Textos

Analysis of the medieval apocalyptic tradition regarding the figure of the Antichrist, with a study of Ramon Llull’s philosophical arguments to face him. Structured in three Distinctions, The Book against the Antichrist (1276), by the Catalan philosopher, aims to prepare religious people to lead a holy life and rationally combat the fallacies of the Antichrist.

Analysis of three medieval artistic expressions of the biblical Parable of the Wise and Foolish Virgins (Mt 25, 1-13): the frescoes the southern apse from Pedret (12^th century) and the sculptures of the cathedrals of Freiburg (c.1300) and Strasbourg (c.1280-1300).

The aim of the work is to analyse the iconographic theme of the Good Shepherd in Paleochristian Art and the reasons for its popularity above all in the sculptural sarcophagus art of the period.

The work presents a brief historical context of the effervescent 13th century of the Medieval West and the importance of the Order of Preachers in urban renewal and in the consolidation of Christian thought in the newly founded universities.

Preface to the book Aesthetics of the Body in Western Art, by Matheus Corassa da Silva.

The Allegory (ἀλληγορία) was a literary, philosophical and aesthetic resource widely used by Western cultural tradition. It enriched the mental and artistic universe to the point of becoming a poetic topos (τόπος). Artistic. The objective of this work is to discuss the importance of allegory for Literature and Art. From the Ancient World to the Baroque.

Analysis of the macabre themes exposed in the famous painting The Triumph of Death (c.1562), by Bruegel the Elder (c.1525-1569). My interpretive proposal is to appreciate the images from the musical suggestions that the artist represents, and that the density of the drama of existence in the face of death can be understood more profoundly with the confrontation of the painting’s images with the musicality of the instruments and the sound of scenes.

As the Middle Ages acquired new delicate body expressions in Art with Gothic, the artists felt more at ease to experience new gestures of the human body. For that, Christ continued to be the aesthetic reference. The theme of the Descent from the Cross served as the basis for this bodily experimentalism. Our proposal is to ascertain the different nuances of these new expressions between 14^th and 15^th centuries.

The historiographical production of José Enrique Ruiz-Domènec (1948-) and his influence on my totalizing vision of History: his multidisciplinarity, method and dialogue with other areas of knowledge from Human Sciences.

The mith of Inquisition in the iconographic interpretation of three artistic representations: Pedro Berruguete (c. 1450-1504), Goya (1746-1828) and Cristiano Banti (1824-1904).

The biblical theme Susanna and the elders in the History of Art – in seven artists: the Master of Fauvel (Anonymous master, 14th century), Domenico di Michelino (1417-1491), Lorenzo Lotto (c. 1480-1556), Jan Massys (c. 1510-1575), Jacques-Antoine Beaufort (1721-1784), Francesco Hayez (1791-1881), and Artemisia Gentileschi (1593-1623).

The Rhetoric in Antiquity and the Middle Ages from the perspective of eleven philosophers. It also offers an extract from us translated from the New Rhetoric (1301) of the Catalan philosopher Ramon Llull (1232-1316), the first translation into Portuguese.

The concept of courtly love in eight songs (cançons) of the Catalan medieval troubadour Berenguer de Palou.

Analysis of the academic studies about the Middle Ages in the State of Espírito Santo (ES-Brazil).

Commentary on the fourth point of the Law Proposal School without Party that makes it compulsory to display in all the classrooms of elementary and middle school a poster with the duties of teachers.

Review of the Complete Works of the Valencian poet Ausiàs March (1400-1459), edited by Robert Archer.

Analysis of the concept of tolerance and its inapplicability to the study of relations between religions in the Middle Ages.

Étude iconographique du Retable de Saint Jean-Baptiste (1425-1430), attribué au peintre gothique catalan Bernat Martorell (1390-1452), afin d’analyser les représentations imagétiques du corps du saint, ses expressions faciales, ses gestes.