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Showing 111 to 119 of 119 (0.038 seconds)| 111 |
A representação do sagrado na arquitetura e na iconografia da Igreja Nossa Senhora Consolata, em Boa Vista - RRCastro, Francisco Mário Ribeiro 31 August 2015 (has links)
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Previous issue date: 2015-08-31 / Our Lady Consolata Church is the holly place made by Saint Vincent s community in Boa Vista city, State of Roraima. This temple, built in 1983, by Consolata s missionaries helped by catholic folk who lives in the district where the church is situated, is the result of the many social cultural and religious processes for what this catholic community has passed by. This temple, considered the holly place, suffered actually a reform and reorganizational process of its space. Such process, besides modifying the ancient architecture of the temple, added new elements and symbols and redimensioned its space by giving to it a new architecture. This work has as objective to analyse this process of reform but mainly to reflect about the meaning of the symbols and icons which were added by the reform process. In this analyses we start from the principle which the temple is the most holly place into the Christian catholic experience and because this such place must have symbol elements for helping the communication between prayer believer and theirs worshipped the divine be. Therefore this reflection will be done by trying to understand the meaning of the geometrycal shapes of the temple and all icons in its interior side such as: Cristo Pantokrator, the cross, the mosaics of the altar and Virgin Consolata icon. To come true the analyses we used the qualitative search methodology by taking as investigative tools such elements: searches in archives and bibliographies, talking groups and interviews. All this search work made us to realize that the composition process of the social group of Saint Vincent Paul s district and of Our Lady Consolata Community were the result from several rights and wrongs that is also the result from exodus process which the people was submited (or submited themselves), printind this way, a particular character in that religious group. Understand itself, therefore, that to create a worship space, was the motivation for fighting for a life space too. And in these experiences the folk was descovering itself , it was raising roots and it was growing up as cultural social and religious group by conquering its territory, identity and suverving. Followed in this perspective, we can say that , in this case, the worship space become itself an essential factor, such as conquests expression as important tool in this historic process, result from their creativity and frequent re-meaning required by the life, maily, for a people which knew re-invent own culture and their symbols. / A Igreja Nossa Senhora Consolata é o espaço sagrado constituído pela comunidade do bairro São Vicente em Boa Vista, estado de Roraima. Este templo, construído no ano de 1983, pelos Missionários da Consolata, com a ajuda e colaboração dos fiéis da comunidade, é consequência dos múltiplos processos socioculturais e religioso pelos quais passou essa comunidade. Este templo, tido como o lugar sagrado, passou recentemente por um processo de reforma e adequação do seu espaço. Tal processo, além de modificar a antiga arquitetura do templo, inseriu novos elementos e símbolos e redimensionou seu espaço dando-lhe uma nova arquitetura. Este trabalho tem como objetivo analisar esse processo de reforma, mas principalmente refletir sobre o significado dos símbolos e ícones que aí foram introduzidos com a reforma. Nesta análise parte-se do princípio de que o templo é o espaço sagrado por excelência na experiência católica cristã e por isso, nele deve conter elementos simbólicos que ajudem a comunicação entre o fiel orante e o seu adorado o ser divino. Portanto, esta reflexão dar-se-á na tentativa de compreender o significado das formas geométricas do templo, bem como dos ícones ai expostos, a saber: o Cristo Pantokrator, a Cruz, os mosaicos do altar e o ícone da Virgem Consolata. Para a realização da mesma, nos utilizamos da metodologia da pesquisa qualitativa, nos apoiando em instrumentos como: pesquisas em arquivos e levantamentos bibliográficos, rodas de conversas e entrevistas. Todo esse trabalho de pesquisa nos fez constatar que o processo de construção do grupo social do bairro de São Vicente de Paulo e da comunidade Nossa Senhora Consolata foi fruto dos diversos encontros e desencontros que dos processos de êxodos ao qual o povo se submeteu (ou foi submetido), imprimindo, assim, um caráter particular naquele grupo religioso. Denota-se, portanto, que criar um espaço de culto, era a motivação para que também, se lutasse por um espaço de vida. E nessas experiências é que o povo foi se descobrindo, foi de sedentarizando e foi se estabelecendo como grupo cultural, social e religioso, garantindo assim, seu território, sua identidade e sua sobrevivência. Seguido nesta perspectiva, podemos dizer que nesse caso o espaço de culto torna-se um fator vital, tanto como expressão das conquistas, como instrumento importante nesse processo histórico, fruto de sua criatividade e ressignificação constante que a vida exige, principalmente, para um povo que soube reinventar a sua própria cultura e seus símbolos.
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Har den digitala pizzamenyn en genomtänkt stil? : En analys av lågprispizzeriors design av menyer / Does the digital pizza menu have a thoughtful style? : An analysis of low-price pizzerias design of menusEricson, Jessica, Hammam, Aurora January 2020 (has links)
Det finns studier som anger rekommendationer för att designa en väl utformad restaurangmeny. Syftet med rapporten är att undersöka om pizzeriapersonal och formgivare designar digitala pizzamenyer genom medvetna val utifrån de designprinciper och designrekommendationer som finns. Undersökningen är ett kvalitativt forskningsarbete där kartläggning har använts som strategi. Datainsamlingsmetoderna som har använts är litteratursökning, visuell innehållsanalys, gruppintervjuer och semistrukturerade intervjuer för att kunna besvara frågeställningarna. Resultaten från undersökningen påvisar bland annat att pizzeriapersonalen anser att deras menydesign inte överensstämmer med varumärket. Personalen och kunderna har även olika uppfattningar om vad varumärkena står för. Trots att pizzeriornas varumärke inte stämmer överens med designen uppfyller menyerna kundernas förväntan. Slutsatserna visar bland annat att det finns gemensamma och särskiljande grafiska element. De flesta lågprispizzerior har inte ett genomtänkt varumärke samt att det inte finns en medvetenhet angående de designprinciper och designrekommendationerna hos pizzeriapersonal eller formgivare. / For the creation of restaurant menus there are studies that show which recommendations you should use to achieve a well-designed menu. The purpose of the study is to investigate whether pizzeria personnel and designers create digital pizza menus consciously from the design recommendations that exists. This study is a qualitative research work and we have used a survey as strategy. Data collection methods that have been used to answer the study questions are literature search, a visual content analysis, group interviews and semi-structured interviews. One result from the interviews showed that the pizzeria personnel thinks that their menu design does not match their brand. The pizzeria personnel and customers have different perceptions about what the brand stands for. The group interviews show that the digital menus live up to customers expectation and their experience of the low-price pizza. The conclusions show that there are common and distinctive graphical elements. Most low-price pizzerias do not have a well thought out branding, although the pizzeria personnel and designers do not have consciousness regarding the design principles and recommendations.
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[pt] A MARIOLOGIA À LUZ DA ICONOGRAFIA: ABORDAGEM HISTÓRICO-TEOLÓGICA DOS DOGMAS MARIANOS POR MEIO DA REPRESENTAÇÃO ICONOGRÁFICA DE MARIA AO LONGO DOS SÉCULOS / [en] MARIOLOGY IN THE LIGHT OF ICONOGRAPHY: HISTORICAL-THEOLOGICAL APPROACH OF THE MARY DOGMAS THROUGH THE ICONOGRAPHIC REPRESENTATION OF MARY OVER THE CENTURIESDIEGGO FERREIRA BENTO 03 November 2022 (has links)
[pt] A presente pesquisa é uma abordagem dos aspectos históricos e teológicos
da compreensão atual dos dogmas marianos, por meio de algumas representações
de Maria presentes na iconografia cristã. Trata-se de um diálogo entre a arte e o
pensamento dogmático mariano. Aborda sistematicamente temas sobre o
desenvolvimento da mariologia, mais especificamente dos seus dogmas no decorrer
dos séculos, correlacionando-os pedagógica e reflexivamente à luz da iconografia
cristã. Os dogmas são essenciais na compreensão acerca da pessoa de Maria. Pela
iconografia, Teologia em cores, é possível apresentar temas centrais do pensamento
dogmático mariano. Este trabalho também busca mostrar a vivência dos dogmas de
Maria por meio da piedade popular latino-americana e brasileira, observando a
possibilidade do conhecimento que há na interação entre Teologia e Arte. / [en] This research is an approach to the historical and theological aspects of the current
understanding of the Marian dogmas, through some representations of Mary present
in Christian iconography. It is a dialogue between art and marian dogmatic thinking.
Systematically addresses themes about the development of mariology, more
specifically of the Marian dogmas during the centuries, correlating them
pedagogical and reflexively in the light of Christian iconography. Dogmas are
essential in understanding about the person of Mary. By iconography, color
theology, it is possible to present central themes of the Marian dogmatic thinking.
This work also seeks to show the experience of the dogmas of Mary through Latin
American and Brazilian popular piety, trying to show the possibility of knowledge
that there is in the interaction between theology and art.
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"Even the thing I am ..." : Tadeusz Kantor and the poetics of beingLeach, Martin January 2012 (has links)
This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …
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Figures et motifs des croisades : étude des manuscrits de l'Histoire ancienne jusqu'à César, Saint-Jean-d'Acre, 1260-1291 / Illuminated Manuscripts of the Crusades : the Histoire Ancienne jusqu’à César, Saint Jean d’Acre, 1260-1291Maraszak, Emilie 12 October 2013 (has links)
Les États latins d’Orient ont vu la création d’une société en Terre sainte développant un art syncrétique au carrefour des mondes latin, byzantin et arabe. Outre l’architecture religieuse et militaire, les manuscrits sont également les témoignages d’une culture levantine aux multiples influences. L’étude des œuvres croisées nous a montré une très nette augmentation de la production de manuscrits après le séjour de Louis IX au Proche Orient, ainsi qu’un changement dans la nature même des textes copiés. Les manuscrits liturgiques sont ainsi délaissés au profit de la littérature historique, telle l’Histoire Ancienne jusqu’à César. À partir d’un texte venu de Flandre, les nobles francs de Terre sainte et les enlumineurs à leur service ont recréé un cycle de miniatures pour inscrire leurs images dans la tradition multiculturelle croisée. Des partis-pris artistiques ont ainsi été mis au jour et définis comme des choix conscients visant à personnaliser les copies levantines et les inscrire dans une tradition de près de deux siècles : l’emprunt à différentes traditions artistiques, occidentales et orientales, pour la création des miniatures, la mise en lumière de héros liés à la Terre sainte ou aux Francs, et parfois la figuration de leur environnement oriental. Ces processus de personnalisation des images, replacés dans le contexte de la vie culturelle de Saint Jean d’Acre de la fin du XIIIe siècle, nous amènent à dépasser la constatation de phénomènes d’acculturation à leur milieu oriental pour évoquer, de la part des nobles francs de Terre sainte, une volonté d’affirmer visiblement leur identité sociale collective et leur double culture, entre Orient et Occident. / The Crusader States have created a society in the Holy Land developing a syncretic art at the crossroads of Latin, Byzantine and Arabic worlds. In addition to religious and military architecture, manuscripts are also evidences of a cosmopolitan Levantine culture. The study of Crusader Art has shown that the painting of manuscripts was revived at Acre in the early 1250’s, after Louis XI’s stay in the Middle East. Secular manuscripts written mostly in Old French became popular, as well as new historical literature. The most popular examples were the Histoire d’Outremer by William of Tyre and the Histoire Ancienne jusqu’à César. This illustrated text was first composed in France for Roger de Lille and brought to the Crusader East in the mid-thirteenth century. Frankish aristocracy and crusader illuminators have created a cycle of miniatures in order to integrate their images in the cosmopolitan Crusader Art. Artistic choices have then come to light and been defined as conscious choices to offer works that represent the best of the Frankish culture of Acre and integrate them in an almost two centuries old artistic tradition : the borrowing from Western and Oriental artistic traditions in order to create their miniatures, the revelation of heroes linked to the Holy Land and the Franks, and sometimes the representation of their Oriental environment. This process of personalization and multicultural content, set within the context of the cultural society of Saint Jean d’Acre at the end of the thirteenth century, are the evidences of the remarkable artistic acculturation of Frankish society in the Holy Land, at the crossroads of the West and the Near East.
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La Chair du verbe: l'image, le texte, l'écrit dans les évangéliaires insulaires (VIIeme-IXeme siècle)Pirotte, Emmanuelle January 1998 (has links)
Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished
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Drawing Outside the Bounds: Tradition and Innovation in Depictions of the House in Children's PicturebooksReilly-Sanders, Erin F. 23 September 2014 (has links)
No description available.
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Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslorJägerskog, Mattias January 2010 (has links)
<p>The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper <em>Expressen </em>and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol.</p><p>Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence <em>decoders</em> of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding.</p><p>The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned.</p><p>In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.</p>
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Naturligt farligt : Hur visualiseringar av klimatförändringar är laddade med tecken och känslorJägerskog, Mattias January 2010 (has links)
The purpose of this thesis was to examine the relationship between feelings and visualizations of climate change. A case study was done on visualizations of climate change from a web page concerning climate change published by the Swedish newspaper Expressen and from the American photographer Gary Braasch’s web page “World view of global warming”. The thesis is based on the article ”Emotional anchoring and objectification in the media reporting on climate change” by Birgitta Höijer. I have been aiming to understand the feelings of fear, hope, guilt, compassion and nostalgia through semiotic theories of icon, index and symbol. Previous research has proven the difficulties in bringing the issue of climate change up on the public agenda – which is connected to the difficulties of visualizing climate change. The nature of climate change being slow and hard to spot on an individual level has been highlighted as a cause of both of these difficulties. Pictures and photos have in this thesis been seen as the “interface” between science and the public – and hence decoders of the science of climate change. Höijer’s article about feelings has been used to understand this process of decoding. The results show that the analyzed material could be linked to and described by the semiotic theories of icon, index and symbol. The emotional anchoring found in the material and the semiotic application have been shown to work complementarily with each other, leading to a broader understanding of the material’s relationship to social cognitions. The results further demonstrated that context is essential in some of the analyzed visualizations of climate change. Generic pictures found in the material could have been regarded as icon, index or symbol of other messages – but is through its contexts anchored with feelings, and becomes visualizations of climate change. The analysis also suggests that if icons of nature could be connected with feelings – so could nature itself. The consequences are speculated to lead to objectification of nature and ecophobia. By objectifying nature and using generic pictures, the material’s relationship to the concepts of “truth” and “myth” is questioned. In conclusion, understanding of the analyzed material is advantageously achieved through complementary use of Höijers emotional categories and the semiotic theories of icon, index and symbol.
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