Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-22T12:32:04Z No. of bitstreams: 1 Rodrigo Antonio da Silva.pdf: 763487 bytes, checksum: 6fbcd6c5dfe59659585620883c9ebf44 (MD5) / Made available in DSpace on 2018-10-22T12:32:04Z (GMT). No. of bitstreams: 1 Rodrigo Antonio da Silva.pdf: 763487 bytes, checksum: 6fbcd6c5dfe59659585620883c9ebf44 (MD5) Previous issue date: 2018-09-05 / Hermetic definitions about the Church can not to express the fullness of her Mystery. Overcoming the vision of juridical emphasis, the ecclesiology developed from the Second Vatican Council takes the theological way of the first millennium and rescues aspects, images and notions that complement each other. The Church recognizes herself as being a mystery: desired by God, she has her foundation, life and destiny in the Trinity. Your life should express Trinitarian communion. It is the new People of God who walk in communion with each other and with God towards the heavenly homeland. Evidently, this vision rescued and renewed in the Council brings with it new ecclesial relations ad intra and ad extra. The Ecclesiology of Communion, along with other important images and definitions, still seems to lack more attention and also remains with an immense open field of practical applications in the ecclesial life. The present dissertative text intends to explore the foundations and relevance of this ecclesiology for the present time and the possible implications already observed in some scenarios of the Church. For this purpose, the author offers the results of the research in three moments: first, he presents the fundamental biblical concepts that relate to the ecclesiology of communion: community, communion and People of God. Next, the contrast between the juridical ecclesiology characteristic of the second millennium and the paradigm shift present in the Dogmatic Constitution Lumen Gentium, as well as some advances achieved in the trinitarian and ecclesiological theologies in the post-Council, is made. Finally, the focus is on some of the ecclesial articulations developed in recent years: the dialogue movement in the internal and external spheres of the Church, the reception in Latin America, as well as the perspectives opened from the pontificate of Pope Francis / Definições herméticas a respeito da Igreja não conseguem expressar a totalidade do seu Mistério. Superando a visão de ênfase jurídica, a eclesiologia desenvolvida a partir do Concílio Vaticano II se coloca na via teológica do primeiro milênio e resgata aspectos, imagens e noções que se complementam. A Igreja se reconhece como sendo mistério: desejada por Deus, ela tem seu fundamento, vida e destino na Trindade. Sua vida deve expressar a comunhão trinitária. Trata-se do novo Povo de Deus que caminha em comunhão entre si e com Deus rumo à pátria celeste. Evidentemente, esta visão resgatada e renovada no Concílio traz consigo novas relações eclesiais ad intra e ad extra. A Eclesiologia de Comunhão, ao lado de outras importantes imagens e definições, ainda parece carecer de maior atenção e também permanece com um imenso campo aberto de aplicações práticas na vida eclesial. O presente texto dissertativo pretende explorar os fundamentos e a relevância desta eclesiologia para a atual época e as possíveis implicações já observadas em alguns cenários da Igreja. Para tal intento, o autor dispõe o resultado da pesquisa em três momentos: primeiramente, apresenta os conceitos bíblicos fundamentais que se relacionam com a eclesiologia de comunhão: comunidade, comunhão e Povo de Deus. Em seguida, é feito o contraste entre a eclesiologia jurídica característica do segundo milênio e a mudança de paradigma presente na Constituição Dogmática Lumen Gentium, além de alguns avanços alcançados nas teologias trinitária e eclesiológicas no pós-Concílio. Por fim, o olhar é voltado para algumas das articulações eclesiais desenvolvidas nos últimos anos: o movimento de diálogo nos âmbitos interno e externo da Igreja, a recepção na América Latina, bem como as perspectivas abertas a partir do pontificado do Papa Francisco

Made available in DSpace on 2016-03-15T19:42:29Z (GMT). No. of bitstreams: 1 Egidio Shizuo Toda.pdf: 3699419 bytes, checksum: 1d7c07fc160109f621d6f57841d58978 (MD5) Previous issue date: 2013-08-05 / Banco Santander S.A. / This paper discusses the importance of the work of art in the environment sacrum, as relevant instrument of religious education inside the Basilica of Our Lady of Aparecida, the largest Catholic church in Brazil and the second largest in the world. It is the study of the process of communication and media by the artist Claudio Pastro, responsible for the implementation of the Basilica´s sacred art and visual, to reach the general public nowadays. On how the artist creates this aesthetic communication, linking all parts of this building with monumental dimension by imposing its unique and current style. With a language developed in studies abroad and influences in the past, the artist seeks in the sacred art the teachings of the liturgy, and reaches people of all ages, social classes and culture. The analysis of the work - The Sacrificial Lamb , is supported by specialists of art and religious art,. allowing to deduce which proposed the artist and with which profundity he is involved in the mystery of the sacred. / O presente trabalho aborda a importância da obra de arte no ambiente sacro, como relevante instrumento de educação religiosa no interior da Basílica de Nossa Senhora de Aparecida, o maior templo católico do Brasil e o segundo maior do mundo. Trata-se do estudo sobre processo de comunicação e mídia do artista Cláudio Pastro, responsável pela execução da arte sacra e visual da Basílica, para atingir o grande público na contemporaneidade. Como o artista cria esta comunicação estética, unindo todas as partes deste edifício de dimensão monumental, impondo seu estilo único e atual. Com uma linguagem desenvolvida em estudos no exterior e influências no passado, o artista busca na arte sacra os ensinamentos da liturgia e atinge povos de todas as idades, classes sociais e cultura. A análise de uma obra O Cordeiro Imolado , está apoiada por estudiosos de arte e arte religiosa, permitindo depreender a que se propôs o artista e com que profundidade se envolve no mistério do sagrado.

This thesis is an overview of the historical context in which the church of Christ the Redeemer (Sant'Apollinare Nuovo) in Ravenna, Italy, was erected. It explores the forces responsible for shaping the church at the time of its construction and decoration in the sixth century. The basilica had gained popularity of usage as a model for the Christian Church in the West by this time. This thesis further explores the conclusions put forth by scholars that the basilica was the forum in which the transition of architectural imperial symbolism from the pagan empire to the new Christian Church took place, that the Church adopted the court ceremony of the emperor for its liturgy, and that the symbolism previously associated with the emperor was transferred to Christ resulting in the identification of the basilica as the throne hall of Christ. A study of the mosaics adorning the nave walls describes the significance of their origins and meaning.

Thesis (M.A.)--University of Oregon, 2008. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 90-93). Also available online.

Inaug.-Diss. (doctoral)--Universität zu Köln, 1992. / "Veröffentlichungen der Bibliotheca Hertziana (Max-Planck-Institut) in Rom"--T.p. verso. Includes bibliographical references (p. 283-315) and index.

abstract: The Iberian Queen Sancha (r.1037-1065), of the kingdom of León and Castile has received minimal attention from scholars. As the last Leonese heir, Sancha had the sole responsibility of ensuring that imperial traditions of patronage never waned. Her acts of giving and the commissioning of objects have been attributed by (male) scholars as an obligation to legitimize her husband, Fernando I of Castile. Persuasive evidence found in documents suggests that her involvement in donation transactions was predicated on more than formality. My thesis argues that Sancha used the act of giving, the act of commissioning objects, language in documents, and the powerful institution of the infantazgo, to assert an agency identical to her male predecessors to gain political influence. Creating a “donor profile” of Sancha that examines the total of her donating practices enables the exploration of her conscious and unconscious motives for donation. My investigation into these acts supports a new theory that the building construction projects of Sancha and Fernando I began at the beginning of their reign rather than after 1053 as is currently believed. As the first woman to use the titles regine emperatriz and regina totius Hispaniae, Queen Sancha did more than just legitimize her husband, she built a legacy that established a new female center of power in León that endured until the thirteenth century. / Dissertation/Thesis / Masters Thesis Art History 2017

The work deals with the historical development of the liturgical space and the architecture of the Břevnov monastery. The first part describes all building styles which were applied to Christian churches and their influance on the worship. It also includes numerous examples of important sacral buildings in our country as well as abroad. Next it deals with the changes concerning the liturgical space and liturgy itself after the 2nd Vatican Council and gives some examples of Post-Council churches. The subject matter of the second part is the Břevnov Monastery. First it briefly describes the history of Břevnov and its architectural development from Romanesque period to the Baroque style. In order to understand its constructional development it was necessary to mention some notable people and historic events that influenced the outer appearance and the inside structure of the monastery.

Notre thèse comporte l’étude du mobilier céramique provenant des fouilles hongroises de l’Îlot des Grandes Forges à l’oppidum gaulois de Bibracte (Le Mont Beuvray, Bourgogne). Le but de notre travail était non seulement de traiter et de publier le mobilier céramique provenant des différents états d’occupation de l’Îlot des Grandes Forges, mais aussi de compléter les études céramologiques qui s’occupent de l’oppidum de Bibracte. Nous proposons une chronologie bien établie pour l’Îlot des Grandes Forges, chantier d’importance remarquable qui a livré l’une des constructions les plus étonnantes du site: la basilique de Bibracte. Et finalement, le travail constitue une contribution à la compréhension plus approfondie de la chronologie de l’oppidum, ainsi qu’à la définition des faciès céramologiques de Bibracte. / My PhD dissertation contains the detailed study of the pottery finds from the Hungarian excavations of the « Grandes Forges » insula. The insula is located in the oppidum of Bibracte (Le Mont Beuvray, Burgundy). The primary aim of this work is not only to study and to publish the pottery finds of the different occupation layers but also to contribute to the results of the already existing ceramic studies of the oppidum of Bibracte. My work offers a chronology to the « Grandes Forges » insula, an archeological site of great importance where the remains of the roman basilica of Bibracte have been found. Finally my work tries to give a better understanding of the chronology and provides a survey of the pottery finds of the oppidum of Bibracte.

Gemlike objects are a nearly ubiquitous phenomenon in the medium of glass, although culturally specific studies remain scarce. This dissertation considers the production of such works in the early medieval period, primarily in association with Abbasid rule. The first half attends to several accessory issues, including glass-related terminology, glass-coloring treatises, the lives of glassworkers, gemstone connoisseurship, and the legal status of such products. These demonstrate a range of coexisting attitudes, including the desirability of such works for their own sake rather than as surreptitious substitutes for “true” gemstones. The second half focuses on an exemplary object, an opaque turquoise glass bowl from the Treasury of San Marco in Venice, which I propose was produced in Baghdad for the caliph al-Mutawakkil just after the year 850. I then consider this work’s changing reception from late medieval Venice to modern scholarship, including ways in which “correct” interpretations of its material and/or origin have been repeatedly supplanted by false leads. The fundamental argument is that gemlike vessels like the San Marco turquoise were not deceptive stand-ins but rather intended to exercise complex discursive practices, both political and connoisseurial in nature, a function that ultimately remains in effect today.

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