No description available.

This thesis investigates Dalí’s adoption of religious iconography to help represent themes that he had conceptualised through Surrealism, psychoanalysis and other thought systems. His selective use of sources was closely bound to his life circumstances, and I integrate biographical details in my analysis of his paintings. I identify unexpected sources of Dalí's images, and demonstrate how alert he was to the psychological motivations of traditional art. I find he made especial use of the iconography of martyrdom – and the perceptual and cognitive mechanics of the contemplation of death – that foreground the problem of the sexual and mortal self. Part I examines the period 1925-7, when Dalí developed an aesthetic outlook in dialogue with Lorca, formulated in his text, 'Sant Sebastià'. Representations of Sebastian and other martyr saints provided patterns for Dalí's exposition of the generative and degenerating self. In three chapters, based on three paintings, I plot the shift in Dalí's focus from the surface of the physical body – wilfully resistant to emotional engagement, and with classical statuary as a model – to its problematic interior, vulnerable to forces of desire and corruption. This section shows how Dalí's engagement with religious art paradoxically brought him into alignment with Surrealism. In Part II, I contend that many of the familiar images of Dalí’s Surrealist period – in which he considered the self as a fundamentally psychic rather than physical entity – can be traced to the iconography of contemplative saints, particularly Jerome. Through the prism of this re-interpretation, I consider Jerome's task of transcribing Biblical meaning in the context of psychoanalytical theories of cultural production. In Part III, I show how Dalí's later, overt use of religious imagery evolved from within his Surrealism. I trace a condensed, personalised life-narrative through Dalí’s paintings of 1948-52, based on Biblical mythology, but compatible with psychoanalytical theory: from birth to death to an ideal return to the mother's body.

Christ*innen, und damit Angehörige der evangelisch-lutherischen Kirche, singen. Diese banal anmutende Feststellung unterschlägt jedoch in gewissem Maße, dass dem nicht immer so war. Die in den ev.-luth. Landeskirchen verbreitete Praxis des Gemeindegesangs hat sich in den Westkirchen zu großen Teilen erst während des 16. Jahrhunderts etabliert – wohl auch deswegen wird die Reformation gerne als ‚Singbewegung‘ bezeichnet. Dass die Reformation in vielerlei Hinsicht Produkt einer profunden Veränderung von Mediennutzung war, ist nicht von der Hand zu weisen, doch ergibt sich aus dieser Feststellung die Notwendigkeit, eine mikrohistorische Überprüfung des Postulats eines folgenschweren Zusammenspiels von Musik als Kommunikationsmedium und der Reformation zu vollziehen. Welchen Einfluss hatte die Praxis gemeindegetragenen Liedgesangs auf die konfessionellen Aushandlungsprozesse des 16. Jh. auf der Ebene der populären Frömmigkeit? Dieser Fragestellung widmet sich meine Forschung mit dem Anspruch, unter Zuhilfenahme eines interdisziplinären Methodenspektrums einen religionsmusikologischen, mithin religionsästhetischen, eine mikrohistorische Untersuchung transregionaler religiöser Verflechtungen vorzunehmen. Als Beispiel hierfür dient die böhmische Bergstadt St. Joachimsthal in den frühen Jahren der lutherischen Reformation bis 1565, worin anhand sowohl anhand schriftlicher Quellen (bspw. Predigten) als auch Musikalien (Gesangbücher, Antiphonarien) die populäre Frömmigkeit einer frühneuzeitlichen Stadt in ihrer klanglichen und somit sinnlich-affektiven Medialität nachgezeichnet wird.

Made available in DSpace on 2016-04-25T19:20:42Z (GMT). No. of bitstreams: 1 FERNANDA TRESINARI BERTINATO MOSCHELLA.pdf: 13603971 bytes, checksum: d54c7aac006fadb9c759a81ebb52ca0b (MD5) Previous issue date: 2006-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this work is to study the characteristics of the Psalm music made by the levites, the ones responsable for the celebration of the cult at the Second Jerusalem Temple; to show which musical instruments they used, their characteristics and origins; and also the musical notation developed in that community and its music function / Este trabalho tem como objetivo mostrar como a música dos salmos era realizada pelos levitas, responsáveis pela celebração do culto no Segundo Templo de Jerusalém; mostrar quais eram os instrumentos musicais utilizados por eles, bem como suas características e origens; a escrita musical desenvolvida e a função que a música exercia naquela comunidade

Este trabajo pretende establecer una teoría de la imagen en San Juan de la Cruz a partir de los textos del autor y de la interpretación del dibujo del Monte de perfección o Monte Carmelo (ca.1580). Nuestro estudio parte de la comprensión de los hechos vitales fundamentales que llevaron a este religioso a la creación literaria y de ésta, a la creación plástica. Se analizarán las características de dicha imagen, como diagrama espiritual vinculado a técnicas de memorización, como ejemplo de poesía visual, como plasmación del mundo interior e invisible y como icono que responde a lo que podríamos llamar una estética de la negatividad, antiidolátrica, abstracta. El estudio se basa en una recopilación iconográfica que muestra la evolución de la imagen original a través de distintas ediciones de las obras de San Juan. / This dissertation aims to establish a theory of image in Saint John of the Cross through his texts and an interpretation of the drawing of the Mount of Perfection or Mount Carmel (ca. 1580). Our investigation starts with an explanation of the facts that brought this religious man to the literary creation, and from it, up to the graphical creation. We carry out an analysis of the features of this image, understood as a spiritual diagram related to mnemonic techniques, as an example of visual poetry, as an expression of the inner and invisible world and as an icon in response to what we could call aesthetics of negativity, antiidolatry and abstraction. This work is based on an iconographical recopilation that shows the evolution of the primitive image through different editions of Saint John's works.