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Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Claudio Santana Pimentel.pdf: 950942 bytes, checksum: 1da1cb57d4e2531dd91f29becd17a668 (MD5) Previous issue date: 2010-10-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation analysis the theatrical works of Ariano Suassuna; focusing reinterpretations and re-significations from the popular religious imagery, to understand how religious representations allow the development of identity and meaning forms. For both, we based in an interdisciplinary analytical instrument own researches on Religious Studies. Initially, we investigated the author's assumptions about the relationship between art and religion, then to discuss his conception of the world and humanity. These ideas form the basis on which the author develops his religious vision. Considering this, we discussed the importance of the categories of tragedy and comedy to the development of religious themes by Suassuna. We conclude that the redefinition of religious elements in the theatrical works of Suassuna explains the continuing efforts of humans to develop a meaning for life, from a dialogue between local and universal. We also believe that such representations provide elements for better understanding of the Brazilian religious imagery, even in this urban context / Esta dissertação analisa a obra teatral de Ariano Suassuna, enfocando as reinterpretações e ressignificações do imaginário religioso popular nordestino para compreender como as representações religiosas permitem a elaboração de formas de identidade e significação do mundo. Para tanto, fundamentamo-nos em um instrumental analítico interdisciplinar, próprio da pesquisa em Ciências da Religião. Inicialmente, investigamos os pressupostos do autor sobre a relação entre arte e religião, para em seguida discutirmos sua concepção do mundo e da humanidade. Essas idéias constituem a base sobre a qual o autor desenvolve sua visão religiosa. Considerando isto, discutimos a importância das categorias de tragédia e comédia para o desenvolvimento da temática religiosa por Suassuna. Dessa maneira, reunimos os subsídios necessários para a análise da representação das personagens religiosas encontradas no teatro suassuniano. Concluímos que a ressignificação de elementos religiosos na obra dramática de Suassuna explicita a tentativa permanente do ser humano de elaborar uma significação para a vida, a partir de um diálogo entre o local e o universal. Consideramos também que essas representações oferecem elementos que permitem melhor compreender o imaginário religioso brasileiro, inclusive no presente contexto urbano

This paper will discuss to what extent Emily Dickinson's heritage, environment, and experience formed her attitudes on religion and love, and will explain how successful she was in translating her intense emotional experience of love into poetry by examining her use of religious imagery.

To the modern critic, La vida de Lazarillo de Tormes y de sus aventuras y adversidades poses many problems. One cannot arrive at the book's precise meaning because the author remains unknown. If critics were to know who wrote the book, they would identify similarities between the book and the author's life to approximate the book's moral, or its lack of one. Additionally, some commentators view the book as incomplete or unfinished; although the author developed the first three tratados, the final four tratados seem short and incomplete. Does this diminish the book's purpose? Can the readers still fruitfully discover the book's meaning in an "incomplete" story? Modern critics have utilized the book's artistic elements, such as its linguistic structure, themes and temporal structure, to arrive at an interpretation of it. Others have compared the book with classical European folklore and other period literary works. This thesis proposes a synthesis of the latter two approaches. This thesis will analyze, using irony and foreshadowing, how the seven tratados correlate or fail to correlate with the seven deadly sins.

Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.