- Iconology, Iconophotology, Art History, Medieval Iconography, Photography, Poetry, and 19 morePhotography (Visual Studies), Classical Art, Pesquisa, Literatura, Aristotle, Fotografia, Mimesis, Poesia, Aristoteles, IMAGEM, Logos, ESCULTURA, Iconologia, Renascimento, Techné, Iconofotologia, History Of The Bible/Biblical Canon, History, and Philosophyedit
- Researcher at Centro de Estudos Logo-Imagéticos CONDES-FOTÓS Imago Lab - JackBran Consultedit
The present article intends to give a new approach to the reading of texts of the extemporaneous periods and, for that, it was necessary to create a new term that corresponded to this expectation: iconophotology. Reading and understanding... more
The present article intends to give a new approach to the reading of texts of the extemporaneous periods and, for that, it was necessary to create a new term that corresponded to this expectation: iconophotology. Reading and understanding images and rhetorical texts from the 16 th , 17 th and 18 th centuries, a reader would have to have access to signs keys to which only readers of that moment had access: the iconologies. However, such referential has been lost; therefore, we have to replace it with another one, from our imagetic-photographic collection, which we call iconophotological.
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This article proposes a new approach to reading texts from extemporaneous periods and, for this, it was necessary to create new terms that corresponded to this expectation: iconophotology and photographic poems. For contemporary readers... more
This article proposes a new approach to reading texts from extemporaneous periods and, for this, it was necessary to create new terms that corresponded to this expectation: iconophotology and photographic poems. For contemporary readers to read and understand rhetorical texts of the 16th, 17th, and 18th-centuries, they would have to have access to sign keys to which only its readers had access: iconologies. However, this reference has been lost, so we replaced it with another one, based on the photographic-imagery collection that we have today, which we call iconophotological. By means of it, it will be possible to read, from the contemporary point of view (not from a 17th-century point of view, for example) the poems we call photographic.
Research Interests: Iconography, Art Theory, Photography, Literature, Poetry, and 3 moreIconology, Techné, and Iconophotology
This essay looks to trace a panorama of the 17th century during the Thirty Years’ War, whose stage was the Holy Roman Empire. Simultaneous to the bloody religious conflicts, Europe knew the meaning of the economic crises that occurred in... more
This essay looks to trace a panorama of the 17th century during the Thirty Years’ War, whose stage was the Holy Roman Empire. Simultaneous to the bloody religious conflicts, Europe knew the meaning of the economic crises that occurred in the continent at this moment of transition for the sprouting of the modern State.
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This essays looks for to trace a panorama of 17th century during the Thirty Years' War, whose stage was the Holy Roman Empire. Simultaneous to the bloody religious conflicts, the Europe knew the meaning of the economic crises that... more
This essays looks for to trace a panorama of 17th century during the Thirty Years' War, whose stage was the Holy Roman Empire. Simultaneous to the bloody religious conflicts, the Europe knew the meaning of the economic crises that occurred in the continent at this moment of transition for the sprouting of the modern State.
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This article aims to present the Christus Militans, mosaic of the archbishop's chapel of Ravenna, a work that attracts attention not only for its beauty but above all for its theme. This is because, accustomed to the peaceful and saving... more
This article aims to present the Christus Militans, mosaic of the archbishop's chapel of Ravenna, a work that attracts attention not only for its beauty but above all for its theme. This is because, accustomed to the peaceful and saving message of Christ, the reader can be led into estrangement by seeing represented a Christ whose image resembles a soldier. In addition, we intend to discuss the iconological issue and its tradition present in this representation.
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After being photographed by Secondo Pia in May 1898, the Shroud of Turin proved to be more than a mere medieval relic: it becomes a true source of archaeological imagery, providing a wealth of information about a capital punishment widely... more
After being photographed by Secondo Pia in May 1898, the Shroud of Turin proved to be more than a mere medieval relic: it becomes a true source of archaeological imagery, providing a wealth of information about a capital punishment widely used in the Roman world, but that there was not much scientific information available: crucifixion. Thus, following an interdisciplinary line, this article seeks to rescue, through the imagery question, not only the burial rites belonging to the ancient peoples, but also anatomical aspects revealed by the possible mortuary sheet of Jesus, pointed out by the first scientists who decided to study it.
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In this article, we intend to reflect on the use of imagistic elements and their sources in colonial Brazil, especially in the poetry of Gregório de Matos, seventeenth century Brazilian poet. Moreover, we intend to demonstrate that,... more
In this article, we intend to reflect on the use of imagistic elements and
their sources in colonial Brazil, especially in the poetry of Gregório de Matos, seventeenth
century Brazilian poet. Moreover, we intend to demonstrate that, despite the distance from
the Metropole (Portugal), the colony was also, in a certain way, immersed in the same sea
of images and topical of that, as well as of the imagistic European tradition of the period,
making large use of them in his poetics work, regardless of whether or not the artist has
written the poems that are attributed to him.
their sources in colonial Brazil, especially in the poetry of Gregório de Matos, seventeenth
century Brazilian poet. Moreover, we intend to demonstrate that, despite the distance from
the Metropole (Portugal), the colony was also, in a certain way, immersed in the same sea
of images and topical of that, as well as of the imagistic European tradition of the period,
making large use of them in his poetics work, regardless of whether or not the artist has
written the poems that are attributed to him.
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Este artículo tiene como tema la desmitificación de la figura del héroe, bajo la nueva caracterización de los iconos de las historietas, una controversia al imaginario colectivo que se consolidó a lo largo de los años. El punto de partida... more
Este artículo tiene como tema la desmitificación de la figura del héroe, bajo la nueva caracterización de los iconos de las historietas, una controversia al imaginario colectivo que se consolidó a lo largo de los años. El punto de partida del análisis es la siguiente cuestión: ¿cómo la figura del personaje es construida y, posteriormente, reconstruida?
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RESUMO – Este artigo pretende discorrer acerca da importância não só de se conhecer a questão etimológica do termo imagem – de modo especial a partir da comparação tanto com os termos gregos correspondentes, eikón e eidolon, quanto do... more
RESUMO – Este artigo pretende discorrer acerca da importância não só de se conhecer a questão etimológica do termo imagem – de modo especial a partir da comparação tanto com os termos gregos correspondentes, eikón e eidolon, quanto do latino imago –, como também demonstrar seu poder intimidatório e coercitivo, empregado há milênios. De posse dessas informações, buscaremos exemplificar como tais termos foram empregados por Homero e Virgílio, coligindo suas peculiaridades, a fim de que possamos conhecer não apenas o conceito em si, mas suas implicações linguísticas. Assim, poderemos compreender a imagem não mais como mera cópia inintencional do mundo exterior, mas como demonstração intencional de força e de poder empregada desde Antiguidade por muitos povos, mas que ainda mantêm a mesma eficácia em nossos dias, conforme exemplificaremos. PALAVRAS-CHAVE – Imagem, poder coercitivo, etimologia, fotografia, iconofotologia ABSTRACT – This article aims to discuss about the importance of not only knowing the etymological question of image term – especially from the comparison with the corresponding Greek terms, eikon and eidolon, and with the Latin imago – as well as demonstrate its intimidatory and coercive power, used for millennia. With this information, we will seek to exemplify how these terms were employed by Homer and Virgil, collecting their peculiarities, so that we can know not only the concept itself, but its linguistic implications. Thus, we can understand the image no longer as mere unintentional copy of the outside world, but as a deliberate show of force and power used since ancient times by many people, but still maintain the same efficiency in our day, as shall illustrate.
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From the image of λόγος offered by the St. John’s Gospel, we will trace in this article the correlation between the incarnation of the divine λόγος and the creation of human λόγος. When the human being created his λόγος , opened to... more
From the image of λόγος offered by the St. John’s Gospel, we will trace in this article the correlation between the incarnation of the divine λόγος and the creation of human
λόγος. When the human being created his λόγος , opened to himself some perspectives: to nominate and to create; to dominate and to destroy. However through the poetical language that the humanity closes to the divinity and the eternity, because the poem creates a proper and mythical world, where always there is the present; therefore it breaches with the ratio and with the considered
normal language, represented by prose.
λόγος. When the human being created his λόγος , opened to himself some perspectives: to nominate and to create; to dominate and to destroy. However through the poetical language that the humanity closes to the divinity and the eternity, because the poem creates a proper and mythical world, where always there is the present; therefore it breaches with the ratio and with the considered
normal language, represented by prose.
Research Interests:
The article will approach some information concerning the image from the search for realism in the Renaissance painting and its concretion in the photograph. For this, it is necessary to list some concepts as imagery vision in the Middle... more
The article will approach some information concerning the image from the search for realism in the Renaissance painting and its concretion in the photograph. For this,
it is necessary to list some concepts as imagery vision in the Middle Ages and its transition for Renaissance and the establishment of the painting as a liberal art. Besides, we will also argue the executed role by the science in the result and role of the obscura camera both in art as in the formation of the photographic image.
it is necessary to list some concepts as imagery vision in the Middle Ages and its transition for Renaissance and the establishment of the painting as a liberal art. Besides, we will also argue the executed role by the science in the result and role of the obscura camera both in art as in the formation of the photographic image.
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This article aims to discuss the issue of inter-relationship between the various knowledge and, especially, of scientific knowledge. For this, we sought to demonstrate how knowledge cannot be closed in on itself, as is characteristic of... more
This article aims to discuss the issue of inter-relationship between the various knowledge and, especially, of scientific knowledge. For this, we sought to demonstrate how knowledge
cannot be closed in on itself, as is characteristic of human society dynamism, without which it would not have survived. Therefore, all dogmatism, within any epistemological field, is harmless if not open, interdisciplinary, the other fields with whom should maintain constant
dialogue.
cannot be closed in on itself, as is characteristic of human society dynamism, without which it would not have survived. Therefore, all dogmatism, within any epistemological field, is harmless if not open, interdisciplinary, the other fields with whom should maintain constant
dialogue.
Research Interests:
We intend to reflect on the use of imagistic elements and its sources in German 17th century and to demonstrate that the literature of the Baroque doesn’t have to be understood as poetical of personal experiences in the contemporary’s... more
We intend to reflect on the use of imagistic elements and its sources in German 17th century and to demonstrate that the literature of the Baroque doesn’t have to be understood as poetical of personal experiences in the contemporary’s sense. Most artists and poets inserted in the social context of the German Baroque was immersed in a sea of images and topics, making large use of these in his poetical work. For that, he used as inspired source not only of the
auctoritas
and
some books of emblems that circulated in Europe in 17th century, like the Bible, since the period also be impregnated of the sacred element.
auctoritas
and
some books of emblems that circulated in Europe in 17th century, like the Bible, since the period also be impregnated of the sacred element.
Research Interests:
Research Interests:
When published in 1989, the Carbon-14 testing results of the Turin Shroud, many scientists, agnostics and theists of various religious groups not Catholic celebrated its result before “unmasking” of the strange relic. They forgot,... more
When published in 1989, the Carbon-14 testing results of the Turin Shroud, many scientists, agnostics and theists of various religious groups not Catholic celebrated its
result before “unmasking” of the strange relic. They forgot, however, that the history
of art, rather than documented for centuries, demonstrates exactly the opposite: its imagery would be inconceivable between 1260 to 1390, a period appointed as its probable creation.
result before “unmasking” of the strange relic. They forgot, however, that the history
of art, rather than documented for centuries, demonstrates exactly the opposite: its imagery would be inconceivable between 1260 to 1390, a period appointed as its probable creation.
Research Interests:
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This article deals with the function of poetry, specifically in the work of Carlos Drummond de Andrade. Originally devised as “objective”, in the sense of constituting its own object, Drummond’s poetics seeks to free itself from... more
This article deals with the function of poetry, specifically in the work of Carlos Drummond de Andrade. Originally devised as “objective”, in the sense of constituting its own object, Drummond’s poetics seeks to free itself from classical and romantic clichés, to modify readers’ attitude toward themselves and the world.
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We intend to discuss in this article how the German baroque poet Andreas Gryphius has adapted his book Lissaer Sonette to new standards established by the theoretical countryman Martin Opitz, whose work Buch von der deutschen Poeterey,... more
We intend to discuss in this article how the German baroque poet Andreas Gryphius has adapted his book Lissaer Sonette to new standards established by the theoretical countryman Martin Opitz, whose work Buch von der deutschen
Poeterey, 1624, sought to dictate the rules to be followed by other poets.
Poeterey, 1624, sought to dictate the rules to be followed by other poets.
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Resumo: Um conceito muito abordado na arte seiscentista foi o de vanitas, gênero empregado por vários artistas no período, mas que se estendeu, inclusive, a nossos dias. Para demonstrar sua abrangência, servir-nos-emos de uma pintura do... more
Resumo: Um conceito muito abordado na arte seiscentista foi o de vanitas, gênero empregado por vários artistas no período, mas que se estendeu, inclusive, a nossos dias. Para demonstrar sua abrangência, servir-nos-emos de uma pintura do artista holandês David Bailly, que explorará várias de suas imagens em seu autorretrato, cotejando-as com as fontes bíblicas e com um gênero coetâneo, a emblemática. Abstract: A concept much discussed in seventeenth-century art was the vanitas, gender employed by various artists in the period, but that extended even to our days. To demonstrate its reach, we will serve a painting of the Dutch artist David Bailly, who will explore several of his concepts in his self-portrait, comparing them with the biblical sources and with a coeval gender, the emblematic genre.
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Este artículo tiene como objetivo discutir, desde un punto de vista interdisciplinar, como el romance "Douglas e o Livro de Luz" (Douglas y el Libro de Luz) de Jack Brandão al abordar el ascetismo del héroe hacia el conocimiento del mundo... more
Este artículo tiene como objetivo discutir, desde un punto de vista interdisciplinar, como el romance "Douglas e o Livro de Luz" (Douglas y el Libro de Luz) de Jack Brandão al abordar el ascetismo del héroe hacia el conocimiento del mundo y de sí mismo – a través de la investigación y el pensamiento racional del mundo que le rodea – puntea la transformación del lector acrítico y dogmático a uno no crítico y no dogmático. De este modo, para que sea posible tal transformación, la ruptura con los conceptos preestablecidos y preconcebidos es indispensable. Por lo tanto, con referencia a la ruta tomada por los personajes de la tríada en su lucha contra sus antagonistas, los representantes de las dificultades del héroe hacia su objetivo, su viaje se pueden comparar con la saga de otros héroes arquetípicos. Palabras claves: Douglas e o Livro de Luz, héroe, lectura crítica, transformación pedagógica, interdisciplinaridad. Abstract This article aims to discuss, from an interdisciplinary point of view, such the Jack Brandão's work Douglas e o Livro de Luz (Douglas and the Light's Book) when addressing the asceticism of the hero towards the knowledge of the world and yourself – through research and rational thinking of the world around him – presents the transformation of uncritical, dogmatic reader to a non-critical and not dogmatic. So, for such this transformation, it is essential and indispensable to break with pre-established concepts and preconceived. Thus, with reference to the path taken by characters triad in their struggle against their antagonists, representatives of the difficulties of the hero towards his goal, his journey can be compared to the saga of other archetypal heroes.
Research Interests:
Research Interests:
We intend to reflect on the use of imagetic elements and its sources in German 17th century and to demonstrate that the literature of the Baroque doesn’t have to be understood as poetical of personal experiences in the contemporary’s... more
We intend to reflect on the use of imagetic elements and its sources in German 17th century and to demonstrate that the literature of the Baroque doesn’t have to be understood as poetical of personal experiences in the contemporary’s sense. Andreas Gryphius, as the inserted artists in the social context of the German Baroque, was immersed in a sea of images and topics, making large use of these in his poetical work. For that, he used as inspired source not only of the
auctoritas
and
some books of emblems that circulated in Europe in 17th century, like the Bible, since the period also be impregnated of the sacred element.
auctoritas
and
some books of emblems that circulated in Europe in 17th century, like the Bible, since the period also be impregnated of the sacred element.
Research Interests:
Much is said, currently, about revenge and their reach: how far somebody can go when it comes to take revenge on someone; or, still, it is ethically and morally acceptable? It would not be a mere reproduction of human irrationality... more
Much is said, currently, about revenge and their reach: how far somebody can go when it comes to take revenge on someone; or, still, it is ethically and morally acceptable? It would not be a mere reproduction of human irrationality formed along the construction of society, “a kind of
wild justice,” according to Bacon? If it is justiable, to what extent could be feasible? And if
revenge is the result of an error, a mistake? We could here raise several questions that would not be capable of being included in an article, however what we ask is: how revenge was treated over the centuries in literature and imagery representation. In addition, we ask ourselves: would it be possible to “take revenge”, employing the text and photography?
wild justice,” according to Bacon? If it is justiable, to what extent could be feasible? And if
revenge is the result of an error, a mistake? We could here raise several questions that would not be capable of being included in an article, however what we ask is: how revenge was treated over the centuries in literature and imagery representation. In addition, we ask ourselves: would it be possible to “take revenge”, employing the text and photography?
Research Interests:
IIn this article we will present the emblematic genre, creation of the Italian Andrea Alciati in 16th century (1531) that dominates the European society until the 18th, but disappears in 19th century. We will also show the difficulty and... more
IIn this article we will present the emblematic genre, creation of the Italian Andrea Alciati in 16th century (1531) that dominates the European society until the 18th, but disappears in 19th century. We will also show the difficulty and the possibility of reading today, in 21th century, texts, images and emblems of 17th century without having all the referential of that moment.
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The article will approach some information concerning the image throughout a human history as the appearing of lógos (from elements of nature), the search for realism in Renaissance painting and the establishment of the photograph. For... more
The article will approach some information concerning the image throughout a human
history as the appearing of lógos (from elements of nature), the search for realism in
Renaissance painting and the establishment of the photograph. For this, it is necessary to list some concepts: the importance of the mimesis for 16th and 17th centuries; the role of techné in the art; the mimetic interruption and the search of the truth praised by the
romantics; the appearing and the fullness of the photographic image; the release of the
painting from avant-garde movements and the application of de Iconophotology concep
history as the appearing of lógos (from elements of nature), the search for realism in
Renaissance painting and the establishment of the photograph. For this, it is necessary to list some concepts: the importance of the mimesis for 16th and 17th centuries; the role of techné in the art; the mimetic interruption and the search of the truth praised by the
romantics; the appearing and the fullness of the photographic image; the release of the
painting from avant-garde movements and the application of de Iconophotology concep
Research Interests:
Research Interests:
Research Interests:
Um den deutschen Barock zu verstehen, beginnen wir mit einer Erklärung der sozio-kulturellen und politischen Voraussetzungen, die zum Dreiβigjährigen Krieg führten und ihre Beziehung zu dem wichtigsten Dichter der Zeit, Andreas Gryphius.... more
Um den deutschen Barock zu verstehen, beginnen wir mit einer Erklärung der sozio-kulturellen und politischen Voraussetzungen, die zum Dreiβigjährigen Krieg führten und ihre Beziehung zu dem wichtigsten Dichter der Zeit, Andreas
Gryphius. Auβerdem wird das Werk des Dichters im Hinblick auf das Repräsentazionsmodell im 17. Jahrhundert untersucht, insbesondere seine Sonette.
Gryphius. Auβerdem wird das Werk des Dichters im Hinblick auf das Repräsentazionsmodell im 17. Jahrhundert untersucht, insbesondere seine Sonette.
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This article intends to argue the concept of téchne and its use since the Greeks until our days, seeking to answer the questions: the technique and art are inseparable, or complement each other? What is the role of the lógos on this... more
This article intends to argue the concept of téchne and its use since the Greeks until our days, seeking to answer the questions: the technique and art are inseparable, or complement each other? What is the role of the lógos on this relationship?