<p>By the early fourth century Rome was more than a thousand years old and the historical <em>caput mundi</em> was, accordingly, steeped in long established traditions. It was these historical traditions and memories that served as paradigms for understanding present circumstances. One such paradigm was the relationship between Rome and her emperors. Traditionally, monarchical power was the antithesis of the Roman Republican model, yet Augustus uniquely altered this model and established a new acceptable paradigm wherein the emperor was the <em>princeps civitatis</em> and the patron to all Romans. This imperial patronage was characterized primarily by the commissioning of public buildings in the <em>Urbs</em> and the maintenance of Rome’s cults and traditions. Therefore, Rome was inextricably intertwined with the legitimacy, success (or failure), and longevity of an emperor’s reign. Throughout the third century, however, Rome was plagued by manifold crises and the paradigmatic relationship between Rome and her rulers began to break down, such that some scholars have suggested that from 293 CE and the establishment of the tetrarchy Rome became increasingly manifest wherever the emperors were, with the city itself becoming nothing more than a peripheral concern. The former line of argumentation, however, is often advanced with the belief that Rome’s diminishing importance was uninterrupted and invariable, often disregarding the evidence within the city itself and focusing on monumental evidence outside of Rome and across the empire. This thesis, then, by examining the evidence within the city of Rome and that pertaining to it, demonstrates that between 293 and 324 CE Rome’s marginalization was anything but consistent and that the city, with all its symbolic and actual power, was integral to Maxentius’ and Constantine’s legitimation policies. Moreover, this thesis also elucidates how Rome functioned in imperial thought for each regime, with old paradigms becoming malleable to accommodate new imperial policy.</p> / Master of Arts (MA)

Made available in DSpace on 2016-04-25T19:20:18Z (GMT). No. of bitstreams: 1 Fernando Tetsuo Venueza Miyahira.pdf: 1653611 bytes, checksum: 7e0d74ee629bee0e7355239a93a8fee4 (MD5) Previous issue date: 2011-11-09 / In this monograph, we intend to study the devotion to Our Lady Aparecida and their interactions with Brazilian politics, as Church s key moments in the late nineteenth century and first half of the twentieth century. The study of essays, articles and works focused on Brazilian politics and history of the Church in Brazil have been essential to this research as the study of documents found in the "Clock Tower" of the Basilica of Our Lady Aparecida. We understand that at the end of the research, politics and religion could hold a very strong popular devotion in the Brazilian South Region. Certainly, we realize that these three forces could together build what is now the patron saint of Brazil, the Virgin Our Lady of Aparecida / Nesta monografia, temos a intenção de estudar a devoção à Nossa Senhora da Conceição Aparecida e suas interações com a política brasileira, tal como momentos-chave da qual a Igreja passava em finais do século XIX e a primeira metade do século XX. O estudo de dissertações, artigos e obras voltadas à política brasileira e História da Igreja no Brasil foram essenciais para esta pesquisa, tal como o estudo de documentos encontrados na Torre do Relógio da Basílica de Nossa Senhora Aparecida. Entendemos que, ao final da pesquisa, Política e Religião puderam abraçar uma devoção popular fortíssima na região brasileira mais importante política e economicamente, para atender aos seus fins, a Região Sul. Sem dúvida, percebemos que estas três forças puderam, juntas, construir o que hoje é a Padroeira do Brasil, a Virgem Nossa Senhora da Conceição Aparecida

Thesis--Genève. / "Thèse no 167." Includes bibliographical references (p. 155-165).

Thesis--Genève. / "Thèse no 167." Includes bibliographical references (p. 155-165).

Les premiers indices archéologiques de Khirbet el-Libneh ont été signalés en 1997 dans la zone industrielle de Tartous (sur la côte syrienne). Depuis, neuf campagnes de fouilles réalisées sous la direction de la D.G.A.M., entre 1998 et 2009, ont permis la découverte partielle d'un ensemble protobyzantin. Les vestiges dispersés sur un terrain de 11400 m² se composent essentiellement d'une grande salle basilicale ornée d'une mosaïque géométrique, d'un complexe agricole (des pressoirs à huile, de petits fours à pain et un moulin) et une citerne. Parmi les objets mis au jour les plus intéressants, un sceau porte l'empreint d'une image religieuse. De prochaines campagnes de fouilles seront nécessaires pour compléter le contenu de cet ensemble. En attendant, les données disponibles représentent les sources d'informations pour cette recherche doctorale. / The first archaeological evidences for the complex of Khirbet el-Libneh were exposed in 1997 in the industrial zone of Tartous (on the Syrian coast). Indeed, nine excavations carried out under the direction of the DGAM between 1998 and 2009, led to the partial discovery of an early Byzantine settlement. The remains, scattered over an area of 11400 m², consist mainly of a large basilica decorated with geometric mosaics, an agricultural complex (oil press, bread ovens and a mil) and a cistern. One of the most iteresting discoveries is a seal that have a mark of a religious icon.Further surveys will be needed before we can portray a full picture of the complex and its contents. In the, meantime, the available data serve as the souce material of this PhD thesis.

No description available.

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.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-04T11:48:16Z No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) / Made available in DSpace on 2018-12-04T11:48:16Z (GMT). No. of bitstreams: 1 João Paulo Cardoso.pdf: 911847 bytes, checksum: fc606a4d430e6ee06ed627e9e27826bf (MD5) Previous issue date: 2018-10-11 / According to Sacrosanctum Concilium 13, pious exercises should be recommended, but with determination that there should be harmonization with the liturgy. The Popular Piety can not substitut, in any way, the official liturgical practices of the Church. In this study we make analysis of the current reality, which will be based on ‗Liquid Modernity‘, expression of the Polish Sociologist Zygmunt Bauman. With this expression, Bauman identify the moment we are living, in which everything is predicted to be fleeting, including the human relations. In this context, the harmonization between Liturgy and Popular Piety is impaired, causing a mismatch between liturgical practices, with their stable norms, and popular devotions, prone to change more easily. However, pious exercises should be encouraged, even with the variants of the present time. For this analysis, the theoretical foundations are sought in the Directory on Popular Piety and the Liturgy, documents of the Popes, in the set of works written by Bauman and many others that help in understanding of the relation between the Popular Piety and the Liturgy in this period of history which Bauman classifies as ‗Liquid Modernity / De acordo com a Sacrosanctum Concilium 13, os exercícios piedosos devem ser recomendados, porém com a determinação de que de haja harmonização com a Liturgia. A Piedade Popular não pode substituir, de forma alguma, as práticas litúrgicas oficiais da Igreja. Nesse estudo fazemos uma análise da realidade atual, que será pautada pela ‗Modernidade Líquida‘, expressão do sociólogo polonês Zygmunt Bauman. Com esta expressão, Bauman identifica o momento que estamos vivendo, em que tudo está previsto para ser passageiro e fugaz, inclusive as relações humanas. Neste contexto, a harmonização entre Liturgia e Piedade Popular fica prejudicada, causando um descompasso entre as práticas litúrgicas, com suas normas estáveis, e as devoções populares, propensas a se alterarem mais facilmente. Contudo, os piedosos exercícios devem ser incentivados, mesmo com as variantes do tempo atual. Para esta análise, os fundamentos teóricos são buscados no Diretório sobre a Piedade Popular e a Liturgia, documentos dos papas, no conjunto de obras escritas por Bauman e tantas outras que auxiliam na compreensão da relação entre a Piedade Popular e a Liturgia neste período da história que Bauman classifica como ‗Modernidade Líquida

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-12-12T09:29:48Z No. of bitstreams: 1 Glair Alonso Arruda.pdf: 1114868 bytes, checksum: b7bbed1eae0e04309a12255e24b67440 (MD5) / Made available in DSpace on 2018-12-12T09:29:48Z (GMT). No. of bitstreams: 1 Glair Alonso Arruda.pdf: 1114868 bytes, checksum: b7bbed1eae0e04309a12255e24b67440 (MD5) Previous issue date: 2018-11-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The purpose of this study was to analyze two official documents of Christianity promulgated in the 1960s and 1970s, namely the Pastoral Constitution Gaudium et Spes in Catholicism and the Lausanne Covennant in Protestantism, with a focus on poverty in Latin America, using a bibliographical and documentary research methodology. Main theoretical references included the sociology of Max Weber in analyzing the motivations behind the documents, and the missiology of David Bosch to study the historical and theological contexts. The dissertation is structured in three chapters. In the first, we analyse the context that defines the conception of Christianity regarding the mission of the church in the nineteenth century, as well as the way in which the two Christian perspectives viewed the question of poverty. The second chapter analyzes the two documents and their social, political, and economic context of the mid-twentieth century and identifies the conception of poverty within the mission context in a new paradigm, missio Dei, which classifies poverty as an institutional and structural problem in both Christian perspectives. In the third chapter, we analyze the theoretical implications and the contradictions that the new paradigm brings to the question of the poverty of the Latin American populations, the practical repercussions with the organization of the Ecclesial Base Communities, Liberation Theology and Theology of the Integral Mission / O presente estudo teve como objetivo realizar uma análise de dois documentos oficiais do cristianismo promulgados nas décadas de 1960-1970, a saber, a Constituição Pastoral Gaudium et Spes no catolicismo, e o Pacto de Lausanne, no protestantismo, tendo como eixo a questão da pobreza na América Latina, pela metodologia da pesquisa bibliográfica e documental. Utilizou-se como referenciais teóricos principais a sociologia de Max Weber para análise das motivações por trás dos documentos e a missiologia de David Bosch que orientaram o estudo dos contextos históricos e teológicos. A dissertação foi estruturada em três capítulos. No primeiro, foram verificados os contextos que definiram a concepção do cristianismo quanto à missão da Igreja no século XIX, e analisada a maneira como as duas vertentes cristãs se posicionavam quanto à questão da pobreza. O segundo capítulo analisa os dois documentos e seu contexto social, político, econômico de meados do século XX e identifica a concepção de pobreza dentro do contexto de missão em novo paradigma, a missio Dei, para ambas as vertentes cristãs, identificando a pobreza como um problema institucional e estrutural. No terceiro capítulo, são analisadas as implicações teóricas e as contradições que o novo paradigma acarreta para a questão da pobreza das populações latino-americanas, as repercussões práticas com a organização das Comunidades Eclesiais de Base, da Teologia da Libertação e da Teologia da Missão Integral

During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.