Early modern representations of witchcraft have been the subject of considerable recent scholarship; however, three significant aspects of the corpus have not received sufficient attention and are treated independently here for the first time. This dissertation will examine how witchcraft imagery invited discourse concerning the reality of magic and witchcraft and suggested connections to contemporary issues through the themes of the witch’s violent autonomy, bestial passions, and unnatural interactions with the demonic and the dead. These three themes address specific features of the multifaceted identity of the witch and participate in a larger discussion that questioned the nature of humanity. Analysis of each issue reveals a complex, ambiguous, and often radically open treatment of the subject that necessitates a revision of how witchcraft imagery from this period is understood. Each understudied aspect of witchcraft imagery is explored through a series of case studies that have not appeared together until now. Previously unexamined artworks with inventive content are introduced and canonical pictures are examined from new perspectives. These images were created in the principal artistic centers, the Italian city-states, the German provinces, and the Low Countries, during the sixteenth and seventeenth centuries when the controversy over witchcraft was at its peak. Although they are few in number, these highly innovative images are the most effective and illuminating means by which to access these themes. These works of art provide valuable insights into important issues that troubled early modern society. Chapter 1 reveals how witchcraft imagery produced in the Low Countries is concerned with the witch’s violent rejection of the social bonds and practices upon which the community depends for survival. Chapter 2 examines how the figure of the witch was used to explore concerns about the delineation and transgression of the human-animal boundary. Chapter 3 exposes an interest in the physical possibility of witchcraft; artists questioned the ability of witches and demons to manipulate the material world. Issues include the witches’ capacity to reanimate dead bodies and create monstrous creatures. Together these images demonstrate active and meaningful engagement with the theories, beliefs, and practices associated with witchcraft.

Early modern representations of witchcraft have been the subject of considerable recent scholarship; however, three significant aspects of the corpus have not received sufficient attention and are treated independently here for the first time. This dissertation will examine how witchcraft imagery invited discourse concerning the reality of magic and witchcraft and suggested connections to contemporary issues through the themes of the witch’s violent autonomy, bestial passions, and unnatural interactions with the demonic and the dead. These three themes address specific features of the multifaceted identity of the witch and participate in a larger discussion that questioned the nature of humanity. Analysis of each issue reveals a complex, ambiguous, and often radically open treatment of the subject that necessitates a revision of how witchcraft imagery from this period is understood. Each understudied aspect of witchcraft imagery is explored through a series of case studies that have not appeared together until now. Previously unexamined artworks with inventive content are introduced and canonical pictures are examined from new perspectives. These images were created in the principal artistic centers, the Italian city-states, the German provinces, and the Low Countries, during the sixteenth and seventeenth centuries when the controversy over witchcraft was at its peak. Although they are few in number, these highly innovative images are the most effective and illuminating means by which to access these themes. These works of art provide valuable insights into important issues that troubled early modern society. Chapter 1 reveals how witchcraft imagery produced in the Low Countries is concerned with the witch’s violent rejection of the social bonds and practices upon which the community depends for survival. Chapter 2 examines how the figure of the witch was used to explore concerns about the delineation and transgression of the human-animal boundary. Chapter 3 exposes an interest in the physical possibility of witchcraft; artists questioned the ability of witches and demons to manipulate the material world. Issues include the witches’ capacity to reanimate dead bodies and create monstrous creatures. Together these images demonstrate active and meaningful engagement with the theories, beliefs, and practices associated with witchcraft.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-01-03T16:48:22Z No. of bitstreams: 1 luizrogeriodepaulajunior.pdf: 575637 bytes, checksum: 029954b967992b008ad2377dd907f44a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-02T11:42:29Z (GMT) No. of bitstreams: 1 luizrogeriodepaulajunior.pdf: 575637 bytes, checksum: 029954b967992b008ad2377dd907f44a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-02T11:42:41Z (GMT) No. of bitstreams: 1 luizrogeriodepaulajunior.pdf: 575637 bytes, checksum: 029954b967992b008ad2377dd907f44a (MD5) / Made available in DSpace on 2017-02-02T11:42:41Z (GMT). No. of bitstreams: 1 luizrogeriodepaulajunior.pdf: 575637 bytes, checksum: 029954b967992b008ad2377dd907f44a (MD5) Previous issue date: 2016-09-30 / O presente trabalho tem como objetivo analisar algumas canções de Tom Zé a partir das quais se pretende mostrar de que forma o compositor brasileiro representa e interpreta a identidade nacional. Em função da amplitude e da complexidade desse tema, fez-se necessário um estudo prévio dos conceitos de nação e identidade, partindo das análises de Ernest Renan, Benedict Anderson, Homi K. Bhabha e Stuart Hall. No que tange à identidade brasileira, cujos estudos também são vastos e complexos, privilegiam-se neste trabalho as figuras do Homem Cordial e do Bestializado, fundamentadas por Sérgio Buarque de Holanda e José Murilo de Carvalho, respectivamente, além da obra do sociólogo Richard Sennett, que debate as relações entre as esferas pública e privada, fundamentais para a leitura crítica aqui desenvolvida. Por fim, busca-se mostrar como a leitura de Tom Zé acerca do Brasil e do brasileiro, presente em suas canções, dialoga com a teoria já existente sobre o assunto ao mesmo tempo em que a ultrapassa, revelando uma leitura própria do Brasil. / This paper´s goal is to analyze some Tom Zé´s songs from which it is intended to show in what way the Brazilian composer represents and interprets the national identity. Due to this theme´s amplitude and complexity, it is necessary a previous study of nation and identity from the analysis of Ernest Renan, Benedict Anderson, Homi K. Bhabha e Stuart Hall. As for the Brazilian identity, whose studies are also vast and complex, the Cordial and Bestial Man´s figures are privileged in this paper, they are grounded by Sérgio Buarque de Holanda e José Murilo de Carvalho, respectively, besides the sociologist Richard Sennett´s work that debates the relations between public and private spheres, fundamental for the critical reading developed here. Lastly, it is searched to show how Tom Zé´s reading about Brazil and Brazilians, present in his songs, dialogs with the existing theory about the subject at the same time that surpasses it, revealing an own reading of Brazil.

Last summer, when I began thinking about my thesis, I tried to look back on my earlier work with a more critical eye. I noticed that my focus had largely been on trying to find my own idiom, and improving my construction skills. In the middle of my education I discovered the freedom in draping, and I challenged myself by putting the pen aside and instead make three-dimensional sketches. Looking back, I believe that I succeeded in producing the organic expression I had envisioned. I had still to explore materials more deeply, though, and therefore I made a summer course with exclusive focus on materials. These were the first steps towards beginning my thesis. There were a lot of things I wanted to explore in my thesis, and many techniques I wanted to try. I wanted to believe in myself and my strong sides, but also dare to explore completely new things and go one step further than before, without fear- ing failure. Being very comfortable with construction and cutting, I can quickly try my ideas to see if they work out or not. My sketching is uncontrolled, coarse and pretty abstract, it is through sketching my ideas evolve. I am fast when I make my sketches, be it by pen or three-dimensionally, but I work much more slowly towards the end when it’s time to work on the details, where I am meticulous.