Thesis (Ph. D.)--University of Chicago, 1978. / "Thesis no. T26988"--first page. Includes bibliographical references (p. 329-337).

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Diss.--Neuphilologische Fakultät--Universität Tübingen, 1994. / Bibliogr. p. 160-181.

Made available in DSpace on 2015-04-17T15:02:17Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4615649 bytes, checksum: cf50c8218d78b72ed2a7dea067bdbab2 (MD5) Previous issue date: 2014-07-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Our research aimed to understand how the phenomenon of religious symbolism present in the church of San Anthony, in João Pessoa, capital of Paraíba, northeastern Brazil, is working to confront the existential angst and the discovery of the meaning of life. We believe that behind the great historical movements there is organization of symbols and myths that constituent and represent the desires of the humanity. Through the General Theory of Imaginary we identified the regime of images predominant in the imagery of the church, thus revealing the mode of confrontation of the man in front of his finitude. We, also, identified through the Logotheory the noetic values of the community who erected the convent, as well as realize how this discovered the meaning of life before the existential void caused by the lack of direction and the perception of death. Thus, we learn that the mythodology is a scientific study that considers the spiritual and collective factors in the actual constitution of immediate reality. Therefore, we studied the religious phenomenon in that it is a social reality, more than that, by the religion being responsible for the formation of cultures and societies. Thus, we studied the religious fact, through his sensitive and aesthetic aspects, in our case, through the imagery of Tropical Baroque art. In addition, we noted the possibility of collaboration between Logotheory and Theory of Imaginary to the pursuit of quality of life of human beings, with the symbol as an instrument of psychological and social balance / Nossa pesquisa se propôs a compreender o sentido e o valor simbólico da igreja barroca de Santo Antônio, em João Pessoa, capital da Paraíba, no nordeste do Brasil, enquanto possibilidade de enfrentamento da angústia existencial e possibilidade para a descoberta do sentido de vida. Como defende Greschat (2005), as Ciências das Religiões não possuem uma metodologia que lhe seja própria ou peculiar, mas fazem uso de modos de pesquisa provenientes das diversas áreas do saber. Desse modo, nosso estudo caracterizou-se como descritivo e bibliográfico, adotando uma abordagem qualitativa. Alicerçou-se na Teoria Geral do Imaginário de Gilbert Durand, aplicando-se a mitodologia e as categorias oriundas do Teste Arquetípico dos Nove Elementos de Yves Duran, baseou-se, também, na Logoteoria como hermenêutica complementar. Por meio da Teoria Geral do Imaginário identificamos o regime de imagens predominante no patrimônio imagético da igreja, revelando, assim, o modo como o homem barroco da sociedade paraibana colonial enfrenta a sua consciência da finitude. Outrossim, pela Logoteoria, empreendemos uma análise existencial da comunidade que erigiu o convento, bem como percebemos a maneira como essa descobriu o sentido da vida diante do vazio existencial, provocado pela falta de sentido e pela percepção da morte. Nesse esteio, apreendemos que a mitodologia é uma proposição de estudo científico que considera os fatores espirituais e coletivos na constituição concreta da realidade imediata. Assim, abordamos o fato religioso, por meio de seus aspectos sensíveis e estéticos, em nosso caso, através do imaginário da arte barroca tropical. Além disso, evidenciamos a possibilidade de colaboração entre a Teoria Geral do Imaginário e a Logoteoria, para a busca da qualidade de vida do ser humano, apresentando o símbolo como instrumento de equilíbrio psíquico e social

The master´s thesis deals with technology of hanging painting in the Baroque period and it is a source of inspiration for visual interpretation. The master´s thesis is devided into theoretical and practical part. Theoretical part deals with technologies of baroque painting on hanging painting and techniques of this period. Key figure is study of production of Czech painter Karel Škréta. The integral part is teoretical and technological process of prominent preservers. The technological process of Škréta's production, which is the part of practical part, is based on their cognition.

In this diploma thesis is being solved a castle garden in Český Krumlov. It's current state and historical development is summarized. The garden was founded by Jan Kristián from Eggenberg in 17. century. The garden has gone through significant changes over the years. Those changes can be seen from attached plans. At first baroque garden become mostly romantic one. The biggest change is placement of revolving auditorium though. Before the auditorium was built, beautiful flower beds ware on this spot. Those beds ware the pride of the garden. Most of this work is focused on current state of the garden. From summarized current state and discussed gardens in Kroměříž and Lednice is obvious, that current state of the garden is very neglected and the garden needs regeneration.

This thesis is divided into two parts - theoretical and practical. The purpose of the thesis is to remind the 400th birth anniversary of Carlo Lurago in 2015. The theoretical part deals with a life and a work of this architect. It contains mostly a description of Lurago´s buildings, it follows up to an artistic style, but also to the period in which he lived and he created these pieces. The thesis is focused on the architecture which Lurago created in Prague. There will be created a concept for the realization of the practical part, based on the analysis of these constructions. The practical part is focused on the Prague construction which is the main theme of the Author´s book form, it means a set of monochrome sheets in a box, all for the 400th anniversary of Carlo Lurago´s birth.

The objective principles in the architecture production around 1890 have been gradually lefg into individual and local principles. There has been new rehabilitation of the Czech renaissance and Czech baroque architecture. There have been many factors like influence of the neighbour states, where had been baroque architecture regabilitated earlier, or scientific research during reconstruction of the baroque monuments. There have been gradually many notes and books about baroque art. The neo-baroque style has been appreciated, that has been in agreement with existing Prague architecture. Neo-baroque buildings we have found in the new urbanism places, in teh places of Prague brownfield development and we have found them also in the exhibitions of the architecture. There exist predecessors of the neo-baroque architecture,like the second rococo, trendy style of the middle of the 19. century and also architecture imports, but the main stream have started with the entry of Friedrich Ohmann to Prague. Pure neo-baroque we can find beside eclectic form with the influence of the other style, especially modern style. The scale of the baroque inspiration is very wide. The neo-baroque architecture not only continues in domestic baroque inspiration, but also from other places, especially Viennese architecture. There is no...

Cases of Italian embedded self-portraiture appear in the sacred art of some of the most renowned artists of the Cinquecento and early Seicento, artists such as Bronzino, Michelangelo, Titian, Tintoretto, and Caravaggio. This thesis first examines the history of the practice from its origins in Quattrocento Florence and Venice then argues that an important development in the function and presentation of embedded self-portraits can be observed as Cinquecento artists experienced broad shifts in religious and cultural life as a result of the Reformation and Counter-Reformation. It also assesses three works by Caravaggio to suggest that embedding self-portraits in religious art was a variable and meaningful convention that allowed artists to inject both their personal and public emotions. This thesis argues that in the Cinquecento and early Seicento, the very gesture of embedding a self-portrait in sacred artworks provided a window into an artist's individuality, personality, and piety.

The topic of this diploma thesis is an analysis of the baroque period's transgressives. Both the contemporary norm relative to the transgressives and its theoretical reflexion are observed on the base of five grammar writings from the given historic age. An obtained knowledge is then compared with a material excerpted from the writings corresponding to their date of origin during the period in baroque. The oldest of these scholarly writings is "Mappa katolická" by Jiří Plachý, followed by "Kronika klattovská" written by Jan Florián Hammerschmid and a late baroque polemic "Obzvláštné pravdy náboženství katholického" by Jan Hubálek. In this thesis, the transgressives are examined from both phonological and morphological point of view, but the greatest emphasis is placed on problematic facets, such as the gender congruence, the aspect of source verb and the transgressives' meaning derived from the primal participles. The diploma thesis sets its goal to describe the state of baroque transgressives and their using in contemporary literature as exactly as possible. Beside of these, it aims to specify the trend, on which end is the current wither of these grammatical forms.