Thesis (S.T.M.)--Yale Divinity School, 2005. / Vita. Includes bibliographical references (leaves 62-66).

Diss.--Fachbereich Theologie--Kiel--Christian-Albrechts-Universität, 1995-1996. / Bibliogr. p. 322-329.

Diss.--Freiburg-im-Breisgau--Universität, 1986. / Bibliogr. p. 269-325. Index.

Orientador: José Leonardo do Nascimento / Banca: Omar Khouri / Banca: Oscar D'Ambrosio / Resumo: A dissertação em questão aborda a relação entre Arte e Religião. Por ser este assunto bastante amplo, a relação pesquisada afunila-se na análise da religiosidade presente nas obras dos seguintes artistas naïfs brasileiros: Heitor dos Prazeres, José Antonio da Silva, Antonio Poteiro e Waldomiro de Deus. Para a compreensão da relação existente entre Arte e Religião nas obras desses artistas fez-se necessário o levantamento do contexto histórico, social e religioso em que estão inseridos por meio da investigação da cultura popular brasileira; da relação entre Arte e Religião no contexto popular brasileiro e do contato com os artistas, suas realidades e suas obras. Assim o estudo aborda a Arte Naïf sob o aspecto histórico-social, compreendendo a cultura por meio das concepções que apontam para conhecimento, ideias e crenças de um povo / Abstract: The present paper deals with the relationship between Art and Religion. Since this is a vast subject, the discussed relationship narrows in the analysis of the religiosity presented in the work of four Brazilians naïve artists: Heitor dos Prazeres, Antonio José da Silva, Antonio Poteiro and Waldomiro de Deus. To understand the relationship between art and religion in the work of these artists it became necessary to make a survey of the historical, social and religious context that they are inserted, therefore, an investigation of the Brazilian popular culture; an discussion of the relationship between art and religion in the Brazilian popular context and a contact with the artists, with their work and realities. Thus the present study addresses the naïve art in its historical and social aspects, and understands the culture through the concepts that point to knowledge, ideas and beliefs of a nation / Mestre

Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-08-28Bitstream added on 2014-12-02T11:21:20Z : No. of bitstreams: 1 000746826.pdf: 5934231 bytes, checksum: 66d316b246fa6c05451a137266134cd7 (MD5) / A dissertação em questão aborda a relação entre Arte e Religião. Por ser este assunto bastante amplo, a relação pesquisada afunila-se na análise da religiosidade presente nas obras dos seguintes artistas naïfs brasileiros: Heitor dos Prazeres, José Antonio da Silva, Antonio Poteiro e Waldomiro de Deus. Para a compreensão da relação existente entre Arte e Religião nas obras desses artistas fez-se necessário o levantamento do contexto histórico, social e religioso em que estão inseridos por meio da investigação da cultura popular brasileira; da relação entre Arte e Religião no contexto popular brasileiro e do contato com os artistas, suas realidades e suas obras. Assim o estudo aborda a Arte Naïf sob o aspecto histórico-social, compreendendo a cultura por meio das concepções que apontam para conhecimento, ideias e crenças de um povo / The present paper deals with the relationship between Art and Religion. Since this is a vast subject, the discussed relationship narrows in the analysis of the religiosity presented in the work of four Brazilians naïve artists: Heitor dos Prazeres, Antonio José da Silva, Antonio Poteiro and Waldomiro de Deus. To understand the relationship between art and religion in the work of these artists it became necessary to make a survey of the historical, social and religious context that they are inserted, therefore, an investigation of the Brazilian popular culture; an discussion of the relationship between art and religion in the Brazilian popular context and a contact with the artists, with their work and realities. Thus the present study addresses the naïve art in its historical and social aspects, and understands the culture through the concepts that point to knowledge, ideas and beliefs of a nation

Preface: An awareness of certain contradictory perceptions and assumptions regarding religious beliefs today and their relevance to art prompted a question which led to the research undertaken in this minithesis. The question was: how significant is the absence or presence of religious beliefs to the modern creative process? The writings of some theologians, sociologists, psychologists, and anthropologists seem to indicate that religious beliefs are fundamental to the functioning of society and the individuals who are part of it. Furthermore, even a cursory study of the history of art will demonstrate the strong bond between pre-nineteenth century image making and organised religion. Today, however, this relationship appears uncertain or even non-cxistant. This is a result of processes which began to gain strength in the nineteenth century: these include the industrial revolution, scientism and materialism. Peter Fuller, stated that among the most central questions affecting art is, "the severance of the arts from religious tradition and their existence within an increasingly secular culture." (Fuller, 1990, p. 189). This statement appears to bring the issues together very neatly. Firstly there is the assertion that religion has nourished and been a vital force behind art through the ages, and that, modern art has lost this source of vitality. Secondly, there is the contention tbat society, since the nineteenth century, has become increasingly secular, and that this has had (and is having) a radical effect on modern art. That art has been divorced from religion and that religion is disappearing, or will do so, is the logical conclusion, according to theorists who insist on institutional religion as the only true form. Some artists, for whom the absence or presence or loss of religious beliefs are important issues, may in this situation experience a creative crisis. In order to address these issues it was necessary to investigate whether religious beliefs are important to artistic endeavour and, if so, what the consequences of the absence of beliefs might be. For this reason, research into the nature of religion and the modem religious situation was initiated. The purpose of the extensive discussion on the nature of religion was to establish definitions of, or a view of, religion which could provide a sound basis for this investigation of the issues that have been outlined. In order to demonstrate whether religious beliefs are important to the creative process, Francis Bacon was chosen for discussion because he appeared to be a modern artist who had no religious beliefs and was thus an ideal example by which the consequences of this could be gauged.

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Text in English / Christian Spirituality, Church History and Missiology / M. Th. (Missiology)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-19T12:01:09Z No. of bitstreams: 1 Marcos Martinez Munhoz.pdf: 2025319 bytes, checksum: cecef109ac8f62614f05e7760617ec58 (MD5) / Made available in DSpace on 2017-10-19T12:01:09Z (GMT). No. of bitstreams: 1 Marcos Martinez Munhoz.pdf: 2025319 bytes, checksum: cecef109ac8f62614f05e7760617ec58 (MD5) Previous issue date: 2017-09-25 / The objective of this study is to discuss the various meanings attributed to the Alexamenos Graffito. This piece of graffiti, possibly produced between the 1st and 3rd century AD, was discovered on a wall in the proximity of the Palatine Hill, in Rome, and depicts the unique image of a man with a donkey-like head and a crucified human body. This research addresses art in its communicational aspect, focusing on the imagery representation of a mythical ensemble. The methodology involves literature review, historical and anthropological investigation and document analysis. A historical and anthropological approach is employed to attempt to understand the relations of the image in places of worship, from prehistoric times to the artistic production that contextualizes the artist’s interference in Rome. The problematic of this study is developed under the aegis of the image system in Western religious thought. The discussion centers on the representation processes of mythical imagery from rock art to the art of graffiti, which encompasses the Alexamenos Graffito. The object at hand is always observed in its materiality and investigated from the theoretical framework developed by the semiotics of culture. Moreover, this study incorporates textual collaborations from scholars such as Hans Belting and Margot Berthold. With this theoretical underpinning, this thesis focuses mainly on indicating a mythical presence and its communicational interferences in the image of the Alexamenos Graffito—which are potentially interwoven into the everyday life of a certain community within a spatial and cultural context. The results suggest an image that provides a mimetic representation of facts on the wall by the artist, among the everyday temporal events of Rome / O presente trabalho tem como objetivo discutir os vários sentidos atribuídos ao Grafite de Alexamenos. Trata-se de um grafite produzido possivelmente entre os séculos de I e III d.C., descoberto em uma parede nas proximidades do monte palatino, em Roma, e que representa a singular imagem da cabeça de um equino com o corpo humano crucificado. A pesquisa aborda a arte em seu aspecto comunicacional apontando um conjunto mítico de representação imagética. A metodologia envolve revisão bibliográfica, pesquisa histórica e antropológica e análise documental. A partir da abordagem histórica e antropológica, buscou-se compreender as relações da imagem nos ambientes de culto, desde a pré-história até a produção artística que contextualiza a interferência do artista em Roma. A problemática deste trabalho se desenvolve sob a égide do sistema imagético no pensamento religioso ocidental. Discute-se, assim, a os processos de representação da imagem mítica desde os grafismos rupestres até a arte do grafite no qual se situa o grafite de Alexamenos. O objeto em questão é sempre observado em sua materialidade e investigado a partir do arcabouço teórico desenvolvido pela semiótica da cultura. Além disso, traz colaborações textuais de estudiosos como Hans Belting e Margot Berthold. Com essa sustentação teórica, esta tese tem como foco principal indicar uma presença mítica e suas interferências comunicacionais na imagem do grafite de Alexamenos possivelmente, imbricadas no cotidiano de uma determinada comunidade contextualizada espacialmente e culturalmente. Os resultados apontam para uma imagem que traz a mimética de fatos na parede por seu artista, dentre os acontecimentos temporais cotidianos de Roma