archives@tulane.edu / The purpose of this project is to consider how medieval devotees experienced a specific set of reliquaries and their holy contents as well the obstacles they faced in doing. By placing these objects in dialogue with contemporary theological discourse on the nature of vision as it relates to access and knowledge of God, I will attempt to reconstruct and identify the meaningful connections one could have formed in the presence of relics and reliquaries. I aim to challenge reductive ways of framing medieval thought and experience by attending to and attempting to understand the experience of the medieval viewer. / 1 / Madeline Brown

This project report accounts for my final MFA project, Traces of Existence. This body of work began as an exploration, partially borne of the love of genealogical research translated into visual art by exploring the things my ancestors touched, be it ephemera, the soil they lived on, or artifacts they left behind, and partly as a pathway through which I could learn to understand more about my own identity, all the while finding beauty in the mundane. Although the works are personal, it is my hope that the viewer will respond to them in his/her own way, and that considering them will create an interest in the viewer to discover more about his/her own lineage. I believe we are all a part of a global family, and because of this familial connection, it is my hope that many viewers will have a dual response; one of appreciation for the aesthetic qualities of the work, and a sense of belonging.

A ética do brincar está sujeita à criação e à desconstrução, engendra-se por ser uma máquina política e uma prática de ensinar experimental (segundo as questões da vida contemporânea). Opera com a pedagogia na educação e com a pedagogia na saúde, produzindo outra pedagogia, com articulação contemporânea vívida. Flerta (e tira partido) da filosofia, das artes, da pedagogia, e cria métodos pra educação e pra saúde. Produz entrecomposição com ações de ensino, pesquisa e extensão na universidade, em que a Ética coloca movimentação, pondo coletivos a brincar. Trata-se do contemporâneo como desafio na educação superior, num cenário nacional e internacional, para promover outra perspectiva de docência e formação de profissionais de saúde na universidade. Compromete-se com uma política de educação para todos e para cada um, desde a aprendizagem na deficiência, no autismo, na saúde mental, como na não deficiência. Afirma a pedagogia como ciência da multiplicidade, da entrecomposição. O texto funciona por sua escritura, com entoados, argumentos e procedimentos, ao modo filosófico e artístico, e funciona por uma entrecomposição engenhosa, articulada, simétrica e complementar das partes da Tese: pathos; efeitos poiéticos; criação; riso; espaço de habitação; escrita; curandeira; arteira; geringonça; relicário; acúmulo; lúdica; descabimento; experimentação; deambulação; desconstrução; composição; som; presença; jardim; cuidado; condução; intuição; máquina política; máquina experimental; ética experimental. Perspectiva axiológica. O método foi o do relicário, ensaio com os guardados de escola, de unidades de saúde, de contato com o fazer em educação e em saúde mental. / The ethics of playing is subject to the creation and deconstruction, is engendered by to be-being a political machine and experimental ethical (issues of contemporary life). It operates with pedagogy in education and pedagogy in health, producing another pedagogy, with vivid contemporary articulation. Quibble with (and takes advantage of) philosophy , with art, with pedagogies and creates methods for education and health. Produces amongst-composition in teaching activities, research and extension at university where the Ethics starts movimentation, putting collectives to play. It is about the contemporary higher education, a national and international scene, providing another perspective of teaching and training health professionals at the University. It is committed to an education policy for all and for each one, from the learning disability, in autism, mental health, and in no impairment. Claims pedagogy as science of multiplicity into amongst-composition. The text works by its writing, with intoned, arguments and procedures, philosophical and artistic way, and works for an ingenious amongst-composition, articulated, symmetrical and complementary to parts of the thesis: pathos; "poiétical" effects; creation; laughter; living space; writing; healer; naughty; contraption; shrine; accumulation; ludic; misplaced; experimentation; ambulation; deconstruction; composition; sound; presence; garden; caution; conduction; intuition; political machine; experimental machine; experimental ethics. Axiological perspective. The method was the relicary, assay with things found and saved from schools, health units, contact with the making in education and mental health.

A ética do brincar está sujeita à criação e à desconstrução, engendra-se por ser uma máquina política e uma prática de ensinar experimental (segundo as questões da vida contemporânea). Opera com a pedagogia na educação e com a pedagogia na saúde, produzindo outra pedagogia, com articulação contemporânea vívida. Flerta (e tira partido) da filosofia, das artes, da pedagogia, e cria métodos pra educação e pra saúde. Produz entrecomposição com ações de ensino, pesquisa e extensão na universidade, em que a Ética coloca movimentação, pondo coletivos a brincar. Trata-se do contemporâneo como desafio na educação superior, num cenário nacional e internacional, para promover outra perspectiva de docência e formação de profissionais de saúde na universidade. Compromete-se com uma política de educação para todos e para cada um, desde a aprendizagem na deficiência, no autismo, na saúde mental, como na não deficiência. Afirma a pedagogia como ciência da multiplicidade, da entrecomposição. O texto funciona por sua escritura, com entoados, argumentos e procedimentos, ao modo filosófico e artístico, e funciona por uma entrecomposição engenhosa, articulada, simétrica e complementar das partes da Tese: pathos; efeitos poiéticos; criação; riso; espaço de habitação; escrita; curandeira; arteira; geringonça; relicário; acúmulo; lúdica; descabimento; experimentação; deambulação; desconstrução; composição; som; presença; jardim; cuidado; condução; intuição; máquina política; máquina experimental; ética experimental. Perspectiva axiológica. O método foi o do relicário, ensaio com os guardados de escola, de unidades de saúde, de contato com o fazer em educação e em saúde mental. / The ethics of playing is subject to the creation and deconstruction, is engendered by to be-being a political machine and experimental ethical (issues of contemporary life). It operates with pedagogy in education and pedagogy in health, producing another pedagogy, with vivid contemporary articulation. Quibble with (and takes advantage of) philosophy , with art, with pedagogies and creates methods for education and health. Produces amongst-composition in teaching activities, research and extension at university where the Ethics starts movimentation, putting collectives to play. It is about the contemporary higher education, a national and international scene, providing another perspective of teaching and training health professionals at the University. It is committed to an education policy for all and for each one, from the learning disability, in autism, mental health, and in no impairment. Claims pedagogy as science of multiplicity into amongst-composition. The text works by its writing, with intoned, arguments and procedures, philosophical and artistic way, and works for an ingenious amongst-composition, articulated, symmetrical and complementary to parts of the thesis: pathos; "poiétical" effects; creation; laughter; living space; writing; healer; naughty; contraption; shrine; accumulation; ludic; misplaced; experimentation; ambulation; deconstruction; composition; sound; presence; garden; caution; conduction; intuition; political machine; experimental machine; experimental ethics. Axiological perspective. The method was the relicary, assay with things found and saved from schools, health units, contact with the making in education and mental health.

A ética do brincar está sujeita à criação e à desconstrução, engendra-se por ser uma máquina política e uma prática de ensinar experimental (segundo as questões da vida contemporânea). Opera com a pedagogia na educação e com a pedagogia na saúde, produzindo outra pedagogia, com articulação contemporânea vívida. Flerta (e tira partido) da filosofia, das artes, da pedagogia, e cria métodos pra educação e pra saúde. Produz entrecomposição com ações de ensino, pesquisa e extensão na universidade, em que a Ética coloca movimentação, pondo coletivos a brincar. Trata-se do contemporâneo como desafio na educação superior, num cenário nacional e internacional, para promover outra perspectiva de docência e formação de profissionais de saúde na universidade. Compromete-se com uma política de educação para todos e para cada um, desde a aprendizagem na deficiência, no autismo, na saúde mental, como na não deficiência. Afirma a pedagogia como ciência da multiplicidade, da entrecomposição. O texto funciona por sua escritura, com entoados, argumentos e procedimentos, ao modo filosófico e artístico, e funciona por uma entrecomposição engenhosa, articulada, simétrica e complementar das partes da Tese: pathos; efeitos poiéticos; criação; riso; espaço de habitação; escrita; curandeira; arteira; geringonça; relicário; acúmulo; lúdica; descabimento; experimentação; deambulação; desconstrução; composição; som; presença; jardim; cuidado; condução; intuição; máquina política; máquina experimental; ética experimental. Perspectiva axiológica. O método foi o do relicário, ensaio com os guardados de escola, de unidades de saúde, de contato com o fazer em educação e em saúde mental. / The ethics of playing is subject to the creation and deconstruction, is engendered by to be-being a political machine and experimental ethical (issues of contemporary life). It operates with pedagogy in education and pedagogy in health, producing another pedagogy, with vivid contemporary articulation. Quibble with (and takes advantage of) philosophy , with art, with pedagogies and creates methods for education and health. Produces amongst-composition in teaching activities, research and extension at university where the Ethics starts movimentation, putting collectives to play. It is about the contemporary higher education, a national and international scene, providing another perspective of teaching and training health professionals at the University. It is committed to an education policy for all and for each one, from the learning disability, in autism, mental health, and in no impairment. Claims pedagogy as science of multiplicity into amongst-composition. The text works by its writing, with intoned, arguments and procedures, philosophical and artistic way, and works for an ingenious amongst-composition, articulated, symmetrical and complementary to parts of the thesis: pathos; "poiétical" effects; creation; laughter; living space; writing; healer; naughty; contraption; shrine; accumulation; ludic; misplaced; experimentation; ambulation; deconstruction; composition; sound; presence; garden; caution; conduction; intuition; political machine; experimental machine; experimental ethics. Axiological perspective. The method was the relicary, assay with things found and saved from schools, health units, contact with the making in education and mental health.

Le corpus d’œuvres et la synthèse des études menées sur les images de dévotion à l’époque médiévale n’ont jamais approfondi, dans le contexte européen, la question des peintures mariales ayant fonction de porte-reliques. Le modèle de tableau-reliquaire : panneau unique, diptyque et triptyque comprenant le portrait de la Vierge à l’Enfant peint sur bois (plus rarement sur verre églomisé) enchâssé dans un large cadre incrusté de reliques (parfois de pierres précieuses) se répandit particulièrement sur le territoire de la Petite-Pologne à partir des environs de 1420. Les reliquaires polonais, connus jusqu’au début du XVIe siècle, doivent sans doute être considérés comme une adaptation des types iconiques et formels de provenance byzantine, lesquels furent réinterprétés dans la peinture du Trecento italien. Il s’agit notamment du modèle siennois de retable portatif marial popularisé dès les années 1330-1340. D’après l’étude comparative des œuvres, relative à leurs caractéristiques similaires et leur ancienneté, on envisage l’arrivée d’un tel concept formel en Pologne soit directement de l’Italie, soit par l’intermédiaire de la Bohême.L’expansion des tableaux-reliquaires, typiques de l’art toscan, s’inscrivit au XVe siècle en Europe centrale dans le mouvement général du renouveau de piété, qu’était la devotio moderna. De sorte qu’à côté des représentations singulières, spécialement vénérées au cours des offices liturgiques et paraliturgiques, on voit se répandre des reliquaires moins coûteux dans l’espace privé. Appréciés dans l’intimité des couvents – franciscains et dominicains –, ainsi que dans celle du quotidien des laïcs, ils étaient utilisés comme des autels domestiques ou bien comme des autels pliables de voyage. Ces images d’affection religieuse constituent un phénomène artistique du bas Moyen Âge. Et, quelques-uns des reliquaires semblables connus postérieurement n’assurent pas une véritable continuité de l’ancien modèle à l’époque moderne. / Scholarly investigation of devotional images from the medieval period has never explored, in a European context, the question of Marian paintings functioning as portable relics. The model of the « picture-reliquary » : a single, diptych, or triptych panel comprsing the por-trait of the Virgin and Child painted on wood (or, more rarely, on gilded glass, verre églomisé) set in a large framework encrusted with relics (occasionally with precious stones) was particularly widespread in the territory of Little Poland from c. 1420. Polish reliquaries, known until the beginning of the 16th century, should be considered as an adaptation of iconic types and forms of Byzantine provenance, which were reinterpreted in the painting of the Italian Trecento. Of particular note is the Siennese model of the portable Marian altar piece made popular from the 1330s-40s. From the comparative study of the works, concerning their similarities and their antiquity, one envisages the advent of such a formal concept in Poland either directly from Italy, or by the intermediary of Bohemia.The diffusion of picture-reliquaries, typical of Tuscan art, forms part of the general movement toward a renewal of piety in central Europe in the 15th century, the devotio moderna. As a result, alongside singular representations, especially venerated in the course of liturgical or paraliturgical offices, one sees less costly reliquaries spread in private space. Appreciated in the intimate setting of convents – Franciscan and Dominican – as well as that of the daily life of the laity, these relics were used as domestic altars or as folding altars for travel. These images of religious affection constitute an artistic phenomenon of the late Middle Ages. And, several similar reliquaries known later do not guarantee a veritable continuity of the ancient model to the modern era. / Die erhaltenen Überblicksdarstellungen und Spezialuntersuchungen zu den Frömmigkeitsbildern des Mittelalters haben sich niemals – im europäischen Kontext – mit der Frage derjenigen Mariendarstellungen auseinandergesetzt, die die Funktion von Tragereliquien inne hatten. Das Modell des Reliquien-Bildes – einfaches Tafel-bild, Diptychon oder Triptychon mit einer Darstellung der Jungfrau mit dem Kind, gemalt auf Holz (seltener auf Glas), umschlossen von einem breiten Rahmen, in den Reliquien (mitunter auch Edelsteine) eingefügt sind – verbreitet sich ca. ab 1420 ins-besondere auf dem Gebiet Kleinpolens. Diese polnischen Reliquiare, bekannt bis zum Beginn des 16. Jahrhunderts, können ohne Zweifel als Adaptation ikonischer und formaler Typen byzantinischer Provenienz angesehen werden, die in der Malerei des italienischen Trecento wiederinterpretiert wurden. Dabei handelt es sich vor allem um das Sieneser Model des marianischen Tragaltars, verbreitet seit den Jahren 1330-1340. Folgt man den vergleichenden Untersuchungen der erhaltenen Stücke mit Blick auf ihre übereinstimmenden Charakteristika und ihr Alter, wird das Auf-greifen eines solchen formalen Konzepts in Polen entweder direkt aus Italien oder indirekt über Böhmen wahrscheinlich.Die Ausbreitung dieser Tafel-Reliquiare, typisch für die toskanische Kunst, verbindet sich im 15. Jahrhundert in Mitteleuropa mit der umfassenden Bewegung einer Er-neuerung der Frömmigkeit, bekannt auch unter dem Namen devotio moderna. Dies führt dazu, daß neben einzelnen, vor allem im Rahmen liturgischer oder paraliturgi-scher Veranstaltungen verehrten Darstellungen, zunehmend weniger kostspielige Reliquiare auch in den privaten Raum vordringen. Gehütet sowohl in der Intimität der Klöster – franziskanisch und dominikanisch – als auch im täglichen Lebensraum der Laien, wurden sie als Hausaltäre oder auch als zusammenklappbare Reisealtäre verwendet. Diese Darstellungen religiösen Affekts stellen ein künstlerisches Phäno-men des Spätmittelalters dar. Einige der ähnlichen, allerdings später entstandenen Reliquiare garantieren allerdings keine überzeugende Kontinuität vom alten Modell hin zur Neuzeit.

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2018-05-18T14:55:10Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Jordan Ávila Martins_Dissertação.pdf: 7344252 bytes, checksum: d4f044f43f5873bbd2c9ef19b008c2c6 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:55:56Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Jordan Ávila Martins_Dissertação.pdf: 7344252 bytes, checksum: d4f044f43f5873bbd2c9ef19b008c2c6 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-05-18T20:56:02Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Jordan Ávila Martins_Dissertação.pdf: 7344252 bytes, checksum: d4f044f43f5873bbd2c9ef19b008c2c6 (MD5) / Made available in DSpace on 2018-05-18T20:56:07Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Jordan Ávila Martins_Dissertação.pdf: 7344252 bytes, checksum: d4f044f43f5873bbd2c9ef19b008c2c6 (MD5) Previous issue date: 2017-12-27 / Sem bolsa / Lembranças movimentam e motivam a disserta-ção de Mestrado em Artes Visuais no PPGAV no Centro de Artes da UFPEL, intitulada Inventário do Artista: um pequeno relicário de grandes afetos. Esta investigação pensa a relação entre afetividade e poética, inventariando da memória os fragmentos-relíquias que, tão potentes para a criação e encontrados no percurso da minha formação enquanto artista, recompõem e reinventam minhas histórias e minha produção. Apresento, assim, em um relicário de si, o registro do passado revisitado como forma de aproximar arte e vida. A pesquisa é conduzida e direcionada a partir de determinados concei-tos operadores que estão presentes e se tornam peças fundamentais para o entendimento do meu trabalho: as memórias afetivas, as histórias, o cotidiano, o uso e a apropriação de objetos e suas materialidades. Todo percurso apresentado em Inventário do artista tem os relicários como fio condutor e os objetos e outros fragmentos, que são tratados como relíquias, integram e coexistem neste percurso. / Memories move and motivate the Visual Arts Master Degree at the PPGAV of the Centro de Artes of the UFPEL, dissertationentitled inven-tory of the artist: a small reliquary of great affec-tions. This investigation think the relationship between affectivity and poetic, inventorying the fragments-relics from memory which - so powerful for creation and found in the course of my formation as an artist - recompose and reinvent my stories and my production. I there-fore present in a reliquary from myself a record from the past revisited as a way to approximate art and life. The research is conducted and di-rected from certain operator concepts that are present and became fundamental pieces for understanding my work: the affective memo-ries, the stories, the use and appropriation of objects and their materialities. All course pre-sented in inventory of the artist have the reli-quaries as a conducting wire and the objects and other fragments, treated as relics, integrate and coexist in this course.

This undergraduate thesis is an examination of the works of Odorannus (c. 985-c. 1046), a monk of the abbey of Saint Pierre-le-Vif in Sens, France. A prominent monk in his community, Odorannus was involved in constructing and celebrating his monastery's prosperity and identity. At times, however, he was at variance with his brethren, even experiencing a brief period in exile. This essay explores aspects of Odorannus' compilation, a collection which the monk himself gathered together in his old age, in terms of the dynamic relationship between self and community in a Benedictine monastery of the central Middle Ages.

At the end of the 17th century, a small enameled cross was discovered in one of the royal graves in Saint Bendt's church in Danish Ringsted. According to the record of the administrator of the Danish Royal Treasury, the cross was found in the grave of the Danish Queen Dagmar - the daughter of the King of Bohemia, Ottokar I (+1230). Dagmar was married in 1205 to Valdemar II the Victorious, the King of Denmark. The cross - today exhibited at the National Museum in Copenhagen - is undoubtedly a Byzantine work. Most probably, it was made in the first half of the 12th century. It is so- called enkolpion, i.e. the hanging cross (gr. Έγϰόλπιου, on the chest). Both its sides are decorated with figurative scenes. The crucifixion of the Christ is depicted on one side. The Great Deēsis with St. Basil the Great and St. John Chrysostom is shown on the other side. There is a hollow in the body of the cross, in which a relic was deposited - most likely a particle of the wood of the True Cross. Although the Queen Dagmar's Cross is considered a national treasure in Denmark, only a little attention has been paid to it so far. It is almost unknown to the Czech researchers (it is briefly mentioned by J. E. Wocel, A. B. Černý, J. Květ, K. Chytil and most recently P. Balcárek). Regrettably, the most of researchers only...

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