Made available in DSpace on 2016-04-25T20:20:58Z (GMT). No. of bitstreams: 1 Dieudonne Bukasa N Dala.pdf: 1277018 bytes, checksum: b850095ffe7ee5b8ce095860699d6f41 (MD5) Previous issue date: 2013-06-04 / Our objective for this study is to write about the Syncretism Afro Brazilian, particularly, and the syncretism Afro Catholic with the case of Ibeji e saints Cosmas and Damian, particularly. This way we wrote about the twins in Africa first and about the twins in Brazil at the second moment. After this, we made our considerations / O nosso objetivo é de escrever sobre o sincretismo afro-brasileiro, em geral, o sincretismo afro-católico com o caso dos Ibeji e santos Cosme e Damião, em particular. Por isso, analisamos os gêmeos na África primeiro para depois escrever sobre os gêmeos no Brasil. Depois disso, fizemos as nossas considerações

Made available in DSpace on 2016-04-26T14:54:09Z (GMT). No. of bitstreams: 1 Dieudonne Bukasa N Dala.pdf: 1277018 bytes, checksum: b850095ffe7ee5b8ce095860699d6f41 (MD5) Previous issue date: 2013-06-04 / Our objective for this study is to write about the Syncretism Afro Brazilian, particularly, and the syncretism Afro Catholic with the case of Ibeji e saints Cosmas and Damian, particularly. This way we wrote about the twins in Africa first and about the twins in Brazil at the second moment. After this, we made our considerations / O nosso objetivo é de escrever sobre o sincretismo afro-brasileiro, em geral, o sincretismo afro-católico com o caso dos Ibeji e santos Cosme e Damião, em particular. Por isso, analisamos os gêmeos na África primeiro para depois escrever sobre os gêmeos no Brasil. Depois disso, fizemos as nossas considerações

Gegenstand der Arbeit sind Darstellungen, die dem Umfeld zweier Heiligenkulte in Florenz angehören und auf Bestellungen der Medici, ihrer Freunde und Verbündeten zurückzuführen sind. Den ursprünglich römischen Kult seiner Namenspatrone, der hll. Cosmas und Damian hat erst Cosimo de’ Medici in Florenz bekannt gemacht. Dabei erwies sich das Fehlen einer nennenswerten Florentinischen Tradition als maßgeblicher Faktor seiner Wirkkraft. Fra’ Angelico, Filippo Lippi und andere Künstler konnten formal neuartige Bildlösungen entwickeln, deren Inhalte sich als Projektionsflächen der politischen und geistigen Florentiner Eliten eigneten. Cosimo etablierte auf diese Weise ein Netzwerk persönlicher Repräsentation, das nicht allein die Barriere zwischen privatem und öffentlichem Raum zu durchdringen vermochte, sondern auch demonstrativ über die in Florenz herkömmliche Beschränkung auf das eigene Stadtviertel hinausgriff. Mit dem Generationswechsel nach Cosimos Tod erforderten die veränderten Machtverhältnisse auch einen Wechsel in der Strategie des Kults. In der zweiten Hälfte des 15. Jahrhunderts tritt ein anderer Kult, jener der hll. Drei Könige in den Vordergrund. Dieser besaß im Gegensatz zur Verehrung von Cosmas und Damian in Florenz eine eigenständige, spezifisch republikanische Tradition. Unter deren Schutz konnte eine kontinuierliche Politisierung althergebrachter Rituale und die Übernahme der Kontrolle durch die Medici stattfinden. Auch in diesem Fall zeigt die Analyse der erhaltenen Darstellungen, dass sie den Auftraggebern als Loyalitätsnachweis dienten und die Zugehörigkeit zum Klientel der Medici und damit der städtischen Eliten markierten. Noch in der Mitte des 16. Jahrhunderts griff Herzog Cosimo I. auf strategische Elemente und Motive des Kults zurück, nun zunehmend aus dem sakralen Kontext gelöst und Bestandteil höfischer Panegyrik. / The Images observed here are mainly of two religious cults commissioned by members, friends and allies of the Medici family. In the early 15th century Cosimo de’ Medici following the example of his father introduced his patron saints, Cosmas and Damian into his native city of Florence. Prior to this the cult of these saints was of no vital importance outside Rome. Thus there was no eminent pictorial tradition of their images which proved an important factor in the cult’s success. Fra’ Angelico, Filippo Lippi and other artists were able to develop a new imagery that allowed members of Florence’s political and humanistic circles to identify with. Cosimo established a network of personal representation which did not only penetrate the barriers between private and public space but ostentatiously reached beyond the customary boundaries of a family’s home quarter. After Cosimo’s death in 1464 political instability resulted in a change of strategy. In the second half of the 15th century a different cult, that of the Three Magi, moves into the center of medicean interest. Contrary to Saints Cosmas and Damian the cult of the Magi had an ancient and marked republican tradition in Florence. Under cover of this tradition the Medici party managed to take over control of the confraternity of the Magi and wield its influential instruments to their own benefit. As with images of Saints Cosmas and Damian those depicting the Adoration of the Magi were used as a confirmation of loyalty to the Medici and their faction. Even in the 16th century Duke Cosimo I. went back to elements and motifs of his predecessors’ strategy. Rather than reviving the cult of Saints Cosmas and Damian however they are used to give evidence of political and dynastical continuity.