Dissertations / Theses on the topic 'Sacred images'
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Bain, Alexandra. "The late Ottoman En'am-» ¸serif, sacred text and images in an Islamic prayer book." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ37329.pdf.
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Abud, Cristiane de Castro Ramos. "Corpos e(m) imagens na história: questões sobre as mulheres católicas do presente." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1477.
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Previous issue date: 2008-11-07Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente pesquisa - inscrita como uma História do Tempo Presente - propôs uma reflexão crítica sobre as representações de gênero produzidas a partir das imagens sacras femininas e de como se inscrevem nos corpos das mulheres na contemporaneidade. Com o auxílio de referências teórico-metodológicos foucaultianos e outros suportes teóricos incorporados pela História Cultural, analisou-se, neste trabalho, as formas de atuação do poder exercido e difundido pela Igreja Católica sobre os usos e cuidados dos corpos das mulheres e a relação desses discursos com as práticas, através de depoimentos e entrevistas realizadas com 35 mulheres que freqüentam cotidianamente três igrejas católicas de Florianópolis. O uso da categoria gênero opera aqui, para que sejam analisados os percursos e experiências destas mulheres, desvendando imaginários femininos, identidades fronteiriças, sociais, políticas e culturais. O trabalho procurou problematizar como as mulheres que se autodenominam católicas redefinem valores religiosos e os relacionam a questões como sexualidade, corpo, participação feminina em diferentes dimensões sociais e políticas, forjando novas identidades e metamorfoses sobre a condição feminina na religião católica hoje. Procura-se, assim, evidenciar o caráter histórico, cultural, religioso do corpo produzido pelo discurso religioso católico, demarcando seu poder de criação, saberes, resistências, transformações, materialidade, efeitos, características binárias entre o sagrado e o profano, o permitido e o proibido. E, ainda, perceber nas histórias de fé e religiosidade das mulheres que freqüentam as igrejas, seus papéis, a diversidade de representações , permanências e mudanças na história do presente
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Tobler, Judith. "Gendered signs of the sacred : contested images of the mother in psychoanalysis, feminism, and Hindu myth." Doctoral thesis, University of Cape Town, 1997. http://hdl.handle.net/11427/13910.
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Bibliography: leaves 333-354.This thesis engages a multi-disciplinary theoretical approach to identifying, analysing, and interpreting discourse relating to the feminine and the maternal found at the intersection of psychoanalysis, feminism, and religion. The study explores embodiment, gender, and the sacred as expressed in symbolic representations of the mother and the institution of motherhood in patriarchy. I have therefore drawn on Freudian and post-Freudian theories, gender analysis, feminist critical analysis, and classical Hindu goddess myth to discern ways in which sacred images of the mother serve to reinforce the oppression of women on the one hand and can be transformed to provide empowering symbols for women's lived reality on the other. Theory of sacred space is also employed, particularly with regard to the human production of the sacred through the contested politics of sacred space.
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Alcântara, Ailton S. de [UNESP]. "Paulistinhas: imagens sacras, singelas e singulares." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86900.
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A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco.
The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called “Green-gold”. Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.
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Reddaway, Chloe. "Visual theology in 14th and 15th century Florentine frescoes : a theological approach to historical images, sacred spaces, and the modern viewer." Thesis, King's College London (University of London), 2013. https://kclpure.kcl.ac.uk/portal/en/theses/visual-theology-in-14th-and-15th-century-florentine-frescoes(820ba67a-1f99-4f1b-8230-43552009dd4c).html.
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Although Christianity is a ’religion of the book’, visual art has played a crucial role in the history of theological communication, and the premise of this thesis is that historical images are a potentially rich, but underused, theological resource for modern Christians. Art historical analyses are rarely intended or equipped to demonstrate the rich theological potential of attentive interaction between the modern viewer and historical images, and do not take account of the fundamentally incarnational nature of Christian images. There have been, however, relatively few attempts at theological interpretation of historical Christian images and minimal discussion of an appropriate methodology for doing so, despite increased interest in the relationship between theology and visual art. This thesis proposes a methodology for the theological interpretation of images, drawing on critical hermeneutics in theology and literary studies, the approaches of reader criticism, reception theory, and cultural history, the insights of art historical analysis, and a Christian understanding of religious art and sacred place. It demonstrates the effectiveness of this approach through case studies drawn from Florentine fresco cycles of the 14th and 15th centuries, enriching the experience of the modern viewer. In particular it addresses the materiality of images and the relationship between the space within images, the spaces of their locations, and their interaction with the spatially located viewer. The images are shown to be sophisticated pieces of visual theology with the capacity to express complex theological ideas of creation, incarnation, transformation and revelation, in powerfully engaging ways. They present a redeemed, post-resurrection view of creation in which materiality does not, or need not, equate to separation from God; an anti-dualist confession of faith in which content and composition, content and medium, concept and form, image and viewer, interpenetrate to enable material revelation of the divine, with potentially transformative effects.
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Oton, Karla Muniz Barreto. "imagens do sagrado para os dependentes químicos." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/7869.
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In the course of time, psychoactive substances is used in the treatment of some diseases, so asstimulants and in the devotion to the sacred; today, the reasons for the use of drugs have been quite diversified and drug addiction is becoming a matter of concern for Brazilian society. The religious phenomenon and spirituality have contributed significantly in prevention and recovery from drug addiction, as well as public theology has collaborated in the process of prevention and social care, along with treatment centers and faith based therapeutics communities. This thesis presents the results of a survey, which main objective was to identify the sacred images to young people between 18 and 35 who are in the recovery process in domestic in the Manasseh Project, who for more than 20 years is working with treatment programs in 21 states of Brazil. As theoretical framework, we base on Durand's Theory of the Imaginary, which identifies imaginary structures and mystical data, thus configuring the image of the sacred, what contributes to enhance the recovery process of the drug addicted. The mystic data, were analyzed by the Nine Elements Test, (AT-9 by Yves Durand). The analysis identified the images that reflect heroism, protection, and hope in the divine intervention in the process de drug addiction recovery, that once internalized , lead towards a practical faith in the supernatural, acting in the will and in the character of the man who is found dehumanized by the addiction. In the discourse about spirituality, we conclude that the image elements showed the faith, the church and the Word of God as predominant factors to face overall process of treatment in recovering from addiction.
No decorrer dos tempos, as substâncias psicoativas foram usadas no tratamento de algumas doenças, assim também como estimulantes e na devoção ao sagrado; nos dias atuais, os motivos para o uso das drogas têm sido bastante diversificados e a dependência química vem se tornando uma questão preocupante para a sociedade brasileira. O fenômeno religioso e a espiritualidade têm contribuído de forma relevante na prevenção e na recuperação da dependência química, assim como a teologia pública tem colaborado no processo de prevenção e cuidado social, juntamente com os centros de apoio e instituições ligadas à confissão religiosa. Esta dissertação apresenta os resultados de uma pesquisa, cujo objetivo maior foi o de identificar as imagens do sagrado para os jovens entre 18 e 35 anos de idade que estão no processo de recuperação em regime interno na Instituição Manassés, que há mais de 20 anos trabalha com o tratamento de dependência química em 21 estados do Brasil, Como aporte teórico, fizemos uso da Teoria Geral do Imaginário (TGI) elaborada por Gilbert Durand, dando suporte à análise das imagens, assim como o Teste de Nove Elementos, AT-9 elaborado por Yves Durand, com o objetivo de comprovar empiricamente a TGI, e levantar/conhecer imagens individuais e grupais, mapeando o tipo de estrutura do imaginário. A metodologia utilizada foi a pesquisa descritiva, de campo, com abordagem qualitativa. Os dados míticos coletados e analisados através do AT-9 permitiram identificar as imagens registradas; imagens que contribuem para elucidar o processo de recuperação dos dependentes químicos, e uma vez internalizadas, impulsionam uma fé no sobrenatural, atuando na vontade e no caráter do homem que se encontra excluído e desumanizado pelo vício. Nos discursos acerca da espiritualidade os elementos das imagens evidenciaram a fé, a igreja e a Palavra de Deus como fatores predominantes para o enfrentamento e todo o processo do tratamento na recuperação da dependência química.
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Poisson-Gueffier, Jean-François. "La Cathédrale Rouge. Images de la mort dans le Haut livre du Graal." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA105/document.
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Ses principaux lecteurs n’ont cessé de concevoir le Haut Livre du Graal comme un roman des confins de la barbarie. L’éclatement des cadres de l’écriture arthurienne est prégnant dans ses épisodes les plus emblématiques, qui révèlent un hiatus irréductible entre une « haute écriture » et l’exaltation de la matérialité des êtres. Le roman semble soumis à une double postulation vers le haut et le bas, vers les convulsions du monde sublunaire et une mystique aussi présente que ténue. L’étude des manifestations et senefiances de la mort s’applique à saisir l’écriture de cet entre-deux, tout en privilégiant l’approfondissement de deux traits majeurs : la dimension visuelle inhérente à la représentation de la mort et les procédés d’écriture propres à esquisser les linéaments d’une « écriture funèbre ». Le paradigme visuel relaie la puissance évocatoire des morts narrées, tandis que la dominante funeste du récit semble être l’un des gages les plus viables de l’unité d’une œuvre dont les structures narratives se dérobent. Le parcours herméneutique de cette étude considère tout d’abord le vocabulaire de la mort, avant d’aborder les circonstances de l’instant mortel, les deux versants spirituel et temporel de la mort, et le lien toujours puissant qui unit les vivants et les morts. Après des considérations à la fois stylistiques, rhétoriques, historiques et anthropologiques, la deuxième partie déplace vers le champ de la poétique du texte la problématique d’une mort fondamentalement ubiquitaireThe main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous
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Wheeler, Geraldine Jean, and res cand@acu edu au. "Visual Art, the Artist and Worship in the Reformed Tradition: a Theological study." Australian Catholic University. School of Arts and Science, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp41.29082005.
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The Reformed tradition, following Zwingli and especially Calvin, excluded images from the churches. Calvin rejected the sacred images of his day as idolatrous on the grounds that they were treated as making God present, that the necessary distinction between God and God’s material creation was not maintained, and because an image, which rightly was to be mimetic of visible reality, could not truthfully depict God. Calvin approved the Renaissance notion of visual art as mimetic and he understood that artists’ abilities were gifts of God and were to be used rightly. He also had a very keenly developed visual aesthetic sense in relation to nature as the “mirror” of God’s glory. However, the strong human tendency towards idolatry before images, he believed, meant that it was not expedient to place any pictures in the churches. Reinterpretation of key biblical passages, particularly the first and second commandments (Calvin’s numbering), together with changes in the understanding of what constitutes visual art, of the relationships between words and visual images, and of the processes of interpretation and reception not only of texts but of all perceived reality, lead to a re-thinking of the issues. The biblical narrative with its theological insights can be interpreted into a visual language and used by the church as complementary to, but never replacing, biblical preaching and teaching in words. Attention to the visual aesthetic dimensions of the worship space is important to allow for this space to function as an invitation and call to worship. Its form, colour, light and adorning may give aesthetic delight, which leads to praise and thanksgiving, or it may provoke other response which helps people prepare to offer worship to God. The world and its people depicted in visual art/image may inform the praying of the church and the visual representation of the church (the saints) may provide congregations with an awareness of the breadth of the church at worship in heaven and on earth. In the present diversity of views about visual art and the work of the artist there is freedom for the artist to re-think the question of vocation and artists may find new opportunities for understanding and exercising their vocation not only in secular art establishments and the community but also in relation to the worship of the church.
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Pereira, André Luiz Tavares 1972. "A constituição do programa iconografico das irmandades de clerigos seculares no Brasil e em Portugal no seculo XVIII : estudos de caso." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280540.
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Orientador: Luciano MigliaccioTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII
Doutorado
Historia da Arte
Doutor em História
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Collingridge, Lorna Marie, and n/a. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Griffith University. School of Theology, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040624.110229.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.
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Collingridge, Lorna Marie. "Music as Evocative Power: The Intersection of Music with Images of the Divine in the Songs of Hildegard of Bingen." Thesis, Griffith University, 2004. http://hdl.handle.net/10072/365182.
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Hildegard's songs evoke an erotic and embodied devotion to a Divinity imagined as sensuous, relational, immanent and often female. These songs, written for use in her predominantly female community, are part of Hildegard's educational program to guide the spiritual development of the women in her Benedictine monastery. Hildegard's theology of music proposes that the physical act of singing enables humans to experience connection to the Living Light (Hildegard's most common address for the voice of the Holy Presence in her visions, lux vivens), and to embody this Divinity in their midst. Her songs express, in dense poetic texts set to widely-ranging chant-like melodies, her rich imaging of the fecund presence of the Divine. The singers are thus encouraged to imagine themselves in relationship with the Holy One, the Living Light, through the physical act of singing these evocative songs. This dissertation analyses four of Hildegard's songs, representing a small cross section of her musical oeuvre. The analysis elucidates the way in which the music affectively conveys the meaning and significance of the texts. Carefully incising the "flesh" from the structural "bones" of the melodies reveals underlying organising configurations which pervade the songs and deliver the texts in a distinctive manner. Hildegard professed herself to be musically uneducated because she lacked a knowledge of music notation, although she admitted to extensive experience in singing Divine Office. However, she clearly claims to be the oral composer of her songs, arranging late in her life for music scribes to notate her melodies. My analysis unravels the influence of the oral composer as it intersects with the influence of the musically trained scribes who neumed her texts. Hildegard wrote that the "words symbolize the body, and the jubilant music indicates the spirit" (Scivias 3:12:13). She claims that the music conveys the meaning of the texts with affective power, and my analysis shows ways in which the oral composer endeavors to achieve this goal. Her texts, conveyed by her melodies and thus intimately entwined with the words they deliver, are powerfully persuasive forces in the spiritual education of the women in her monastery. This dissertation uncovers significant insights which can inform the communal practice of worship of the Divine, especially where song forms part of that worship, and particularly in regard to the imagining of Divinity in ways which can nourish the diversity of all humans, all creatures, and all creation. The work of feminist theologians is brought into dialogue with Hildegard's imagery and educational purpose, thus making available ways of imagining the Divine which are especially important for contemporary women, who have suffered from being excluded from the imago Dei. Thus the dissertation unearths a rich lode of female, and creatural embodied images, which threads its way though the millennia, but now needs to be mined to uncover images that might work for contemporary Christians seeking multiple imaging of the Divine to touch the deep feminist, ecological and liberative yearnings of many hearts and spirits.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
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Njimeni, Njiotang Clébert Agenor. "Le discours de Paul Biya à l'ère du multipartisme au Cameroun : mises en scène argumentatives et relation au pouvoir." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30004/document.
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La parole politique est l'instrument principal d’exercice du pouvoir au Cameroun, dirigé par Paul Biya depuis trente-cinq ans. Confrontée aux postures du sujet politique, cette parole trahit à l’arrière-plan discursif, les pensées profondes de l’homme politique. Apporter un éclairage sur cette situation particulière est la tâche principale que nous nous sommes assigné dans cette thèse de Doctorat qui s'intéresse à la relation entre le pouvoir et la mise en scène argumentative dans le discours de Paul Biya à l'ère du multipartisme au Cameroun. Le cadre épistémologique dans lequel se positionnent nos travaux est l’analyse du discours avec une orientation vers l’argumentation rhétorique. Empruntant les démarches intégrative et analytique de l’analyse de discours, nous puisons les concepts opératoires de notre recherche principalement dans les sciences du langage. Nous procédons aussi à l’exploration textométrique de notre corpus à l’aide du logiciel d’analyse statistique Hyperbase. L’analyse nous invite également à constituer de nouvelles notions pour rendre compte des particularités du discours de Paul Biya. La thèse montre que dans sa communication, Paul Biya procède à une mise en scène fondée sur des arguments logico-affectifs, ancrée dans la réalité sociale et les pratiques des différents pouvoirs traditionnels camerounais. Derrière le masque discursif, l'analyse met au jour des stratégies de persuasion, l'évolution de la vie sociopolitique camerounaise. Cette recherche révèle comment Paul Biya incarne un pouvoir fort, sacralisé voire mythifié; s'arrogeant une aura nationale exclusive apte à apaiser le peuple et à inhiber toute action rivale. C’est ainsi qu’il a réussi à mettre en place un régime politique qui joue constamment sur des contrariétés en vue de pérenniser son pouvoirPolitical speech is the main tool used in order to wield power in Cameroon, a country which is being run by Paul Biya for the past 35 years. The various stands taken by this political figure is revealed through these speeches which inform on the argumentative background and inner thoughts of this politician. The doctorate thesis which studies the relationship between power and the argumentative strategies in Paul Biya speeches in the multiparty era in Cameroon therefore sets out to throw more light on this peculiar situation. This research work is discussed from the vantage point of discourse analysis, more specifically on rhetoric argumentation. Using integrative and analytical approaches to discourse analysis, the work draws its key concepts mainly from language sciences. The textometric analysis of the corpus is carried out using the Hyperbase Statistics Analysis software. Also, the analysis of the corpus has brought us to coin new terms in order to address the specificities of Paul Biya speehes. The findings reveal that in his speeches, Paul Biya makes use of a set-up which is grounded on logico-affective arguments anchored in the social reality as well as in the practices of the various traditional powers in Cameroon. The analysis also brings to the fore the various persuasive strategies and the evolution of the sociopolitical life in Cameroon. This research work also reveals how Paul Biya incarnates a strong, sacred and mythified power which gives him the privilege of having an exclusive aura at the national level which can appease the Cameroonian people and nip in the bud all the initiatives of his rivals. He has therefore succeeded in establishing a political regime which takes advantage of disharmony in order to perpetuate his power
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Biggi, Laura. "Immagini miracolose sotto processo." Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86069.
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Il mio lavoro è dedicato ai processi alle immagini della Vergine che hanno dato origine a
culti e santuari mariani intorno al XVI secolo in Italia.
Ho scelto di analizzare questa specifica documentazione attraverso l’esame di più
inquisitiones e optando per un metodo di ricerca che permetta di valutare i cambiamenti,
formali e sostanziali, avvenuti nella fonte stessa dal Quattrocento fino agli ultimi anni
del Cinquecento. [...] ho elaborato una tesi che ritengo possa
fornire alcune risposte relative non soltanto alla storia della fonte, ma anche a temi
diversi e più complessi, ampiamente dibattuti dalla storiografia: il ruolo dei vescovi
nella Chiesa pre e post tridentina e il loro rapporto con la corte papale e con le
istituzioni laiche territoriali; la questione della maggiore o minore continuità fra XV e
3
XVI secolo di fenomeni culturali - come quelli collegati a credenze e devozioni - e di
relazioni e conflitti fra istituzioni e giurisdizioni; il problema costituito dalla materialità
dell’immagine sacra e dall’elaborazione, proprio a partire dal processo, di memorie
condivise intorno ad essa . La mia ricerca si basa principalmente su fonti scritte prodotte
da processi informativi a oggetti materiali, nel mio caso immagini sacre, finalizzati
all’accertamento di un miracolo e alla possibile conseguente legittimazione di un
santuario: a livello storiografico, mi sono dunque confrontata con studiosi che hanno
portato le analisi sulla storia materiale nel campo della storia religiosa e della storia
delle devozioni, sebbene con metodologie e fonti differenti dalle mie. Ho dunque messo
in relazione i risultati del mio lavoro con quelli che emergono dalle ricerche di Mary
Laven - che studia le devozioni domestiche privilegiando le fonti provenienti dal basso -
o di Caroline Bynum - che indaga il paradosso rappresentato dalla doppia natura degli
oggetti sacri, con il quale i fedeli si trovavano a confrontarsi fra Medioevo ed Età
moderna. [...]
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Sumsion, Ann Elizabeth. "The Search for the Sacred in Gabrielle Roy." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3252.pdf.
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Alcântara, Ailton S. de. "Paulistinhas : imagens sacras, singelas e singulares /." São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86900.
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Orientador: Percival TirapeliBanca: José Leonardo
Banca: José E. Gama Martins
Resumo: A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco.
Abstract: The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called "Green-gold". Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.
Mestre
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Thunø, Erik. "Image and relic : mediating the sacred in early medieval Rome /." Roma : L'Erma di Bretschneider, 2002. http://catalogue.bnf.fr/ark:/12148/cb39178939p.
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McNeil, Ann Theresa. "Sacred imaging prayerful dancers as icons of God /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
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Holland, Amanda L. "Wandayarra a-yabala = Following the road : searching for indigenous perspectives of sacred song /." St Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17854.pdf.
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Lopes, Tadeu Mourão dos Santos. "Encruzilhadas da cultura: imagens de Exus e Pombajiras na Umbanda." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3401.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorA presente dissertação pretende ser uma pequena contribuição para o campo, ainda pouco explorado, dos estudos das artes sacras afro-descendentes brasileiras. Aqui, intento me aprofundar no mundo delicado e complexo no qual se inserem as esculturas religiosas dos Exus e das Pombajiras da Umbanda. Todo o percurso desenvolvido pelas imagens que figuram esses entes está envolto em uma contraparte imaterial, ligada de maneira indissociável à mítica religiosa e ao afeto. Gerada usualmente em conluio com o onírico e o invisível, as imagens de Exus e Pombajiras ganham formas graças a um processo criativo coletivo e, presentes no mundo material, passam a cumprir função sagrada primordial nos espaços do terreiro e do lar. A demonização, dado visual tão identificável nas representações escultóricas desses entes, esconde um conteúdo simbólico que vai além da associação simplista entre Exu e o diabo. Esses personagens do culto de Umbanda e suas figurações imagéticas se ligam a uma série de fatores culturais e legados mítico-religiosos, contemporâneos e arcaicos, que, submersos em sua simbologia religiosa, podem ser entrevistos pelos ícones de suas representações
This work intends to be a contribution for Brazilian afro descendent sacred arts studies, an area which is not much explored yet. I intend to deepen in the subtle and complex world in which the Umbanda Exus and Pombajiras religious sculptures are inserted. All the route covered by those images that represent those entities is surrounded by a immaterial halfpart linked to its religious mythical environment and affection in an undividable way. Usually generated by a conjunction between the oniric and the invisible, Exus and Pombajiras images gain their morphology due to a creative collective process and, when realized in material world, they play their primordial sacred function at homes and terreiros (Umbanda religious temples). Devilishment process, a visual fact that is identified in sculpture representations of those entities, hides symbolic content which goes beyond the ordinary association between Exu and devil. These Umbanda cult characters and its imagetical representations are connected to several cultural factors and contemporaneous, archaic and mythical religious legacy, which can be perceived on the icons that represent them, when submerged in its religious symbolism
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Veiga, Alfredo Cesar da. "Teologia da Libertação: nascimento, expansão, recuo e sobrevivência da imagem do excluído dos anos 1970 à época atual." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03022010-121123/.
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Destaca a reconstituição histórica e estética do processo da arte político-religiosa no Brasil de 1970 aos dias atuais. O período marca o nascimento, expansão, recuo e sobrevivência da Teologia da Libertação, e junto com o discurso que brota dessa reflexão, nasceu uma produção iconográfica própria e que escapa daqueles modelos consagrados pela teologia tradicional. O negro, o índio, o retirante nordestino, a mulher marginalizada, emprestam seus rostos à Virgem Maria e a Jesus Cristo, a fim de reafirmar o nascimento de um homem novo que surge dos escombros da colonização e da dependência política e econômica que marcaram a América Latina. As figuras, os desenhos, os cartazes, as expressões corporais, se transformaram em documentos que essa teologia produziu ao longo das décadas e que aqui serão abordados. De fato, o que nos interessa de perto, não é privilegiar questões de estilo, mas compreender, através de dados iconográficos, a latência de uma teologia exuberante e eficaz em sua intenção de se tornar a voz do pobre e marginalizado. A hipótese da pesquisa se constitui no problema referente ao processo de sacralização de iconografias, personagens profanos sob a égide da Teologia da Libertação no decorrer desse período no Brasil. A originalidade está em mostrar como esse ideário tomou forma através de representações pictóricas que facilitavam a sua compreensão e aceitação por parte do povo, especialmente o morador da periferia das grandes cidades ou do campo. Nesses lugares, graças a essa estratégia, conjugada a outras, como canções, danças e novos rituais, a Teologia da Libertação teve grande aceitação e força, semeando, através das CEBs (Comunidades Eclesiais de Base), a proposta da criação de uma nova sociedade, baseada em relações mais justas e fraternas, superando a exploração e a opressão dos poderosos a serviço do sistema capitalista. No entanto, a partir do final dos anos 1980, o rosto do sagrado estampado no rosto do pobre começa a esmaecer, sinal de um retorno conservador na Igreja. Apesar disso, esse rosto resiste e atravessa os tempos revelando a sobrevivência de um nicho mais que sagrado no profano.It focuses the historical and aesthetical process of the politic-religious art in Brazil from 1970 to present time, a period which gives birth and at the same time, a kind of disaggregation to an iconographic model that sets apart the traditional ones, consecrated by the church. Black people, Indians, migrants living in poor areas, marginalized women, offer their faces to Virgin Mary and Jesus Christ with the proposal of reaffirming the birth of a new man that revives from the ashes of colonization ruins and also from the politic and economic dependence which was imprinted in Latin America. Pictures, drawings, posters, body language, become themselves, documents that Liberation Theology produced during these decades and will be studied in this research. As a matter of fact, what is mostly important to us to comprehend is not style matters but, above all, through iconographic issues, the latency of an exuberant and effective Theology in its intention to become the voice of the poor and the marginalized. The main hypothesis of this research constitutes in seeing the sacralization process on profane personages according to the Liberation Theology vision. The originality of this research is to show how an ideal took shape through pictorial representations that facilitate its comprehension and acceptation from poor people, especially those who live at the margins of the big cities. In those places, thanks to this strategy, but also with songs, dances and new rituals, Liberation Theology had large acceptation and gained strength, spreading its seeds through the Cebs (Base Communities), and with them, cherished the possibility of creating a new society based on fraternal and fair relations, overcoming exploration and oppression that come from powerful people who serve the capitalist system. However, from the end of the 1980s, the face of the sacred in the face of the poor starts fading as a sign of a conservative return inside the Catholic Church. In spite of this, that face endures and go across the times revealing the survival of a niche more than sacred in the profane.
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Elmer, Simon James. "The colour of the sacred : Georges Bataille and the image of sacrifice." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271119.
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Each of us has his own meditative practices, his own path to what Bataille called 'inner experience'; but among them the most widespread, the most well-trodden, are the comedies we construct to reach erotic effusion. Subject as these are to interdictions in a more or less direct correspondence to their proximity to the heart of our being, the conjuring up of the god of eroticism constitutes our fundamental, and perhaps our only remaining religious activity. The image of this god, to whom we sacrifice ourselves in the expenditure of the petite mort, is our earliest intimation of that unreality onto which death (that absolute expenditure) opens. Man is never so alone as when he comes: when the universe, under a terrible muscular contraction, shrinks to the borders of his own body, from whose limits, at the sovereign moment, he dissolves into ecstasy ... at which point he loses himself - is lost in his orgasm. This point of ecstasy marks the limit of human experience: when consciousness, no longer able to distinguish itself from the universe that bore it, is lost in the night. It is the dreadful plenitude of this moment that tears itself away from and confounds the unfathomable movements of the heart we call love, which never fails to take almost all our breath away, but in whose violent consummation, it need hardly be added, resides our only hope of communication.
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Miller, Brett A. "The sacred art of verbal self-defense : image restoration discourse in christian rhetoric /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962548.
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Kadi, Bouchakour Sadek. "L’image et le rôle de Zahra dans La Nuit sacrée de Tahar Ben Jelloun : The image and the role of Zahra in Tahar Ben Jelloun’s The Sacred Night." Thesis, Högskolan Dalarna, Franska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25279.
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Ce travail vise initialement le rôle et l’image de Zahra/Ahmed qui représente la femme marocaine bucolique dans le roman La Nuit sacrée de Tahar Ben Jelloun qui lutte pour chercher son identité féminine perdue. Pour cela, nous avons utilisé au début de notre analyse le schéma de Greimas car il nous a aidé à montrer le rôle de Zahra/Ahmed dans le récit. Nous avons également approfondi notre travail en analysant l’environnement familial de Zahra et ses relations, la libération du corps, l’aspect religieux, l’obéissance dans le but de confirmer la tragédie de Zahra qui reflète la femme rurale au Maroc. Enfin, notre travail s’est achevé avec une étude sur le statut de la femme dans la société traditionnelle, à travers le personnage principal du récit, dans les sociétés traditionnelles patriarcales dans lesquelles l’homme instaure son pouvoir sur la femme.This work initially aims at the role and image of Zahra / Ahmed, who represents the bucolic Moroccan woman in the novel The Sacred Night by Tahar Ben Jelloun who struggles to find her lost female identity. For this, we used Greimas’s scheme at the beginning of our analysis because it helped us to show the role and the dramatic situation of Zahra / Ahmed in the story. We also deepened our work by analysing the family environment of Zahra and its relations, the liberation of the body, the religious aspect, obedience in order to confirm the tragedy of rural women in Morocco. Finally, our work ends with a study of the status of women in a traditional society in which man establishes his power over woman.
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Rénéric-Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30016/document.
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L’Art a toujours consacré une grande part à l’image du féminin. Que cela soit dans l’iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d’ambivalence. La femme et l’image ont en commun de susciter méfiance et fascination. C’est au travers de l’étude approfondie de quelques figures clefs de l’histoire de l’art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l’art actuel. Tantôt dans la foi de l’image, tantôt dans sa condamnation, ainsi se résume l’insoluble combat entre l’humain et le divin. La Femme restera à jamais l’élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d’étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l’œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c’est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d’un idéal sans original. Enfin, nous revenons sur l’art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d’un sacré hors religion. Elles offrent un devenir-pandorien de l’art pour briser à jamais le désormais trop célèbre : « Sois belle et tais toi! »A large percentage of art has always been devoted to the images of the feminine. In Greco-Roman as well as in Judeo-Christian iconography, these multiple representations are synonymous with confusion and ambivalence. The common link between woman and her image is the ability to arouse distrust and fascination. By means of an in-depth study of some key figures from the history of art, we hereby put forward a post-feminist review of the diverse facets of the feminine, viewed under the sacred/secular dyad. Myths and faiths gave rise to a pagan-Christian hybrid, bringing forth a constant “Eternal Feminine” that is still firmly rooted in contemporary art. It is sometimes the faith of the image, sometimes its condemnation, that encapsulates the unresolvable fight between the human and the divine. Woman will remain forever the obscure element that is associated with appearance and beauty. In the course of our research, we ascertained that woman and painting are in perfect harmony; they are inseparable because iconoclasm and misogyny often go hand in hand. Step by step, the body will replaces the canvas and the make-up, the painting of transgender artists. In queer parodies between exhibition and shamanism, they reinvent their transformation into the feminine. The surface of the work becomes a mirror that reflects this Other, the alter ego, so longed for. Feminist thinking is set in motion through the revolutions of genders. Artists of the 20th and 21st centuries offer us a vision of an ideal without an original, a new Pygmalion or Narcissus, somewhere between masquerade and melancholy. Finally, we return to the art of the women. Divided between violence, humour and charis, their methods are often borderline, in their quest for the sacred that is beyond religion. They offer to evolve into “pandorien” art to shatter for ever the henceforth overly famous idea: «be beautiful and remain silent! »
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Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.
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Raymond, Holly A. "Cultic Niches in the Nabataean Landscape: A Study in the Orientation, Facade Ornamentation, Sanctuary Organization, and Function of Nabataean Cultic Niches." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2334.pdf.
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Kotkavaara, Kari. "Progeny of the icon : emigre Russian revivalism and the vicissitudes of the Eastern Orthodox sacred image /." Åbo : Åbo akademic Förlag, 1999. http://catalogue.bnf.fr/ark:/12148/cb391514005.
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Rischpler, Susanne. "Biblia sacra figuris expressa : mnemotechnische Bilderbibeln des 15. Jahrhunderts /." Wiesbaden : L. Reichert, 2001. http://catalogue.bnf.fr/ark:/12148/cb391911783.
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Giannini, Claudia Teresa. "Cultivating hallowed ground the use of garden imagery as a contemporary symbol of the sacred /." Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=567.
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Thesis (M.F.A.)--West Virginia University, 1999.Title from document title page. Document formatted into pages; contains iv, 22 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 15).
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Araújo, Júnior Iron Mendes de. "O papel das imagens sacras na religiosidade: análise das obras do Museu de Arte Sacra de Pernambuco e igrejas do sítio histórico de Olinda." Universidade Católica de Pernambuco, 2016. http://tede2.unicap.br:8080/handle/tede/396.
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Previous issue date: 2016-11-11This paper analyzes the importance of some sacred sculptures, belonging to the Sacred Art Museum of Pernambuco - MASPE as well as some parts of Olinda's historical site Churches, as objects that shelter in their relevant elements symbols for the historical understanding of religious formation and Brazilian culture. Therefore, we reassemble the formation of Brazilian Catholicism that makes up part of the national culture through historical research. To contextualize the historical component resort to authors who reflect on the formation of Catholicism and, consequently, the Church in Brazil, because to understand the sculptures had to first understand the historical process where they were built. After the historical reconstruction, we analyze the elements, cultural - symbolic, which summarized the socio-cultural and devotional extracts resplendent in pieces, trying to thus demonstrate the importance of this heritage, which make up part of Brazilian cultural identity.
Este trabalho analisa a importância de algumas esculturas sacras, pertencentes ao Museu de Arte Sacra de Pernambuco MASPE, bem como algumas peças de Igrejas do sítio histórico de Olinda, como objetos que resguardam em seus símbolos elementos de relevância para a compreensão histórica da formação religiosa e cultural brasileira. Para tanto, remontamos a formação do catolicismo brasileiro que compõe parte da cultura nacional, através da investigação histórica. Para contextualizarmos o componente histórico recorremos a autores que refletem, sobre a formação do catolicismo e, consequentemente, da Igreja no Brasil, pois para compreendermos as esculturas tivemos que primeiro entender o processo histórico onde as mesmas foram construídas. Após a reconstrução histórica, buscamos analisar os elementos, culturais simbólicos, que sintetizaram os extratos socioculturais e devocionais resplandecente nas peças, tentando, assim, demonstrar a importância desse patrimônio histórico, que compõem parte da identidade cultural brasileira.
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Júnior, Iron Mendes de Araújo. "O papel das imagens sacras na religiosidade: análise das obras do Museu de Arte Sacra de Pernambuco e igrejas do sítio histórico de Olinda." Universidade Católica de Pernambuco, 2016. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1244.
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Este trabalho analisa a importância de algumas esculturas sacras, pertencentes ao Museu de Arte Sacra de Pernambuco MASPE, bem como algumas peças de Igrejas do sítio histórico de Olinda, como objetos que resguardam em seus símbolos elementos de relevância para a compreensão histórica da formação religiosa e cultural brasileira. Para tanto, remontamos a formação do catolicismo brasileiro que compõe parte da cultura nacional, através da investigação histórica. Para contextualizarmos o componente histórico recorremos a autores que refletem, sobre a formação do catolicismo e, consequentemente, da Igreja no Brasil, pois para compreendermos as esculturas tivemos que primeiro entender o processo histórico onde as mesmas foram construídas. Após a reconstrução histórica, buscamos analisar os elementos, culturais simbólicos, que sintetizaram os extratos socioculturais e devocionais resplandecente nas peças, tentando, assim, demonstrar a importância desse patrimônio histórico, que compõem parte da identidade cultural brasileira.This paper analyzes the importance of some sacred sculptures, belonging to the Sacred Art Museum of Pernambuco - MASPE as well as some parts of Olinda's historical site Churches, as objects that shelter in their relevant elements symbols for the historical understanding of religious formation and Brazilian culture. Therefore, we reassemble the formation of Brazilian Catholicism that makes up part of the national culture through historical research. To contextualize the historical component resort to authors who reflect on the formation of Catholicism and, consequently, the Church in Brazil, because to understand the sculptures had to first understand the historical process where they were built. After the historical reconstruction, we analyze the elements, cultural - symbolic, which summarized the socio-cultural and devotional extracts resplendent in pieces, trying to thus demonstrate the importance of this heritage, which make up part of Brazilian cultural identity.
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Barral, Jacqueline. "Image sacrée, le retable reprise en compte et réutilisation personnelle." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375957335.
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Sulzbach-Beyerling, Carla. "From here to eternity and back: locating sacred spaces and temple imagery in the Book of Daniel." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86680.
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This dissertation offers a reading of sacred spaces and temple imagery in the Book of Daniel using critical spatial theory. It is argued that the idea of sacred space is, in fact, one of the main concerns in Daniel and forms a running theme within the narrative. Because the allusions are often vague and buried deep within the individual stories a methodology has been chosen that foregrounds the notion of the spatial. Unlike other methodologies used to define sacred space, this approach is pre-eminently equipped to perform a depth analysis of the text. Although some elements from older models are incorporated, these have been reformulated and reconfigured into a new context, which goes beyond the traditional binary model that sharply and uncompromisingly juxtaposes the sacred and the profane. Critical spatial theory adds to the traditional historical and societal vantage points the spatial view, creating a trialectic which, rather than ending up with mutually exclusive opposites, results in an integrated system able to expose the sub-narrative underlying the actual text. Thus, the concepts of 'exile', 'kingdom', and 'dreamscape' that are usually understood in a more temporal and abstract sense are now studied as primarily spatial phenomena and brought into each other's orbit. Therefore, by adding the spatial component, new insights will be gained that show how the narrative past and future bear on what are the true present concerns 'on the ground' for those who produced the text. Furthermore, it correlates the concrete and abstract realms that are described in the text and it exposes the various power relations they contain. The notion that space is socially produced, and consequently defined through the ways it is acted upon, thought about, and moved in, is one of the key concepts of critical spatial theory.The point of departure for the argumentation in this study is the consensus view that although the finished text is a product of the mid-second century BCE, especially the court tales contain older materials that may go back to the late Persian or early Hellenistic Period. The proposed spatial analysis will be applied on three levels. The first is the world that forms Daniel's narrative frame, i.e., that of the Exile, because this was obviously meaningful to the editors. In doing so, full notice will be taken of the ancient Near Eastern realia that made up the world that is described. This is followed by the implied world of the Hellenistic era especially in Judea, which directly concerned the editors of the text. This, then, brings us to the world that remains wholly within the narrative, namely the alternate realities of the heavenly realm and dream worlds, which contain the hopes and ideals of those responsible for the text. In conclusion it will be assessed what effect these three worlds have on each other and how this relationship may contribute, in the minds of the Daniel group, to producing a fully restored world in which the human and divine both have their fixed places and space.
Cette dissertation offre une interprétation de l'espace sacré et les images du temple dans le Livre de Daniel, en utilisant la théorie critique d'espace. C'est affirmé que l'idée de l'espace sacré est une des préoccupations centrales de Daniel, un thème qui existe à travers la narration. Puisque les allusions sont souvent imprécises et sont bien cachées dans les histoires individuelles, une méthode a été choisie qui souligne l'idée de l'espace. Contrairement aux autres méthodes utilisées pour définir l'espace sacré, cette approche est particulièrement bien equipée pour une analyse dans les moindres détails du texte. Bien que quelques éléments sont incorporés des modèles plus anciens, ils ont été reformulés et reconfigurés dans un contexte nouveau, qui transcend le modèle traditionnel binaire dans lequel le sacré et le profane sont juxtaposés nettement puis d'une manière intransigeante. La théorie critique d'espace rajoute un point de vue spatial aux points de vue historiques et sociétaux traditionnels, créant une trialectique qui, au lieu de finir par les contraires qui s'excluent mutuellement, a pour resultat un système intègre, capable de révéler la sous-narration à la base du texte. Ainsi, les concepts d' « exil, » de « royaume, » et de « scène a l'intérieur du rêve »—normalement compris dans un sens plus temporel et abstrait—sont ici compris essentiellement comme phénomènes spatiaux et se sont rapprochés. Donc, l'ajout de l'élément spatial amène un regard neuf, où le passé et le futur narratif atteignent les vrais soucis présents pour ceux qui ont produit le texte. De plus, il fait une corrélation entre les champs concrets et abstraits décrits dans le texte, en exposant leurs dynamiques de pouvoir. La notion que l'espace se construit socialement—et donc est défini par les manières par lesquelles il est influencé, considéré, et utilisé—est un des concepts clés de la théorie critique
Le point de départ de l'argumentation de cette étude est l'accord général que même si le texte final est un produit du milieu du deuxième siècle avant JC, les récits de la cour contiennent des données plus anciennes qui pourraient dater de l'époche Perse ou bien de la première époche hellénistique. L'analyse spatiale proposée va être appliquée à trois niveaux. Le premier, c'est le monde qui comprend la structure de la narration de Daniel, i.e., celle de l'exil, car c'était évidemment significatif aux rédacteurs. De cette façon, l'attention sera faite aux artéfacts Proche-Orientaux Anciens qui formaient le monde décrit. Ceci est suivi par le monde implicite de l'époche hellénistique, surtout en Judée, question des rédacteurs du texte. Ensuite, nous sommes rendus au monde qui reste entièrement dans le récit, c'est à dire les réalités alternatives du royaume des cieux et le monde des rêves, qui contiennent les espoirs et les idéaux de ceux qui étaient derrière le texte. En conclusion, nous allons évaluer quel est l'effet de ces trois mondes les uns sur les autres, et comment cela pourra concourir à—dans les têtes du groupe Daniel—produire un monde complètement régénéré, dans lequel l'humain et le divin ont, tous les deux, leurs espaces fixes.
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Quites, Maria Regina Emery. "Imagem de vestir : revisão de conceitos atraves de estudo comparativo entre as Ordens Terceiras Franciscanas no Brasil." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280544.
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Orientador: Luciano MigliaccioTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa enfoca principalmente o estudo das imagens de vestir, dentro do contexto das Ordens Terceiras Franciscanas no Brasil, fazendo um estudo comparativo entre as ordens litorâneas (Salvador, Recife, Rio de Janeiro e São Paulo) e as ordens em Minas Gerais (Ouro Preto, Mariana, São João DeI-Rei e Diamantina). Analisam-se os aspectos históricos, iconográficos, técnicos, entre outTOS, que envolvem as imagens e suas práticas devocionais, cotejando com a documentação primária e secundária das respectivas ordens. É importante enfatizar uma revisão dos conceitos sobre esta relegada categoria escultórica, bem como, o resgate e preservação deste grande acervo, demonstrando a existência de diferenças regionais e sua relevância para a história da arte. Estas imagens são uma particular interpretação da escultura devocional e, principalmente, un1a importante manifestação da cultura brasileira, que deve ser valorizada e preservada
Abstract: The research focuses mainly on the study of the "de vestir" or "to be dressed" images within the context ofthe Third Order Franciscans i11 Brazil, making a comparative study among the coastal orders or fellowships (Salvador, Recife, Rio de Janeiro and São Paulo) and the ones in Minas Gerais (Ouro Preto, Mariana, São João deI-Rei andDiamantina). The historical, iconographical, and technical aspects, among others that involve the images and their devotionals practices, are analyzed in comparison with the primary and secondary documentation ofthe respective orders. It is important to emphasize the need for a revision ofthe concepts ofthis less well known sculptural category, as well as, the rescue and preservation of this important collection, demonstrating the existence of regional differences and their relevance for art history. These images are a particular interpretation of devotional sculpture and, mainly, an important manifestation ofBrazilian culture that should be valued and preserved.
Doutorado
Politica, Memoria e Cidade
Doutor em História
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Dawson, Paula Heatley Art College of Fine Arts UNSW. "The Concrete Holographic Image: an Examination of Spatial and Temporal Properties and their Application in a Religious Art Work." Awarded by:University of New South Wales. School of Art, 2000. http://handle.unsw.edu.au/1959.4/18201.
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The premise of this thesis is that the ???concrete holographic image???, a laser transmission hologram which has an object or a hologram of an object as its subject, has unique spatial and temporal properties which can suggest a plurality of tenses to a viewer. There is a lack of comprehensive analysis of the holographic representational system within art related theoretical and critical writing and a tendency to analyse individual works only in terms of generalities which apply to the concepts surrounding the holographic medium. While these form an important background for art image production, in some cases corresponding to artists works, the existing written material on the subject is inadequate as a model from which to draw the all important temporal conclusions. To date the critical reception of holograms has made no mention of acuity, the size of the viewing frustum, the depth of the image and scant mention of interference phenomena which are the intrinsic factors which I believe precipitate temporal illusions. Therefore this thesis examines the concrete holographic image in great detail on its own terms, firstly through theories of the basic image forming phenomena of interference and diffraction and secondly through the techniques of production as they have been adapted for the making of my art works. The extent of the metaphorical and allegorical potential of the spatial and temporal properties of the concrete holographic image are put to the ultimate test in a commission for St Brigid???s Church, Coogee. The Shrine of the Sacred Heart commission for St Brigid???s requires a concrete holographic image to facilitate devotion to the Sacred Heart. The Sacred Heart is not a physical thing but a complex, evolving spiritual entity with a realist pictorial history.
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Grant, John Ward. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.
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Araújo, Marlson Assis de. "Imagens profanas na sagrada mídia? Imagens sagradas na mídia profana? algumas reflexões a respeito da televisão católica no Brasil." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4400.
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Previous issue date: 2012-06-01Conselho Nacional de Desenvolvimento Científico e Tecnológico
and Theology, this paper entitled Profane images in sacred media? Sacred images in profane media? Reflections on Catholic Television in Brazil approaches the four main Catholic television channels in Brazil: Rede Vida, Canção Nova, Século 21 and Aparecida. The research goes deep into the ambivalence of sacredness within the communication process between people and gods, as well as the path formed between Eletronic Church and mediatized sacredness. We shall systematize the history of these television channels, identify the mediatic environments which they manage, organize their Ecclesiastic typology, and focus on the religious quarrels surrounding the images and the significant moments of the institution in its relations with the media. This research tackles the consequent relation between media and religion, parting from the four analyzed television stations; the central issue being: which are the semiotic interferences and contaminations between the sacred and the media, both of which are very powerful fields? And what sort of medium is emerging from this devouring of the sacred, which is being transmitted by it? The research works with the concepts of sacred, profane, second reality, secularization, electronic church, mediatization, Church models, media environments, images, iconophagy, and scale of abstraction. Critical reference is supported by authors of the fields of Religious Studies (Rudolf Otto, Mircea Eliade, Émile Durkheim, Giorgio Agamben, Olivier Bobineau, Tank-Storper, Pierre Bourdieu, Peter Berger, Hervieu-Léger, Brenda Carranza) and mostly from Culture and Media Semiotics (Ivan Bystrina, Harry Pross, Vilém Flusser, Dietmar Kamper, Hans Belting, Christoph Wulf, Günter Anders, Aby Warburg, Edgar Morin, Norval Baitello, Alberto Klein, Muniz Sodré, Fausto Neto, Pedro Gomes, Joana Puntel) and Theology (Hugo Assmann, Libanio, Antônio de Almeida, John Fuellenbach, Leonardo Boff). The novelty of this research lies on two aspects: (1) interdisciplinary studies, since the fields of communications and religion require different, multiple, and complementary epistemological viewpoints; (2) reflections on Catholic Television in the perspective of culture semiotics and media and image semiotics in its analysis of the challenges the Churches and religions are required to face due to their mediatic urges. The alliance of media and religion is not immune to consequences
Teologia, este trabalho intitulado Imagens profanas na sagrada mídia? Imagens sagradas na mídia profana? Algumas reflexões a respeito da Televisão Católica no Brasil , aborda as quatro principais tevês católicas do Brasil: Rede Vida, Canção Nova, Século 21 e Aparecida. A pesquisa aprofunda a ambivalência do sagrado na comunicação entre homens e deuses e a passagem que se processa da Igreja Eletrônica para a midiatização do sagrado, sistematizando o percurso histórico destas tevês, identificando os ambientes midiáticos que são gestados por elas, organizando sua tipologia eclesial, constatando sua força e sua fraqueza no contexto da cultura midiática. Objetiva, também, apresentar o percurso histórico da Igreja Católica na sua prática de reprodução simbólica, enfocando as querelas religiosas em torno das imagens e os momentos significativos da instituição na sua relação com a mídia. O cerne da pesquisa gira em torno da relação consequente entre mídia e religião, partindo das quatro tevês escolhidas, com a questão central: quais as interferências e contaminações semióticas entre estes dois campos poderosos, o campo do sagrado e o campo da mídia? Que religião (que Igreja Católica) está surgindo da mídia com a devoração que ela faz das imagens televisivas, e que mídia está emergindo a partir da devoração do sagrado veiculado por ela? A pesquisa trabalha com os conceitos de: sagrado, profano, segunda realidade, secularização, igreja eletrônica, midiatização, modelos de Igreja, ambientes midiáticos, imagem, iconofagia, escalada da abstração. O referencial crítico se apoia em autores das Ciências da Religião (Rudolf Otto, Mircea Eliade, Émile Durkheim, Giorgio Agamben, Olivier Bobineau, Tank- Storper, Pierre Bourdieu, Peter Berger, Hervieu-Léger, Brenda Carranza), e, sobretudo, da Semiótica da Cultura e da Mídia (Ivan Bystrina, Harry Pross, Vilém Flusser, Dietmar Kamper, Hans Belting, Christoph Wulf, Günter Anders, Aby Warburg, Edgar Morin, Norval Baitello, Alberto Klein, Muniz Sodré, Fausto Neto, Pedro Gomes, Joana Puntel), e da Teologia (Hugo Assmann, Libanio, Antônio de Almeida, John Fuellenbach, Leonardo Boff). O ineditismo desta pesquisa contempla dois aspectos: (1º) estudo interdisciplinar, pois os campos da comunicação e da religião exigem olhares epistemológicos diferentes, múltiplos e complementares, (2º) Reflexão sobre a Televisão Católica na perspectiva da semiótica da cultura e da semiótica da mídia e da imagem, com a análise dos desafios que se impõem às Igrejas e religiões com suas fomes midiáticas. A aliança entre mídia e religião não é imune de consequências
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Callandre, Florence. "Koylou : représentation divine et architecture sacrée de l'hindouisme réunionnais." La Réunion, 1995. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/95_03_Callandre.pdf.
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Le mot créole "koylou" désigne ici les espaces sociaux des temples hindous de la Réunion dans toute leur diversité : "sapèl malbar, tanp tamoul, ashram, sapèl personèl" construits par des immigrants indiens, puis par des Réunionnais qui sont, quant au plus grand nombre, leurs descendants. L'étude montre comment la "créolisation" et la "tamoulisation", à l'oeuvre dans ces espaces sociaux complexes produisent un hindouisme spécifiquement réunionnais. Dans une première partie, se retrouvent autour des "koylou", les diverses associations qui les gèrent, les prêtres qui les desservent et les traditions écrites ou orales qui nourrissent l'éthos de leurs fidèles. La deuxieme partie est une description iconographique raisonnée de leurs panthéons. La troisième partie consacrée à l'architecture, raconte l'appropriation du territoire du "koylou", son enracinement aussi bien que ses avatars, et insiste sur la véritable métamorphose que constitue aujourd'hui l'effort de tamoulisation entrepris par quelques-uns, qui entraîne dans une dynamique de rénovation la plupart des autres. Cette étude s'appuie sur des données provenant, d'une part, d'un travail de terrain (les temoignages des informateurs en créole ou plus rarement en tamoul sont fidelement transcrits et traduits en français), dans la totalité de l'espace de l'ile ou sont construits les "koylou" et, d'autre part, de l'analyse de documents d'association, d'archives, et d'ouvrages traitant aussi bien de l'Inde que de la Réunion. Elle est illustrée avec des photographies et des dessins à l'encre, "d'images" des divinités, de "kolam", de végétaux, d'objets de culte, de plans des espaces sacrés. . .
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Argelich, María Antonia. "El Pintor cristiano y erudito de Juan Interián de Ayal: entre el moralismo post-tridentino y el racionalismo pre-ilustrado." Doctoral thesis, Universitat de Lleida, 2014. http://hdl.handle.net/10803/283810.
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'El Pintor Cristiano y Erudito' escrit pel teòleg Juan Interián de Ayala al 1730, és l'últim dels tractats espanyols dirigits a normativitzar la realització artística d'imatges sagrades. La seva tardana aparició, en relació a aquest tipus de textos sorgits com a conseqüència del Concili de Trento, ha estat la justificació de l'escàs interès pel seu estudi. Malgrat això, la vinculació de Interián al grup dels anomenats 'novatores' suggereix que els principals objectius del seu tractat podrien haver sobrepassat als del contrarreformisme barroc per incorporar d'altres, associats amb el pensament de la Il·lustració primerenca. La detallada comparació de les indicacions iconogràfiques de 'El Pintor Cristiano', amb les que en llur temps van proposar els tractats de Molanus, Paleotti, Carducho, Pacheco i Palomino, ha permès, en efecte, detectar peculiaritats iconogràfiques dirigides a la plena substitució d'aquella concepció simbòlica i devocional de la imatge barroca per una definitiva concepció historicista i erudita de la història sagrada.'El Pintor Cristiano y Erudito' escrito por el teólogo Juan Interián de Ayala en 1730, es el último de los tratados españoles dirigidos a normativizar la realización artística de imágenes sagradas. Su tardía aparición, en relación a este tipo de textos surgidos como consecuencia del Concilio de Trento, ha sido la justificación del escaso interés por su estudio. No obstante, la vinculación de Interián al grupo de los llamados 'novatores' sugiere que los principales objetivos de su tratado pueden haber sobrepasado a los del contrarreformismo barroco para incorporar otros, asociados con el pensamiento de la Ilustración temprana. La detallada comparación de las indicaciones iconográficas de 'El Pintor Cristiano' con las que en su tiempo propusieron los tratados de Molanus, Paleotti, Carducho, Pacheco y Palomino, ha permitido, en efecto, detectar peculiaridades iconográficas dirigidas a la plena sustitución de aquella concepción simbólica y devocional de la imagen barroca por una definitiva concepción historicista y erudita de la historia sagrada.
'El Pintor Cristiano y Erudito' written by theologian Juan Interián de Ayala in 1730, is the last of the Spanish treaties aimed at regulating artistic execution of sacred images. His late appearance in relation to such texts created as a consequence of the Council of Trent, has justificated a lack of interest in its study. However, the connection between Interián and the 'novatores' suggests that the main objectives of the treaty may have surpassed the ones of the baroque counter-reformism to embodied others, associated with the thoughts of the early Enlightenment. The detailed comparison of 'El Pintor Cristiano' iconographic indications with the proposals of Molanus, Paleotti, Carducho, Pacheco and Palomino, has allowed the detection of iconographic peculiarities for the replacement of the symbolic and devotional conception of baroque image by a definitive historicist and erudite conception of sacred history.
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Mendonça, Maria Luiza Vianna Pessoa de. "A história das religiões de Mircea Eliade: estatuto epistemológico, metodologia e categorias fundamentais." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/1847.
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No presente trabalho apresenta-se um estudo da História das Religiões de Mircea Eliade realizado sobre três aspectos desta obra: os aspectos epistemológico, metodológico e categorial. Na primeira parte do trabalho, postula-se que a História das Religiões eliadiana se trata de uma disciplina autônoma e integral, com objeto próprio de estudo – o fenômeno religioso considerado no seu plano específico de referência, o plano religioso – e com método próprio de trabalho – um método histórico-fenomenológicohermenêutico unitário –; que tal disciplina gira em torno de dois eixos – a fenomenologia da religião stricto sensu e a história das religiões; que, no seu todo, a História das Religiões eliadiana tem o estatuto de uma fenomenologia existencial da religião, situando-se no âmbito da Filosofia. Na segunda parte deste trabalho discorre-se sobre o método apenas implícito na obra eliadiana, o qual leva em conta o aspecto histórico do fenômeno religioso e o qual conjuga fenomenologia e hermenêutica, desenvolvendo-se em dois planos: o primeiro plano é o da análise fenomenológicodescritiva do fenômeno religioso realizada no campo da fenomenologia da religião stricto sensu, no qual o autor romeno conforma sua morfologia do sagrado; o segundo plano é o da análise hermenêutico-filosófica dos fenômenos religiosos históricos, no qual o citado autor procede à interpretação dos fenômenos religiosos historicamente acontecidos para a elaboração de sua história das religiões; Eliade utiliza ainda a análise hermenêutico-filosófica dos simbolismos religiosos para a realização de uma hermenêutica filosófica dos símbolos religiosos por meio da qual formula juízos normativos sobre a condição humana. Na terceira parte deste trabalho, realiza-se um estudo das principais categorias do pensamento eliadiano com ênfase para a hierofania, a dialética da hierofania, a dialética do sagrado e do profano, o sagrado, a religião, a experiência religiosa, o espaço sagrado, tempo e história, o homo religiosus, o homem ocidental moderno a-religioso, o arquétipo, o arquétipo da coincidentia oppositorum, imagens e símbolos, a a-historicidade da vida religiosa, o símbolo religioso, o simbolismo religioso, o mito, o rito, a camuflagem e a ocultação do sagrado no profano, a irreconhecibilidade do sagrado na História (ou a irreconhecibilidade do milagre) e o sagrado no mundo ocidental secularizado.
In this thesis a study of Mircea Eliade’s History of Religions is presented carried through on three different approaches: the epistemological approach, the methodological approach and the categorical approach. In the first Chapter of this thesis, it is claimed that Eliade’s History of Religions constitutes an autonomous and integral discipline, with proper object of study – the religious phenomenon in its specific plan of reference, the religious plan - and with proper method of work – a unitary historical-phenomenological-hermeneutic method -; that such discipline turns around two axles – the phenomenology of religion stricto sensu and the history of religions -; that, in its all, the eliadian History of Religions has the statute of an existential phenomenology of religion placing itself in the branch of Philosophy. In the second Chapter of this thesis, it is discoursed on the only implicit method in the eliadian workmanship, which takes in account the historical aspect of the religious phenomenon and which conjugates phenomenology and hermeneutics, developing itself in two plans: the first plan is that of the phenomenological-descriptive analysis of the religious phenomenon carried through on the field of the phenomenology of religion stricto sensu, in which the Rumanian author conforms his morphology of the Sacred; the second plan is that of the hermeneutic-philosophical analysis of the historical religious phenomena in which the cited author proceeds to the interpretation of the religious phenomena historically happened for the elaboration of his history of religions; Eliade also use the hermeneutic-philosophical analysis of the religious symbolisms for the accomplishment of a philosophical hermeneutics of the religious symbols by means of which he formulates normative judgments on the human being condition. In the third Chapter of this work, a study of the main categories of the eliadian thought is developed with emphasis for the hierophany, the dialectic of the hierophany, the dialectic of the Sacred and the Profane, the Sacred, the religion, the religious experience, the sacred space, time and history, homo religiosus, the modern Occidental man of the secularized societies, the archetype, the archetype of coincidentia oppositorum, images and symbols, the non-historicity of the of religious life, the religious symbol, the religious symbolism, the Myth, the Rite, the Camouflage and the Occultation of the Sacred in the Profane, the unrecognizableness of the Sacred in History (or the unrecognizableness of miracle), and the Sacred in the modern secularized Occidental world.
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Porczyk, Anna Malgorzata. "Erri De Luca e la Bibbia : un autore formatosi sulle sacre scritture." Thesis, Dijon, 2016. http://www.theses.fr/2016DIJOL004.
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Cette étude vise à fournir une vision de la poétique de l'auteur contemporain Erri De Luca, à travers l'étude des éléments et des motifs empruntés aux Écritures particulièrement prégnants dans son œuvre. De tels éléments, renvoyant aux sources bibliques, fournissent une clef pour la lecture et pour l'interprétation de l'œuvre deluchienne dans sa complexité. L'insertion de l'imagery biblico-littéraire, chargée d'éléments qui depuis des siècles sont ancrés dans l'imaginaire collectif confère une unité à l'écriture de cet auteur, en dépit de sa variété. Le terme imagery est utilisé pour exprimer un ensemble d'images auxquelles appartiennent les symboles, les métaphores, les comparaisons, les thèmes, les conventions, ainsi que les archétypes, appartenant aux Saintes Écritures. La poétique de De Luca est analysée ici au moyen de l'identification des images qui constituent les principaux éléments de la narration des auteurs de la Bible, comme de l'auteur napolitain.En prenant comme objectif l'étude de l’œuvre deluchienne du point de vue de l'imagery des Saintes Écritures, ce travail se divise en quatre parties. La première partie vise à fournir un cadre général des échos bibliques dans la littérature italienne contemporaine, en proposant une brève description des thèmes et motifs qui ont inspiré, et continuent d'inspirer, les romanciers et poètes italiens. En outre, dans cette partie nous traitons les principales tendances que l'on peut dégager dans les différents écrits littéraires d'inspiration biblique, en nous appuyant sur quelques exemples. Ainsi, il est possible de déterminer la place qu'occupe la poétique de De Luca dans le contexte de la littérature italienne du XXième siècle, où la présence de la Bible est considérable. L'auteur napolitain, bien que dépourvu de sentiments religieux, non seulement comprend les Saintes Écritures à travers leur sens métaphorique, mais en fait également la matrice conceptuelle de ses propres œuvres littéraires, en créant un univers biblico-littéraire cohérent et entièrement personnel.Dans le deuxième chapitre, nous parcourons brièvement la biographie de De Luca, et en particulier certains aspects de sa vie personnelle en référence à ses œuvres. De telles références, récurrentes dans l'écriture deluchienne, forment un des deux macrotextes où l'écrivain puise pour créer sa propre poétique, celui de la vie. Dans cette partie, nous évoquons les concepts et les mots-clés forgés par De Luca lui-même, à travers le prisme desquels il semble souhaiter être lu et interprété. Le premier de ces concepts est la nostalgie des racines, idée à laquelle se rattachent les réflexions sur l'autre possibilité, ainsi que sur l'extranéité au monde. Il découle de cette analyse une description du militantisme politique de l'auteur. Enfin, on abordera l'expression utilisée par l'auteur pour définir son rapport avec la religion, à savoir sa condition de non-croyant. Dans la troisième partie, nous décrivons l'évolution de l'intérêt de De Luca pour la littérature, la traduction et l'interprétation des Saintes Écritures. Nous commençons par évoquer sa passion pour la culture et pour l'histoire juive, indissociable de l'étude de la langue de l'Ancien Testament, cette dernière ayant été apprise en vue de lire le texte biblique dans sa forme originaire. Cela a ensuite mené l'auteur vers un approfondissement des pratiques cabalistiques qui, à leur tour, lui ont permis de se lancer dans l'exégèse biblique. Ensuite, nous passons à une brève description des traductions deluchienne de certains livres de la Bible dans lesquelles l'auteur tente de restituer le plus fidèlement possible la forme originaire, en utilisant la langue italienne comme un simple moyen de faire entrevoir l'original. C'est pour cette raison que les traductions sont abordées dans cette analyse comme étant des connecteurs, ainsi qu'un moyen pour arriver du texte d'origine vers l'écriture, plus dans le sens conceptuel que séquentielThe aim of the dissertation is to analyze the prose of the modern Italian writer Erri De Luca through the lens of biblical motifs and references, which bind his works together. Such references to biblical sources are the key to understanding and interpreting the author's writings, which, despite their multifaceted character, nonetheless remain grounded in biblical-literary imagery; one rich in references rooted in the human imagination since centuries past. The term imagery encompasses the entire set of biblical images including symbols, metaphors, comparisons, motifs, and archetypes. The analysis of De Luca's writings consists in foregrounding those images which constitute the fundamental elements of the narration both in the case of biblical authors, as in the case of the Neapolitan writer himself. The dissertation comprises four parts. Chapter One attempts to present the general framework of biblical references in modern Italian literature in the form of a short description of the themes and motifs taken up by Italian poets and prose writers alike. Furthermore, the chapter discusses and exemplifies the main tendencies in literary references to biblical imagery, which will then allow us to observe the ways in which De Luca's works partake in the larger body of 20th century Italian literature with visible biblical influences. Despite his declared lack of religious faith, the Neapolitan writer not only decodes the metaphorical sense of the Bible, but also adopts the Bible as the framework for his writings, thus creating a personal, unified, and unique biblical-literary universe. Chapter Two includes a short biographical note on the writer with a strong emphasis on those aspects of his life which are reflected in his writings. And because such references are numerous indeed, they comprise one of the two macrotexts that the writer refers to in his poetics, i.e. the life (vita) macrotext. This section also presents keywords introduced by De Luca himself. It can be assumed that the author wanted to point his readers and critics to a specific method of reading and interpreting his art. The first keyword of this kind refers to the concept of a longing for the return to the source, which is tied to reflections on the so-called other possibility (altra possibilità) and one's alienation from the exterior world. The later part of the chapter describes the author's political engagement and reflects on the meaning that De Luca ascribes to the word non-believer (non-credente), which the author uses to describe his personal approach to religion. Chapter Three describes the author's interest in reading, translating, and interpreting the Bible, starting with his interest for Jewish history and culture, the roots of which may be traced back to De Luca's study of the Hebrew language. The author undertook the study in order to be able to read biblical texts in their original language, which, in turn, has led him to acquaint himself with Cabalistic practices, enabling him to employ his own biblical exegesis. The chapter then provides an overview of De Luca's own translations of selected biblical texts, a distinguishing feature of which is the author's attempt to remain as faithful as possible to the original text. In this regard, De Luca treats the Italian language as a mere tool and does not consider the process of translation to be an end in and of itself. For this reason, the dissertation treats his translations as a “connector” of sorts, as well as a stepping stone in the journey from the source text to writing itself – more so in a conceptual sense than a temporal sense. The further part of the chapter will consist of an analysis of those of De Luca's works which could be described as “rewriting” biblical tales (riscritture), a process which is not only considered to be a distinct kind of translation, but even the next stage in the work of the translator
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Chevrier, Stéphane. "La belle image des sapeurs-pompiers français : pragmatique de l'émotion et du sacré." Rennes 2, 2004. http://www.theses.fr/2004REN20049.
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Les Français entretiennent une véritable " histoire d'amour " avec les sapeurs-pompiers. Mais à quoi tient cet " amour " entretenu depuis plus d'un siècle ; sur quoi repose cette " belle image " ? C'est à cette question simple que nous avons cherché à répondre en mobilisant les apports d'une sociologie pragmatique. Les sapeurs-pompiers ne présentent pas un seul visage, mais une image à plusieurs facettes (" figures "). Ils se laissent découvrir sous les traits du " technicien du risque ", du " soldat du feu " et du " pompier de Sainte-Barbe ". Nous formulons l'hypothèse que cet " amour ", cette " belle image " reposent sur la capacité des sapeurs-pompiers à susciter, à contrôler et à mettre en forme l'émotion éprouvée par les " profanes " (personnes étrangères à la profession) lors d'un sinistre ou lors d'une manifestation à caractère public. Si le " point de vue " (regard et jugement) des " profanes " évoluent aux cours des deux derniers siècles, à mesure qu'émergent ces différentes " figures ", les sapeurs-pompiers ont su inventer de nouvelles formes d' " attachement " (liens matérialisés et affectifs) qui les lient aux " profanes "French people live a real " love story " with their fire-fighters. But what grounds this " love " that perdures for more than a century, on what is this " bright picture " based ? This is the simple question we tried to answer with the assets of a pragmatic sociology. Fire-fighters do not show a single face, but a composite picture of many " faces ". They are percieved as " risk technicians ", as " fire soldiers " and as " St Barbara fire-fighters ". We formulate the hypothesis that the " love ", this " bright picture " rely on the ability of fire-fighters to create, control and give form to the emotions experimented by " mundanes " (people foreign to the corporation) during an intervention or a public manifestation. If the " point of view " (onlloking and judgement) of the " mundanes " have evolved during the two last centuries, with the rise of these faces, fire-fighters were able to invent new means of " bonding " (affective and materialised bonds) who link them with the " mundanes "
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Barral, Jacqueline. "Image sacrée, le retable : reprise en compte et réutilisation personnelles : proposition plastique dans une représentation du corps imaginaire et proposition d'une redéfinition du statut de l'image sacrée." Paris 1, 1986. http://www.theses.fr/1986PA010692.
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La thèse se présente comme une proposition plastique dans une représentation du corps imaginaire, et comme une proposition d'une redéfinition du statut de l'image sacrée. La partie pratique est constituée par un retable pour l'église Saint-Assiscle de Perpignan. Elle est aussi le corpus de la thèse. Le rôle de l'image sacrée pour l'Eglise catholique contemporaine est étudié à travers les textes du concile de Vatican II. La réalisation plastique personnelle est confrontée à la position officielle de l'Eglise. La réflexion théorique, à l'appui du travail pictural et de son analyse plastique, tente une redéfinition du statut de l'image sacrée aujourd'hui en termes de finalité. "Servir la fin souveraine" est peut-être un enjeu encore possible, mais la tendance catholique actuelle semble demander à l'image d'être un support à la méditation plus qu'à la vénération.
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Salles, Alexandre Nascimento. "Pirapora do Bom Jesus: dicotomia de símbolos, o sagrado e o profano como elementos representativos da imagem da cidade." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-15032010-111643/.
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Propõe-se para o objeto de pesquisa, Pirapora do Bom Jesus, a análise da simbologia contida no sagrado e no profano, reconhecida através da leitura da cidade e de seus espaços, de suas características culturais e históricas.Tais elementos são configurados como formadores da imagem da cidade e de sua representação urbana.It is proposed for the object search, Pirapora do Bom Jesus, the analysis of symbology contained in the sacred and profane, recognized by reading the city and their spaces, their cultural and historical characteristics. Such informations are configured as elements of composition of the image of the city and its representation.
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Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00742988.
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L'Art a toujours consacré une grande part à l'image du féminin. Que cela soit dans l'iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d'ambivalence. La femme et l'image ont en commun de susciter méfiance et fascination. C'est au travers de l'étude approfondie de quelques figures clefs de l'histoire de l'art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l'art actuel. Tantôt dans la foi de l'image, tantôt dans sa condamnation, ainsi se résume l'insoluble combat entre l'humain et le divin. La Femme restera à jamais l'élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d'étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l'œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c'est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d'un idéal sans original. Enfin, nous revenons sur l'art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d'un sacré hors religion. Elles offrent un devenir-pandorien de l'art pour briser à jamais le désormais trop célèbre : " Sois belle et tais toi! "
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Rosa, Nicoll Siqueira da. "Representações e funcionalidades da escrita e da leitura nos afrescos de Pompeia (Séc. IV a.C. – séc. I d.C.)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/178168.
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Este trabalho investiga os afrescos da cidade de Pompeia, especificamente aqueles que representam a leitura e/ou a escrita e corpos leitores e/ou escritores. Foi realizado um estudo sobre a escrita e a leitura no mundo antigo, especialmente na Grécia e em Roma, e então a análise de dezoito afrescos com imagens relacionadas às atividades de escrita e leitura, objetivando o alargamento das discussões concernentes à história da escrita e da leitura no mundo antigo, bem como a um uso qualitativo das imagens como fontes históricas. À luz de teorias da história e da história da arte, constatou-se que, além de uma utilização puramente funcional, a escrita e a leitura exerceram sobre os pompeianos um poder de enobrecimento de suas figuras, além de possibilitarem o atingimento do sublime, através da literatura, e do sagrado, através dos textos e oráculos divinos.This research investigates the frescoes in the city of Pompeii, specifically those portraying reading and/or writing and reading and/or writing bodies. A study was done on the reading and writing in the ancient world, especially in Greece and Rome, and then an analysis was done on eighteen frescoes portraying images related to the activities of reading and writing, aiming to heighten discussions concerning the history of reading and writing in the ancient world, as well as qualitative use of images as historical sources. Under historical and art history theories, we have observed that, beyond a purely functional use, writing and reading brought upon the people of Pompeii an ennoblement of their figures, and enabled them to achieve sublimity, through literature, and sacredness, through divine texts and oracles.
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Santos, Elisa Duque Neves dos. "Manoel de Barros: peregrinação da poesia por um conhecimento natural." Niterói, 2017. https://app.uff.br/riuff/handle/1/3094.
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A poesia de Manoel de Barros peregrina pelos campos da palavra, da imagem, da memória e do Ser buscando um Conhecimento Natural, o qual ecoa na proposta de comunhão mística, que se dá na anulação das hierarquias entre os seres e seus modos de associação. Assim, propôs-se pensar nos procedimentos de comunhão, como a incorporação, a transubstanciação, a fusão e suas implicações na poesia de Manoel de Barros. Esta dissertação investiga, sobretudo, a sobrevivência de um vínculo de encantamento, que faz fronteira com o sagrado, em íntima troca com a natureza. O objetivo é perguntar se, por meio de um Conhecimento Natural determinado por uma lógica-eco, a poesia de Manoel de Barros tem uma proposta de religação de potência sagrada do homem ao mundo. O sagrado, de acordo com Bataille, é o que nos coloca diante de uma continuidade imanente. Esta dissertação, portanto, caminha por três vias de acesso: a primeira via, considera o tripé palavra-imagem-memória na poesia de Manoel de Barros (abordando principalmente a perspectiva de Henri Bergson), indicando a participação de um corpo perceptivo, intuitivo e sensível, bem como sugerindo o poema como imagem. Além disso, considera-se o olhar delirante e transgressivo (“transver”) do poeta; a segunda via sugere pensar em uma relação eco-lógica da poesia de Barros. Para este poeta, a natureza é lugar-fonte de sua poesia, o que determina tanto um arejamento filosófico (ético e político) que permite diálogos com o pensamento teórico de Felix Guattari, Michel Maffesoli, Gabriel Giorgi e Georges Bataille, quanto uma interatividade ecológica e visual entre o observador e o ambiente (diálogos com Michel Collot). Das perspectivas de Jacques Maritain e Giordano Bruno sobre o Conhecimento Natural, a poesia de Manoel de Barros corresponderia a uma tentativa de restaurar o vínculo entre o homem e o sagrado. Finalmente, a terceira via se concentra no conceito de “natência” (potência de fazer nascimentos com a linguagem poética) como um caminho vital e alegre que faz fronteira com a imanência sagrada. Convocamos da poesia de Manoel de Barros os temas da infantia, comunhão, eucaristia, metamorfose, mística e mito, erotismo, e santidade; os aspectos da incompletude e “devir” (Gilles Deleuze); e da relação da poesia moderna com a secularização e profanação do sagrado, com o auxílio de Walter Benjamin, Jean-François Lyotard, Giorgio Agamben, Octavio Paz, Clément Rosset, São Francisco de Assis, entre outros pensadores.
The poetry of Manoel de Barros peregrinates to word, image, memory and existential fields, seeking for a Natural Knowledge that echoes the proposal of mystical communion in the annulment of the hierarchies between beings and their association modes. Thus, it is relevant to this research to think of communion procedures, such as incorporation, transubstantiation, fusion and their implications in Manoel de Barros’ poetry. This paper investigates, in the poetry of Barros, the remaining of an enchantment bond which borders the sacred in intimate exchange with nature. The goal is to ask whether, through a Natural Knowledge from an ecological stance, the poetry of Manoel de Barros has a sacred proposal for rewiring man to the world. The sacred, for instance, according to Georges Bataille, is what put us in front of an immanent continuity. This dissertation, therefore, walks through three access routes: the first way, the word-image-memory tripod in the poetry of Manoel de Barros (mainly addressing Henri Bergson’s perspective), indicating the participation of a perceptive, intuitive and sensitive body, as well as placing the poem as an image. Also, it considers the delusional and transgressive glance (“transver”) of the poet; the second way suggests thinking of an eco-logical relationship between Barros’poetry and nature as the source of it, which determine both a philosophical aeration (ethical and political) that allows dialogues with some theoretical thoughts of Felix Guattari, Michel Maffesoli, Gabriel Giorgi and Bataille, and an ecological and visual interactivity between the observer and the environment (dialogues with Michel Collot). From Jacques Maritain and Giordano Bruno’s perspective on the Natural Knowledge, Manoel de Barros’s poetry would correspond to an attempt to restoring the bond between man and the sacred. Finally, the third way focus on the concept of “natência” as a vital and joyful path that borders the sacred immanence. Manoel de Barros’ poetry summons to think on the topics of infantia, communion, eucharistia, metamorphosis, mysticism and myth, eroticism, and sainthood, the aspects of incompleteness and “becoming” (Gilles Deleuze) and the relationship of modern poetry with the secularization and profanation of the sacred, with the help of Walter Benjamin, Jean-François Lyotard, Giorgio Agamben, Octavio Paz, Clément Rosset, St. Francis of Assisi, among others thinkers.
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Almeida, António José de. "Imagines Sacrae no Convento de São Domingos de Benfica-a encomenda de Fr. João de Vasconcelos op." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 1998. http://dited.bn.pt:80/30355.
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Jeanne, Damien. "Garder ou perdre la face? La Maladie et le Sacré. Étude d'anthropologie historique sur la lèpre (Normandie centrale, occidentale et méridionale) du onzième au seizième siècle." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100219.
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Ravalé au rang d’histoire secondaire par une historiographie pesante, le lépreux au Moyen Âge est pris entre deux images. L’une, traditionnelle, est celle d’un être bancal, opprimé par la foule et séparé du peuple. L’autre plus récente, est celle de l’image survalorisée d’une « lèpre bienfaisante », une sorte de purgatoire terrestre. Entre les deux, laquelle est « vraie » ? Laquelle explique l’éclosion des léproseries entre la fin du XIe siècle et le milieu du XIIIe siècle ? Qu’est-ce qui guide l’afflux des aumônes dévolues aux ladres ? Comment expliquer le rituel de la « mort au monde » ? Les lépreux deviennent-ils des « abjects » au XIVe siècle ?Tenir une chronologie des deux images séparées est impossible, tant elles sont constitutives d’une perception double du lépreux. Le ladre est « sacer » (maudit et vénéré), il véhicule à la fois l’image du Christ souffrant et celle d’un être difforme, oblique, sans bouche, ni mains, doté d’une sexualité de bouc et qui porte le mauvais œil. Le lépreux est un bouc émissaire sans sacrifice sanglant qui se traduit par l’entrée volontaire en léproserie. Une renonciation au monde.Les sources exceptionnelles de la Normandie occidentale, centrale et méridionale permettent de percevoir les discours des clercs sur la lèpre, d’apprécier les évolutions institutionnelles des léproseries grâce aux actes de la pratique (sept cartulaires) ; de se faire une idée de ce qu’à été le quotidien des malades et de restituer le maillage des léproseries de diocèses d’Avranches, de Bayeux, de Coutances, de Lisieux et de SéesReduced to the level of a second-rate moment in history by a heavy historiography, the leper in the Middle Ages is caught between two representations. The first and more traditional one is that of a lame being, oppressed by crowds and segregated from other people. The second and more recent one is that of an over-rated “beneficent leprosy” reminiscent of a purgatory on earth. Between those two representations, which one is closer to the “truth”? Which one might explain the opening of leper-houses between the end of the XIth century and the middle of the XIIIth century? What caused the inflow of alms given do misers?Keeping a chronology of those two different representations is impossible, because they both belong to a dual perception of the leper. The miser is “sacer” (cursed and revered), he conveys the image of both a suffering Christ and a misshapen, lopsided, mouth-less being, deprived of hands, but endowed with a goat’s sexuality and bringing bad luck. The leper is a scapegoat with no bloody sacrifice, but who is willing to commit to leper-houses. A way to withdraw from the world. The exceptional sources from Western, Central and Southern Normandy allow us to appreciate the clerics’ discourses on leprosy and the institutional evolutions of leper-houses due to the acts of practice (the 7 cartularies) and help us build a clearer picture of what the daily life of lepers might have been, as well as restore the network of leper-houses in the dioceses of Avranches, Bayeux, Coutances, Lisieux and Sées
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Quine, Dany. "L'analyse phénoménologique et structurale de l'art sacré et la fonction sociale du mysticisme." Doctoral thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/33515.
Full textAbstract:
Cette thèse vise à préciser les fonctions sociales du mysticisme par 1’analyse d’oeuvres d’art sacré. Par le biais de la méthode d’analyse phénoménologique et structurale adaptée à la représentation plastique du divin, sont identifiés les facteurs de régulation sociale actualisés au sein du comportement mystique et visualisés à travers l’art sacré. Les résultats obtenus témoignent d’un lien entre la représentation plastique du divin et la nature de 1’équilibre social inhérent au contexte de production en plus d’étayer 1’hypothèse selon laquelle la pensée religieuse adulte est fonctionnellement analogue à la pensée symbolique enfantine.Montréal Trigonix inc. 2018