Thesis (S.T.D.)--Catholic University of America, 1943. / Bibliography: p. XV-XX.

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "March 2005." Includes bibliographical references (leaves 141-150).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2005. / Vita. "March 2005." Includes bibliographical references (leaves 141-150).

Imagens do corte: desdobramentos operatórios em imagens impressas e projetadas é uma pesquisa em Poéticas Visuais que traz uma resposta prática e teórica a uma indagação sobre a idéia de corte circunscrita ao campo das Artes Visuais. Tem como objeto um conjunto de trabalhos, que chamei de Imagens do corte. Eles se originam de fotografias de árvores que foram encontradas cortadas na cidade de Uberlândia, no estado de Minas Gerais. São imagens dos topos de troncos cortados, numerizadas, ampliadas, fragmentadas e apresentadas em espaços arquitetônicos. A idéia de corte, tomada como conceito operatório, funda, desdobra-se e se reflete nas várias etapas da produção deste conjunto de trabalhos. Durante o período da pesquisa, ou seja, de 2001 a 2004 foram concebidas e apresentadas cinco mostras em espaços institucionais e abertos ao público. Elas se dividiram em duas etapas de produção e apresentação, cada qual introduzindo problematizações específicas. A primeira etapa reúne as mostras com imagens impressas; a segunda etapa, imagens projetadas. Trabalhos anteriores e desenvolvidos no período da pesquisa são também considerados dentro do conjunto de imagens do corte na medida em que se conectam com as exposições. Esta produção visual é acompanhada de uma produção textual que traz o relato das indagações ocorridas no interior do processo; o tratamento teórico das questões que fundam os trabalhos e dos desdobramentos do conceito operatório; as análises dos trabalhos; as aproximações com obras consolidadas de outros artistas e as conexões com a História da Arte. / Images of the cut: operational unfoldings in projected and printed images is a research in Poetical Appearances, which brings a practical and theoretical reply to an investigation about the idea of cut circumscribed at the field of the Visual Arts. A set of works is called Images of the cut. They originate from tree photographs that had been found cut in the city of Uberlândia, in the state of Minas Gerais. They are images of the cut trunks top, numbered, extended, fragmented and presented in architectural spaces. The cut idea, being as an operational concept, establishes and reflects itself in several stages of this set of works’ production. During the period of the research, that is, from 2001 to 2004 five samples in institutional spaces had been conceived, presented and opened to the public. They divided in two production and presentation stages, each one introducing specific problems. The first stage congregates the samples with printed images; the second one congregates projected images. Previous and developed works in the period of the research are also considered inside the images of the cut’s set as long as they connect the expositions. This visual production is followed by a literal production, which brings the story of the occurred investigations in the interior of the process; the questions’ theoretical treatment, which establish the works and the unfoldings of the operational concept; the analyses of the works; the approach to the consolidated workmanships from other artists and the connections with the History of Art.

Imagens do corte: desdobramentos operatórios em imagens impressas e projetadas é uma pesquisa em Poéticas Visuais que traz uma resposta prática e teórica a uma indagação sobre a idéia de corte circunscrita ao campo das Artes Visuais. Tem como objeto um conjunto de trabalhos, que chamei de Imagens do corte. Eles se originam de fotografias de árvores que foram encontradas cortadas na cidade de Uberlândia, no estado de Minas Gerais. São imagens dos topos de troncos cortados, numerizadas, ampliadas, fragmentadas e apresentadas em espaços arquitetônicos. A idéia de corte, tomada como conceito operatório, funda, desdobra-se e se reflete nas várias etapas da produção deste conjunto de trabalhos. Durante o período da pesquisa, ou seja, de 2001 a 2004 foram concebidas e apresentadas cinco mostras em espaços institucionais e abertos ao público. Elas se dividiram em duas etapas de produção e apresentação, cada qual introduzindo problematizações específicas. A primeira etapa reúne as mostras com imagens impressas; a segunda etapa, imagens projetadas. Trabalhos anteriores e desenvolvidos no período da pesquisa são também considerados dentro do conjunto de imagens do corte na medida em que se conectam com as exposições. Esta produção visual é acompanhada de uma produção textual que traz o relato das indagações ocorridas no interior do processo; o tratamento teórico das questões que fundam os trabalhos e dos desdobramentos do conceito operatório; as análises dos trabalhos; as aproximações com obras consolidadas de outros artistas e as conexões com a História da Arte. / Images of the cut: operational unfoldings in projected and printed images is a research in Poetical Appearances, which brings a practical and theoretical reply to an investigation about the idea of cut circumscribed at the field of the Visual Arts. A set of works is called Images of the cut. They originate from tree photographs that had been found cut in the city of Uberlândia, in the state of Minas Gerais. They are images of the cut trunks top, numbered, extended, fragmented and presented in architectural spaces. The cut idea, being as an operational concept, establishes and reflects itself in several stages of this set of works’ production. During the period of the research, that is, from 2001 to 2004 five samples in institutional spaces had been conceived, presented and opened to the public. They divided in two production and presentation stages, each one introducing specific problems. The first stage congregates the samples with printed images; the second one congregates projected images. Previous and developed works in the period of the research are also considered inside the images of the cut’s set as long as they connect the expositions. This visual production is followed by a literal production, which brings the story of the occurred investigations in the interior of the process; the questions’ theoretical treatment, which establish the works and the unfoldings of the operational concept; the analyses of the works; the approach to the consolidated workmanships from other artists and the connections with the History of Art.

Imagens do corte: desdobramentos operatórios em imagens impressas e projetadas é uma pesquisa em Poéticas Visuais que traz uma resposta prática e teórica a uma indagação sobre a idéia de corte circunscrita ao campo das Artes Visuais. Tem como objeto um conjunto de trabalhos, que chamei de Imagens do corte. Eles se originam de fotografias de árvores que foram encontradas cortadas na cidade de Uberlândia, no estado de Minas Gerais. São imagens dos topos de troncos cortados, numerizadas, ampliadas, fragmentadas e apresentadas em espaços arquitetônicos. A idéia de corte, tomada como conceito operatório, funda, desdobra-se e se reflete nas várias etapas da produção deste conjunto de trabalhos. Durante o período da pesquisa, ou seja, de 2001 a 2004 foram concebidas e apresentadas cinco mostras em espaços institucionais e abertos ao público. Elas se dividiram em duas etapas de produção e apresentação, cada qual introduzindo problematizações específicas. A primeira etapa reúne as mostras com imagens impressas; a segunda etapa, imagens projetadas. Trabalhos anteriores e desenvolvidos no período da pesquisa são também considerados dentro do conjunto de imagens do corte na medida em que se conectam com as exposições. Esta produção visual é acompanhada de uma produção textual que traz o relato das indagações ocorridas no interior do processo; o tratamento teórico das questões que fundam os trabalhos e dos desdobramentos do conceito operatório; as análises dos trabalhos; as aproximações com obras consolidadas de outros artistas e as conexões com a História da Arte. / Images of the cut: operational unfoldings in projected and printed images is a research in Poetical Appearances, which brings a practical and theoretical reply to an investigation about the idea of cut circumscribed at the field of the Visual Arts. A set of works is called Images of the cut. They originate from tree photographs that had been found cut in the city of Uberlândia, in the state of Minas Gerais. They are images of the cut trunks top, numbered, extended, fragmented and presented in architectural spaces. The cut idea, being as an operational concept, establishes and reflects itself in several stages of this set of works’ production. During the period of the research, that is, from 2001 to 2004 five samples in institutional spaces had been conceived, presented and opened to the public. They divided in two production and presentation stages, each one introducing specific problems. The first stage congregates the samples with printed images; the second one congregates projected images. Previous and developed works in the period of the research are also considered inside the images of the cut’s set as long as they connect the expositions. This visual production is followed by a literal production, which brings the story of the occurred investigations in the interior of the process; the questions’ theoretical treatment, which establish the works and the unfoldings of the operational concept; the analyses of the works; the approach to the consolidated workmanships from other artists and the connections with the History of Art.

Résumé : L'organisation de l'espace basilien est le reflet culturel de ses habitants. Le paysage humanisé actuel est la résultante de divers artefacts culturels. Pour mieux comprendre l'occupation du sol basilien, il convient de percevoir le milieu physique et humain dans son ensemble, d'examiner à fond les séquences de l'établissement humain et d'identifier les déséquilibres spatiaux temporels qui compromettent l'évolution rationnelle du territoire. L'identification des contraintes et des potentiels du territoire favorise l'élaboration et la conceptualisation d'un plan d'aménagement du territoire équilibré, qui met en valeur l'intégrité de la composante culturelle basilienne. En outre, cette recherche tente d'élucider et de corriger certaines lacunes perceptibles dans le territoire de la municipalité de Saint-Basile.||Abstract : The built up area of Saint-Basile represents the cultural iconography of his inhabitants. Apparently, the cultural landscape is set up from former man made modifications. For a better understanding of the Saint-Basile urban land use, it is a must to perceive and recognize distincly the physical and the human factors abroad; to scrutinize the human settlements sequences since the colonization and to identify the internal land use patterns components who jeopardize the rational developpment of the community. The establishement and the identification of the restreints and the potentiels within the town of Saint-Basile will lead to a design and a better urban land use planning which will preserved the cultural identity of his inhabitants. Therefore, the research tends to light up and rectify some visibles linkages of the Saint-Basile urban land use.

Thèse en cotutelle Université Laval, Québec, Canada et Université de Fribourg, Fribourg, Suisse / Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2017-2018 / Basile le Minime, évêque de Césarée en Cappadoce au milieu du Xe siècle, est principalement connu pour avoir écrit un Commentaire à tous les Discours de Grégoire de Nazianze. En effet, bien qu’il ait eu un rôle à jouer à la cour de l’empereur Constantin VII Porphyrogénète, entre autres lors de la prise du pouvoir par ce dernier et lors de la nomination du patriarche Polyeucte, deux événements qui ont marqué sa carrière ecclésiastique, c’est d’abord grâce à son œuvre exégétique qu’il passa à la postérité. Ses Commentaires connurent dès leur publication un certain succès, comme le prouve le nombre de manuscrits qui transmettent son œuvre, plus de quatre-vingt. Cette bonne fortune n’est peut-être pas étrangère au soutien de l’empereur Constantin, à qui les Commentaires étaient dédiés, mais elle s’inscrit également au sein d’un mouvement de mise en valeur de la figure de Grégoire de Nazianze, qui prit de l’ampleur tout au long de l’époque byzantine. Par la suite, son œuvre fut légèrement éclipsée par les contributions des commentateurs postérieurs, qui réutilisèrent toutefois une partie de ses exégèses, avant de tomber finalement en oubli partiel à la fin de l’Empire byzantin. En 1827, Jean-François Boissonade trouva dans la bibliothèque du Roi les Commentaires de Basile le Minime et en publia trois avec la Lettre dédicatoire par laquelle Basile annonçait son œuvre et l’offrait à Constantin VII. Il fut suivi de peu par Louis de Sinner qui publia un autre des Commentaires. Réédités peu de temps après dans la Patrologie grecque, ces quatre Commentaires furent toutefois les seuls et derniers à être publiés en entier et l’œuvre de Basile retint très peu l’attention des chercheurs, jusqu’aux travaux récents de Thomas Schmidt, qui reprit l’édition critique de la Lettre dédicatoire et fit l’édition princeps du Commentaire au Discours 38. Dans la lignée des travaux de ce chercheur, la présente thèse propose une nouvelle édition critique et une première traduction française des Commentaires aux Discours 4 et 5, qui avaient été autrefois publiés par Boissonade, mais seulement sur la base de deux manuscrits. Ces Discours, écrits par Grégoire de Nazianze au lendemain de la mort de l’empereur Julien pour fustiger l’Apostat, célébrer sa mort et montrer aux chrétiens les leçons à retenir de cette épreuve, connurent une certaine postérité à l’époque byzantine. En effet, dans les siècles suivants, les Invectives de Grégoire furent reprises par les auteurs ecclésiastiques et amplifiées, jusqu’à donner naissance à la légende noire de Julien, magicien et tyran par excellence. Ce n’est toutefois pas cet aspect du texte qui retint l’attention de Basile. Au contraire, Basile aborda ces Discours avec le sérieux d’un philologue qui cherche à rendre ces œuvres accessibles, comme il l’écrit lui-même dans l’épilogue qui suit le Commentaire au Discours 5, « pour ceux qui voient petit et qui ont besoin de lait au lieu d’une alimentation solide en discours » (Comm. 5, 66). À cette fin, il emploie une méthode pédagogique comparable à celle d’un grammairien chargé de faire découvrir à ses élèves une œuvre classique : il alterne ainsi les analyses textuelles, principalement axées sur des notions de grammaire et une paraphrase simplificatrice des passages compliqués, avec les exposés contextuels, qui expliquent les événements mis en scène dans l’œuvre ou les références culturelles et littéraires déployées par l’auteur. À cet ensemble s’ajoutent d’autres éléments d’informations sporadiques, en lien, le plus souvent, avec des matières scolaires, comme la rhétorique, la musique, l’astronomie ou la philosophie. En somme, les Commentaires de Basile ne sont pas seulement intéressants pour l’interprétation ou l’histoire exégétique du texte de Grégoire, mais également en tant que témoins de la culture scolaire du milieu de la période byzantine. / Basilius Minimus, bishop of Caesarea of Cappadocia in the middle of 10th century, is mainly known to have written a Commentary on every Oration of Gregory of Nazianzus. Although he had played in the court of the Emperor Constantine VII Porphyrogenetus, most notably when the latter recovered his throne and when Polyeuctus became the patriarch of Constantinople – two events very important in his ecclesiastical career –, he is mostly known for his exegetical work. His Commentaries soon experienced some success, as evidenced by the number of manuscripts, more than 80, that transmit his work. This success may have been a result of the support of the Emperor Constantine to which the Commentaries were dedicated, but it also corresponded to a larger movement valorizing the figure of Gregory of Nazianzus, a movement which gained momentum throughout the Byzantine period. His work has been somewhat overshadowed by the contributions of later commentators, which also borrowed from his exegesis, before falling partly into oblivion at the end of the Byzantine Empire. In 1827, Jean-François Boissonade found three of Basilius’ Commentaries in the Bibliothèque du Roi and published them, along with the dedicatory letter with which Basilius announced his work and offered it to Constantine VII. He was closely followed by Louis de Sinner who published another Commentary. Reedited shortly after in Patrologia graeca, these Commentaries however were the only and last Commentaries to be published in full. The exegesis of Basilius Minimus received very little attention from the researchers, until the recent works of Thomas Schmidt, who realized a new critical edition of the dedicatory letter and the editio princeps of the Commentary on the Oration 38. Following the lead of this researcher, this thesis proposes a new critical edition and a French translation of the Commentaries on the Orations 4 and 5, which were formerly published by Boissonade, but only on the basis of two manuscripts. Written by Gregory of Nazianzus in the aftermath of the Emperor Julian’s death in order to castigate the Apostate, to celebrate his death and to show which lessons the Christians should learn from this event, these Orations experienced a certain posterity in the Byzantine era. In the following centuries, Gregory’s Invectives were effectively taken over by ecclesiastical authors and amplified to give birth to the black legend of Julian as a magician and a tyrant par excellence. This is, however, not the aspect of the text that caught the attention of Basilius. On the contrary, Basilius went into these Orations with the seriousness of a philologist who tries to make these works easy to understand, as he himself wrote in the epilogue following the Commentary on the Oration 5, “to those who see small and who need milk instead of a solid diet of discourses” (Comm. 5, 66). For this purpose, he uses a pedagogical method similar to that of a grammarian who introduces his students to a classical text: he alternates textual analysis, mainly focused on grammatical concepts and simplified paraphrases of complicated passages, with contextual explanations, which expound the events mentioned in the work or on the cultural and literary references used by the author. To this corpus, he adds some other sporadic information, usually related to academic subjects such as rhetoric, music, astronomy or philosophy. In sum, the Basilius’ Commentaries are not only useful for the interpretation or exegetical history of Gregory’s text, but also as witnesses of scholarly culture in the middle of the Byzantine period.

Habilitationsschrift--Zürich, 2000. / Bibliogr. p. [491]-515.

Zugl.: Göttingen, Univ., Diss., 2005 / Literaturverz. S. [621] - 647