Made available in DSpace on 2016-04-29T14:27:19Z (GMT). No. of bitstreams: 1 Roberto Marcelo da Silva.pdf: 1314933 bytes, checksum: 093521f7022bd5ab3ecf7c62d4b0228d (MD5) Previous issue date: 2011-05-09 / The statement of Christ's descent to the abode of the dead (or hell) has been the target of many theological interpretations since the sixth century II. Formulated in a biblical context, where expressions like Sheol, Hades were ye wear, refers to the time elapsed between death and resurrection of Jesus, he would have performed the activities during this period and the salvific meaning of these activities. The issue was thoroughly discussed by the Fathers and its main lines of interpretation soteriological, preaching to the dead and the victory over the infernal powers, are present in all genres of Christian literature and art of the time. For some early Fathers of the related statement of the descent into hell the enigmatic verses of the First Letter of Peter from 3.18 to 22, an association not at all clear that the issue became even more complex. The attempt to interpret the same verses relating them to the apocryphal Book of Enoch, made at the beginning of the twentieth century seems to have increased further this difficulty. The theme of the descent to hell was also present in medieval theology and modern periods in which it was established, which can be given the traditional Catholic interpretation. The theme persists in contemporary theological reflection, which, besides reviewing the classic interpretations (like the victory over death and infernal powers), develop interpretations that emphasize aspects that had not been sufficiently addressed by the ancients, as the solidarity of Christ with sinners. Our work aims to show that, about twelve hundred years after its incorporation in the Apostles' Creed, the article asserts that Christ's descent into hell continues to maintain its relevance for Christian theology and praxis of the century. XXI / A afirmação da descida de Cristo à morada dos mortos (ou aos infernos) tem sido alvo de muitas interpretações teológicas desde o séc II. Formulada num contexto bíblico, onde expressões como Sheol, Hades eram usais, refere-se ao tempo transcorrido entre a morte e ressurreição de Jesus, às atividades ele teria realizado nesse período e ao significado salvífico dessas atividades. O tema foi abundantemente discutido pelos Padres e suas grandes linhas de interpretação soteriológica, a pregação aos mortos e a vitória sobre os poderes infernais, estão presente em todos os gêneros de literatura e arte cristãs da época. Relativamente cedo alguns Padres relacionaram a afirmação da descida aos infernos aos enigmáticos versículos da Primeira Carta de Pedro 3,18-22, associação não de todo evidente, que tornou o tema ainda mais complexo. A tentativa de interpretação dos mesmos versículos relacionando-os ao Livro apócrifo de Henoc, feita no início do século XX, parece ter aumentado ainda mais essa dificuldade. O tema da descida aos infernos esteve também presente na teologia medieval e moderna, períodos em que foi estabelecida, o que podemos chamar, sua interpretação tradicional católica. O tema persiste na reflexão teológica contemporânea, a qual, além de retomar as interpretações clássicas (como a vitória sobre a morte e poderes infernais), desenvolveu interpretações que privilegiam aspectos que não haviam sido suficientemente abordados pelos antigos, como a solidariedade de Cristo com os pecadores. Nosso trabalho pretende mostrar que, cerca de mil e duzentos anos após sua incorporação ao Símbolo Apostólico, o artigo que afirma a descida de Cristo à mansão dos mortos continua mantendo sua relevância para a teologia e a práxis cristã do séc. XXI

Selon nous, la face cachée des Rougon-Macquart réside dans l’articulation de deux histoires : l’une légitime, affichée, déclarée - l’histoire naturelle et sociale d’une famille sous le Second Empire - l’autre cachée, illégitime, non déclarée - l’histoire culturelle et intellectuelle également sous le Second Empire. Cette histoire a culturelle a pu être mise en place car elle repose sur les deux aspects développés par cet auteur : l’aspect social en découpant la société en cinq mondes et l’aspect naturel ou héréditaire (la reproduction). En effet, avec cette histoire culturelle, nous retrouvons ce même découpage en cinq mondes : le monde des arts et des lettres, le monde des sciences, le monde des sciences humaines, le monde de l’information et de la communication et un monde à part (la mythologie et la religion). Cette histoire culturelle a également été envisagée sous l’angle de la reproduction textuelle et non plus sexuelle avec la mise en place d’une véritable machinerie à reproduire les textes-sources (ou textes insérés). La bande-reproductrice ou la bande-annonce qui définit le type de texte ; l’annonce (ou le texte reproduit). Le roman expérimental résiderait davantage dans la mise en place de cette autre histoire qui, de manière souterraine, a permis à Zola de réfléchir sur les différentes méthodes de composition et d’écriture qu’impliquent cette reproduction textuelle comme l’acte de reproduire. Si nous avons défini ces cinq mondes culturels , nous nous sommes davantage attachées à étudier le monde de l’information et de la communication, et en particulier le monde journalistique. Une telle approche nécessite sa prise en compte pour redéfinir tant l’esthétique zolienne que naturaliste. / According to our view, the hidden of the Rougon-Macquart lies in expression of two histories : a legitimate one, which is stated, declared – the natural and social history of family under the Second Empire – and the other one, which is hidden, illegitimate and undeclared – the cultural and intellectual history under the Second Empire as well. The set up of this cultural history was made possible because it relies on the two aspects developpedby this autor :the social aspect by dividing society into five worlds and the natural or hereditary one (reproduction). Indeed, with this cultural history, wie find the same division :the world of Arts and literature, the world of sciences, the world of human sciences, the world of information and of communication and a world apart (mythology and religion). This cultural history was also considered from the angle of textual reproduction, and not fromthe angle of sexual reproduction with the setting up of an authenthic machinery able to reproduce the source texts (or inserted texts). This machinery includes an announcer or reproducer, the announce or reproduction verb in charge of defining the source text ; the reproductive or announcing substance which definies the sort of text ; the announce (or the reproduced text).The experimental novel would more streuously reside in the setting up of this other history which in an underlying way enabled Zola to ponder on the different compsition and writing methods wich this textual reproduction involves as the act of reproducing. If we have defined these five cultural worlds, we have even more studied the world ofinformation and of communication, and the journalistic world in particular. This sort of approach requieres to take it into account in order to redefine Zola’s and Naturalim’s aesthetics.