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Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists. / text

This dissertation examines the practice of embedding devotional objects, such as relics and painted panels, into mural images in Italy between the eleventh and fourteenth centuries. Examples can be found as far south as Amalfi, and as far north as Lombardy, and in a variety of ecclesiastical institutions, ranging from urban cathedrals, remote hermitages, and influential monastic centers. Yet despite its widespread application—found even in the Arena Chapel in Padua—the practice has never been systematically studied. Older studies of the sites taken up in this dissertation generally omit mention of their embedded objects altogether, either because the objects were seen as incidental to the larger image in which they were set, or because their inclusion did not follow certain post-medieval parameters of artistic progress. The works of this study elide traditional divisions within the study of medieval art, traversing the categories of icon and narrative, portable and monumental, and “image” and “art.” This study contends that medieval image-makers engaged the aesthetic and symbolic potential of mixing diverse media. The introduction gives an analysis of the notions of “medium” and “mixture” in the Middle Ages in order to elaborate the heuristic concepts that drive the ensuing chapters. Chapters 1-3 each examine a specific type of embedded object, and consider the various modes of combination exhibited therein. Chapter 1, “Assimilation,” examines relics that were embedded within mural images, and focuses on the apse mosaic of San Clemente in Rome, ca. 1120. Chapter 2, “Fragmentation,” analyzes the insertion of circular wooden panels in murals, and centers on the apse fresco of Santa Restituta in Naples, ca. 1175. Chapter 3, “Mediation,” considers the rectangular panel of God in the Arena Chapel in Padua, produced by Giotto between 1303 and 1305. To recuperate the intermedial practice of embedding objects in mural images, I examine the technical and aesthetic features of mixed media murals in relation to coeval understandings of mixture, media, and mediation. It was a practice that involved an understanding of the mural image not just as a flat surface for pictorial elaboration, but as a physical and spatial entity that could be manipulated and thematized within the image itself. By incorporating relic or panel into a mosaic or frescoed mural, medieval image-makers nested objects traditionally viewed as portable and venerable, into one understood as fixed and site-specific. This maneuver gave the mural a stratified quality of assemblage, producing registers of difference and ambiguity between container and contained, image and object, surface and depth. Throughout the dissertation, I explore these dialectics, demonstrating how and to what ends embedded objects establish difference, only to transcend it. The ambivalent understandings of mixture in the twelfth and thirteenth centuries—sometimes a hybrid, at other times, a metamorphosis— inform my analysis of the mixed representational systems of this study. The period may be characterized by a growing intellectual interest in the observation and manipulation of physical substances, the study of which was seen to reveal the connective fabric of God’s cosmic order. The works studied here participate in this broader attention to the processes of the natural world. I therefore consider how medial combinations were seen to signal analogous behavior in the mixtures discussed by theologians, natural philosophers, and artists. Attending to both the constituent parts and the symbolic value of their combination, I show how the act of embedding worked by analogy to figure the theological processes of assimilation, fragmentation, and mediation.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Bibliography: leaves 221-244 / The purpose of this thesis is to examine the mission of the ‘Church as family’ and to explore its implications in terms of levels of inclusion and participation of church members in the Catholic Diocese of Masvingo. The background of the study is the 1994 African Synod that suggests the ecclesiology of the mission of the ‘Church as family.’ The study helps the Catholic Diocese of Masvingo to evaluate the implementation of the ideal of the mission of the ‘Church as family’ and draw implications for nuclear, single parent, child-headed, reconstituted and extended families within the church. The study explores Shorter’s culture model to examine how cultural practices, symbols, values and belief systems can be used as an analytic framework for the human dimension of the church. A qualitative research methodology that involves 36 participants in semi-structured interviews, three focus group discussions in urban, semi-urban and rural parishes and participant observation was used to collect data from parishioners, priests and religious of the Catholic Diocese of Masvingo. The study reveals that each family type contributes to Evangelisation as proclamation of the Good News and inculturation differently thereby enriching the ideal of the mission of the ‘Church as family.’ Furthermore, the study shows that guilds, associations and commissions help to strengthen families through spiritual, psychological, social and economic support. Findings also indicate that the Trinity is the theological foundation of the family and it finds acceptance in African communal setup. Family types in Masvingo Diocese are analysed using the notion of the Trinity to show that dignity, equality and respect among family types can be used to strengthen the ideal of the mission of the ‘Church as family.’ At pastoral level, economic, social and cultural obstacles to family ministry stand as a challenge to the full implementation and realisation of the ideal of the mission of the ‘Church as family’. In the light of the research, recommendations for mission strategies were suggested at different levels that involve Diocesan administration, priests, religious, catechists and parish leaders. Recommendations for further researches were also suggested for areas that seem to be important yet outside the scope of this study. The theological, pastoral, and cultural issues raised in this study combine to help the Catholic Diocese of Masvingo to become an authentic expression of the mission of the ‘Church as family’ of God. / Christian Spirituality, Church History and Missiology / D. Th. (Missiology)