Ph. D.--Theol.--Roma--Pontificia università gregoriana, 2001. / Bibliogr. p. 441-464. Index.

Passion thesis deals with the last days of Jesus of Nazareth. It is divided into two parts.The theoretical part informs the development of the theme in the processing of individual artists in art history, taking into account the formation of the Czech Baroque painter Karel Škréta. Describes understanding of one of the key topics in the world of painting throughout history. The practical part shows a set of seven works of art, depicting the subject from today's perspective. Individual scenes capture the important moments and figures so that their message beyond this work. The illustrations are also designed so that each viewer has found an interesting detail.

C’est tout particulièrement au chapitre X du De Trinitate qu’Hilaire de Poitiers place sa distinction du dolereet du pati du Christ au coeur d'une ample réflexion doctrinale visant à démontrer que l'Incarnation et la Passion du Christ, témoignant de l'humanité assumée en vertu de «l'économie» (dispensatio), n'avaient en rien altéré la plénitude de sa divinité. Mais la pensée d'Hilaire est parfois considérée comme difficile, voire obscure. Hilaire, confesseur de la foi, aurait-il tenu des propos contraires à l'orthodoxie ? Qu'a-t-il réellement pensé des servitudes liées à la condition humaine du Christ (faim, soif, larmes) ainsi que des «passions» qu'il s'agisse des souffrances d'origine corporelle ou psychologique qu'il eut à traverser ? Comment le mystère de l'Incarnation pouvait éclairer le mystère de la Passion du Christ ? Ces constats ont invité à une relecture des interrogations d'Hilaire sur l'humanité souffrante du Verbe incarné dans le contexte historique de ses œuvres : la période pré-exilique de l'évêque de Poitiers avec son In Matthaeum, la période de son exil en Phrygie (356-360) avec son immersion dans l’Église d'Orient et deux ouvrages : le De Trinitate et le De Synodis, sa période post-exilique avec son Tractatus super Psalmos. / It is particularly in Chapter X of De Trinitate that Hilary of Poitiers places his distinction of Christ's dolere and pati at the heart of an extensive doctrinal reflection aiming to demonstrate that the Incarnation and Passion of Christ, testimonials of Christ's human nature assumed by virtue of «economy» (dispensatio), had ot altered the fullness of His divinity. Nonetheless, the thought of Hilary is sometimes considered difficultor even obscure. Could Hilary, confessor of the faith, have made statements contrary to Orthodoxy ? What did he truly think of the thralls relating to the human condition of Christ (hunger, thirst, tears) as well as ofthe « passions », whether they were sufferings of either bodily or psychological origin, that Christ would have had to traverse ? How does the mystery of the Incarnation shed light upon the mystery of Christ'sPassion ? These observations have prompted a new reading of Hilary's views on the Incarnate Word's suffering human nature, and this, according to the historical context of his works : a) the pre-exilic period of the Bishop of Poitiers with his In Matthaeum, b) the per-exilic period in Phrygia (356-360) with his immersion in the Eastern Church and two works, De Trinitate and De Synodis and, finally, c) the post-exilicperiod with his Tractatus super Psalmos.

The subject of this study is to chronicle and elaborate on the existing mural paintings in our territory depicting Passion of Christ in the first half of the 14th century in particular, from the iconographic perspective. The cycles from the first half of the 14th century in this thesis are follows: (i) The Passion Cycle in St. Wenceslas church in Bubovice; (ii) The Passion Cycle in St. George church in Čebín; (iii) The Passion Cycle in St. Peter and St. Paul church in Dalešice; (iv) The Passion Cycle in St. Martin church in Dolní Město; (v) The Passion Cycle in castle Houska chapel; (vi) The Passion Cycle in St. John the Baptist church in Jindřichův Hradec; (vii) The Passion Cycle in St. James the Greater church in Křeč; (viii) The Passion Cycle in Church of the birth of the Virgin Mary in Starý Plzenec; (ix) The Passion Cycle in the Former Johanit Commandery and the Church of St. Prokop at Strakonice. Keywords: mural painting, 14th century, The Passion of Christ, iconography

No description available.

Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de discours. Décorant d’abord des fondations byzantines prestigieuses à la fin du XIIIe siècle, le motif ne tarde pas à apparaître dans les églises serbes peintes dans l’entourage du Kralj Milutin, avant de devenir courant dans des monuments plus modestes. Le cycle est envisagé dans sa globalité et non image par image, à l’aide des outils traditionnels de l’iconographie mais aussi de la narratologie, ce qui a permis de mettre en évidence sa structure narrative. Dans une troisième partie, le fonctionnement liturgique du cycle est détaillé, révélant un discours eucharistique et mystagogique qui n’est pas tant superposé au récit en images, qu’il n’est au contraire produit par lui. / This doctoral thesis addresses the narrative images of the Passion of Christ in Late Byzantine mural paintings, their place and their ritual function. This cycle, which takes place under the Dodekaorton, has a clear sequence. Going around the nave and generally passing through the sanctuary space, it participated in the construction of the worship space. A study of the images used shows that such the narrative form given to these cycles, far from being accidental, is a carrier of meaning and discourse. Firstly decorating prestigious Byzantine foundations in the late thirteenth century, this kind cycle soon appeared in Serbian churches painted in the Kralj Milutin’s milieu and then became common in more modest monuments. In this study, the cycle is considered as a whole, using the traditional tools of iconography but also narratology, which helped to highlight its narrative structure. At last, the liturgical function of the cycle is explored, revealing a Eucharistic and mystagogic discours produced by the narrative.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-31T19:18:38Z No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:18:31Z (GMT) No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / Made available in DSpace on 2018-09-11T13:18:31Z (GMT). No. of bitstreams: 1 FINAL - Dissertação com ABNT - Andréa Almeida.pdf: 22679475 bytes, checksum: 14cba6d1fa4ef8bca5fa46c14982c9a2 (MD5) / A pesquisa aponta e analisa as criações dos figurinos, de Victor Moreira, para o espetáculo Paixão de Cristo. Importante descrever processos e materiais, registrando fotograficamente os figurinos existentes no acervo de Nova Jerusalém e os croquis do acervo do referido artista e outras imagens de livros de Carlos Reis, Jamildo Melo e Diva Pacheco, pois resgata parte da história do teatro histórico, religioso e cultural pernambucano, nordestino e até brasileiro. Somada a investigação fontes bibliográficas, e levando em consideração à história oral, nas entrevistas e depoimentos de Victor Moreira, Marina Pacheco, Arnaldo Siqueira e Antonio Lopes, sendo este último quem me levou a Victor Moreira, bem como, à análise do acervo do artista formatando o meu objeto da pesquisa enquanto história e cultura. Faço estudo qualitativo, descritivo e analítico das montagens do ano de 1954 ao ano de 2004, pontuando como se deu a evolução dos figurinos de Herodes, Pilatos e Demônios. A transformação vista etimologicamente como mudanças nos figurinos de Herodes e Pilatos, e a transfiguração, estabelecida enquanto etimologia, dos três Demônios ao assimilar formas diferentes. Levando-me a estabelecer nos meus relatos os processos criativos como processo de trabalho que incorpora pesquisa do artista, técnicas da produção, no que concerne a elaboração dos figurinos do espetáculo como um todo e no particular das personagens Herodes, Pilatos e Demônios. / The research show and analyze the Victor Moreira’s costume creations, for the Passion of Christ‘s play. It’s Important to describe the processes and materials, recording by photos the costumes featured in the collection of New Jerusalem and sketches of the collection of that artist and other images of books of Carlos Reis, Jamildo Melo and Diva Pacheco, rescues part of the history of the old theater, religious and cultural of Pernambuco, as northeastern as Brazil. Added research literature sources, and considering the oral history interviews and testimonials from Victor Moreira, Marina Pacheco, Arnaldo Siqueira and Antonio Lopes, the latter who took me to Victor Moreira, and for the analysis of collection of the artist being formatting the object of my research as history and culture. I made a qualitative, descriptive and analytical study of the productions of the year 1954 to 2004, highlighting how was the evolution of the costumes of Herod, Pilate and Demons. The transformation view etymologically as changes in the costumes of Herod and Pilate, and the transfiguration, established as etymology, the three Demons to assimilate different forms. Leading me to establish in my reports the creative process as a work process that incorporates artist’s research, his concept and constrution production techniques, concerning the preparation of the costumes of the show as a whole and in particular the characters Herod, Pilate and Demons.

Ses principaux lecteurs n’ont cessé de concevoir le Haut Livre du Graal comme un roman des confins de la barbarie. L’éclatement des cadres de l’écriture arthurienne est prégnant dans ses épisodes les plus emblématiques, qui révèlent un hiatus irréductible entre une « haute écriture » et l’exaltation de la matérialité des êtres. Le roman semble soumis à une double postulation vers le haut et le bas, vers les convulsions du monde sublunaire et une mystique aussi présente que ténue. L’étude des manifestations et senefiances de la mort s’applique à saisir l’écriture de cet entre-deux, tout en privilégiant l’approfondissement de deux traits majeurs : la dimension visuelle inhérente à la représentation de la mort et les procédés d’écriture propres à esquisser les linéaments d’une « écriture funèbre ». Le paradigme visuel relaie la puissance évocatoire des morts narrées, tandis que la dominante funeste du récit semble être l’un des gages les plus viables de l’unité d’une œuvre dont les structures narratives se dérobent. Le parcours herméneutique de cette étude considère tout d’abord le vocabulaire de la mort, avant d’aborder les circonstances de l’instant mortel, les deux versants spirituel et temporel de la mort, et le lien toujours puissant qui unit les vivants et les morts. Après des considérations à la fois stylistiques, rhétoriques, historiques et anthropologiques, la deuxième partie déplace vers le champ de la poétique du texte la problématique d’une mort fondamentalement ubiquitaire. / The main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous.

Univerzita Karlova v Praze Filozofická fakulta Ústav řeckých a latinských studií Latinská medievistika a neolatinská studia Abstract Francis of Meyronnesʼ Tractatus de passione Domini: Critical edition and analysis Školitel: doc. Mgr. Lucie Doležalová, M.A., Ph.D. 2015 Riccardo Burgazzi Abstract Francis of Meyronnes (1288 - 1328) was a theologian and a sermonist, disciple of John Duns Scotus. He studied at the University of Paris and taught in several provincial studia in France and in Italy. He became master of theology in 1323 and he was named Provincial Minister of Provence in 1324; later, he moved to Avignon, where he worked as a preacher and a counselor. Francis of Meyronnes wrote an impressive number of works that can be classified as philosophical, political, and devotional. Meyronnes' Tractatus de Passione Domini, the subject of this dissertation, could be dated between 1318 and 1320, when Francis was Baccalarius Biblicus in Paris. It was probably written for his brothers in order to provide them with a biblical commentary which could have been an instrument for helping them in the composition of their own sermons and works. As Tobias Kemper claims, the authors from the Late Middle Ages used to tell the Passion mainly in two ways: in form of "meditations" or in form of "narrative representations"....

The question leading to this study is whether the facts and theories pertaining to the Bible and Jesus Story as presented by The Authors (H Schonfield, D Joyce, B Thiering, M Baigent, R Leigh, H Lincoln; M Starbird, and D Brown) could be verified by the Archaeology evidence. I have adopted a multidiscipline and holistic approach considering information gathered from all media sources to ascertain what theories, if any could replace the traditional Jesus Story of the New Testament. I considered whether the alternative theories or traditional theories were believable due to the evidence presented by Biblical Archaeology or by the techniques used by The Authors in presenting their facts. By using Thouless’ system of Straight and Crooked thinking I was able to ascertain that the theories used in the novels written by The Authors may have been persuasive, but lacked substance. / Biblical and Ancient Studies / M. Th. (Biblical Archaeology)