Made available in DSpace on 2016-04-26T18:15:31Z (GMT). No. of bitstreams: 1 Adriano Alves Fiore.pdf: 8707884 bytes, checksum: 49a8cb655444e751c7263a2fab1972a5 (MD5) Previous issue date: 2015-12-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / It has been approximately 45 years since heavy metal began attracting multitudes of faithful followers in Brazil and the rest of the world. This study centers on the postulation that the genre s sound combined with its grotesque and baroque iconography is able to produce a contemporary world culture and that it requires continuous research to find its most precise description. The phenomenon is analyzed principally in light of the Bakthinian theory of carnivalization, which has received the addition of the methodological path traced by means of exploratory studies, as well as the author s direct in situ participation in festivals such as Rock in Rio, Wacken Open Air and Monsters of Rock. Both documental and bibliographic researches centered on the reading of images. The corpus includes images from photographs, newspapers, websites, blogs, paintings, t-shirts, posters, comic books, books, encyclopedias, movies, documentaries, animation and LP, CD, DVD, Blu-ray and VHS covers, as well as dress, makeup and hairstyle in short, the complete heavy metal imaginarium. The focus is of a diachronic-synchronic nature and features in the history of the heavy metal genre. The problematization involves the following question: What are the main pictorial and symbolic elements produced by the music industry that provoke such intense, notoriously impassioned devotion in heavy metal dilettantes and how do they achieve their purpose with such efficacy? It is further postulated that the intense sound of heavy metal emanates an interior sensation of force and superhuman power in its fans that transforms into a type of unlimited love and exacerbated fidelity (i.e. an almost absolute dependency), which is commensurate with a group, collective or social demand for protection. Results allow for the conclusion that by being conscious of this idiosyncrasy, illustrators, designers and advertisers have striven to perpetuate an iconographic and symbolic universe equally intense, robust and intimidating in which Bakhtin s key carnivalizing motifs can be found (Death, masquerade, good/evil dualism, hyperbolism, the grotesque, Hell, the laugh, hybridization, metamorphosis, the banquet, insanity and antithesis) / Há 45 anos, aproximadamente, o heavy metal vem atraindo multidões de seguidores fiéis em todo o mundo, e esse é também um fenômeno contínuo no Brasil. O estudo empreendido neste trabalho assenta-se no pressuposto de que o som do heavy metal aliado à sua iconografia grotesca e barroquizante é capaz de produzir uma cultura contemporânea de abrangência mundial, cuja configuração demanda contínua pesquisa para se encontrarem elementos capazes de fornecer sua mais nítida descrição. O conceito bakhtiniano de carnavalização é utilizado como principal fundamento do quadro teórico-metodológico adotado, que também é incrementado por meio de estudos exploratórios, além de observação direta concretizada com a participação in situ do autor em festivais como o Rock in Rio, Wacken Open Air e Monsters of Rock. As partes documental e bibliográfica concretizam-se por meio da leitura de imagens. O corpus é constituído por imagens de fotografias, jornais, sites, blogs, pinturas, estampas (camisetas), pôsteres, histórias em quadrinhos, livros, enciclopédias, revistas, filmes, documentários, desenhos animados, ilustrações de capas de LPs, CDs, DVDs, Blu-rays e VHSs bem como na indumentária e no visual continuamente introduzido no imaginário do heavy metal. Opta-se por um recorte diacrônico-sincrônico pertinente à história do gênero heavy metal. A problematização tem foco na seguinte pergunta: Quais são os principais elementos transformados em imagem e símbolo pela indústria videofonográfica e de que maneira conseguem cumprir, com eficácia, o propósito de acender tamanha devoção, notoriamente apaixonada, nos diletantes do heavy metal? Um segundo pressuposto se apresenta, o de que a intensidade sonora do heavy metal faz emanar uma sensação interior de força e poder supra-humanos em seus apreciadores que se transforma em uma espécie de amor ilimitado e exacerbada fidelidade dependência quase absoluta , podendo este sentimento ainda recrudescer em função de envolver uma procura por proteção grupal, coletiva ou social. Os resultados permitem afirmar que conscientes dessa idiossincrasia metálica, ilustradores e profissionais em design e propaganda esforçam-se em perpetuar o universo iconográfico e simbólico do heavy metal igualmente intenso, robusto e intimidador , no qual se nota a presença dos principais motivos carnavalizantes de Bakhtin (a Morte, a mascaragem, o dualismo Bem e Mal, hiperbolismo, o grotesco, o Inferno, o riso, hibridização, metamorfose, o banquete, a loucura, o avesso)

Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienne. / Since their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality.

A presente dissertação analisa a pintura de temática tradicionalista gaúcha, produzida na segunda metade do século XX e início do XXI no Rio Grande do Sul (RS), pelo artista Nelson Jungbluth (1921-2008). Pesquisamos e registramos em fotografia digital obras que estavam dispersas em espaços comerciais, livros e catálogos, reunindo um grupo significativo de trabalhos regionalistas, procedimento necessário para a análise empreendida nessa dissertação, mas que também possibilitará futuras pesquisas. Analisamos aspectos que são retratados pelo artista em ilustrações, telas e murais: o gaúcho e sua indumentária, as paisagens, o folclore e as praticas tradicionais sulinas. Procuramos identificar quais as fontes utilizadas por Jungbluth, que formação cultural é representada em seu trabalho e de que forma ele retoma as questões do passado em um contexto moderno e urbanizado. A análise dos temas representados pelo artista foi realizada partindo dos conhecimentos sobre a constituição e manutenção do imaginário sobre as tradições gaúchas. A pesquisa dos processos de criação das obras bem como a descrição e análise iconográfica foram realizadas com o auxílio da semiótica e compatibilizandoas com a Antropologia Interpretativa. / This dissertation analyzes traditional gaucho themes as depicted by artist Nelson Jungbluth (1921-2008) in works produced from the second half of the 20th century to the beginnings of the 21st. Works that had been scattered in galleries, books and catalogs are here united and registered in an effort that not only has made possible this present work, but also allows for future ones. Aspects of the artist’s work on illustration, paintings and wall decorations have been analyzed: the gaucho and his outfit, the landscapes, folklore and traditional southern practices. Attention has been paid to the sources used by the artist, to the kind of cultural frame that is presented through the imagery and how they rescue issues from the past under a modern, urban context. The themes in Jungbluth’s work have been analyzed in relation to the constitution and maintenance of the gaucho traditions as they have come to be perceived. Research on the artist’s creative process, as well as the iconographic descriptions and analyses have been produced using semiotics and interpretative anthropology as main tools.

Cette thèse étudie en détail un type particulier de représentation du Bouddha où il est représenté assis sur un trône prééminent, le bhadrapīṭha ou bhadrāsana, dans une posture majestueuse avec les deux jambes pendantes, c’est-à-dire assis en bhadrāsana ou dans l’attitude « de bon augure ». Cette iconographie, étroitement associée à l’imagerie du trône, se retrouve largement représentée dans l’art de l’Asie du Sud, de l’Est et du Sud-Est, et est, en règle générale, intimement liée aux modèles de la royauté, de la fertilité, et même du divin. Plusieurs implications notables ressortent de cet examen iconologique concernant les origines, la diffusion, et le développement de l’art bouddhique dans ces contrées, particulièrement au cours du premier millénaire de notre ère. / This dissertation provides a detailed study of a particular representation of the Buddha, in which he sits on a prominent throne, i.e. a bhadrapīṭha or bhadrāsana, in a majestic posture with two legs pendant, that is, in bhadrāsana or the “auspicious pose.” This pendant-legged imagery, generally associated with the throne, has been found widely depicted in South, East, and Southeast Asian art and is, as a rule, mostly associated with kingship, fertility, and even divinity. The results of this iconological examination have wide implications for understanding the origins, spread, and development of Buddhist art in those lands, particularly during the first millennium CE.

A proposta deste trabalho é estudar as moedas da Cirenaica emitidas entre o início do domínio de Ptolomeu I na região e a morte do último governante independente, Magas, em 258 a.C. O nosso objetivo é analisar, a partir dos tipos monetários, qual a expressão política das facções existentes nas cidades da Cirenaica e qual o posicionamento desses grupos em relação ao controle lagida. Lançando mão da comparação entre os tipos monetários, do uso de determinadas inscrições associadas aos tipos e aos principais acontecimentos políticos e da adoção sucessiva de diversos padrões monetários pelas cidades, discutiremos como foi construído o discurso político da autoridade emissora dessas cidades como resposta aos principais acontecimentos desses anos. / The purpose of this research is study the Cyrenaicas coins issued between the beginning of the Ptolemys control in the region and the death of the last independent government, Magas, in 258 a.C. Our goal is analyse, from the monetary types, the political expression of the citys factions and what the position of these groups about a lagids control. Through the comparision between the types, the use of some inscriptions associated to the types and to the main political events and the successive adoption of various monetary standards by the cities, we will discuss how was built the political message of the issuing authority as an answer to the main events of these years.

En este estudio, analizamos la obra piadosa de Huon le Roi de Cambrai, autor francés del S.XIII. Para ello, realizamos la traducción al castellano de Li Abc par ekivoche et li significations des letres, La Descrissions des relegions, Li Ave Maria en roumans, Li Regrès Nostre Dame y de Li Vie et li martyres mon signeur saint Quentin, el análisis estructural de estas, estudio del lenguaje simbólico empleado y de los recursos retóricos utilizados. En el análisis estructural, prestamos especial atención a la forma de composición de los alfabetos como género literario, al uso de proverbios y a las vidas de santos. / In this doctoral thesis, we analyse Huon le Roi de Cambrai's pious work, French author of the XIIIth century. In order to get it, we have gone into the translation into Spanish of Li Abc par ekivoche et li significations des letres, La Descrissions des relegions, Li Ave Maria en roumans, Li Regrès Nostre Dame and of Li Vie et li martyres mon signeur saint Quentin, the structural analysis of them, the study of symbolic language employed as well as their rhetorical resources.We pay an special attention, in the structural analysis, to the way of composing of the alphabets as a literary genre, the use of proverbs and the lives of saints. / Dans cette thèse de doctorat, on analyse l'oeuvre pieuse de Huon Le Roi de Cambrai, auteur français du XIIIe siècle. Tout d'abord, on réalise la traduction à l'espagnol de Li Abc par ekivoche et li significations des letres, La Descrissions des relegions, Li Ave Maria en roumans, Li Regrès Nostre Dame y de Li Vie et li martyres mon signeur saint Quentin, l'étude des formes de composition des αuvres, du langage symbolique y employé et des ressources rhétoriques y utilisées.En ce qui concerne l'analyse de la composition, on fait spécialement attention à la structure des alphabets comme genre littéraire, à l'utilisation de proverbes et aux vies de saints.

The following work presents a hypothesis which identifies the origins and meaning of an ancient Mesoamerican concept known as the three stones of creation. Previous interpretations have tended to apply astronomical, spatial, or geographical models, while many conclusions have been made on the basis of one Classic Maya monument, Stela C of Quirigua. This thesis builds an argument for the temporal nature of these “stones,” used to metaphorically represent a sequence of separate units of time, referred to as eras, ages, or creations. A primary goal is to demonstrate that Quirigua Stela C provides in brief, summary form a chronology which is better defined through inscriptions in the Cross Group at Palenque, and in a sequence of panels at Yaxchilan containing beliefs about the origins of the ballgame. In constructing an argument for the temporal nature of the three stones of creation, every available context from a set of hieroglyphs mentioned in the Quirigua Stela C “creation” text—including Na Ho Chan (“First 5-Sky”) and “6-Sky”—is discussed in Chapter 2. In Chapter 3, these glyphs are shown to aid in the organization of the deeper past within the Palenque and Yaxchilan mythologies. When compared chronologically and thematically, these sites seem to point to the 24th century B.C.E. as the important termination of a time period (i.e., the planting of a creation stone) related to a mythic complex involving the death and underworld journey of the Maize Lord, followed by his resurrection, emergence, and/or accession to power. Key questions addressed include the antiquity of these beliefs and where the metaphors used to arrange time observed among the Classic Maya originate. In Chapter 4, earlier expressions of this time ideology are interpreted through iconographic conventions, ritual deposits, and monumental architecture at the Olmec site of La Venta. Similarly, Chapter 5 proposes that the Humboldt Celt, the earliest known example of the three stones of creation, arranges units of time into a sequence. These and other interpretations suggest the existence of an ancestral, Mesoamerican era-based time model to which later Postclassic, colonial, and contemporary beliefs, such as those expressed in the K’iche’-Mayan Popol Vuh, are fundamentally related. / text

Veliuonos Švč. Mergelės Marijos Ėmimo į dangų bažnyčioje sukaupta didelė dalis miestelio meno paveldo. Tai vertingi dailės, skulptūrinės plastikos, medžio drožybos, smulkiosios architektūros, auksakalystės kūriniai. Nepaisant to, iki šiol nebuvo atliktas nė vienas išsamus tyrimas, apimantis Veliuonos bažnyčios meno paveldą kaip visumą. Šiuo darbu siekiama sistemingai išanalizuoti bažnyčioje esančias meno vertybes ir jų pažinimo, pasitelkiant kultūrinį turizmą ir piligrimystę, galimybes. Magistro diplominis darbas papildo senosios dailės istorijos mokslą nauja medžiaga apie bažnyčios meno kūrinių raidą ir kaitą, datavimą, autorystę. Jame: a) išaiškinta bažnyčios pastatymo data; b) nustatytas didžiojo altoriaus ir atskirų jo sudedamųjų dalių datavimas; c) išaiškinta didžiojo altoriaus paveikslų, o taip pat šv. Jono Nepomuko paveikslo bei Rožinio Švč. Mergelės Marijos paveikslo aptaisų autorystė; d) nustatyti ankstyviausių bažnyčios altorių titulai; e) rekonstruotas ankstyvesnio, 1644 m. konsekruoto titulinio altoriaus vaizdas, atkurti ankstesni visų altorių paveikslų siužetai; f) remiantis šaltinių analize pateikta naujų faktografinių žinių apie XVIII-XIX a. bažnyčioje buvusius iliuzinius altorius; g) pirmą kartą ištirta bažnyčios dailės ikonologija ir apibendrinta ikonografinė programa; h) pirmą kartą atlikta epitafijos J. K. Bžostovskiui teksto semiotinė analizė; i) aptartos stilistinės ir meninės bažnyčios ypatybės; j) pasiūlytos bažnyčios meno paveldo sklaidos visuomenėje... [toliau žr. visą tekstą] / St. Blessed Virgin Mary of the Assumption Church of Veliuona in the town gained a large part of artistic heritage. This is a valuable art, sculpture, wood carving, fine architecture, farrier works. Nevertheless, so far none has been carried out a detailed survey, covering the artistic heritage church as a whole. This work aims to systematically analyze the church's values in art and knowledge through cultural tourism and pilgrimage, the possibilities. Master's thesis complements the old art history education in the new material on church art and the evolution of change, dating, authorship. There are: a) Church of the anniversary of the date; b) the great altar, and its individual components dating; c) the altar of the great paintings, and also St. John Nepomuk and the image of the Blessed Pink. Virgin Mary's picture authorship arch; d) the altar of the church's earliest titles; e) reconstructed earlier, in 1644, consecrated the altar of a cover image, the former altar paintings of scenes; f) based on an analysis of the sources of new knowledge about faktografinių XVIII-XIX centuries shadowy former church altar; g) Performed for the first time in church art iconographic analysis and summary program; h) first performed epitaphs J. K. Bzostovskis semiotic text analysis; i) discussed in stylistic, iconographic and artistic properties; j) artistic heritage of the Church of the proposed public dissemination possibilities: there are types of excursions and pilgrimage route... [to full text]

Le règne de Septimius Severus (193-211 apr. J.-C.) se situa entre la période de béatitude des Antonins et la crise de l’Empire romain du IIIe siècle. Cet empereur fut acclamé Auguste par ses légions de la Pannonie Supérieure et il fut contraint de se battre pendant quatre ans afin de demeurer au pouvoir. En y incorporant son origine africaine, ces constats pourraient nous porter à voir dans le règne de Severus les prémices de l’évolution entre le Principat et le Dominat, qui se seraient manifestées entre autres à travers son idéologie impériale. Ce mémoire de maîtrise illustre comment cet empereur adhéra à la tradition iconographique établie depuis le règne d’Auguste, et détermine également l’ampleur de ses innovations sur le plan idéologique. Ainsi, avec l’appui des sources iconographiques, épigraphiques et littéraires, nous nous efforçons à démontrer que l’idéologie de Severus. s’intègre dans une continuité évolutive de la perception du pouvoir impérial. / Septimius Severus reigned from 193 to 211 A.D., between the Golden Age of the Antonine dynasty and the third century crisis of the Roman Empire. He was saluted emperor by his legions of Upper Pannonia but was compelled to fight two civil wars to retain power. From this, and his African origin, it could be interpreted that the imperial rule of Severus was the genesis of the evolution from the Principate to the Dominate, expressed through his imperial ideology. This Master’s thesis examines how an emperor of African origin adhered to the iconographic traditions inaugurated under the reign of Augustus, and establishes the degree and nature of his ideological innovations. Founded on literary, epigraphic and iconographical sources, this research will demonstrate that the ideology of Severus was part of the continued evolution of the Romans’ perception of imperial power.

Uppsatsen utforskar legenden om den helige Antonius frestelse och det intryck helgonberättelsen lämnat på konsten. En ikonografisk metod används för att beskriva den litteratur som skapat och utvecklat berättelsen och ur detta systematiseras de motiv som sedan översatts till bildkonsten. Genom att analysera nio olika avbildningar av Antonius skapas en kronologisk följd över hur skildringarna genomgått en transformation sedan 1500-talet. / This thesis explores the legend of Saint Anthony and his temptations, and the impression his hagiography has left on the visual arts. An iconographic method is employed to investigate literature connected to the origin and later evolution of the story, which is used to classify motifs and concepts subsequently translated into painting. Via analysis of nine different depictions of Anthony, a chronological sequence is formed which lists the transformation these portrayals have undergone since the 16th century.