Vox Dei:metáfora(s) da espiritualidade

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Monsenhor Airosa - pedagogo - empresário : história do colégio de regeneração de Braga : (1869-1931)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015

Sentimento e reflexão : crítica da identidade nos «Fichte-studien» de Novalis

Tese de doutoramento, Estudos de Literatura e de Cultura (Estudos de Literatura e de Cultura de Expressão Alemão), Universidade de Lisboa, Faculdade de Letras, 2016

Cuidados paliativos ao doente em fim de vida num serviço de urgência básico

Tese de mestrado, Cuidados Paliativos, Faculdade de Medicina, Universidade de Lisboa, 2015

Kandinsky e o espírito. Tempo, liberdade e vida na concepção kandinskyana da «vibração interior»

On the basis of Kandinsky’s article “On the Question of Form” (as well as passages of Concerning the Spiritual in Art), there arises the possibility of reconstructing the specific features of the artist’s concept of “pure inner vibration” in connection with the concept of the “spiritual”. These features include an important articulation of different modalities of time (hastiness, protracted time and suddenness), and a complex gradation of inner experience that starts with abstraction from external finality and ends with a criticism of subjectivity and a conception of inner universality, which – instead of being reducible to a logical procedure – indicates the exact place of singularity (and art) inside the structure of one’s experience.

A suspensão do tempo na escultura de Rui Chafes

The work of Rui Chafes is the irreducible expression of a sculpturesque thinking that intends to overcome the limits of materiality, aiming the reencounter with a lost spirituality. From the various influences that his work welcomes, the spiritual legacy present in the late german gothic, the german romanticism, as well as the formal heritage of post-minimalism stand out. The objects build are only possible as the translation of an Idea, since, for the sculptor, the “matter is filthy and wrong”; denying their materiality, they’re solely the support of something which is before and after their own objectuality. Like so, by refusing them the matter, of which they are yet made of, and by providing, through the aesthetic experience, the spiritual transformation of the spectator, he irreversibly denies the time which resides in them, as a constituent of historical and chronological reality. Being time a fundamental dimension of the human existence, necessarily inherent to the artistic production, it seems suspended in the objects of Rui Chafes

"Marido espiritual" : possessão e violência simbólica no sul de Moçambique

Tese de doutoramento, Antropologia (Antropologia da Religião e do Simbólico), Universidade de Lisboa, Instituto de Ciências Sociais, 2016