TEOLOGIA E TRADIÇÃO NO CONTEXTO DAS RELIGIÕES DE UMBANDA: UMA ANÁLISE DO CONFLITO ENTRE CULTURA ACADÊMICA E POPULAR

A religião de Umbanda ocupa grande espaço na vida e no imaginário religioso brasileiro, e adota as lendas, mitos e folclore da cultura popular brasileira. Desprovida de texto sagrado, a Umbanda rejeita a ideia do entendimento de uma literatura sagrada como pressuposto para uma ligação com o divino, sendo mais preocupada com a experiência religiosa e do sagrado, como ponte entre a dimensão humana e divina. Embora de comum acordo sobre a importância da prática na religião de Umbanda, existe um forte debate teológico na questão do valor principal para as práticas e vida religiosa do filho de santo. De um lado, temos a Doutrina Esotérica que aposta na produção textual e teórica e, de outro, temos a Umbanda de popular, que aposta na experiência pessoal do filho de santo com a tradição oral e as práticas religiosas. De sua fundação até a presente data, a Umbanda Esotérica tem apostado na formação acadêmica como base principal para a instrumentalização do filho de santo para a prática no terreiro, assim como publicação de textos, livros, artigos, oferecimento de cursos e a criação da primeira instituição especializada de ensino, a Faculdade de Teologia Umbandista. Se por um lado, para alguns, isso possa parecer uma abertura para a modernização e melhor aceitação das práticas de origem africanas, para outros, representa uma limitação na prática e na experiência do filho de santo devido à racionalidade do espaço acadêmico. Desse modo, pretendo investigar esse conflito no discurso e nas suas especificidades, estudando literatura especializada e orgânica, tendo como eixo de investigação a seguinte questão: O que é mais importante para as práticas religiosas em Umbanda, a formação prática ou a acadêmica?

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

"Consolatoria super obitu inclyti principis Hispaniarum Iohannis" de Alfonso Ortiz: introducción, edición crítica, traducción y comentario

The present work submitted as a PhD thesis has the aim of studying from a philological point of view, the Latin text Consolatoria super obitu inclyti principis Hispaniarum Iohannis, written by the Castilian canon Alfonso Ortiz, who lived in the late 15th century in the time of the Catholic Monarchs (Isabel and Fernando), on the death of Prince John, first and only son of the sovereigns. The core of this work is the critical edition (the first complete edition ever made) on the comparison of two extant manuscripts (S and St), the second having the Spanish self-translation of the first. On the basis of this critical text we study the literary references as well as its structure and the literary genre to which it may be ascribed and, besides, we point out some features of the language used therein (Latin), the scope and characteristics of the self-translation and other style and rhetorical topics (e.g. the use of rhythmic clausulae at the end of sentences). Several appendices are added to complete and improve the text-study From that study it may be concluded that although the work follows a long time proven tradition based on medieval religious Ideas, the author, nonetheless, continuously shows within the text that he is willing to adapt that tradition into the new tunes of early Renaissance, not only by means of language and style features, but also through matter nuances that made it clear that life/death concepts were gradually shifting from the medieval times to the ideas of the new epoch. As the value of human life was rising, it needed a more attentive, profound and meticulous consolation through both conceptual and rhetorical arguments...

The voices ..

CONDITION: Good.

La lectura incestuosa de "La vida es sueño"

It has been said so much about "Life is a Dream" that it seems not to be probable to say anything more, but on the other hand there is such a disagreement and plurality concerning the criticism that is related to the work that it looks like there is still so much left to say about it. Being the debate between these two views, our work tries to focus on the consequences that are derived from the analysis of a character who is never appeared on the stage and is barely named along the text. This character is not other but Clorilene. It has been only two times in which her name comes on the scene and that is the reason why the critics have considered appropriated to talk about two different characters. However, there have also been some people who support the idea about these two Clorilene could be the same character, that is the same person. All doubts are left out by contextualizing the subject and taking into account that if Clorilene who is Basiliós sister and the other Clorilene who is Basiliós wife are the same character, then we would be talking that such a coincidence could be incest. So Segismundo would be the son of such incest. On our opinion, there is no need to insist more on the legitimacy of the incestuous reading of "Life is a Dream", so the contributions we count on are enough to be sure about their validity. However, our work takes an enough span to account for the accumulated bibliography about the case, although it is not very numerous, it is useful. The aim of this thesis is not to question the existence of the incest. It would not be a novelty and as we have said before, the incest is there and it works. However, what is still left to do is an exercise of general interpretation about "Life is a Dream" and to analyze to what extend it could be relevant the reason for the incest or if it is not other thing that a word game that the author ventured without much pretension that the "onomastic incest" which Maurice Molho referred to...

Estudio, edición crítica y traducción del "Memoriale virtvtvm" de Alfonso de Cartagena

Alfonso de Cartagena (1385-1456), possibly the most representative figure of the courtly, political and cultural dimension built around Juan II, was the third son of the famous convert Pablo de Santa Maria, Burgos’ rabbi and, later on, bishop of that same town. He started his career as governor of Cartagena’s cathedral, afterwards he was named dean of Santiago and Segovia, canon of Burgos and, after his father’s death, bishop of Burgos. Alternatively, he played a vital role in Castile’s national and international politics, as an ambassador in Portugal’s court, at Basel’s council and before Poland’s and Germany’s kings. His work, written both in Latin and Romance, either as an historian, treatise writer, theologist or translator, is quite broad; his literary connections were strong either with Italian humanists or with those who were fond of the language arts from Spain. The first part of this Thesis seeks to provide a wide enough perspective of the author, for which we place the emphasis on the most distinctive aspects of his life. Therefore, we divided the introduction in three sections: a biographical overview, his work and, last, a study on the Memoriale uirtutum itself. Thus, regarding the first aspect, we focus on the course of his life (§1.1), where we can highlight his university education, which isn’t restricted to his training as a jurist, but we also observe that his mental vitality takes him to develop certain inquisitiveness for Moral Philosophy or Latin, which leads him to study Grammar and Rhetoric; this would allow the influence of studia humanitatis to emerge, although he never got to learn the Greek language, as we can deduce from the epistolary confrontation between him and Leonardo Bruni. We also focus on the significance of his Jewish past, upon the defence of the converts during the massacre experienced in the XVth century (§1.2), and on his presence at Basel’s council (§1.3). Despite the fact that his work as a diplomat begins during the missions in Portugal as an emissary of king Juan II, he will get recognition owing to his legation in Basel, not only among the European ecclesiastics, but also among the scholars from Italy; the importance of Basel’s council in Cartagena’s life goes beyond his official work there, either as defending the Castilian interests, or as an active member of the purely conciliar functions, since it also had a huge impact in his intellectual growth. During this time period, Cartagena establishes a friendship with Pizzolpaso, Bishop of Milan, writer, humanist, and friend of Leonardo Bruni. As a result of this type of relationship with men of such high cultural standard, he re-awakens the study of the Classical antiquity among his contemporaries, developing a huge interest in the Greco-Roman masterpieces, which will bring him closely to the highly-regarded Spanish humanists of the XVIth century...

Shadows : Re-visualising the shark. Developing a framework for hybrid photography in the illumination of nonhuman animal and ecological perspectives at Heron Island and Gladstone, Great Barrier Reef

This study investigated how and to what degree “hybrid photography”—the simultaneous use of indexical and fictional properties and strategies— innovates the representation of animals within animalcentric, ecocentric frameworks. Design theory structured this project’s Practice-led, Visual research methodology framework. Grounded theory processes articulated emerging categories of hybrid photography through systematically and comparatively treating animal photography works for reflexive analysis. Design theory then applied and clarified categories, developing practice that re-visualised shark perspectives as new ecological discourse. Shadows, a creative practice installation, realised a full-scale photographic investigation into shark and marine animal realities of a specific environment—Heron Island and Gladstone, Great Barrier Reef—facing ecological crisis from dredging and development at Gladstone Harbour. Works rendered and explored hybrid photography’s capacity for illuminating nonhuman animals, in particular, sharks, and comprise 65% of this project’s weighting. This exegetical paper offers a definition, strategies and evaluation of hybrid photography in unsettling animal perspectives as effective ecological discourse, and comprises 35%.

Karl Gottschalk and Elisbeth nee Steinfeld with their son Rudolf Gottschalk (later Grahame) and son Fritz Gottschalk (Levy) of Lisbeth's first marriage.

Rudolf Gottschalk (later Grahame) on right; Fritz Gottschalk (Levy) on left

Karl Gottschalk and Elisbeth nee Steinfeld with their son Rudolf Gottschalk (later Grahame) and son Fritz Gottschalk (Levy) of Lisbeth's first marriage.

Rudolf Gottschalk (later Grahame) on right; Fritz Gottschalk (Levy) on left

Portrait of Josef with his son Peter Molling.

Badly faded picture of Peter Molling, left, and his father, Josef Molling

Portrait of Aenny Catzenstein nee Gottschalk holding her infant son Franz Portraits Family

Digital Image

Friedrich Bergammer (Fritz Glueckselig) standing in the doorway of the gallery store M. Glueckselig & Son; 108 East 57th Street, New York Portraits Men

Digital Image

Portrait of brothers Moshe Chayim Eliasberg (on left) and Samuel Eliasberg playing chess watched by Moshe's son Mulek Eliasberg Portraits Family

Moshe Chayim Eliasberg died 1920; Samuel Eliasberg died 1929; Mulek Eliasberg, 1886-1942

Studio portrait of Edith Nesanov nee Strauss with her husband Simon and son Assaf; Israel.

Digital Image

Portrait of Josef with his son Peter Molling.

Badly faded picture of Peter Molling, left, and his father, Josef Molling