Gotowe bibliografie tematyczne / Sacred images

Gotowa bibliografia na temat „Sacred images”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 5 marca 2023

Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych

Wybierz rodzaj źródła:

Spis treści

Zobacz listy aktualnych artykułów, książek, rozpraw, streszczeń i innych źródeł naukowych na temat „Sacred images”.

Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.

Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.

Artykuły w czasopismach na temat "Sacred images"

1

Stewart, Frank, i Katsunori Yamazato. "Images of the Sacred". Manoa 23, nr 1 (2011): 147–50. http://dx.doi.org/10.1353/man.2011.0021.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Holmes, Catherine. "Review: Sacred Images and Sacred Power in Byzantium". English Historical Review 120, nr 486 (1.04.2005): 419–21. http://dx.doi.org/10.1093/ehr/cei129.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Ousterhout, Robert G. "Sacred Images and Sacred Power in Byzantium (review)". Catholic Historical Review 93, nr 3 (2007): 615–16. http://dx.doi.org/10.1353/cat.2007.0298.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Wesley, Deborah. "Personal Images of the Sacred". Psychological Perspectives 62, nr 4 (2.10.2019): 367–77. http://dx.doi.org/10.1080/00332925.2019.1659061.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

O'Reilly, Terence, i Jeremy Robbins. "Sacred Images and Their Contexts". Bulletin of Spanish Studies 93, nr 7-8 (13.09.2016): 1271–300. http://dx.doi.org/10.1080/14753820.2016.1229890.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Antonov, Dmitriy, i Victoria Novikova. "Conference “Image and Cult: Sacred Images in Christian Traditions”". Shagi / Steps 7, nr 1 (2021): 311–18. http://dx.doi.org/10.22394/2412-9410-2021-7-1-311-318.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Sinclair, Katherine. "Sacred exchanges: Images in global context". Visual Studies 28, nr 2 (czerwiec 2013): 193–94. http://dx.doi.org/10.1080/1472586x.2013.765238.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Hoogvliet, Margriet. "Metaphorical Images of the Sacred Workshop". Church History and Religious Culture 99, nr 3-4 (4.12.2019): 387–411. http://dx.doi.org/10.1163/18712428-09903005.

Pełny tekst źródła
Streszczenie:
Abstract The textual witnesses of religious poetry produced by the late medieval confraternity of the Puy Notre-Dame in Amiens, in northern France, give an example of a type of religious text which allows us to reconstruct the interplay between the religious field and the social field of commerce and artisanal production. After discussing the practices of producing and staging religious poetry in confraternities in late medieval and early modern France as “hybrid forums”, the article discusses several examples of texts from unpublished manuscripts. It argues that the vivid imagery of the poems dedicated to the Virgin Mary allowed a mutual exchange of resources. While the members of the ordained religious gathered support and a popularized religious language, the participating laypeople could imbue their everyday work with a form of sacrality.
Style APA, Harvard, Vancouver, ISO itp.
9

Kumar, Sudhir. "IMAGE, BRAND AND THE SACRED (INDIA)". International Journal of Research -GRANTHAALAYAH 3, nr 11 (30.11.2015): 106–21. http://dx.doi.org/10.29121/granthaalayah.v3.i11.2015.2920.

Pełny tekst źródła
Streszczenie:
In the age of global digital revolution the ways of seeing things, the concept of visuality, frequency of images, their interplay and the multiplicity of their meaning have tended to become the culture of the day. Proliferation of screen culture, plethora of print images and the abundance of commercial visuals all around have caused an unprecedented changes in the methods of consuming images within the cultures. In India, where it is difficult to imagine a culture without images and visuals, ‘seeing’ consists more than what is commonly considered mere as ocular sight. ‘Seeing’ cannot be without ethics in India and images here always need a positive symbolism, and a sense of sacredness is always attached to the most of them. Branding in an age of visual proliferation has more to depend on the dynamics of images and the visual symbols which situate themselves at the liminal zones between consumers’ own real world and the virtual worlds of the brands projected by corporate sectors. This paper taking ethico-spiritual stance attempts at rethinking on the present approaches of branding in Indian context where consideration for dominant and diverse visual cultures appear to be pertinent.
Style APA, Harvard, Vancouver, ISO itp.
10

Silverman, William. "Images of the Sacred: An Empirical Study". Sociological Analysis 49, nr 4 (1989): 440. http://dx.doi.org/10.2307/3711229.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Rozprawy doktorskie na temat "Sacred images"

1

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.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

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.

Pełny tekst źródła
Streszczenie:
Made available in DSpace on 2016-12-08T16:59:58Z (GMT). No. of bitstreams: 1 Disercris.pdf: 2825028 bytes, checksum: ff4c7dbb13664157382c8eeb0d8aef4e (MD5) Previous issue date: 2008-11-07
Coordenação 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
Style APA, Harvard, Vancouver, ISO itp.
3

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.

Pełny tekst źródła
Streszczenie:
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.
Style APA, Harvard, Vancouver, ISO itp.
4

Alcântara, Ailton S. de [UNESP]. "Paulistinhas: imagens sacras, singelas e singulares". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86900.

Pełny tekst źródła
Streszczenie:
Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-09-05Bitstream added on 2014-06-13T20:09:35Z : No. of bitstreams: 1 alcantara_as_me_ia.pdf: 955474 bytes, checksum: 9fa77531cdb9717c1f0821596c52b168 (MD5)
Universidade Estadual Paulista (UNESP)
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.
Style APA, Harvard, Vancouver, ISO itp.
5

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.

Pełny tekst źródła
Streszczenie:
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.
Style APA, Harvard, Vancouver, ISO itp.
6

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.

Pełny tekst źródła
Streszczenie:
Submitted by Maike Costa (maiksebas@gmail.com) on 2016-02-17T11:37:02Z No. of bitstreams: 1 arquivototal.pdf: 2816883 bytes, checksum: c3d241f122f35e156a62ad448b1a994c (MD5)
Made available in DSpace on 2016-02-17T11:37:02Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2816883 bytes, checksum: c3d241f122f35e156a62ad448b1a994c (MD5) Previous issue date: 2015-06-30
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.
Style APA, Harvard, Vancouver, ISO itp.
7

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.

Pełny tekst źródła
Streszczenie:
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 ubiquitaire
The 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
Style APA, Harvard, Vancouver, ISO itp.
8

Wheeler, Geraldine Jean, i 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.

Pełny tekst źródła
Streszczenie:
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.
Style APA, Harvard, Vancouver, ISO itp.
9

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.

Pełny tekst źródła
Streszczenie:
Orientador: Luciano Migliaccio
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-06T14:32:40Z (GMT). No. of bitstreams: 1 Pereira_AndreLuizTavares_D.pdf: 16783528 bytes, checksum: 4a2b9bca695a2de3258393c69e2d0701 (MD5) Previous issue date: 2006
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
Style APA, Harvard, Vancouver, ISO itp.
10

Collingridge, Lorna Marie, i 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.

Pełny tekst źródła
Streszczenie:
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.
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Książki na temat "Sacred images"

1

Paleotti, Gabriele. Discourse on sacred and profane images. Los Angeles: Getty Research Institute, 2012.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

translator, McCuaig William 1949, i Prodi Paolo, red. Discourse on sacred and profane images. Los Angeles: Getty Research Institute, 2012.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Cozad, Laurie. Sacred snakes: Orthodox images of Indian snake worship. Aurora, CO: Davies Group Publishers, 2004.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Voices from a sacred land: Images and evocations. Plymouth, Wis: Thistlefield Books, 2008.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Paulson, Lisa. Voices from a sacred land: Images and evocations. Plymouth, Wis: Thistlefield Books, 2008.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Cheetham, Francis W. The alabaster men: Sacred images from medieval England. London: Daniel Katz, 2001.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Centre, India International, red. From temples to museums: Contextualising sacred sculptures. New Delhi: India International Centre, 2018.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Theresa, King, red. The divine mosaic: Women's images of the sacred other. St. Paul, Minn: Yes International, 1994.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Phraphuttharūp khūbān khūmư̄ang =: The sacred Buddha images of Thailand. Krung Thēp: Samnakphim Thiphākō̜n, 2004.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

David, Sucec, red. Sacred images: A vision of Native American rock art. Salt Lake City: Gibbs Smith, 1996.

Znajdź pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
Więcej źródeł

Części książek na temat "Sacred images"

1

Orefici, Giuseppe. "Petroglyphic Images and the Sacred Valleys". W The Ancient Nasca World, 197–215. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47052-8_10.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Ferrer Ventosa, R. "Images as an embodiment of the sacred." W Tourism, pilgrimage and intercultural dialogue : interpreting sacred stories, 58–68. Wallingford: CABI, 2019. http://dx.doi.org/10.1079/9781789241129.0058.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Bacci, Michele. "Cross-Mediterranean misinterpretations of sacred imagery". W Iconotropy and Cult Images from the Ancient to Modern World, 142–63. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003186502-8.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
4

Sepsi, Enikő. "Sacred or holy? Dramaturgy in Valère Novarina's theater". W Poetic Images, Presence, and the Theater of Kenotic Rituals, 121–32. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163930-12.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
5

Harpster, Grace. "Sacred Images in Carlo Borromeo’s Instructiones: Between Liturgy and the Antique". W Europa Sacra, 155–74. Turnhout: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.es-eb.5.121904.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
6

Kojima, Yoshie. "Chapter 1Fumi-e: Trampled Sacred Images in Japan". W Sacred Images and Normativity: Contested Forms in Early Modern Art, 30–45. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.122578.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
7

Sterritt, David. "Images of Religion, Ritual, and the Sacred in Martin Scorsese's Cinema". W A Companion to Martin Scorsese, 91–113. Hoboken, NJ: John Wiley & Sons, Inc., 2014. http://dx.doi.org/10.1002/9781118585344.ch5.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
8

Baker-Bates, Piers. "Chapter 11Sebastiano del Piombo: The Normative Sacred Image between Italy and Spain". W Sacred Images and Normativity: Contested Forms in Early Modern Art, 204–23. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.122588.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
9

Franceschini, Chiara. "Introduction. Images as Norms in Europe and Beyond: A Research Program". W Sacred Images and Normativity: Contested Forms in Early Modern Art, 12–27. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.130661.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
10

Giffin, Erin. "Chapter 10The Tradition of Change in Copies of the Santa Casa di Loreto: The Case of San Clemente in Venice". W Sacred Images and Normativity: Contested Forms in Early Modern Art, 188–203. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.122587.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.

Streszczenia konferencji na temat "Sacred images"

1

Samdan, Z. B. "IMAGES OF THEOGONIC MYTHOLOGY IN THE CONTEXT OF THE SACRED VIEWS OF TUVANS AND BURYATS". W The Epic of Geser — the spiritual heritage of the peoples of Central Asia. BSC SB RAS, 2020. http://dx.doi.org/10.31554/978-5-7925-0594-0-2020-218-221.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
2

Wyche, Susan P., Kelly E. Caine, Benjamin K. Davison, Shwetak N. Patel, Michael Arteaga i Rebecca E. Grinter. "Sacred imagery in techno-spiritual design". W the SIGCHI Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1518701.1518710.

Pełny tekst źródła
Style APA, Harvard, Vancouver, ISO itp.
3

Vieira, Pablo, Luis Vogado, Lucas Lopes, Ricardo Lira, Pedro Santos Neto, Deborah Magalhães i Romuere Silva. "Detecção de Doenças em Imagens de Raios-X da Coluna Lombo-Sacra com Convnets". W Simpósio Brasileiro de Computação Aplicada à Saúde. Sociedade Brasileira de Computação - SBC, 2022. http://dx.doi.org/10.5753/sbcas.2022.222669.

Pełny tekst źródła
Streszczenie:
Ao longo dos anos, o uso de sistemas CAD no auxilio a diagnósticos vem se tornado mais importante. Um exame que possibilita várias aplicações CAD é o de Lombo-Sacra. Esse exame fornece radiografias detalhadas da coluna vertebral, especificamente das regiões lombar, sacral e coccígea permitindo detectar doenças como artrose, escoliose, espondilartrose, lordose, osteófitos, redução do espaço discal, dentre outras. Nesse contexto, desenvolvemos uma metodologia de sistema CAD baseado em Deep-learning para atuar em Lombo-sacra. Para tal, utilizamos um conjunto de dados contendo 16,024 exames, mais heterogêneo que os do estado da arte. Além disso, desenvolvemos um ensemble na classificação utilizando imagens frontais e laterais do mesmo exame, o que permite classificar um número maior de patologias, o que torna o processo ainda mais preciso diminuindo assim os falsos positivos.
Style APA, Harvard, Vancouver, ISO itp.
4

Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.

Pełny tekst źródła
Streszczenie:
In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.
Style APA, Harvard, Vancouver, ISO itp.
5

Bahauddin, Azizi, i Safial Aqbar Zakaria. "CULTURAL, ARCHITECTURAL, ‘SENSE OF PLACE’ AND SUFISTIC BELIEFS IN MOSQUE TOURISM CASE STUDY: MASJID AR-RAHMAN, PULAU GAJAH, KELANTAN". W GLOBAL TOURISM CONFERENCE 2021. PENERBIT UMT, 2021. http://dx.doi.org/10.46754/gtc.2021.11.038.

Pełny tekst źródła
Streszczenie:
The mosque is a sacred important religious symbol for bringing Muslims together as demonstrated during the time of Prophet Muhammad (PBUH). This paper investigates the potential of Masjid Ar-Rahman of Pulau Gajah, Kelantan as a spot for mosque tourism. Although this mosque was constructed in 2016, it has demonstrated a simplicity in its scale and traditional image. It has value as a hybrid assimilation of HinduBuddhist syncretism and tolerance, and has coined the term Nusantara to denote its hybridised Malay and Javanese architectural styles. The typology of this humble Malay Mosque architecture is of medium-scale and reflects the Sufistic contextual value beliefs of encouraging religious and architectural tourism alike. The conceptual framework capitalises on the research gap found in mosque cultural, architectural and Sufistic beliefs. Research by further delving into constructing the “Sense of Place” in relation to the “Sacred Places”. This research employs qualitative methods of interviewing visitors, applying phenomenological and case study approaches supported by architectural documentation in emphasising the symbolic and semiotic aesthetics aspects in constructing the “Sense of Place” bonded by Sufistic symbolic aesthetics. The theory is constructed in the deeply rooted Islamic Mosque architecture via Sufistic beliefs that provides a platform for mosque tourism activities.
Style APA, Harvard, Vancouver, ISO itp.
6

JIMÉNEZ-DONAIRE MARTÍNEZ, SALVADOR. "(Des)cansar la Mirada: Un Acercamiento a las Políticas del Ver/Visionar en la Era Digital". W II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13203.

Pełny tekst źródła
Streszczenie:
Insiste Giorgio Agamben en que cada etapa histórica se distingue por su manera de experimentar la temporalidad (2011, 129). La nuestra, aseguran numerosos pensadores y académicos, estaría definida por la aceleración. Luciano Concheiro declara que este fenómeno explica en buena medida cómo funcionan hoy la economía, la política, las relaciones sociales, nuestros cuerpos y nuestra psique (2016, 11). Vivimos sometidos a un estricto régimen temporal, uno rigurosamente fraccionado en tiempos de trabajo, de ocio, de escolarización, de formación y, en definitiva, marcado por la presión de los plazos y horarios (Safranski 2013, 20).Así, en la actualidad las estructuras temporales vendrían determinadas y gobernadas por la lógica de un proceso de aceleración que viene fraguándose desde la concepción y desarrollo de la modernidad (Rosa 2016, 10), y que se habría instaurado definitivamente con el advenimiento del medio digital e Internet. La interrupción, la fragmentación y la yuxtaposición de actividades configuran hoy nuestro modus operandi en esta nueva cultura del exceso (de velocidad y de datos), perfilada por los medios de acceso a la información y su eterno fluir virtual de imágenes/palabras. Ilustrativa la metáfora de lo líquido propuesta por Bauman para referirse a ese nuevo escenario desmaterializado, inasible, licuado (recordemos que Internet se surfea, se navega), donde todo muta permanentemente bajo la imposición de actualizaciones forzadas. Es el tiempo de downloaders, todo lo queremos disponible en el tiempo del clic (Martín Prada, 2018, 25).De esta manera, la concepción temporal de hoy se asemejaría al scroll infinito, el modo de navegación empleado por Facebook, Instagram, Twitter y otros servicios de redes sociales, dejando la mirada sin margen para el descanso. La visión se ha vuelto instantánea: el ahora es un producto más en la economía de la obsolescencia. “Pero ¡un momento! ¿No se suponía que las máquinas modernas ahorraban tiempo y, de ese modo, dejaban más tiempo libre?” (Wajcman 2017, 15).La visión-navegación, ese nuevo modelo óptico derivado de la digitalización y la sobreexposición a la imagen característica de nuestro mundo-iconosfera, fue presagiada, y de manera sorpresivamente acertada, por Nietzsche: La abundancia de impresiones dispares es más grande que nunca: el cosmopolitismo de las comidas, de las literaturas, de los peródicos, de las formas, de los gustos, incluso de los paisajes. El tempo de esta afluencia es un prestissimo; las impresiones se borran; se guarda uno instintivamente de absorber algo, de impresionarse profundamente, de “digerir” algo (Nietzsche, 2000, 81). Obsolescencia digital y obsolescencia de la mirada, ahora más que nunca cansada, apresurada, excedida por la miríada de informaciones visuales a la que es sometida. En este orden de cosas, muchas son las voces que imaginan un tiempo otro: una temporalidad perpendicular a la aceleración hegemónica que permita ver, pensar y reestructurar esos momentos de observación-expectación de manera despaciosa. A este respecto, Arden Reed publicaba Slow Art: The Experience of Looking, Sacred Images to James Turrell (2017), una suerte de manifiesto en el que una nueva categoría artística es preconizada. Obras de videoarte vinculadas a la misma serán abordadas en esta comunicación, como las de Sam Taylor-Wood, Bill Viola, David Claerbout, Luca Pancrazzi, Douglas Gordon, John Gerrard, Doug Aitken o Christian Marclay. En sus trabajos, estos artistas conjeturan un presente dilatado y permiten algo hoy tan inusual y lujoso como experimentar el propio tiempo.
Style APA, Harvard, Vancouver, ISO itp.
7

Yoshida, Michihiro, Tanaka Takayuki i Yoshio Tsuchiya. "Modeling of changes in lumbar joint stiffness by pelvic tightening based on physique and pelvic alignment". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002614.

Pełny tekst źródła
Streszczenie:
We have been elucidated the mechanism by which pelvic belt reduces lumbar burden. Pelvic tightening increases the lumbar joint stiffness and inhibits the flexion of the lumbar spine in the forward bending. Flexion of the lumbar joint is substituted by the hip joint, which corrects the posture during forward bending and reduces the lumbar burden (lumbar joint torque). The level of the assisting effect of the tightening force has the individual difference, but at present, it is not clear what factors cause it. In this study, we develop a model that represents the assistance effect based on the physique such as height and weight, and the posture and shape of the pelvis and lumbar spine (pelvic alignment).This study developed a regression model that expresses the amount of change in joint stiffness due to tightening force, using the individual physique and pelvic alignment characteristics as input. The joint stiffness was estimated from motion measurement using optical motion capture and obtained from the equation of motion of the link model representing the human body. Pelvic alignment was measured by X-ray images, and five features were obtained: sacral inclination angle (SS angle), pelvic inclination angle (PT angle), inclination angle of the sacrum relative to the pelvis (PI angle), curvature of the lumbar lordosis, and pelvic aperture angle. Among these, the SS angle, PT angle, and PI angle were measured under two conditions: standing and 45 degrees forward bending and obtained a total of eight pelvic alignment features. In addition, height, weight, BMI, and back muscle strength were added as physique characteristics expressing body size and muscle strength, for a total of 12 variable measured. These features were measured on 15 subjects. Among the 12 features, three to four variables were input to the model by excluding those that were strongly correlated with each other and less capable of explaining changes in the target value, joint stiffness.From the proposed model, changes in joint stiffness could be estimated from pelvic alignment and physique characteristics. At large forward bending angles, we found that to obtain a high assistance effect, tilting of the sacrum anteriorly relative to the pelvis and forward tilting of pelvis is necessary. On the other hand, in the mild forward bending, the person who is higher body weight in addition to the forward tilt of the PT and PI angles tend to obtain higher assistive effect.
Style APA, Harvard, Vancouver, ISO itp.
8

Tanasi, Davide, Ilenia Gradante i Mariarita Sgarlata. "3D DIGITAL TECHNOLOGIES TO RECORD EXCAVATION DATA: THE CASE OF THE CATACOMBS OF ST. LUCY (SIRACUSA, SICILY)". W ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3002.

Pełny tekst źródła
Streszczenie:
Between 2013 and 2015, Arcadia University in partnership with the Pontifical Commission for Sacred Archaeology and the University of Catania undertook new excavation campaigns in the Catacombs of St. Lucy at Siracusa. The research focuses on some very problematic parts of Region C of the complex, including Oratory C, the so-called Pagan Shrine and Crypt VI. These areas document most effectively the long life of this Christian hypogeum, which incorporated previous structures and artefacts related to the Greek period and continued to be used until the Middle Ages. During the excavation an array of 3D digital techniques (3D scanning, 3d Modelling, Image-based 3D modelling) was used for the daily recording of the archaeological units, but also to create high-resolution virtual replicas of certain districts of the catacombs. Furthermore, the same techniques were applied to support the study of certain classes of materials, such as frescoes and marble architectural elements that could otherwise only be studied in the dark environment of the catacombs, making the visual analysis of such complex artifacts difficult and sometimes misleading, not to mention that the frequent use of strong sources of light for study can also endanger them. The virtual archaeology research undertaken at the Catacombs of St. Lucy represents the first systematic application of 3D digital technologies to the study of such a special archaeological context in Sicily.
Style APA, Harvard, Vancouver, ISO itp.
9

Diniz, Camila Leal, Ilse Franco de Oliveira, Ruffo de Freitas-Junior, Cristina Pinto Naldi Ruiz, Paulinelly Messias de Almeida i Rosemar Macedo Sousa. "THE INFLUENCE OF POSITIONING ON THE QUALITY OF BREAST MAGNETIC RESONANCE IMAGES". W Abstracts from the Brazilian Breast Cancer Symposium - BBCS 2021. Mastology, 2021. http://dx.doi.org/10.29289/259453942021v31s2109.

Pełny tekst źródła
Streszczenie:
Objective: To evaluate and adapt the positioning pattern of patients to perform breast resonance, allowing for greater comfort and better image quality. Methodology: Prospective study of qualitative evaluation with an experience report carried out with a volunteer without a clinical history of breast disease, in three different brand devices (X, Y, and Z) with coils dedicated to the examination, all of them having four-channel bilateral synergy. Results: In the X equipment test, the coil was coupled to a head coil, with specific support for the head and neck regions, providing greater stability for the area, which caused greater patient comfort. In the three pieces of equipment (X, Y, and Z), the arms were extended forward with specific supports. However, there was a need for greater care with the region, because during the examinations, these supports were not enough and caused discomfort in the shoulder region, which was hampered by the position and overload due to the examination time. In equipment Y, an artifact is formed due to poor positioning and the breasts had to be repositioned, causing an increase in the examination time, which generated greater discomfort. In the three pieces of equipment, in the T2, and diffusion-weighted imaging acquisitions, there was an intense vibration of the table that caused discomfort, as this situation had not been reported before the beginning of the examination. In equipment Z, the coil does not extend along the inclined table, causing greater discomfort in the area of the sacral loin due to tension in the region. Conclusion: After evaluation, it was observed that the positioning interferes in the quality of the images generated and it was decided to build a Decision Matrix for standardization and adequacy.
Style APA, Harvard, Vancouver, ISO itp.
10

Štěpánek, Pavel. "Tasting the milk of celestial knowledge. Note about the rhetoric of the portrayal of the sacred in Alonso Cano’s painting The Lactation of St. Bernard (1653–1657) from the National Gallery in Prague". W The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-20.

Pełny tekst źródła
Streszczenie:
This is an attempt of interpretation of a picture that draws from mystical tradition. It is about the comprehension of a topic in a painting by the Spanish artist Alonso Cano (1601–1667, Granada), from the National Gallery in Prague (O 14 690) Lactatio S. Bernardi – presenting the miracle of lactation, in which the Virgin Mary is squirting milk from her breast into the mouth of St. Bernard of Clairvaux (a historically very famous saint and major representative of the Cistercian Order). Traces of iconography lead up to the Coptic Church, where the typology of the milking Virgin was probably first originated (Galacto Trofusa in Greek or Maria lactans in Latin). The starting point is perhaps the portrayal of the virgin goddess Isis milking her son Horus. In many cultures, milk symbolises physical and spiritual food (e.g. the Milky Way evoking the ancient myth about spurted divine milk). On the other hand, milking is also present in the Old Testament as the image of special blessing; it is a symbol of eternal beatitude and wisdom. The dream/vision of her milk is then – apart from the rest – a sign of abundance, fertility, love, and fullness. The lactation of St. Bernard is an allegory of the penetration of the divine science in the soul. Thanks to this act the saint receives God’s guide, which he can then discharge into his writings.
Style APA, Harvard, Vancouver, ISO itp.
Możesz być także zainteresowany rozszerzonymi bibliografiami na temat „Sacred images” dla poszczególnych typów źródeł:
Artykuły w czasopismach Rozprawy doktorskie Książki
Oferujemy zniżki na wszystkie plany premium dla autorów, których prace zostały uwzględnione w tematycznych zestawieniach literatury. Skontaktuj się z nami, aby uzyskać unikalny kod promocyjny!

Do bibliografii