Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-06T14:42:12Z No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:44:27Z (GMT) No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) / Made available in DSpace on 2016-04-24T03:44:27Z (GMT). No. of bitstreams: 1 alexandroferreiradesouza.pdf: 1352551 bytes, checksum: 70ddea9bc2db317a7e6ad53838992402 (MD5) Previous issue date: 2013-03-01 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / A tese procura fazer uma investigação mais aprofundada da questão da autonomia e validade da perspectiva religiosa na obra de Rudolf Otto, mais especificamente em suas obras As visões naturalista e religiosa do mundo, de 1904; A filosofia da religião baseada em Kant e Fries, de 1909; e O sagrado, de 1917. Através do Leitmotiv da autonomia e validade da religião é possível defender uma unidade na argumentação do autor, unidade essa que, iniciando-se com a identificação de uma tentativa de negação da perspectiva propriamente religiosa por parte dos métodos científico-naturalistas de fins do século XIX e início do século XX, e que passando por uma tentativa de fundamentação no idealismo transcendental de Jakob Friedrich Fries, encontra a sua formulação final na obra de 1917 e na proposição da ideia-complexo do sagrado, formada por elementos racionais e irracionais estritamente apriorísticos. Uma tentativa de consideração unitária destes três escritos pode ainda oferecer soluções para problemas na argumentação de Otto sempre apontados pela crítica, tais como a sua equivocada leitura do pensamento de Kant, os alegados conflitos entre os vários interesses do autor e a acusação de ser um defensor do irracionalismo. / This thesis intends to make a deeper investigation of the question of religion's autonomy and validity in the Rudolf Otto's interpretation of religion, more specifically in his works Naturalism and Religion, The Philosophy of Religion Based on Kant and Fries and his opus magnum The Idea of the Holy. Through the Leitmotiv of religion's autonomy and validity is possible to find a unity in the author's argumentation; a unity that starting as an identification of an attempt of negation of religious outlook by the naturalistic conceptions which appeared in late 19th and early 20th centuries and that undergoes by a search for grounding in Jakob Friedrich Fries's transcendental idealism, found a final formulation in his proposition of a complex-idea of the Holy, formed by rational and non-rational elements strictly aprioristics. An attempt at a unitary approach to there works can still offer solutions for problems in Otto's argumentation always pointed out by his critics, such as his erroneous interpretation of Kant's thought, the alleged conflicts between the author’s several interests; and the famous accusation of being a defender of an irrationalism.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-21T19:51:15Z No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-22T12:41:08Z (GMT) No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) / Made available in DSpace on 2017-03-22T12:41:08Z (GMT). No. of bitstreams: 1 alexandroferreiradesouza.pdf: 438800 bytes, checksum: 8c706a7d37775f0f92044a46ee1ba79c (MD5) Previous issue date: 2009-03-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação tem por objetivo a análise de temas na obra A paixão segundo G.H., de Clarice Lispector, que podem ser descritos como análogos aos temas de uma vivência religiosa em consonância com a perspectiva de religião apresentada pelo filósofo e teólogo alemão Rudolf Otto em sua obra O sagrado. Ao apresentar em linhas gerais e estabelecer o pensamento de Otto como referencial teórico-conceitual, pretende-se iluminar e descrever a experiência da personagem-título do romance como uma experiência religiosa marcada por aquela característica realçada pelo pensador alemão na sua obra em questão: a vivência do divino como experiência dos sentimentos antagônicos do terror e do fascínio. Partindo do conceito de numinoso apresentado e definido por Otto, em O sagrado, como o aspecto irracional da religião vivenciado de forma sentimental, intenta-se discutir as dificuldades da apreensão e comunicação da vivência do numinoso e o aspecto totalmente outro da experiência relatada por G.H. / This study has as aim the theme analysis in the work A paixão segundo G.H., of Clarice Lispector, that can be described as akin to a perspective of the religion showed by the philosopher and theologian Rudolf Otto in his work The idea of the Holy. To show in general lines and to establish Otto’s thought as reference, intending to illuminate and to describe the experience of the character G.H. as a religious experience appointed by that characteristic enhanced by the german thinker in his work: the divine living as the feeling experience antagonistic to the terror and the fascination. Departing from the concept of numinous showed and defined by Otto, in The idea of the Holy, as the unreasonable aspect lived in a sentimental way, intending to discuss the difficulties of the communication's of living of the numinous and the Wholly Other aspect of the experience related by G.H.

What we encounter in painting is not so much the authentically revealed self of the painter, but rather signs that insinuate that this absent self is somewhat present in it. /Isabelle Graw/ So, then what is a painting? Perhaps it is all about time, a certain amount of time in the constant murmuring stream of consciousness and the unconscious. A shape cut out of the amorphous. A recording of time spent in uncertainty, not knowing what is going to present itself. To bear the contradiction of in one hand allowing the permission of having an aim versus the absolute requirement of at some point let go of the model, the aim. And thus, submit to painting. In the glitch between distance and sensibility, an utterance, a pronouncement takes place. This text reflects a thinking process that revolves around painting as will and resistance, concepts regarding aesthetics, subjectivity and perception.

The main aim of the dissertation is to examine the importance of the moment in relation to human experience and to the narrative in the writings of Stig Dagerman (1923-1954), primarily the novels Ormen (The Snake, 1945), De dömdas ö (The Island of the Doomed, 1946), Bränt barn (A Burnt Child, 1948), Bröllopsbesvär (Wedding Worries, 1949), the short stories "Den hängdes träd" (The Hanging Tree, 1945) and "De röda vagnarna" (The Red Wagons, 1946). The dissertation shows the moment as being of crucial importance by serving as the point of time for the fictional character’s critical experience. The moment also functions as a structuring principle for the narrative. In this, the discussion is supported by the theories on the chronotope found in the work of Mikhail Bakhtin. With the ideas of Michael Riffaterre as the principal theoretical basis in the study, the reading of the texts focuses on a matrix common to the works discussed. The reading goes from a description of the primarily profane subject matter of the narrative to an understanding of the religious discourse in the works. This interpretation receives additional support in the theories on religious and mystical experiences found in Rudolf Otto. Finally, the dissertation focuses on man’s sensitivity to, and longing for, a transcendental entity or a God in the broadest sense – a longing which manifests itself in different ways in these texts and is set against the human predicament of being. Man’s desperate religious longing for a transcendental entity or a God are ultimately understood as the significance or principle of unity in the texts under discussion.

L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme. / Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood.

Made available in DSpace on 2016-04-25T19:20:27Z (GMT). No. of bitstreams: 1 CesarSartorelli.pdf: 82712403 bytes, checksum: 53117bf040d047558c5f13fe79e7bff9 (MD5) Previous issue date: 2005-11-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Overall this sciences of religions essay is about architecture and art, but mainly its object is to treat specifically the fields wich refer to both the construction of religious spaces, and the hole art contained inside them and rised from them as well. These fields encircle painting, sculpture and, in addition, furniture and special pieces designed for the indoor spaces. More specifically, this essay also builts and reports its reflections based on the contemporary christian artwork and architectural spaces, produced and projected by artist and vernacular architect Claudio Pastro. The analysis in this essay approaches Pastro's biography through his unique process of working and criating, as a painter, pictorial artist, architect and sacred art expert. The second chapter explores Pastro's conceptions between sacred art and religious art, which are indeed different: each conception is clearly refeared, explained, discussed, compared to the other ones, and looked over through the eyes of Mircea Eliade's and Rudolf Otto's fenomenology. Still in the field of the Teology of the Art, the thinking of Romano Guardini about the sacred and the religious is also shown. In the third chapter we have a timeline brief of the history of art and sacred architecture, the bases of Pastro's work; then, a comparative study between his conception about the modern project related to the architecture and the vanguard arts. We also comment some brazilian architects projects, wich he admire and influenced him. Furthermore we comment the II Council of the Vatican and its propositions of liturgical renewal, wich led to the renew of sacred architeture and art, home of Pastro's realm of inspiration and concepts. We end with the analysis and critical reviewing of nine of his chapels and churches already built. In the conclusion, we comment the repercussion of Claudio Pastro's works, and the importance of his figure within the brazilian artistic and architectural panorama, as well as the concerns and limits of his concepts. Alongside with these questions, we leave to open minds some other further questions to be treated, about the relationships between art and religion, and art and the sacred. / Este trabalho em ciências da religião trata de arte e arquitetura, num campo especializado de ambas, que é a construção de espaços religiosos e a arte que nele se insere, abrangendo pintura, escultura, e o design de peças e mobiliário de seu interior. Mais especificamente estaremos tratando de arte e arquitetura sacras cristãs, contemporâneas, através da obra do artista sacro e arquiteto vernacular Claudio Pastro. A análise se inicia através de sua biografia e desenvolvimento de processo de trabalho, como artista plástico, gráfico, arquiteto vernacular e estudioso de arte sacra e espaço litúrgico. A seguir suas concepções, que colocam uma diferenciação entre arte sacra e arte religiosa, serão explicadas e discutidas, observadas através da fenomenologia de Mircea Eliade e Rudolf Otto. No âmbito da Teologia da Arte também exporemos o pensamento de Romano Guardini, citado como fonte dos conceitos de Claudio Pastro sobre sagrado e religioso. No terceiro capítulo fazemos um breve histórico da história da arte e arquitetura sacras, sobre o qual se apoia seu trabalho, acrescido de um estudo comparativo de sua concepção de arquitetura em relação ao projeto moderno , e com as vanguardas artísticas em artes plásticas. Comentamos também alguns projetos de arquitetos brasileiros que o influenciaram e que admira. De dentro da Igreja trataremos do Concílio Vaticano II e suas propostas de renovação litúrgica, que implicaram em renovações na arte e arquitetura sacras, a qual se filia Claudio Pastro. Encerramos com a análise e crítica de nove projetos de capelas e igrejas por ele realizados. Na conclusão situamos a repercussão de seus trabalhos e seu papel dentro da arte e arquitetura sacras católicas brasileiras, na prática, assim como a pertinência e limites de suas concepções e conceitos. No questionamento destes conceitos e concepções situamos questões em aberto, pertinentes à relação entre arte e religião, arte e o sagrado.

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