Ce travail propose une présentation de l’icône orthodoxe à partir de la notion d’« Évangile ». En analysant la portée détenue par l’Écriture Sainte en théologie occidentale, il a été possible de présenter l’Évangile comme la Bonne Nouvelle du salut réalisé par le Christ. L’Évangile se donne aux humains dans leur existence terrestre par diverses médiations prises du monde et qui deviennent porteuses de grâce dans leur corporéité même. L’icône est décrite comme porteuse d’Évangile en analogie avec le rôle et la place accordés à l’Écriture Sainte dans différentes traditions chrétiennes. L’icône et l’Écriture sont des formes de parole et peuvent être reconnues, dans la foi, comme des formes de la Parole de Dieu. Outre le fait d’être vecteurs de grâce, d’autres traits rapprochent l’icône et l’Écriture : la corporéité, une note de relativité, l’annonce correcte seulement dans un contexte ecclésial, le témoignage de l’événement de l’Incarnation auquel elles renvoient et dont elles dépendent. / This work provides an approach to the icon starting from the notion of « Gospel ». An analysis of the importance of the Holy Scripture in the western theology allows us to present the Gospel as the Good News of the salvation accomplished by Christ for the humankind. The Gospel is conveyed to the human being in his daily life through various means. These means are mediations taken from the creation and they become grace bearers through their very corporeity. Following an analogy with the role and the importance given to the Holy Scripture throughout different Christian traditions, the icon is described as a « Gospel bearer ». The icon and the Scripture are both a form of the word and they can both be recognized, through faith, as a form of the Word of God. Besides being vectors of grace, the icon and the Scripture share other common characteristics: the corporeity, some amount of relativity, the correct proclamation in the church only, and the witness of the event of the Incarnation.

A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação. / The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.

A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação. / The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.