O mundo rural e o território de Évora durante a Antiguidade Tardia

Neste estudo pretende-se realizar uma análise da cidade de Évora e do seu mundo rural durante a Antiguidade Tardia. Através de estruturas funerárias e religiosas, e de alguns elementos arquitectónicos, pretendemos contribuir para o aumento de conhecimento da cidade de Évora e do seu território. Ao longo deste estudo irá realizar-se uma análise do cristianismo, dos mártires, dos concílios peninsulares, da cidade durante a época em estudo, da ascensão da Igreja e das aristocracias locais, do mundo rural e das estruturas funerárias e religiosas; Abstract: The Rural World and the Territory of Évora during Late Antiquity In this study it is pretended an analysis of the city of Évora and its rural world during Late Antiquity. Through funerary and religious structures, and some architectonic elements, we pretend to contribute for the augmentation of knowledge of the city of Évora and its territory. Thought this study it’s going to be done an analysis of Christianity, martyrs, the peninsular councils, the city during the studied epoch, the ascension of the Church and the local aristocracies, the rural world and the funerary and religious structures.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.