Orientador: Edgar Salvadori De Decca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-15T16:23:55Z (GMT). No. of bitstreams: 1 Rodrigues_AnaAparecidaVillanueva_D.pdf: 43032794 bytes, checksum: fe63c34e1c5fd9f350e99c6956055490 (MD5) Previous issue date: 2010 / Resumo: Esta tese é sobre a linguagem arquitetônica da fachada principal e o retábulo-mor da Catedral Nossa Senhora da Conceição de Campinas a partir da apuração dos processos de levantamento métrico e do seu desenho instrumental da época de sua constituição, fornecendo assim uma reconstituição da sua orientação clássica, estudando-a como fonte e documento histórico, através do seu testemunho material, tornando assim, a Catedral Nossa Senhora da Conceição de Campinas, um objeto paradigmático da arquitetura clássica da cidade dentro de um contexto brasileiro. Esta tese demonstra, portanto, como a Catedral de Campinas foi projetada dentro de preceptivas clássicas com diversas autorias, períodos e vertentes teóricas, tendo como resultado um todo único, híbrido, erudito, recriativo, exemplar, contrariando a historiografia vigente de que a arquitetura do século XIX no Brasil é uma "cópia de modelos importados" / Abstract: The present thesis studies the architecture language of the main façade and the main retable of Nossa Senhora da Conceição Cathedral, in the city of Campinas. Starting from the compilation of metric survey processes, as well as instrumental drawings pertaining to the formation period, this work provides a reconstitution of the classical tendency of such building, investigating it as a historical source and document through its material testimony, rendering the Cathedral into a paradigm of the city classical architecture within a Brazilian context. The present thesis demonstrates therefore how the Cathedral of Campinas has been designed within classical precepts, by different authors, under different periods and theoretical trends, resulting in a unique, hybrid, scholarly, re-creative, exemplary whole, and contradicting the current historiography, which considers the XIX century architecture in Brazil as a "copy of imported standards" / Doutorado / Politica, Memoria e Cidade / Doutor em História

Installé à Paris en 1911, Diego Rivera se rallie au cubisme pour retourner au réalisme en 1918. A cette époque, il tisse une amitié riche en échanges avec Élie Faure, socialiste comme lui. Faure voit chez l'artiste "une source inépuisable de surprises et d'enseignements»; Rivera considère l'historien de l'art comme l'un de ses« maîtres". Élie Faure a une compréhension de la société et de l'art basée sur la contribution de personnalités qui ont bouleversé la pensée et les arts depuis la Révolution française: Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, entre autres. Déclarant l'échéance de l'esprit individualiste de la Renaissance, il annonce l'avènement d'un rythme collectif d'expression artistique sociale et monumentale, notamment architecturale, dont l'intention de «construire» en peinture est un symptôme. Le Moyen-âge français lui fournit un paradigme de l'ordre collectif et de I' «Art social», la cathédrale comme étant la plus parfaite expression, manifestation de la collaboration humaine et symbole même d'une civilisation. En 1921, décidé à militer pour l'établissement d'un nouvel ordre social, Rivera rentre dans son pays. Il est passionné par la socialisation de l'art et par l'architecture. Son discours et ses démarches révèlent ses affinités intellectuelles avec l'historien de l'art français et exprime une volonté de mener à son accomplissement l'"Art social". Cependant, les idées du peintre évoluent avec les évènements politiques, sociaux et culturels du Mexique, tenant compte du contexte mondial. Cet échange franco-mexicain illustre la complexité des transferts qui conduisent aux discours actuels de la mondialisation artistique. / Moving to Paris in 1911, Diego Riverais won over to Cubism only to return to Realism in 1918. During that period, he builds a rich friendship with Elie Faure, a socialist like him. Faure sees in the artist ''an endless source of surprises and lessons." Rivera considers the art historian Faure as one of his "masters. "Elie Faure has an understanding of society based on the contribution of individuals who have changed thinking and the art since the French Revolution : Saint-Simon, Nietzsche, Dostoïevski, Tolstoï, Cézanne, and others. Declaring the end of the individualistic spirit of the Renaissance, he announces the beginning of a collective rhythm of social and monumental artistic expressions, especially in architecture, with the intention to "construct" by painting as an indication. The French Middle Ages provides Elie Faure with a paradigm of collective order and "Social Art," of which the cathedral is the most perfect expression - a manifestation of perfect human collaboration and a symbol of a civilization. In 1921, having decided ta campaign for the establishment of a new social order, Rivera returns ta his country. He is passionate about the socialization of art and architecture. His speech and his actions reveal his intellectual affinity with the French art historian and show a willingness to carry to completion "Social Art. "However, the painter 's ideas evolve with the political, social, and cultural events of Mexico, taking into account the global context. This Franco-Mexican exchange illustrates the complexity of the transfers that lead to the current globalization of artistic discourse.

The purpose of this study was to examine what, if any, symptoms of a traumatic stress reaction were still being experienced by police officers, as a result of the events of September 11, 2001, who were geographically distant from the events of that day. Participants included 60 police officers at two southern California law enforcement agencies.

In times of social distancing and restrictions, ecclesiological challenges arise for the church as a room that under normal circumstances gather people for services. When the church cannot be used the way it is intended to, it raises questions about the functions of the room. The new corona virus pandemic is a crisis that challenges our perception of the church buildings’ functions and aspects. This thesis is a case study that took place in the Cathedral of Stockholm, also called Storkyrkan, during Holy week and Easter. The purpose of this thesis is to study what ecclesiological implications this new reality has on how co-workers and visitors make use of the room. Through observation of the room and interviews of visitors and co-workers I identify five aspects of Storkyrkan that characterize what functions a church building can have during a crisis. The study finds that through the circumstantial changes of the usage of the room, the materiality of it is amplified. It also shows that many types of people visit and use the room in various ways. They are all connected as a collective in a network through the words, artifacts, music, and practises that are a part of this space. Instead of closing due to the pandemic, Storkyrkan was an open room which generated possibilities for people to use it. In times of social distancing, when people are encouraged to stay away from each other, the church brought people together, though in a much smaller number. This happened both in the physical room and in the virtual room online. These are all sources of lived ecclesiology, which is understood through people’s lives and actions.

The content of the work is ideas solution for the roof of the Notre-Dame in Paris, after the destroying fire in 2019. Main idea is to create garret space for spiritual people, which used to meet, study and pray without the contact with the tourists and fill in the gap after the old tower above the crossing. Concept based on the original garret, which was only for service. The idea is coming especially from the simplicity and effectivity of the old garret and pointing on some of his elements. Space under the roof should be simple according to the first floor of the cathedral. The function is reflecting simplicity of the spaces with the respect to historical cathedral. Garret is designed for spiritual people, who are working in Notre-Dame and makes a space for them, which will be calm place for meditation. For this purpose are there cells for individual studying, library, common space and chapel. Connecting and meeting point in the same time between the ground, garett and higher power is sanctuary. This part is getting light to the ground floor.

The diploma thesis contains a brief overview of the historical development of the Holy Spirit Cathedral in Hradec Králové. In a rough outline discusses the historical, religious and cultural wealth created by several generations of our ancestors over the course of seven centuries. The diploma thesis contains a proposal of an educational program in the Cathedral of the Holy Spirit. The program is designed primarily for secondary school students. Considering the uniqueness of the place and its rich potential is there mentioned not only the uniqueness the history and architecture, but also the work of some important personalities of local social and religious life. An integral part of the educational program is the brief history of the church, its development and hierarchy. The contribution of Christianity to the education of the nation is not forgotten either. In this context the program leads to a closer knowledge of the cathedral and the life around it, and helps students overcome prejudices against Christianity ant the Church. It reveals the cathedral as a cultural and social connection. The main aim of this thesis is to enhance the importance of the Holy Spirit Cathedral in Hradec Králové as a historical, religious and cultural heritage of the nation. The educational program is designed to...

The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a “holy field”, or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni’s Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern’s clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar—both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.

The monumental sculpture, especially the pulpits, of the father and son duo, Nicola and Giovanni Pisano, have often been compared to ancient Roman and early Christian sarcophagi. Giovanni produced a pulpit with two accompanying lecterns for the Pisa Cathedral, which is just a few steps away from the Camposanto, a "holy field", or cemetery, built around sacred soil from Golgotha which serves to house a huge collection of sarcophagi. Iconography, composition, relief style, and even the materiality of Giovanni's Pisa pulpit is in part governed by, and connected to, these sarcophagi. This influence is especially highlighted by the Epistles lectern, which depicts a half-length Christ as the Man of Sorrows encircled about and raised aloft by two angels. This unusual depiction of the Man of Sorrows seems to be appropriating a long tradition of the imago clipeata, or visual apotheosis. Giovanni borrows this classical imagery and updates it to reflect contemporary Christianity. The presence of the classical clipeata on the lectern underlines the two natures of Christ, which is a main characteristic of the iconography of the Man of Sorrows. The lectern's clipeata and the reference to sarcophagi establishes a connection to ritual, but in this case Christian ritual, namely the sermon and the Eucharist. The imagery embodies an affective focus on the love and humanity of Christ as the crux of salvation, a characteristic of thirteenth- and fourteenth-century preaching. The drapery and textile, which act as the frame of the clipeata on the lectern, allude to the tramezzo, or choir screen, and liturgical cloths found at the high altar--both are liturgical accessories that aid the viewer during the consecration of the Eucharist. Giovanni Pisano adopts this antique imagery and recontextualizes it in an early-fourteenth century Christian setting as it becomes a creative commentary on the liturgy, devotion, and significance of place at the cathedral of Pisa.

This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...

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