Thesis (D. Min.)--Austin Presbyterian Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 186-200).

From Tempera to Ink to Code traces the remediation of Orthodox icons. It examines icons’ unexplored, other media: cheap print, the book and digital media. Its interdisciplinary, cross-medial approach draws upon the fields of media studies, art history, art practice, religious studies, history and bibliography to establish an alternative way of viewing and understanding the icon beyond its original medium. The study focuses on the Vladimir icon of the Mother of God as one of the most venerable Russian Orthodox icons. It traces the Vladimir icon’s process of remediation from tempera on wooden panel to loose print, to bound codex and to digital form. It brings into focus the icon’s less researched, mass-produced media and applies the methods of art historical and bibliographic research to all media in question with equal scrutiny and attention. The dissertation provides a new way of looking at the storage, handling and display of icons in all their media. It categorizes the icon’s media into two groups: display media (tempera icons and loose prints) and storage/cache media (books and digital images). The display media invite veneration and thereby retain an “aura,” in the terminology of Walter Benjamin and David Morgan. Storage media, on the other hand, discourage veneration and, so, accrue no such aura. The study concludes that the loss of an object’s aura happens in unexpected aspects of remediation—in the binding, coding and, in a word, storing of information. The relationship that the study draws between the codex and hard drive has important implications for both book history and media studies, whereas its discussion of remediation, veneration and aura offer valuable contributions to the fields of iconology and iconography.

Religious motifs in the works of the Art Group "Die Pilger" Abstract: The topic of this Thesis is the German-Czech art group called Die Pilger which was active mainly in Prague between 1920-1923. Its main specific feature was a strong focus on religious motifs among which Bible themes prevailed. However, religious motifs were not portrayed in a historical manner but the group often used unusual modern means of expression. However, the religious focus of the group was not proclaimed anywhere, nor did it correspond to all the work produced by the members of the group. The thesis focuses on the religiously motivated creation of the group and analyses what specific themes the artists have chosen. The aim, however, is not to list the depictions and their frequency, but to interpret individual ways of processing the given motif and through it to define the relationship of the group to these motifs and the reasons for their use. Semiotics seems to be the most appropriate examination method to apply in this case which allows you to move away from the historical burden of works and focus only on their content. The second part of the thesis analyses the narrative that is associated with the group and which significantly influences the way we perceive the work of the group. In addition to the interpretation of...

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T14:32:40Z (GMT). No. of bitstreams: 1 Pereira_AndreLuizTavares_D.pdf: 16783528 bytes, checksum: 4a2b9bca695a2de3258393c69e2d0701 (MD5) Previous issue date: 2006 / Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII / Doutorado / Historia da Arte / Doutor em História