Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis addresses the composition of the indentities through the performances produced in the celebrations of chapel in the town of Silveira Martins, located into the Fourth Colony of Italian Imigration in the Rio Grande do Sul. Celebration of chapel is an expression that denote into the own group events that happen in communities from the rural zone, place that have just a space like a little church and a hall, these events happen to honor the patron saint from this comunity. Spaces like these became privilege for the research becouse of limitation of his territory made by italians immigrants during the XIX century, combined to the growth of the memories to rebuild a colonial past and based in a mythical origin. The quest of this work is to map the celebrations of chapel and then take for the analysis five of them, also other two festive events, with the intention to make a local festive table contemplating the daily dimension. Is understood that a festive moment, that symbolize and enlarge the elements of the daily, become a product of it. The fundamentations for this research is based on the discussions about the identity, using mainly concepts about the ethnic and cultural identity contemplating studies about the identity quest front the globalization process. The analysis table is compost for the ethnographic method, as well as, analysis of the performances, mainly corporal, understood as expressive and communicative acts. Although records were used audiovisual bolstered the descriptions and analysis of aspects observed in the field. Thus, it is found that the festivals of Chapel have a multitude of related identity, such as customs, traditions, beliefs, values, habits, modes of knowledge and practices that make up the sense of identity among the group and allow to identify it as belonging to an ethnic identity. These related identity could be observed in the performances of individuals who produce the festival and among its participants. It s possible to say that te celebrations of chapel trigger strategically and resignify belonging to the italian ethnic indentity, highlighting the festival itself as a cultural performance. However, this membership iss seen as contrastive. / Esta dissertação aborda a composição de identidades através das performances produzidas nas Festas de Capela no município de Silveira Martins, pertencente à Quarta Colônia de Imigração Italiana do Rio Grande do Sul. Festa de Capela é uma expressão que indica entre o próprio grupo manifestações festivas que ocorrem nas comunidades da zona rural, espaço que agrega as edificações de uma pequena igreja e de um salão, sendo que, esta festa presta homenagem ao santo padroeiro daquela capela. Estes espaços se tornam privilegiados para a pesquisa pela compreensão de sua delimitação territorial em vias da colonização por imigrantes italianos no século XIX, juntamente com a emergência de memórias que reconstroem um passado colonial e fundamentam-se numa origem mítica. Este estudo buscou mapear as Festas de Capela elegendo para análise cinco delas, além de outras duas manifestações festivas diversas, a fim de compor um quadro festivo local e contemplar a dimensão do cotidiano. Entende-se que o momento festivo, por simbolizar e exaltar elementos do cotidiano, se torna uma produção deste. A fundamentação para esta pesquisa ancora-se nas discussões sobre identidade, recorrendo principalmente às noções de identidade étnica e cultural e contemplando discussões que abrangem a questão identitária frente aos processos de globalização. O quadro de análise é composto pelo método etnográfico, bem como, pela análise de performances, principalmente corporais, entendidas como atos expressivos e comunicativos. Ainda foram utilizados registros audiovisuais que ampararam as descrições e análises de aspectos observados em campo. Assim, pôde-se verificar que as Festas de Capela apresentam uma multiplicidade de referentes identitários como costumes, tradições, crenças, valores, práticas alimentares, modos de saberes e fazeres que compõem o sentido de identidade entre o grupo permitindo identificá-lo como pertencente à identidade étnica italiana. Estes referentes identitários puderam ser observados nas performances dos indivíduos que produzem as festas e entre seus participantes. É possível afirmar que as Festas de Capela acionam de forma estratégica e ressignificam a pertença à identidade étnica italiana, evidenciando a própria festa como uma performance cultural. Entretanto, este pertencimento é visto de forma contrastiva, operando-se negociações entre identificações. Revela-se, assim, a Festa de Capela como um espaço privilegiado para o encontro entre indivíduos e confrontações identitárias, com predominância de elementos e significados vinculados à italianidade.

L’analyse approfondie des vastes archives de la cour de Charles Quint (1500-1556) permet de retracer les activités musicales financées par ce prince de la Renaissance, à la fois Bourguignon par son père et Espagnol par sa mère, au cours d’un règne troublé et violent qui vit basculer l’héritage des ducs de Bourgogne dans l’orbite impériale des Habsbourg sur le trône d’Espagne. La première partie de cette étude détaille le contexte historique et musical du règne carolingien, ainsi que l’héritage culturel et institutionnel des règnes précédents, et tente de définir le goût musical de l’Empereur. Forte de ces éclaircissements, la seconde partie précise la vie musicale à la cour de Charles Quint, tant dans les activités palatines, que dans les manifestations des rites de la royauté et des rencontres politiques. Enfin, une histoire du fonctionnement institutionnel de cette vie musicale propose d’entrevoir les relations que les illustres chantres et compositeurs de la Chapelle ou les instrumentistes de l’Écurie et de la Chambre entretenaient avec leur employeur. Le tout est complété par un dictionnaire prosopographique consacré à quelques un des quatre cents musiciens de la cour mentionnés par la documentation, elle-même synthétisée ou publiée dans un volume d’annexes et de pièces justificatives. / A study of the abundant archives of the court of Charles V (1500-1556) gives an account of the musical activities financed by this prince of the Renaissance, both Burgundy by his father and Spanish by his mother, during a troubled and violent period marked by the fall of the inheritage of the Dukes of Burgundy into the imperial orbit Habsburg on the throne of Spain. The first part of this study describes the historical and musical context of the Carolingian reign, as well as cultural and institutional legacy of previous reigns, and attempts to define the musical taste of the Emperor. With these clarifications, the second part specifies the court’s musical life, focussing on the palatal activities, events rites of royalty and political meetings. Finally, an history of institutional functioning of this musical life provides a glimpse of the relationships that illustrious singers and composers of the Chapel or instrumentalists of the Stable and the Chamber had with their patron. The whole is completed by a prosopographical dictionary devoted to a few of the four hundred musicians of the court mentioned in the documentation, witch is either summarized or or edited in the annexes and transcriptions of the second volume.

This thesis analyzes Benjamin West's altarpiece St. Paul Shaking the Viper from His Hand After the Shipwreck and his designs for thirty-three related artworks in the Royal Naval College Chapel, Greenwich, England, as a synthesis of the major influences in his life and as an example of both traditional and innovative themes in his artistic style of the late eighteenth century. This study examines West's life, the Greenwich Chapel history, altarpiece and decorative scheme, and concludes that the designs are an example of West's stylistic flexibility and are related thematically to his Windsor Royal Chapel commission.

Magister Artium - MA / Harriott is asleep under a jacaranda tree in her daughter's lush Escombe garden. Escombe is no longer part of the Natal Colony, the Natal Colony exists only in the minds of people like Harriott. Escombe, though still in the same place it's always been, is now part of the Union of South Africa. It is the 20th of January 1923. Harriott has lived in the Natal Colony for thirty years exactly. She has been married for only one day less. Dorothy's garden Is wonderful, but according to Harriott, not as wonderful as it could be with a little more effort. Dorothy's bougainvillea are a riot of cerise, peach and white. Her dipladenias climbing the pillars of the front veranda - a profusion of pink. The creamy day Iillies are in full bloom. The lavender is a field of purple and the plumbago hedge, where dragon-like Harriott is asleep under a jacaranda tree in her daughter's lush Escombe garden. The barometer has dropped. Harriott does not notice the thickening of the air, nor the band of dampness spreading along her back. Her chair is covered with blankets and a white sheep fleece. It Is the day-bed of a woman whose own padding has melted away, whose bones are dissolving, whose joints have swollen over. 'It won't be long,' whispers Herbert to his bride as they lie side by side sweltering in the room next to Harriott's, the door ajar so Dorothy can hear her if she calls out. 'I'm afraid, it won't be for very much longer, my dear.' chameleons lurk, is thick with blue ... a cool blue ud at t he bottom of the garden, Dorothy thinks. Boy is hard pressed to kee~~~~~~~~~i_~~~~ go, paw-paw and avocado trees. Harriott pays little heed to t ~ e for her lawns, beds, shrubs, Harriott's book is lying on the grass. It is a very slim volume, the slimmest she owns and the latest addition to her collection, thanks to dear Rose who tracked it down somewhere in London and sent it over. Harriott cannot hold anything heavier than the slimmest of books, nor can she make.

Medieval Castle Chapels in Bohemia The work deals with castle chapels in Bohemia in the High and Late Middle Ages. It concerns the artistic design and typology of chapels and sacred space, their endowments and chaplains etc. Almost one hundred locations are documented where we can find one or more castle chapels preserved to various degrees. Keywords: Middle Ages, castle architecture, castle chapel, castle, chaplain, patronage, title

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This work deals with the iconographic programme of the Jesuits in the baroque sculptural decoration of Svatá Hora (Holy Mountain). The first chapter is devoted to the literature, which has been written about Svatá Hora (Holy Mountain) near Pribram. The next chapter talks of the history of the pilgrimage site before the Society of Jesus became active there, after its arrival in 1647 until its suppression in 1773. It was also opportune to deal with the history of Svatá Hora (Holy Mountain) during the period of the provosts in the years 1773 - 1861. I also dealt at least in outline form with the years 1871-1950, when the Redemptorists administered Svatá Hora (Holy Mountain) and made significant changes to the iconography of the compound. In the following chapter, I devoted myself to the building and artistic activities during the time of the priests of the Society of Jesus. A separate chapter is dedicated to the illustration and veneration of Our Lady of Svatá Hora (Holy Mountain). In another work, I focused primarily on the individual sculptural decorations of the pilgrimage site and its iconographic illustrations. Individual sub-chapters deal with the Marian Pillar, the Calvary statue, the Upper Terrace inside the ambit, the Prague and the Breznice Gates. In the last chapter, I dealt with the...

Este trabalho propõe-se a delinear o processo histórico da arte religiosa na arte moderna no Brasil, enfocando a produção de Candido Portinari (1903-1962) como representante da segunda fase do Movimento Modernista Brasileiro, ao qual aderiu de modo definitivo depois de sua primeira viagem à Europa (1928-1930), apesar de não ter participado diretamente da famosa Semana de 1922. Em primeiro lugar, são relatados os principais fatos da vida do artista, que servem de parâmetro para uma interpretação da cena artística da época. São muitas as polêmicas em que ele esteve envolvido, sendo acusado de ser uma espécie de pintor oficial durante o Governo Vargas e de receber influências explícitas dos muralistas mexicanos e de Pablo Picasso; mas o que nos interessa mais de perto é o fato de ter sido membro efetivo do Partido Comunista e declarar-se ateu, ao mesmo tempo em que era capaz de realizar uma arte religiosa tão sublime. Destacamos também sua capacidade de estabelecer um frutífero diálogo entre o tema religioso e o social. Como comprovação disso tudo são analisadas as principais obras de arte religiosa de sua autoria, tais como as pinturas da Capela da Nonna, em Brodowski, os murais da Igreja da Pampulha, em Belo Horizonte e da Matriz de Batatais, na cidade paulista de Batatais, as obras da Capela Mayrink, no Rio de Janeiro, e a Série Bíblica, na Rádio Tupi de São Paulo, dentre outras. / The research work proposes to delineate the historical process of religious art in modern art in Brazil, focusing on the production of Candido Portinari (1903-1962) as representative of the second phase of the Brazilian Modernist movement, to which he definitively adhered after his first voyage to Europe (1928-1930), although he did not participate in the famous Week of 1922. Firstly, the main facts of the artist\'s life are described, which serve as parameters for an interpretation of the artistic scene of the time. There are many controversies in which he was involved, being accused of serving as a kind of \"official painter\" during the Vargas government and of receiving explicit influences of Mexican muralists and Pablo Picasso; but what interests us more closely is the fact that he was a member of the Communist Party and declared himself an atheist at the same time that he was capable of producing such a superbe religious art. We also emphasize his ability to establish a fruitfull dialogue between the religious and social issues. As proof of this all, the main religious works of Portinari are analyzed, such as the paintings of Capela da Nonna in Brodowski, the murals of Pampulha Church in Belo Horizonte and the Matriz de Batatais, in Batatais, São Paulo, besides works of the Mayrink Chapel in Rio de Janeiro and a Biblic Series from Rádio Tupi in São Paulo, among others.