- 240 Malloy Hall
University of Notre Dame
Notre Dame, Indiana 46556 - 574-631-0382
Robin Jensen
University of Notre Dame, Theology, Faculty Member
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Comparing textual and visual interpretations of biblical narratives is complicated insofar as the two modes address distinct intellectual activities: reading and viewing. Although early Christian art often presents scenes and characters... more
Comparing textual and visual interpretations of biblical narratives is complicated insofar as the two modes address distinct intellectual activities: reading and viewing. Although early Christian art often presents scenes and characters from Scripture, it represents much more than literal illustration of its source texts. Art necessarily amplifies details, provides expanded context, and places the figures within a larger compositional framework, all of which guide viewers’ interpretation of familiar stories. Images often even diverge from the narratives in significant ways and are juxtaposed in order to point to an overarching, theological meaning. Thus, while early Christian biblical art is essentially exegetical, it operates through visual perception rather than verbal exposition. Images also interact directly with their surroundings in ways that written words do not. They appear on tombs, in churches and shrines, and on liturgical objects and common domestic vessels, thus introdu...
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Research Interests: Art and Architecture
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An early Christian basilica, discovered in the Algerian city of Al-Asnam and excavated and studied from the mid-nineteenth century until most of its remains were wither covered or lost by the last quarter of the twentieth century,... more
An early Christian basilica, discovered in the Algerian city of Al-Asnam and excavated and studied from the mid-nineteenth century until most of its remains were wither covered or lost by the last quarter of the twentieth century, provides some important evidence for the practice of Christianity in Mauretania Caesariensis in the fifth century. Among this evidence is a dedicatory inscription referring to the church’s foundation; a shrine to a local bishop, placed in a counter apse; a mosaic indicating the probable placement and design of the church’s altar; and two additional mosaics that may reflect aspects of the church’s situation within certain theological and political conflicts of the fourth through sixth centuries (i.e., between Donatists and Catholics, between Vandal Arians and Africans Nicenes, and between the Mauri (Berbers) and both Vandals and Romans). This brief essay summarizes and supplements existing publications on this basilica by exploring the connections between t...
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ABSTRACT Scholars generally agree that Christian iconography emerged only in the 3rd century. The absence of earlier, unambiguously Christian artifacts led many scholars to characterize Christians as initially aniconic largely in... more
ABSTRACT Scholars generally agree that Christian iconography emerged only in the 3rd century. The absence of earlier, unambiguously Christian artifacts led many scholars to characterize Christians as initially aniconic largely in deference to biblical prohibitions of graven images and to regard the pictorial art’s emergence as a departure from the church’s original disapproval. This essay argues that classical philosophical arguments were even more influential on Christian condemnation of divine images than biblical texts and that when it emerged, Christian art essentially served non-idolatrous didactic rather than devotional purposes. Finally, this essay maintains that the demise of polytheism (and its perceived idolatry) changed both the circumstances and content of the debate over divine images. Whereas earlier censure mainly contended that manufactured objects were incapable of representing an invisible God, later criticism focused more on the problems of representing Christ’s human and divine natures and whether saints’ portraits were proper foci for prayer and veneration.
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Early Christian pictorial art arose within a Greco-Roman cultural environment, instinctively adapting the visual vocabulary of the world in which it appeared and developed. Yet, even while surviving examples of identifiably Christian art... more
Early Christian pictorial art arose within a Greco-Roman cultural environment, instinctively adapting the visual vocabulary of the world in which it appeared and developed. Yet, even while surviving examples of identifiably Christian art objects appear to have much in common with those made for polytheists, they also reveal differences that reflect evident and distinctively Christian practices of composing and viewing images. This involved more than transforming earlier pagan models, it signaled an intentional rejection of their form, content, and style. The results also aligned with certain exegetical strategies evident in early Christian sermons, commentaries, and catecheses and reflected the emergence of a characteristically Christian social identity that emphasized shared religious commitments and broadly understood interpretive approaches to biblical narratives.
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In spite of a history of iconoclasm and theological reservations about the place of arts (especially the visual arts) in Protestant worship, we have witnessed in recent years an increasing interest in and even demand for the incorporation... more
In spite of a history of iconoclasm and theological reservations about the place of arts (especially the visual arts) in Protestant worship, we have witnessed in recent years an increasing interest in and even demand for the incorporation of art in liturgy. However, since congregational leaders and worship planners need to do more than respond to needs or (worse yet) current trends, this article offers theological reflection on the positive role and function of the arts within a Protestant theological framework, but also counsels caution. The addition of art forms to worship can be renewing and inspiring, but without careful theological reflection and attention to both tradition and history, we risk misunderstandings or regrettable mistakes. By proceeding thoughtfully and faithfully, the worship life of congregations can be deeply enhanced by inclusion of the arts, since worship itself is a form of art that should be approached with great care and love.
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Research Interests: Philosophy and Horizons
... 6 On the Christian images see Josef Engemann, Der Ehrenplatz beim antiken Sigmamahl in JAC 9 (1982): 23949; Elisabeth Jastrz˛ebowska, Iconographie des banquets aux IIIeIVe siècles, RecAug, 19 (1979): 390; and Robin Jensen,... more
... 6 On the Christian images see Josef Engemann, Der Ehrenplatz beim antiken Sigmamahl in JAC 9 (1982): 23949; Elisabeth Jastrz˛ebowska, Iconographie des banquets aux IIIeIVe siècles, RecAug, 19 (1979): 390; and Robin Jensen, Dining in Heaven, BRev 14 (1998 ...
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Research Interests: Art, Early Christianity, Late Antiquity, Byzantine Manuscripts Illumination, Early Christian Art, and 12 moreLate Roman Pottery, Catacombs of Rome, Early Christian Archaeology, Late Roman and Early Christian Art, Byzantine art, Early Christian Mosaics, Early Christian Art and Iconography, Gold Glasses, Early Christian Catacombs, Routledge, Early Christian Sarcophagi, and Roman and Early Christian Sarcophagi
The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen... more
The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen essays that discuss specific media of visual art—catacomb paintings, sculpture, mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories, textiles, silver, and illuminated manuscripts. Each is written by a noted expert in the field. The second part of the book takes up themes relevant to the study of early Christian art. These seven chapters consider the ritual practices in decorated spaces, the emergence of images of Christ’s Passion and miracles, the functions of Christian secular portraits, the exemplary mosaics of Ravenna, the early modern history of Christian art and archaeology studies, and further reflection on this field called “early Christian art.” Each of the volume’s chapters includes photographs of many of the objects discussed,...
Research Interests: Art, Early Christianity, Late Antiquity, Byzantine Manuscripts Illumination, Early Christian Art, and 11 moreLate Roman Pottery, Catacombs of Rome, Early Christian Archaeology, Late Roman and Early Christian Art, Byzantine art, Early Christian Mosaics, Early Christian Art and Iconography, Gold Glasses, Early Christian Catacombs, Early Christian Sarcophagi, and Roman and Early Christian Sarcophagi
Surviving examples of early Christian visual art found in a funerary context (e.g., catacomb paintings and sarcophagus reliefs) reflect elements of their owners’ beliefs about death and the afterlife. Their decorative programmes also... more
Surviving examples of early Christian visual art found in a funerary context (e.g., catacomb paintings and sarcophagus reliefs) reflect elements of their owners’ beliefs about death and the afterlife. Their decorative programmes also reveal aspects of the deceased’s social status, profession, or character—or at least about how they or their survivors wished them to be represented. Insofar as these Christian burial monuments display motifs both like and unlike those of their non-Christian neighbours, it is possible to examine the ways Christians adapted a pre-existing iconographic vocabulary. This chapter examines instances of Christian appropriation and reconceptualization of conventional tomb décor. It also identifies patterns or artistic devices that shaped a distinctive Christian visual rhetoric and memorializing practice.
Extant examples of early Christian art allow scholars to evaluate the relationship between ceremonial actions and the decor of the physical environment in which they transpired. Wall paintings in tomb chambers, relief carvings on... more
Extant examples of early Christian art allow scholars to evaluate the relationship between ceremonial actions and the decor of the physical environment in which they transpired. Wall paintings in tomb chambers, relief carvings on sarcophagi, floor and wall mosaics, and other embellished objects were not simply didactic or indiscriminate decorative schemes, they depicted, enhanced, and interpreted the activities that were enacted in their presence. In such places, viewers were also participants, and thus the images they saw contributed a core part of their sensory perception of as well as a reflection upon the ritual’s purpose and meaning. This chapter considers the different ways that visual art in ritual spaces sometimes represents elements of certain early Christian practices as well as other instances in which the design and decoration of the spatial context provide a kind of commentary on the activity taking place within it. In some cases, the imagery in ritual environments may ...
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Extant examples of early Christian art allow scholars to evaluate the relationship between ceremonial actions and the decor of the physical environment in which they transpired. Wall paintings in tomb chambers, relief carvings on... more
Extant examples of early Christian art allow scholars to evaluate the relationship between ceremonial actions and the decor of the physical environment in which they transpired. Wall paintings in tomb chambers, relief carvings on sarcophagi, floor and wall mosaics, and other embellished objects were not simply didactic or indiscriminate decorative schemes, they depicted, enhanced, and interpreted the activities that were enacted in their presence. In such places, viewers were also participants, and thus the images they saw contributed a core part of their sensory perception of as well as a reflection upon the ritual’s purpose and meaning. This chapter considers the different ways that visual art in ritual spaces sometimes represents elements of certain early Christian practices as well as other instances in which the design and decoration of the spatial context provide a kind of commentary on the activity taking place within it. In some cases, the imagery in ritual environments may ...
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Le lion, l'aigle, le boeuf et l'homme de la vision d'Ezechiel reapparaissent dans l'art chretien primitif comme les symboles des quatre evangelistes. Dans sa vision, Ezechiel decrit quatre cherubins, chacun possedant... more
Le lion, l'aigle, le boeuf et l'homme de la vision d'Ezechiel reapparaissent dans l'art chretien primitif comme les symboles des quatre evangelistes. Dans sa vision, Ezechiel decrit quatre cherubins, chacun possedant quatre visages. Les quatre creatures decrites dans le Livre de la Revelation furent plus populaires dans la chretiente occidentale. La figure tetramorphique de la vision d'Ezechiel ou la combinaison des visions de Jean et d'Ezechiel etaient typiques de l'art byzantin jusqu'aux XI e et XII e siecles. Ces traditions differentes refletent le statut canonique du Livre de la Revelation dans l'Eglise byzantine avant le XIV e siecle
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gustine claims to have seen not as a mystical vision of God but as a mediated vision, somewhat as we see the sunlight filtered through the clouds on a hazy day. The later dating of the final formulation of the worldview to which Augustine... more
gustine claims to have seen not as a mystical vision of God but as a mediated vision, somewhat as we see the sunlight filtered through the clouds on a hazy day. The later dating of the final formulation of the worldview to which Augustine began to move in 386 opens the door to the possibility, or even probability, that Augustine read more of the Enneads in those years than the very few books which he admits to having read during his initial contact with them. If one takes Augustine's claims to have "seen" in the sense of philosophical insight rather than in the sense of mystical vision, there are still other events, such as the vision at Ostia, that present strong evidence that Augustine was, as Cuthbert Butler said, "the prince of mystics." In 1888 G. Boissier claimed that early dialogues and the Confessions present two quite different Augustines: the Augustine of the dialogues was mainly a neo-Platonic philosopher with only a tinge of Christianity, while the Confessions describe Augustine the Catholic bishop in the light of the Christian faith to which he had come. Contemporary scholars such as L. Ferrari and P. Fredriksen have argued in favor of an analogous view. Ferrari, for example, has argued that the text from Romans that Augustine read in the scene of his conversion in the garden in Book 8 could not have had the influence upon him that the Confessions describes, since these verses do not play any significant role in the works written prior to the Confessions. O. argues that we must take Augustine seriously when he reports that he read not merely Romans 13:13-14, but the whole capitulum in which those verses occur. Then one finds that the imagery in those verses, for example, light and darkness, waking from sleep, the urgency of the present moment, the donning of the armor of Christ, and the casting aside of what holds one back from commitment to Christ, is abundantly present in the early dialogues. Indeed, O. shows that Christian themes are so dominant in the dialogues that one wonders why the dialogues were ever taken to be "philosophical" in any sense but the Augustinian sense according to which philosophy includes the Christian message of salvation as an understanding of the faith. Once again O. offers us an exciting book on the greatest of the Western Fathers. He places the central sections of the Confessions in fresh perspectives and reveals the power of image analysis for uncovering the mind of that puzzling man from Hippo who continues to fascinate after more than 1600 years.
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Perhaps most helpful are the chapters on catechesis, in which ancient theories of sense perception and memorization as the formation of a mind through speech are related to the formation of the minds of the catechumens, in particular... more
Perhaps most helpful are the chapters on catechesis, in which ancient theories of sense perception and memorization as the formation of a mind through speech are related to the formation of the minds of the catechumens, in particular through the memorization of regulae fidei, leading on to fixed creeds, likewise memorized, and to the traditio and redditio symboli. In particular, given that the content of the earliest catechesis was less dogmatic than ethical, this gives an account of the means by which hearing may bring about reformed minds and thus re-formed conduct. The discourse of prayer may seem a surprising choice in a work on listening, but Harrison describes this as a “complicated polyphony” (199), in that the congregation may hear each other, believes itself to he heard by God, and might at the same time be said to be hearing God’s words. A surprising omission in the context of the discussion of overhearing is Origen’s discussion of overhearing and of the way in which God thereby answers prayer (Orat. 11.4–5), even though Origen’s work is cited. Rather, we are given a treatment of Polycarp’s prayer at his martyrdom from the perspective of the hearers, perhaps a difficult example given the probability that the prayer (and therefore the hearers) are fictive. We also encounter here a failure to recognize the liturgical nature of the prayer (though there is unsubstantiated reference to liturgical echoes [207]). It is possible that the reason for this somewhat odd treatment, as for the inclusion of the chapter overall, is that the book is fundamentally a work of theology. There is no question that the turn to hearer response criticism is significant, as is the implied reminder that discourse beyond those fields treated by Harrison— such as that contained in letters, in Scripture itself, and in hymnody—was aurally received, so that early Christian listeners were “literate listeners.” For this reminder we may be grateful. Had the publisher thought to include an index locorum, those of us who read with our eyes rather than our ears might have been more so. Alistair C. Stewart, Slough, England
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(along with later revisions) of Haggai and Zechariah. Malachi, "an extended argument about ritual observance," was untouched by any addition, except for 3:20-24. This spare summary of P.'s views fails to reveal the... more
(along with later revisions) of Haggai and Zechariah. Malachi, "an extended argument about ritual observance," was untouched by any addition, except for 3:20-24. This spare summary of P.'s views fails to reveal the subtleties and the great complexity of his reconstruction. He constantly emphasizes the growth of history and prophecy: one book and/or editor building upon another or several others. There is a dogged insistence upon written transmission and editing. P.'s control of the biblical text is formidable, and his achievement monumental. This is a study to be verified, a book that must be read with the Hebrew Bible at hand. Only then can one predict that a reconstruction with so many hypotheses will prevail.
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Augustine’s concern about the influence of witnessing brutal spectacles upon the human soul is expressed when he recounts his friend Alypius’s addiction to the arena in Confessions, Book 6. He elaborates this concern in several sermons... more
Augustine’s concern about the influence of witnessing brutal spectacles upon the human soul is expressed when he recounts his friend Alypius’s addiction to the arena in Confessions, Book 6. He elaborates this concern in several sermons and argues that the simple act of looking at certain kinds of images can have a deleterious effect on the beholder, asserting that, like Alypius, one can become enthralled to spiritually harmful sights and take perverse pleasure in others’ mental or physical pain. He adds that such pleasure makes viewers accessories to brutality and inures them to suffering, instead of developing their compassionate nature. Here he speaks of the “lust of the eyes” as a parallel to lust of the flesh, a lust that seeks novel experiences and is not repelled by observing violence. He acknowledges that for some listeners, the reading of martyrs’ acts could be an instance of this, but insists that those who hear the story and imagine the scenes with the right attitude are i...
... | Ayuda. Dios ¿has pasado de moda? Información general. Autores: Bárbara Jurgensen, Eliseo Vila, Robin Jensen; Editores: Editorial Clie; Año de publicación: 1979; País: España; Idioma: Español; ISBN : 84-7228-129-9; ¿En qué ...
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The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen... more
The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen essays that discuss specific media of visual art—catacomb paintings, sculpture, mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories, textiles, silver, and illuminated manuscripts. Each is written by a noted expert in the field. The second part of the book takes up themes relevant to the study of early Christian art. These seven chapters consider the ritual practices in decorated spaces, the emergence of images of Christ’s Passion and miracles, the functions of Christian secular portraits, the exemplary mosaics of Ravenna, the early modern history of Christian art and archaeology studies, and further reflection on this field called “early Christian art.” Each of the volume’s chapters includes photographs of many of the objects discussed, plus bibliographic notes and recommendations for further reading.
The result is an invaluable introduction to and appraisal of the art that developed out of the spread of Christianity through the late antique world. Undergraduate and graduate students of late classical, early Christian, and Byzantine culture, religion, or art will find it an accessible and insightful orientation to the field. Additionally, professional academics, archivists, and curators working in these areas will also find it valuable as a resource for their own research, as well as a textbook or reference work for their students.
Table of Contents
1. Introduction: The Emergence and Character of Early Christian Art, Robin M. Jensen;Part I: Media; 2. Catacomb Painting and the Rise of Christian Iconography in Funerary Art, Norbert Zimmermann; 3. Christian Sarcophagi from Rome, Jutta Dresken-Weiland; 4. Early Christian Sarcophagi outside of Rome, Guntram Koch; 5. Freestanding Sculpture, Heidi J. Hornik; 6. Christian Wall Mosaics and the Creation of Sacred Space, Sean V. Leatherbury; 7. Christian Floor Mosaics: Modes of Study and Potential Meanings, Rina Talgam; 8. Gold Glass in Late Antiquity, Susan Walker; 9. Engraved Gems and Amulets, Jeffrey Spier; 10. Reliquaries and the Cult of Relics in Late Antiquity, Erik Thunø; 11. Ceramics in the Early Christian World, John J. Herrmann, Jr. and Annewies van den Hoek; 12. Panel Paintings and Early Christian Icons, Katherine Marsengill; 13. Christian Ivories: Containment, Manipulation, and the Creation of Meaning, Niamh Bhalla; 14. Textiles: The Emergence of a Christian Identity in Cloth, Jennifer L. Ball; 15. Early Christian Silver: Sacred and Domestic, Ruth Leader-Newby; 16. Early Christian Illuminated Manuscripts, Dorothy Verkerk; Part II: Themes; 17. Early Christian Art and Ritual, Michael Peppard; 18. Picturing the Passion, Felicity Harley-McGowan; 19. Miracles and Art, Lee M. Jefferson; 20. “Secular” Portraits, Identity, and the Christianization of the Roman Household, Mark D. Ellison; 21. The Mosaics of Ravenna, Deborah Mauskopf Deliyannis; 22. Early Christian Art and Archaeology in Sixteenth and Seventeenth Century Rome, Janet Huskinson; 23. “Early” “Christian” “Art”, Robert Couzin; Index
The result is an invaluable introduction to and appraisal of the art that developed out of the spread of Christianity through the late antique world. Undergraduate and graduate students of late classical, early Christian, and Byzantine culture, religion, or art will find it an accessible and insightful orientation to the field. Additionally, professional academics, archivists, and curators working in these areas will also find it valuable as a resource for their own research, as well as a textbook or reference work for their students.
Table of Contents
1. Introduction: The Emergence and Character of Early Christian Art, Robin M. Jensen;Part I: Media; 2. Catacomb Painting and the Rise of Christian Iconography in Funerary Art, Norbert Zimmermann; 3. Christian Sarcophagi from Rome, Jutta Dresken-Weiland; 4. Early Christian Sarcophagi outside of Rome, Guntram Koch; 5. Freestanding Sculpture, Heidi J. Hornik; 6. Christian Wall Mosaics and the Creation of Sacred Space, Sean V. Leatherbury; 7. Christian Floor Mosaics: Modes of Study and Potential Meanings, Rina Talgam; 8. Gold Glass in Late Antiquity, Susan Walker; 9. Engraved Gems and Amulets, Jeffrey Spier; 10. Reliquaries and the Cult of Relics in Late Antiquity, Erik Thunø; 11. Ceramics in the Early Christian World, John J. Herrmann, Jr. and Annewies van den Hoek; 12. Panel Paintings and Early Christian Icons, Katherine Marsengill; 13. Christian Ivories: Containment, Manipulation, and the Creation of Meaning, Niamh Bhalla; 14. Textiles: The Emergence of a Christian Identity in Cloth, Jennifer L. Ball; 15. Early Christian Silver: Sacred and Domestic, Ruth Leader-Newby; 16. Early Christian Illuminated Manuscripts, Dorothy Verkerk; Part II: Themes; 17. Early Christian Art and Ritual, Michael Peppard; 18. Picturing the Passion, Felicity Harley-McGowan; 19. Miracles and Art, Lee M. Jefferson; 20. “Secular” Portraits, Identity, and the Christianization of the Roman Household, Mark D. Ellison; 21. The Mosaics of Ravenna, Deborah Mauskopf Deliyannis; 22. Early Christian Art and Archaeology in Sixteenth and Seventeenth Century Rome, Janet Huskinson; 23. “Early” “Christian” “Art”, Robert Couzin; Index
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The study of religious material and visual cultures in Brazil: challenges, forms and methods Introdução [H. Renders [Umesp] e K. Mendonça [UFPA] 1. Campi das culturas materiais e visuais das religiões no Brasil e seus desafios 1.1... more
The study of religious material and visual cultures in Brazil: challenges, forms and methods
Introdução [H. Renders [Umesp] e K. Mendonça [UFPA]
1. Campi das culturas materiais e visuais das religiões no Brasil e seus desafios
1.1 Culturas materiais e visuais das religiões em livros sagrados [Silas Klein / UMESP]
1.2 Culturas materiais e visuais protestantes e pentecostais [H. Renders / UMESP]
1.3 Culturas materiais e visuais das religiões pós-modernas [Júlio César Adam / EST]
2. A importância do estudo das culturas materiais e visuais das religiões em outros contextos
2.1 Cultura material e visual das religiões na Ásia: contextualização pelas artes [Volker Kuester, Universität Mainz]
2.2 A cultura visual do protestantismo americano no século XIX [David Morgan / Duke University]
3. Métodos para o estudo das culturas materiais e visuais das religiões nos Brasil e sua diversidade
3.1 Métodos da antropologia social para o estudo das culturas materiais e visuais [Luis Américo Bonfim / UFS]
3.2 Por uma tradução intersemiótica em Marc Chagall: a pintura convoca à literatura bíblica[Douglas Conceição / UEPA]
3.3 Métodos semióticos na cultura visual: a semiótica visual [Etienne A. Higuet / UFJF]
3.4 Janela para o infinito: o poder da imagem a partir de Florensky e Tarkovski [Katia Mendonça / UEPA]
Considerações finais [K. Mendonça / UFPA e H. Renders / UMESP]
Bibliografia
Introdução [H. Renders [Umesp] e K. Mendonça [UFPA]
1. Campi das culturas materiais e visuais das religiões no Brasil e seus desafios
1.1 Culturas materiais e visuais das religiões em livros sagrados [Silas Klein / UMESP]
1.2 Culturas materiais e visuais protestantes e pentecostais [H. Renders / UMESP]
1.3 Culturas materiais e visuais das religiões pós-modernas [Júlio César Adam / EST]
2. A importância do estudo das culturas materiais e visuais das religiões em outros contextos
2.1 Cultura material e visual das religiões na Ásia: contextualização pelas artes [Volker Kuester, Universität Mainz]
2.2 A cultura visual do protestantismo americano no século XIX [David Morgan / Duke University]
3. Métodos para o estudo das culturas materiais e visuais das religiões nos Brasil e sua diversidade
3.1 Métodos da antropologia social para o estudo das culturas materiais e visuais [Luis Américo Bonfim / UFS]
3.2 Por uma tradução intersemiótica em Marc Chagall: a pintura convoca à literatura bíblica[Douglas Conceição / UEPA]
3.3 Métodos semióticos na cultura visual: a semiótica visual [Etienne A. Higuet / UFJF]
3.4 Janela para o infinito: o poder da imagem a partir de Florensky e Tarkovski [Katia Mendonça / UEPA]
Considerações finais [K. Mendonça / UFPA e H. Renders / UMESP]
Bibliografia