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Dekoninck et D. Machinae spirituales. Baroque art and architecture , Retable Art , and Art and Religion. Iconology , Art and Religion , and Art and Spirituality. Dekoninck, M.


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Lefftz et C. Art Theory. Publication Date: Publication Name: Perspectives.

Derek Muller — Wikipédia

Lexicographie artistique, Montpellier, , p. Dekoninck et S. Film Studies and Iconology. Delbeke, A. Delfosse et K. Early Modern History and Spectacle. Delfosse, C. Heering et K. Jacobs et W. Early Modern History , Spectacle , and Baroque art and architecture. Anthropology , Anthropology Of Art , and Iconology. Visual Anthropology , Iconology , and Jesuit missionaries.

Fabre et F. Jesuit history , Jesuit education , and Emblematic studies. View on dx. Art History , Visual Anthropology , and Sculpture. Inherited from the Middle Ages and reinvented at the beginning of the early modern period, the notion of figura is instrumental in understanding the epistemological reconfigurations that have occurred during the sixteenth and seventeenth Inherited from the Middle Ages and reinvented at the beginning of the early modern period, the notion of figura is instrumental in understanding the epistemological reconfigurations that have occurred during the sixteenth and seventeenth centuries.

Belonging at the same time to the three different fields of theology, rhetoric, and the visual arts, this concept forms the foundation of the theories and practices of representation. This article advances the idea that in the period under scrutiny here the figure designates not so much an object as a process seeking to articulate the sensible and the intelligible, the visible and the invisible, the corporeal and the spiritual. Visual Studies and Iconology. Morel, A. Beyer et A. Melion et B. Lecercle, E. Selmeci Castioni et A.

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What defines the meditative function of an image? When and how does it generate, through its own visual ressources, a meditative process, independently of any accompanying text? Here are the questions addressed by this article which Here are the questions addressed by this article which focuses on Antwerp visual culture at the turn of the 16th and 17th centuries. In this culture characterized, as it has already been shown, by its meta-pictural dimension inducing a hermeneutic reflexivity, we draw in particular attention to the use of exegetical frames.

The settings framing the paintings and engravings here analyzed were conceived to trigger and sustain a meditation unfolding and deepening the meaning of the central image. It appears finally that the art of meditation is fundamentally a art of the composition and combination of interrelated images. The festivities organized in by the Society of Jesus in the Southern Netherlands filled the everyday space of the city to turn it into a place of special experience that can be approached through the lens of the sublime.

Indeed, ornamentation, sounds, and lights shaping the ephemeral scenery and event were conceived to inspire in the mind of the spectators what the Jesuits called sacer horror, a Latin expression used to refer to all the physical sensations that the ancients felt in front of divinity—religious awe, that is, the organic sensation of respect mixed with fear and wonder felt in the presence of gods or cosmic forces. We would like to show how the intensification of synaesthesic effects, with their direct impact on the body by stunning the senses, was intended to unveil the majesty of God and raise the mind toward the divine.

View on jhna. De Munck, W. Thomas, G. Vanpaemel Geert ed. La guerre des images entre L.

Vérités cachées sur l'esclavage

Richeome et J. Exploring the Boundaries between Art and Life, C. Transnational Discourses and National Frameworks, M. Rampley, Th. Lenain, H. Locher, A. Pinotti, Ch. Schoell-Glass et K. Visual Images as Exegetical Instruments, W. Melion, J. Clifton et M. Christin, F. Rothstein, M.

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Weemans et W. View on ceredi. En dressant l'inventaire des An experimental science of Marian images. The Peritia of the Atlas Marianus by Wilhelm Gumppenberg The Atlas Marianus by the Jesuit Wilhelm Gumppenberg is one of the sacred topographies published in the 17 th century in order to reaffi rm the cult of saints, images and relics. Bankruptcy began with an internship in a printing plant. Then I started working in a pub, first as a dishwasher, and then as a waiter.

This resume is sometimes the inspiration for my poetry, when I decide to use myself as a practice target, or when I feel I should return to my own humble level and remember where I came from. As for my school years?

A long succession of zeros, jazzed up with extracurricular experiments. I was born in and started writing poems in the early s that was about two or three years before my time at the printing plant. These poems I wrote were not borne of any real urge to express anything in particular — a little like those drawings you make while talking on the phone. I first published my writing on the internet, then in chapbooks, and in reviews. He even overhears a clerk who plans to steal a certain amount of money from the bank — just a whim, as it later would turn out. The vendor complains about it to his employee, since he had been able to keep the coin standing the whole day.

Afterwards, our man realizes he cannot hear any thoughts around him anymore. Something is in balance, in an unusual position, and as long as that balance holds, I have access to these poems which, as they map out a territory, seem to be pointing to a specific place and location, the address of which is missing. Just like the bank clerk who was unaware that the coin had remained in balance on its edge, I cannot quite explain where these poems come from.

Le tout-sécuritaire ne suffira pas

As I said, I have long thought that the writing of these poems was similar to drawing some sort of a map of a given territory, like a parallel world which only made sense to me. Or so I thought, at least, until my poems started to be circulated.

It all boils down to either skin, or synthetic fur. I had obviously lost my ways. The map is increasingly precise; maybe the paper on which it is drawn is getting thinner, too. Soon the world our world will show through. There is no turning back. It then struck me as impossible to move from one book to another without taking into account the territorial community between the reader and the propositions I put forth.

Each poem either matches or follows the other.