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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.
Pełny tekst źródłaAbud, 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 źródłaCoordenação 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
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 źródłaThis 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.
Alcântara, Ailton S. de [UNESP]. "Paulistinhas: imagens sacras, singelas e singulares". Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/86900.
Pełny tekst źródłaUniversidade 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.
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 źródłaOton, 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.
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 źródłaThe 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
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 źródłaPereira, 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 źródłaTese (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
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 źródłaCollingridge, 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.
Pełny tekst źródłaThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Theology
Full Text
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.
Pełny tekst źródłaPolitical 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
Biggi, Laura. "Immagini miracolose sotto processo". Doctoral thesis, Scuola Normale Superiore, 2019. http://hdl.handle.net/11384/86069.
Pełny tekst źródłaSumsion, 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.
Pełny tekst źródłaAlcântara, Ailton S. de. "Paulistinhas : imagens sacras, singelas e singulares /". São Paulo : [s.n.], 2008. http://hdl.handle.net/11449/86900.
Pełny tekst źródłaBanca: 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
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.
Pełny tekst źródłaMcNeil, Ann Theresa. "Sacred imaging prayerful dancers as icons of God /". Theological Research Exchange Network (TREN), 2000. http://www.tren.com.
Pełny tekst źródłaHolland, 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.
Pełny tekst źródłaLopes, 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.
Pełny tekst źródłaA 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
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/.
Pełny tekst źródłaIt 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.
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.
Pełny tekst źródłaMiller, 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.
Pełny tekst źródłaKadi, 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.
Pełny tekst źródłaThis 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.
Rénéric-Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane". Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30016/document.
Pełny tekst źródłaA 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! »
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.
Pełny tekst źródłaRaymond, 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.
Pełny tekst źródłaKotkavaara, 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.
Pełny tekst źródłaRischpler, Susanne. "Biblia sacra figuris expressa : mnemotechnische Bilderbibeln des 15. Jahrhunderts /". Wiesbaden : L. Reichert, 2001. http://catalogue.bnf.fr/ark:/12148/cb391911783.
Pełny tekst źródłaGiannini, 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.
Pełny tekst źródłaTitle from document title page. Document formatted into pages; contains iv, 22 p. : ill. (some col.) Vita. Includes abstract. Includes bibliographical references (p. 15).
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.
Pełny tekst źródłaThis 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.
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.
Pełny tekst źródłaThis 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.
Barral, Jacqueline. "Image sacrée, le retable reprise en compte et réutilisation personnelle". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375957335.
Pełny tekst źródłaSulzbach-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.
Pełny tekst źródłaThe 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.
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.
Pełny tekst źródłaTese (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
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.
Pełny tekst źródłaGrant, John Ward. "Folio of compositions and critical commentary /". [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.
Pełny tekst źródłaAraújo, 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.
Pełny tekst źródłaConselho 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
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.
Pełny tekst źródłaArgelich, 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.
Pełny tekst źródła'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.
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.
Porczyk, Anna Malgorzata. "Erri De Luca e la Bibbia : un autore formatosi sulle sacre scritture". Thesis, Dijon, 2016. http://www.theses.fr/2016DIJOL004.
Pełny tekst źródłaThe 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
Chevrier, Stéphane. "La belle image des sapeurs-pompiers français : pragmatique de l'émotion et du sacré". Rennes 2, 2004. http://www.theses.fr/2004REN20049.
Pełny tekst źródłaFrench 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 "
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.
Pełny tekst źródłaSalles, 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/.
Pełny tekst źródłaIt 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.
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.
Pełny tekst źródłaRosa, 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.
Pełny tekst źródłaThis 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.
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.
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.
Pełny tekst źródłaJeanne, 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.
Pełny tekst źródłaReduced 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
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.
Pełny tekst źródłaMontréal Trigonix inc. 2018