This dissertation presents a new perspective on the function of objects in late-medieval devotional practice through a study of the so-called Soissons group of thirteenth-century French Gothic ivories. These ivory diptychs were sophisticated tools constructed to guide the user through various spiritual exercises that led to prayer. The hitherto unexplained increase in the availability of ivory in mid-thirteenth-century France is accounted for by an alteration in the trade routes that brought elephant tusks from the Swahili coast of Africa to northern Europe: a newly-opened passage through the Straits of Gibraltar allowed a small amount of luxury goods to be shipped together with bulk materials necessary to the northern textile industries. The increasing supply required a revision of the structure of the thirteenth-century craft of ivory. The Soissons group, the first ivory diptychs fashioned during this time of growth in ivory markets, is subdivided into two sections. An itinerant master who traveled throughout the Picard region between 1235 and 1270 crafted the first group. Concurrently, three separate Parisian artists produced the second group based on a Picard model. This dissertation redates all the ivories substantially earlier than previously thought, conclusions which were attained through stylistic analysis. The dense Passion iconography shaped the diptychs’ function in private devotion. The narrative encouraged the viewer to practice a number of spiritual exercises—reading, memorization and compunction—analogous to the three reasons for allowing images in the Christian Church, the triplex ratio. The Passion diptych format introduced with these objects was immensely popular throughout the thirteenth and fourteenth centuries and its conservation over time underscored its effectiveness. The small differences in iconography and composition among the seven Soissons diptychs, however, were subtle modifications to adjust to different audiences and to hone the objects’ efficacy as tools for prayer.

This dissertation presents a new perspective on the function of objects in late-medieval devotional practice through a study of the so-called Soissons group of thirteenth-century French Gothic ivories. These ivory diptychs were sophisticated tools constructed to guide the user through various spiritual exercises that led to prayer. The hitherto unexplained increase in the availability of ivory in mid-thirteenth-century France is accounted for by an alteration in the trade routes that brought elephant tusks from the Swahili coast of Africa to northern Europe: a newly-opened passage through the Straits of Gibraltar allowed a small amount of luxury goods to be shipped together with bulk materials necessary to the northern textile industries. The increasing supply required a revision of the structure of the thirteenth-century craft of ivory. The Soissons group, the first ivory diptychs fashioned during this time of growth in ivory markets, is subdivided into two sections. An itinerant master who traveled throughout the Picard region between 1235 and 1270 crafted the first group. Concurrently, three separate Parisian artists produced the second group based on a Picard model. This dissertation redates all the ivories substantially earlier than previously thought, conclusions which were attained through stylistic analysis. The dense Passion iconography shaped the diptychs’ function in private devotion. The narrative encouraged the viewer to practice a number of spiritual exercises—reading, memorization and compunction—analogous to the three reasons for allowing images in the Christian Church, the triplex ratio. The Passion diptych format introduced with these objects was immensely popular throughout the thirteenth and fourteenth centuries and its conservation over time underscored its effectiveness. The small differences in iconography and composition among the seven Soissons diptychs, however, were subtle modifications to adjust to different audiences and to hone the objects’ efficacy as tools for prayer.

Thesis (D. Min.)--Trinity International University, 2001. / Abstract. Includes bibliographical references (leaves 169-171).

Thesis (D. Min.)--Trinity International University, 2001. / Abstract. Includes bibliographical references (leaves 169-171).

Thesis (D. Min.)--Trinity International University, 2001. / Abstract. Includes bibliographical references (leaves 169-171).

This thesis examines the relationship between the fiction of James Joyce and the theological practices outlined by Ignatius of Loyola. By deliberately foregoing claims of direct or simple influence, the thesis illustrates the way in which Loyola's concepts of belief, irony, discernment, and indifference illuminate the operations of the Joycean text. These operations in both Loyola and Joyce are themselves best explicated through the use of Kleinian psychoanalytic theory. Klein and her followers analyze dynamics of belief, representation, and meaning as products of frustration. Loyola and Joyce both force the reader into symmetrical situations of frustration, and Kleinian analysis helps us see how Joyce uses his texts as a kind of exercise for the reader-an exercise of productive frustration, disappointment, and loss. I trace the way this loss can turn reading into a reparative act, one that moves through the Kleinian 'paranoid-schizoid' position into a more productive, contingent, depressive position. I thus address Eve Kosovsky Sedgwick's proposal for reparative reading. By examining both Loyola's and Joyce's engagement with (and invitations into) frustrating, paranoid reading, I show how this engagement might become reparative. The thesis begins with an analysis of Loyola's Spiritual Exercises, finding there a specific structure of 'earnest irony.' It continues with a close reading of 'The Dead,' discerning how this structure operates in the Joycean text at the levels of both content and narration. It then takes up Kleinian theory directly to see precisely what paranoid reading-of the kind both Joyce and Loyola demand-accomplishes, and what its failure achieves. Its final two chapters consider A Portrait of the Artist as a Young Man, where it finds the narrative apparatus forcing the reader into a particular form of productive frustration, and Ulysses, which requires the greatest form of 'earnest irony' from the reader.

Orientador: Paulo Ellias Allane Franchetti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-13T12:29:06Z (GMT). No. of bitstreams: 1 Pereira_ClaudiaGomes_M.pdf: 599459 bytes, checksum: 6e3e223a169b1876688e96eeceff9e47 (MD5) Previous issue date: 2009 / Resumo: Esta dissertação apresenta um estudo sobre a obra Doze Noturnos da Holanda, de Cecília Meireles, publicado pela primeira vez em 1952. Esse livro pode ser considerado um marco na lírica da poetisa no que tange a temática da viagem, uma vez que nele coincidem a viagem imaginária e o deslocamento espacial. O livro, escrito em 1951, na Holanda, descreve a jornada do eu lírico acompanhado pela personagem Noite, no universo noturno, em busca de experiência de totalidade e de autoconhecimento. Essa viagem lírica é composta por doze poemas que parecem constituir um ciclo, no qual existe uma progressão ao longo dos poemas. Assim, a hipótese do trabalho é que os poemas se descrevem como uma série de exercícios espirituais, que preparam o leitor para a contemplação da imagem maior que é centrada na imagem do afogado encantado que jaz nos canais de Amsterdã. A hipótese é sustentada nesse trabalho por meio do estudo analítico dos poemas: "Um", em que se descrevem o processo de introspecção e o afastamento dos desejos terrenos; "Dois", em que se apresenta a Noite como uma personagem; "Três", em que se sublinham a viagem pelo mundo noturno e as formas precárias de temporalidade; e "Doze", em que se apresenta o belíssimo corpo do afogado / Abstract: This master thesis presents a study on the book Twelve nocturnes of Holland, written by Cecília Meireles and first published in 1952. This book can be considered a hallmark of the poet's lyricism concerning the theme of journey, since in it coincide both imaginary journey and spatial motion. The book, written in 1951 in Holland, describes the journey of the lyric self and the character Night through a nocturnal atmosphere searching for totality and self-knowledge. The lyric journey is composed of twelve poems, which seem to form a cycle. There seems to be a progression in this cycle. The working hypothesis, thus, assumes that each poem constitutes a spiritual exercise that prepares the reader to the bigger image of the enchanted drowned, who lies on Amsterdam channels. The hypothesis is supported through the analytical study of the poems: "One", which describes both processes of introspection and of departure from earthly desires; "Two, which presents Night as a character; "Three", which emphasizes the journey through a nocturnal world and precarious modes of temporality; and "Twelve", which presents the beautiful body of the enchanted drowned / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Orientador: Milton Jose de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-11T04:53:26Z (GMT). No. of bitstreams: 1 Silva_DanuzioGilBernardinoda_D.pdf: 19530674 bytes, checksum: 616b98bd0f070f915466dbcdd815bd90 (MD5) Previous issue date: 2008 / Resumo: As imagens de ¿Adnotationes et Meditationes in Evangelia¿ de Jerome Nadal, juntamente com os Exercícios Espirituais de Inácio de Loyola são a base desse trabalho sobre educação visual e a Arte da Memória. Por um caminho em que se encontram referências literárias e iconográficas, seguimos por uma trajetória que vem das experiências cristãs de meu passado e segue para o passado cristão imaginado e percebido em minhas leituras textuais e visuais, em especial de Nadal e Inácio / Abstract: The images of "Adnotationes et Meditationes in Evangelia" by Jerome Nadal with Spiritual Exercises of Ignatius of Loyola are the bases of this work about visual education and art of memory. In a way where literature references and iconographics are together we follow the direction from my personal christianism experiences and are going to the imagined christian past, perceived in my visual and textual readings, especially Nadal and Ignatius / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

The Dynamics of The Spiritual Exercises of St. Ignatius of Loyola Diploma thesis Gabriela Junasová Praha 2011 Abstract This Diploma thesis "The Dynamics of The Spiritual Exercises of St. Ignatius of Loyola" is trying to unveil on one side the dynamics that is behind the text of The Spiritual Exercises, on the other side the dynamics of the process of the spiritual exercises itself. It is trying to demonstrate that a text written in the 16th century is adaptable and flexible in its usage thanks to its layout: in form of annotations, rules and division of the exercises in four parts. This thesis took into account this adaptability of the text when an important part of the spiritual exercises: annotations and rules by which to perceive and understand to some extent the various movement produce in the soul, put together into one chapter even though they are not in the text itself. Also this thesis is trying to show the importance of the spiritual direction in interpretation and adaptability of the spiritual exercises on an individual. Furthermore this thesis is trying to show one of possible ways interpretation of the four weeks.

De 1677 à 1776, la grande congrégation mariale de Munich représentait pendant le Carême des drames musicaux appelés Considerationes ou « méditations dramatiques » pour l’édification morale de ses membres. Ils étaient écrits par le président jésuite de cette sodalité et mis en musique par des compositeurs locaux.Cette thèse s’attache spécifiquement aux Considerationes du jésuite Franz Lang (1654-1725),créées entre 1695 et 1712. Ces œuvres se distinguent effectivement des autres méditations par le fait qu’elle furent intégralement éditées en 1717 sous la forme de trois recueils – Theatrum SolitudinisAsceticæ, Theatrum Affectuum Humanorum et Theatrum Doloris et Amoris - qui totalisent environ 850pages de livrets et plus de 3 000 pages de musique.Les recherches tiennent à expliquer d’abord l’existence de cette source exceptionnelle à tous égards par une étude précise des conditions de représentation, replacées dans le contexte plus général de la vie musicale à Munich. La thèse offre ensuite une analyse dramaturgique du Theatrum Solitudinis Asceticæ qui revendique une filiation directe aux Exercices spirituels de St Ignace de Loyola, fondateur de la Compagnie de Jésus. Après une étude littéraire du recueil de Lang, elle apporte un éclairage musicologique sur les Considerationes mises en musique par Johannes-AndreasRauscher (mort en 1702), exemples remarquables « d’Exercices spirituels musicaux ». / Between 1677 and 1776, the great latin congregation of Munich used to perform musicaldramas during the Lenten season. These dramas were called Considerationes or « DramaticMeditations » and were intended for the moral edification of their congregation members. The dramas’plot was written by the congregation’s Jesuit priest while bavarian musicians composed the music.This work specifically treats the Considerationes by Franz Lang (1654 – 1725), which wereperformed between 1695 and 1712. As opposed to other meditations, Lang’s Considerationes wereentirely printed in the year 1717. They were brought together in three collections – TheatrumSolitudinis Asceticæ, Theatrum Affectuum Humanorum, Theatrum Doloris et Amoris – and togetherthey consist of about 850 pages of text and over 3000 pages of score.This research firstly explains the existance of this extraordinary source thanks to a precisestudy of the history of the performances which is then put in context with Munich’s musical life at thetime. Then follows a dramaturgical analysis of the Theatrum Solitudinis Asceticæ, which waspostulated by Ignatius of Loyola within the Spiritual Exercises. After a part about the literary work ofLang, my work closes with an analysis of the Considerationes – which were composed by Johannes-Andreas Rauscher, who died in 1702 - regarding musicology. These pieces finally are a noteworthyexample of the « musical Spiritual Exercises ».