Liberation in White and Black studies, respectively, Washington Memorial Chapel (WMC) and The Church of the Advocate (COA), which are two Episcopal parishes in the Diocese of Pennsylvania. This dissertation investigates the ways that the visual culture of these spaces represents and affects the religious, racial and national self-understanding of these churches and their ongoing operations by offering particular and opposing narrative interpretations of American history. These "sacred spaces" visually describe the United States (implicitly and explicitly) in terms of race and violence in narratives that set them in fundamental opposition to each other, and set a trajectory for each parishes' life that has determined a great deal of its activities over time. I develop this thesis by situating each congregation and its development in the context of the entire history of both the Episcopal Church and Philadelphia as related to race, violence and patriotism. WMC is what historian of religions scholar Jonathan Z. Smith calls a "locative" space and tries to persuade all Americans to patriotically covenant with images of heroic "White" freedom struggle. COA is what Smith calls a "utopian" space and tries to compel its visitors to covenant with a subversive critique of the United States in terms of the parallels between biblical Israel and the African American freedom struggle. My analysis draws especially on the theoretical work of Pierre Bourdieu and David Morgan. A major focus of Pierre Bourdieu's work in both Language and Symbolic Power, and The Logic of Practice is the power of group-making. Group-creating power is often exercised through representations that create a seemingly objective sense of group identity and a social world that is perceived as "natural." David Morgan writes that religious visual culture functions as this sort of political practice through the organization of memory among those who are drawn to "covenant" with images. The Introduction of my dissertation lays out the theoretical approaches informing the visual culture analysis of these Episcopal Churches and raises the significant questions. Three main chapters provide: 1) an historical background of patriotism, race and violence in the Episcopal Church and in Philadelphia in particular, and 2-3) a thorough analysis of the history and visual culture of each space in context. A great deal of my analysis will be interpretive "readings" of the visual culture of the aforementioned churches in their larger contexts to explain how the visual culture represents social classifications to affect the constituents religious, racial and national self-understanding, and their ongoing operations by offering particular and opposing narrative interpretations of American history. The project concludes by summarizing the ways that the analysis of these spaces explicates the thesis with thoughts about the implications for the disciplines involved and further research. / Religion

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-02-17T18:24:50Z No. of bitstreams: 1 claudineia2.pdf: 4221898 bytes, checksum: 45414b450e2c1da0f0e8172cd7607d61 (MD5) / Made available in DSpace on 2017-02-17T18:24:50Z (GMT). No. of bitstreams: 1 claudineia2.pdf: 4221898 bytes, checksum: 45414b450e2c1da0f0e8172cd7607d61 (MD5) Previous issue date: 2015-09-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This¬ research aims to understand the tile panels of José de Anchieta, composed by Claudio Pastro and installed in the of Pátio do Colégio, São Paulo Brazil. First, we try to understand the artist´s style as to identify the Byzantine and Romantic Art as his references, beside his general involvement into Christian Catholic Art. Second, we propose to analize the figurative representations of José de Anchieta, in dialog with his understanding within the Society of Jesus and its guidelines, as part of the general understanding of the development and importance of the Jesuits in Brazil. Third, we identify how José de Anchieta were finally represented in the panels composed by Claudio Pastro, in its distinction and continuity of the common Anchietan narratives in Brazilian colonial history and in the imagetic narratives referring to José de Anchieta prior to the work of Claudio Pastro. / This¬ research aims to understand the tile panels of José de Anchieta, composed by Claudio Pastro and installed in the of Pátio do Colégio, São Paulo Brazil. First, we try to understand the artist´s style as to identify the Byzantine and Romantic Art as his references, beside his general involvement into Christian Catholic Art. Second, we propose to analize the figurative representations of José de Anchieta, in dialog with his understanding within the Society of Jesus and its guidelines, as part of the general understanding of the development and importance of the Jesuits in Brazil. Third, we identify how José de Anchieta were finally represented in the panels composed by Claudio Pastro, in its distinction and continuity of the common Anchietan narratives in Brazilian colonial history and in the imagetic narratives referring to José de Anchieta prior to the work of Claudio Pastro. / A presente pesquisa objetivou compreender os painéis de Azulejos de José de Anchieta, compostos por Claudio Pastro e instalados no Pátio do Colégio. Pretendemos, em um primeiro momento compreender o estilo do artista, identificarmos suas referências: a Arte Bizantina e o Estilo Românico, juntamente ao seu envolvimento com a Arte do Cristianismo Católico. No segundo momento, buscamos analisar a representação figurativa de José de Anchieta, na base do entendimento da Companhia de Jesus com suas regras norteadoras, além de compreender o desenvolvimento dos jesuítas no Brasil e sua importância. Finalmente, objetivamos identificar como a figura de José de Anchieta foi apresentada na composição dos painéis de Claudio Pastro, em distinção e continuidade das narrativas anchietanas gerais da história colonial brasileira e discursos imagéticas referentes a José de Anchieta que antecedem a obra de Claudio Pastro. / A presente pesquisa objetivou compreender os painéis de Azulejos de José de Anchieta, compostos por Claudio Pastro e instalados no Pátio do Colégio. Pretendemos, em um primeiro momento compreender o estilo do artista, identificarmos suas referências: a Arte Bizantina e o Estilo Românico, juntamente ao seu envolvimento com a Arte do Cristianismo Católico. No segundo momento, buscamos analisar a representação figurativa de José de Anchieta, na base do entendimento da Companhia de Jesus com suas regras norteadoras, além de compreender o desenvolvimento dos jesuítas no Brasil e sua importância. Finalmente, objetivamos identificar como a figura de José de Anchieta foi apresentada na composição dos painéis de Claudio Pastro, em distinção e continuidade das narrativas anchietanas gerais da história colonial brasileira e discursos imagéticas referentes a José de Anchieta que antecedem a obra de Claudio Pastro.