Orientador: José Leonardo do Nascimento / Banca: Omar Khouri / Banca: Lóris Graldi Rampazzo / Resumo: Esta pesquisa consiste na análise do aspecto literário na produção artística do artesão e artista irlandês do início do século XX, Harry Clarke, e a sua habilidade em lidar com suportes diferenciados ao interpretar plasticamente obras literárias; inicialmente com a pintura em vitrais e, depois, com a ilustração de livros, sem abandonar o trabalho com os vitrais. Partindo do pressuposto de que o artista não é apenas um artesão especializado, mas comprometido com os novos desafios que a sociedade contemporânea apresenta, este texto objetiva apreciar alguns conteúdos que permitam o diálogo próximo entre pintura e poesia, ilustração e diferentes gêneros de obras literárias clássicas, reforçando a idéia de que as artes plásticas e as artes gráficas, interagindo com o texto literário, é um exercício para a leitura do mundo de maneira significativa e ao mesmo tempo lúdica. / Abstract: This research involves the analysis of the literary's aspects of artistic production of the Irish artist and craftsman of the early twentieth century, Harry Clarke, and his ability to deal with different media to interpret plastically literary works; initially with the stained glass and then with the illustration of books, without abandoning the first work. Based on the principle that the artist is not only an expert craftsman, as well as commited to the new challenges that contemporary society presents, this text aims to assess some contents that permit a close dialogue between painting and poetry, illustration and different genres of literary classics, reinforcing the idea that the fine arts and graphic arts, interacting with the literary text is an exercise in order to read the world in a meaningful way and at the same time in a playful way. / Mestre

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A dissertação focaliza as transformações do processo de trabalho da arquitetura, ao longo do século XX, detendo-se na análise da produção de duas obras que constituem referências culturais da cidade de São Paulo, analisadas a partir da maneira pela qual, nelas, o vidro ganhou forma: o Teatro Municipal de São Paulo (1903-1911) e o edifício do Museu de Arte de São Paulo (1957-1968). O Teatro Municipal, construído como teatro de ópera no início do século XX pelo escritório de Ramos de Azevedo, no centro da cidade, possui um conjunto de vitrais no corpo de entrada, parte deles importada da Alemanha, parte fabricada em São Paulo, aplicados em esquadrias fabricadas no Liceu de Artes e Ofícios de São Paulo. O Museu de Arte, MASP, cartão postal da cidade, de autoria da arquiteta Lina Bo Bardi, tem seu bloco principal fechado por grandes placas de vidro de seis metros de altura, as primeiras dessa medida fabricada no país, encaixilhadas em montantes metálicos fabricados também nas oficinas do Liceu de Artes e Ofícios de São Paulo. Através da análise de relatórios de obra, correspondências, fotografias e imprensa, em cada período, a pesquisa articula as transformações da produção da arquitetura e dos agentes envolvidos na concepção e construção do objeto arquitetônico, à luz dos processos de modernização da construção civil e do projeto de arquitetura em São Paulo. / This dissertation focuses on the changes in the labor processes in architecture throughout the twentieth century, circumscribing the analysis to the way glass was shaped on two referential buildings to the cultural history of São Paulo: the Teatro Municipal de São Paulo (1903-1911), and the building of the Museu de Arte de São Paulo (1957-1968). The Teatro Municipal, built downtown as an opera theater in the beginning of the twentieth century by Ramos de Azevedo`s office, assembles VITRAIS on the entrance, built as much in Germany as in São Paulo, applied on frames produced in the Liceu de Artes e Ofícios de São Paulo. The main volume of Museu de Arte, MASP, the city\'s postal card, designed by the architect Lina Bo Bardi, is shut by big glass plates, measuring six meters high, the first of its size manufactured in Brazil, framed in metal structures also produced in the Liceu de Artes e Ofícios de São Paulo. Through the analysis of the construction\'s rep orts, and of mail, photographies and the press, in each period, our research articulates the changes of the architectural production and the agents involved in the conception and production of the architectural object, in light of the processes of modernization in construction and the architectural design in São Paulo.

This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.

Esquisser le portrait de la commaunauté des peintres lyonnais, entre le début du règne de Louis XI (1461) et la crise de la fin des années 1520, a constitué le présupposé de cette recherche. Le recours aux sources (comptables, fiscales et ecclésiastiques) s’est révélé indispensable à l’étude prosopographique et à une démarche d’histoire sociale de l’art, permettant la localisation des peintres, de leurs ateliers, les quelques filiations, leur place enfin (fortune et position sociale) dans la cité. Mais au-delà de cette première approche, l’étude des commanditaires, personnages capitals de la production artistique, a permis de définir plus finement le visage de la pratique picturale lyonnaise. Entre notables, Consulat, ecclésiastiques et rois, les activités de commande dans la ville ont souligné l’absence de grands chantiers et de grandes commandes dans ces décennies de prospérité croissante. Ce sont donc les fêtes, au premier rang desquelles les entrées royales et solennelles, qui mobilisent les forces économiques, littéraires et évidemment artistiques. L’étude des protagonistes de ces cérémonies royales et urbaines comme des thèmes déployés permet de caractériser de façon plus précise l’articulation entre artistes, commanditaires et cité comme d’approfondir la connaissance sur la pratique des peintres, en effet mieux détaillée dans ce cadre. / To sketch the portrait of the painters’ community of Lyon, between the beginning of the reign of Louis XI (1461) and the crisis of the end of 1520s, was the presupposition of this research. The appeal to sources (accounts, taxes and from ecclesiastic origin) showed itself essential to the study of painters and to the approach of social history of the art, allowing the location of them, their workshops, the some filiations, their place finally (fortune and social position) in the city. But beyond this first approach, the study of the patrons, major characters of the artistic production, allowed to define more finely the face of the pictorial practice of Lyon. Between notables, consuls, Consulate, clerics and kings, the activities of command in the city underlined the absence of big construction sites and big orders in these decades of increasing prosperity. They are thus the festivals, in the front row of which the royal and solemn entries, which mobilize the economic, literary and obviously artistic strengths. The study of the protagonists of these royal and urban ceremonies as spread themes allows to characterize in a more precise way the articulation between artists, patrons and city as to deepen the knowledge on the practice of the painters, indeed better known by this way.

This work deals with the sacred spaces Czech Krumlov Castle in the top and the late Gothic (1250 -1300 AD). The work identifies these facilities, their construction and development of their attempts to absolute dating and interpretation of their relationship. In this context seems to be showing the remains of an important festival that year, a week before the Feast of Corpus Christi, the city turned into a stage sacred representation. Besides the city itself was in the medieval concept of the founding hosnot reflection of God on earth.

Burgeoning evidence has shown rapid growth of licensed and ordained female clergy within the Protestant church. Consequently, dual clergy couples have also increased in number. Research has suggested that African American female clergy have experienced greater challenges than male clergy in leadership roles in the church, including social isolation, sexism, and glass-ceiling barriers. Female clergy are also disproportionately affected by mental and physical health complications including depression, obesity, and burnout. Guided by adult personal resilience theory and its tenets of determination, endurance, adaptability, and recuperability, this interpretive phenomenological study focused on exploring the lived experiences of 13 African American female clergy leaders married to male clergy leaders. African American female clergy, recruited through both purposeful and snowball sampling, through interviews shared their stories of living in a dual-clergy marriage. Using Colaizzi's seven-step process of qualitative analysis and coding, two major themes of Resolve and Resilience, and four sub-themes including Barriers to the Church, Multiple Roles, Health and Wellness, and Adaptation were identified. Findings from this research expand the current body of knowledge on leadership and gender roles in the Protestant church, including the need for a greater understanding of the experiences of female clergy in male-dominated congregational and ministerial spaces. Implications for social change include opening conversations regarding the unique experiences of African American female clergy, supporting awareness of the social, mental and physical challenges of female clergy, and engaging in larger conversations about equal access in all areas of church leadership.

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Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-12-02Bitstream added on 2014-06-13T18:06:50Z : No. of bitstreams: 1 takeuchi_tm_me_ia.pdf: 10619974 bytes, checksum: 140e20cef8b06f6d2a72d65f75ce6082 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Universidade Estadual Paulista (UNESP) / Esta pesquisa consiste na análise do aspecto literário na produção artística do artesão e artista irlandês do início do século XX, Harry Clarke, e a sua habilidade em lidar com suportes diferenciados ao interpretar plasticamente obras literárias; inicialmente com a pintura em vitrais e, depois, com a ilustração de livros, sem abandonar o trabalho com os vitrais. Partindo do pressuposto de que o artista não é apenas um artesão especializado, mas comprometido com os novos desafios que a sociedade contemporânea apresenta, este texto objetiva apreciar alguns conteúdos que permitam o diálogo próximo entre pintura e poesia, ilustração e diferentes gêneros de obras literárias clássicas, reforçando a idéia de que as artes plásticas e as artes gráficas, interagindo com o texto literário, é um exercício para a leitura do mundo de maneira significativa e ao mesmo tempo lúdica. / This research involves the analysis of the literary’s aspects of artistic production of the Irish artist and craftsman of the early twentieth century, Harry Clarke, and his ability to deal with different media to interpret plastically literary works; initially with the stained glass and then with the illustration of books, without abandoning the first work. Based on the principle that the artist is not only an expert craftsman, as well as commited to the new challenges that contemporary society presents, this text aims to assess some contents that permit a close dialogue between painting and poetry, illustration and different genres of literary classics, reinforcing the idea that the fine arts and graphic arts, interacting with the literary text is an exercise in order to read the world in a meaningful way and at the same time in a playful way.