers (the original motion picture soundtrack of the Blind Man's Son)

Mary Magdalene
Oh Mary she couldn't encounter
she was blinded by tears for the lost
she came from opening Jesus' grave
there was cipher but some lines in grit

Hey gardener she cried every bit she ran
has someone passed you coming this mode
did you come across my Saviour and friend
He might exist alive today

I still remember the beginning fourth dimension we met
't was in the house of the judge of Magdala
He was there as an honoured invitee
and I was there on the chore

Frisky, playful similar a little bird
I lay waiting in the master's bed
I overheard their game of words
and I was astonished by what the Stranger said

Through the banisters I took a peep
there sat a Man with a gilded glow
talking about a flock of sheep and a mustard seed
and the the riverbed in which to flow

watching and listening and absorbing information technology all
I was struck by a purifying lite
I ran down the stairs and I knelt at the choir
of the Healer Who gave me sight

With my long back locks I dried His feet
for with my tears He bandage the demons out
vii was their number, eternal their defeat
and my soul free from doubt

I kissed and perfumed His toes and heals
much in disapproval of the Pharisee
all my proficient money spent on a and so-called-sky-seat
for at present a prophet You can't exist

Simon oh Simon Jesus replied
hither's something that I got to say
who owes God the most, who loves Him the most
and this adult female proved her love today

Afterward that I went in peace
my sins forgiven and my faith revealed
knowing that His follower I was to be
that twenty-four hour period my future was sealed

I was there when He fed iv thousand
three days they gathered and had zilch left to swallow
seven loaves of bread and 7 fishes was all He had
7 baskets total 're picked upwardly afterward the meal

And I heard the sermon on the mount
saw the healing of lepers and lame
I followed Him from Magdala in Galilee
to Golgotha in Jerusalem

That'south the story Mary told the gardener
who then showed His hands and looked her in the eyes
Mary He said, Primary! she exclaimed
Jesus had been recognized.

Cd's of Ani Williams about Mary Magdalene:

• Magdalene's Gift
• Garden of the Magdalene

The artist Ani Williams is inspired past the figure of Mary Magdalene. She links Mary Magdalene with the mistress of the Grail and with a priestess of Isis, simply the words 'apostola apstolorum' are also well-known and used by her. Ani Williams has already made ii full albums about Mary Magdalene. The anthology 'Garden of the Magdalene' is characterized by harp, enchanting vocals, violira and guitar. The album 'Magdalene's Gift' contains besides sensual music honouring the Beloved featuring Heart Eastern tonalities with harp, vox, violin, guitar, tabla and cymbals. We tin't put all the lyrics of these two albums here, only this music about Mary Magdalene is recommended. Mind and  savor the spiritual sounds. For more information about the albums and almost the artist Ani Williams, please meet on her website: http://www.aniwilliams.com/home.htm.

Didactic suggestions

1. Biblical Mary's

Mary

•   Detect passages in the Bible that feature Mary (except those that deal with Martha's sis, run into background data). Describe the Mary in the Bible text in a few words. What does the author in question consider to be the most of import aspect of these women? In which view of women are they rooted? Which roles do they adopt? (the entire class with private preparation)
• The Bible's Mary's are predominantly identified on the ground of their relationship to men, as 'wife of' or 'female parent of'. On occasion, it is their identify of origin which is mentioned (Mary of Magdala, Mary of Bethany, Mary working in Rome). In general, they are background figures. Has this remained and so throughout the history of Christianity? What view exercise we have of the role of women in contemporary lodge? Are women automatically allotted to the mother office or tin can they be more than 'wife of' and 'mother of'? (Socratic dialogue)

Some suggestions for the teacher:
In the case that pupils have never earlier paused on the outcome of gender, such a reflection tin can be integrated into the broader framework of reflection on gender issues by offering some introductory and concluding exercises.

• For instance: have pupils introduce a member of their family in small groups, restricting their input to a maximum of 5 summarising words. What are the most of import elements in those persons' identity (eastward.thou.: sex, historic period, profession, nationality, personality, appearance, …)? Are these elements given by birth or culturally determined? Is at that place a sure relationship to be noted in these elements (due east.1000.: are youngsters spontaneously associated with their hobbies where grown-ups are associated with their profession, or are women associated with their role in the family where men are linked with their profession or hobby?)?
• In succession, the teacher tin question the pupils virtually their experiences with the classic role patterns:
  • How many pupils' mothers are house wives?
  • How about the 'fathers-at-dwelling house' (Dutch)?

The Education Pack 'All unlike, all equal' of the European Commission of against Racism and intolerance gathers some suggestions for entire workshops on multifariousness, prejudice and discrimination.

Mary and Martha (Luke 10)

Draw the differences between Mary and Martha.

(Mary sits at Jesus' anxiety and listens to what He has to say, while Martha is busy with her household tasks. The deviation between the sisters' doings is often expressed as Martha symbolising an active life, whereas Mary lives a life of reflection; Martha stands for commitment and service, Mary for reflection, study and analysis.)

• In what sense is Mary's function radical?
  (It tin be deduced from Martha'due south question that a woman'southward traditional role was to have intendance of the household, while Mary takes on the function of the disciple. 'Sitting at the feet of' was a typical expression to indicate that she takes Jesus equally her teacher; Jesus gives Mary the explicit possibility to do so, her choice may not be prohibited.)
• This passage can be linked to the gender result, and more than specifically to that of gender in pedagogy. For Jesus (as a man!) is the teacher and He is existence served. Women mind and serve. At first sight, the passage in Luke 10 seems to be part-reinforcing, but on further inquiry it becomes obvious that Mary is explicitly given the right to be a disciple of Jesus', a role mostly reserved for men.
• A number of angles are useful for a discussion of the gender issue in the pedagogy system. A good example is that of education in 3rd World countries – where girls are nevertheless all besides ofttimes excluded from any education whatsoever. The website of Unesco provides quite a bit information about UNGEI, a partnership betwixt thirteen United nations entities which helps governments to alive upwardly to their engagements to ensure quality education for girls.

Actualisation: agile and contemplative women

From a Christian point of view, observe a number of examples of active and contemplative women in our social club and religious communities (internet search, possibly combined with a documentation exercise in magazines and newspapers). A start can be the site RoSa – an annal and documentation centre for equality, feminism and women studies. A possibility would be to get acquainted with the substantial diversity in Christian women movements and comparing them. The RoSa site also gathers hyperlinks to the homepages of those movements, see http://www.rosadoc.be/site/rosa/english/algemeen/index.htm

The story of Mary and Martha can also be linked to 'agile' and 'contemplative' conventual orders. 'Agile' convents, too, try to achieve a residuum betwixt study and contemplation on the 1 hand, and active Christian engagements on the other hand. A visit to a convent or interviews with conventuals (agile or wistful congregations) may stir up some fascination. A couple of interesting tips: the Poor Clares (http://world wide web.poorclare.org/), the Capuchins, the Franciscans, the Dominicans, the Benedictines (http://www.osb.org/ ) and the Cistercians  (http://www.cistercianfamily.org/ ).

2. Mary Magdalene in the gospels

Parallel group work

Divide the pupils into four groups and have each group read these four texts, and have them nowadays the similarities and differences to the residual of the grade, using a basic scheme. An aplenty example is this document (Dutch).

Subsequently, inquire the post-obit questions:

• What image exercise you get in the text of Mary Magdalene and women in general?
• What do the pupils retrieve of Mary Magdalene?
• What is the departure between the Synoptic gospels and the gospel of John in their presentation of Mary Magdalene?

Actualisation

Accept the pupils observe an recent estimation of the figure of Mary Magdalene. Accept them actualise these images on the basis of contemporary female celebrities, media figures, etc.

How Mary Magdalene became a sinner/prostitute

Arroyo the figure of Mary Magdalene from the perspective of Dan Brown's popular novel "The Da Vinci Code" (or its movie accommodation). The novel presents Mary as Jesus' married woman. Jesus and Mary would have had children who are the beginning of an important royal bloodline. "The Da Vinci Code" mostly revolves effectually complot theories that became pop in the 1980's through books like "The Holy Blood and the Holy Grail" by Michael Baigent c.s. Sadly, people tend to forget that this book is not a history volume, but 'Fact fiction' – a way of writing wherein a fictitious story is told against a recognizable and realistic setting. For more groundwork information see: The Da Vinci Lawmaking. (Dutch)

The gospel of Mary (Magdalene)

The gospel of Mary Magdalene (or what has been saved of it) is but a short text:http://www.womenpriests.org/magdala/gosmary.asp

• Have pupils read the gospel. What is their first impression of the text? Is it difficult to read or understand, for instance past a heavy utilise of symbolism? Is its language woolly or transparent? What does all this say well-nigh the text, for example well-nigh the skills of the writer, the core of its bulletin and the intended audition?
• Have pupils compare the figure of Mary Magdalene in this text with the paradigm of her in the four gospels.
• Go to work with sure passages. Have the pupils discover similar passages in the gospel of John and/or other gospels (group work).
• Passage 8: compare this passage with the message Jesus gives in the gospels' resurrection stories. To what extent are they different or similar?

Noli me tangere

Take the pupils read John 20:one-eighteen. Later doing then, stimulate them to reformulate this passage according to their own estimation of it. This can be complemented by a group discussion.

• Afterward, have the pupils choose works of art (net search) which represent the core of the story in their understanding of it. This may be a proficient start for a class exhibition about Mary Magdalene and her coming together with Jesus. Watch and compare. Why is a work of art chosen?
• After give a brief exegetical groundwork sketch of the story. Confront the pupils with the different meanings of 'noli me tangere' and accept them chose the meaning they think is the correct ane.
• Why is it that Mary may non come most/bear upon/concur? Doesn't Jesus have contact with everyone, women also? On the ground of the information they have just received, take the pupils recollect of an caption of their own for this prohibition.
• Divide the grade into iii groups. Assign a moderator and a secretarial assistant. Allow the pupils expect up some arguments and evidence for the following standpoints:
  • Mary Magdalene had an affair with Jesus.
  • Mary Magdalene was a fallen adult female, a prostitute.
  • Mary Magdalene was a very prominent disciple of Jesus'.

kuesterreatunat.blogspot.com

Source: https://www.kuleuven.be/thomas/page/mary-magdalene/

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