Figura: Studies on the Classical Tradition <p><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Escopo: </span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"><em>Figura</em></span></span><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> - Studies on the Classical Tradition é uma revista internacional a ser publicada <em>on-line</em> com acesso irrestrito, a fim de disseminar pesquisas e redações atuais sobre o repertório da Tradição Clássica. </span><span style="vertical-align: inherit;">A revista abrange estudos da cultura visual e textual da Antiguidade, bem como apropriações e transfigurações desse legado no mundo antigo e pós-antigo. </span><span style="vertical-align: inherit;">A pós-antiguidade pode ser considerada para incluir o período contemporâneo; portanto, o ponto de corte usado como quadro de referência para o conteúdo proposto por Figura é conceitual e não temporal. </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Qualis / CAPES</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : B4 </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Área de Conhecimento</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : Ciências Humanas </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Fundado em</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : 2013 </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">e-ISSN</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : 2317-4625 </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Título Curto</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">: Figura: Stud. </span><span style="vertical-align: inherit;">na classe. </span><span style="vertical-align: inherit;">Tradit. </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">E-mail</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : </span></span><a href=""><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> </span></span></a><strong><br /><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">Unidade</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : IFCH </span></span><br /><strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;">DOI prefixo</span></span></strong><span style="vertical-align: inherit;"><span style="vertical-align: inherit;"> : 10.20396<br /><img src="" alt="Licença Creative Commons" /><br /></span></span></p> en-US (Patricia Dalcanale Meneses) (Portal de Periódicos Eletrônicos Científicos da UNICAMP) Sat, 09 Jul 2022 14:30:16 +0000 OJS 60 Old Iconography, New Meanings? The “Christianized” Roman Hunt Sarcophagus of Bera in San Sebastiano ad Catacumbas. <p>This article surveys the takeover of Roman Hunt Sarcophagi by Christians in Late Antiquity, with a special focus on the monument for Bera in San Sebastiano ad Catacumbas . It is typically argued that their selection of these monuments was motivated by the same “worldly” concerns as their pagan neighbours. This assumption will be challenged here by exploring the potential for resemanticization in a new Christian context, and – in the case of Bera in particular – the complex intersections of gender, virtue and religion in this period.</p> Sarah Hollaender Copyright (c) 2022 Sarah Hollaender Sat, 09 Jul 2022 00:00:00 +0000 O Neoclássico na arquitetura batista capixaba ao longo da Primeira República <p>During the brazilian First Republic the Catholic Church built a series of large religious temples in the gothic revival style, major works such as the Sé Cathedral in São Paulo, which had as their main purpose, to resume the leading role in the field of faith of a Christian confession that was shaken by the introduction into the country of other Christian confessions with a reformist bias. But evangelicals were not far behind, they built temples in large cities, often also in gothic revival such as the Presbyterian Cathedral in Rio de Janeiro. Baptists, in particular, were fond of the classical revival, where, in the case of Vitória, Espírito Santo, they had two beautiful buildings built in this style in the early 1930s. The stylistic options of Baptists were imbued with symbolic and ideological purposes, discussing them is the principal aim of this paper.</p> NELSON RIBEIRO Copyright (c) 2022 NELSON RIBEIRO Sat, 09 Jul 2022 00:00:00 +0000 Pathosformel do luto: apropriação cristã das imagens pagãs de lamentação fúnebre <p>The article aims to answer the call of the dossier The Classic and its Appropriations in the Christian Tradition through the notion of pathosformel of mourning, derived from the thought of Aby Warburg. In philological logic, the literary and visual sources of the pathosformel of mourning are articulated in Renaissance works reproduced in the Atlas Mnemosyne. The theatre of mourning appears here in a funerary urn and an ancient sarcophagus, which together with The Bacchae of Euripides, provide the link of the ancient with the themes of mourning under the cross, the deposition and burial of Christ in the Renaissance works of Donatello, Bertoldo di Giovanni and Giorgio Vasari, added to the bourgeois funeral lamentation in a relief of Andrea del Verrochio. As a conclusion, we see the spectrum of the expression of funeral lamentation in the art of the Renaissance, also noting the process of energetic inversion in which the maenads in orgiastic abandonment in pagan tragedy become Christian dolents. The study of the images reveals, finally, the power of the expressive formula to manifest the experiences of human commotion.</p> Luana Maribele Wedekin, Sandra Makowiecky Copyright (c) 2022 Luana Maribele Wedekin, Sandra Makowiecky Sat, 09 Jul 2022 00:00:00 +0000 Migrações do Clássico: a geografia da arte em Aby Warburg. <p>For Aby Warburg, during the Renaissance, the resumption of the ancient gods - idealized classics - was one of the ways that "modern man" found to free himself from servility to medieval demons, as processes of sublimation - recurrent and reactive - in which the " artistic man” triggers “mnemonically” an ancient cultural heritage and, in a state of tension between opposite poles, processes its empathic formulation – <em>Pathosformel</em> – through the work. Struggling between the need for guidance and the need for liberation (cosmic-spiritual), "modern men" such as Sandro Botticelli, Albrecht Dürer, and Francesco Cossa, exemplified these conflicts, which from the micro to the macro, Warburg observed in the details of their individual formulations, comprising, at the same time, what they expressed about the entire humanity, tracked by the tracks of cultures and epochs. Conceiving art as a process of sublimating struggle, conflict in a polar tension zone, in the sense of historical psychology of human expressiveness, expanded the young History of Art in thematic and time-spatial terms.</p> Priscila Risi Pereira Barreto Copyright (c) 2022 Priscila Risi Pereira Barreto Sat, 09 Jul 2022 00:00:00 +0000 O logotipo de Marko Ivan Rupnik para o jubileu extraordinário da Misericórdia <p>This article aims to observe the origins of Christian sacred art and its reception in the second decade of the 21st century. The historical outline will range from the beginning of Christianity until the Peace of the Church, up to the decree of religious tolerance by Constantine, comprising the 2nd, 3rd, and the beginning of the 4th centuries. There will be a leap into the second decade of the 21st century, to analyze the reception of the Paleochristian image in contemporaneity. The geography of its genesis will be verified, as well as the influences in its iconography from Greeks, Romans, and Egyptians. Then we will look at an example of a reinterpretation of the classic image of the Good Shepherd by the first Christians painters in the light of their new faith. Finally, we will examine the reception of this typology in the Latin Church of the 21st century, looking more closely to Marko Ivan Rupnik’s logo for the Extraordinary Jubilee Year of Mercy in 2015.</p> Christiane Meier Copyright (c) 2022 Christiane Meier Sat, 09 Jul 2022 00:00:00 +0000