Relevant bibliographies by topics / Christian art and synbolism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Christian art and synbolism'

Author: Grafiati
Published: 11 December 2022
Last updated: 25 January 2023

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Journal articles on the topic "Christian art and synbolism"

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EFIRD, DAVID, and DANIEL GUSTAFSSON. "Experiencing Christian art." Religious Studies 51, no. 3 (August 14, 2015): 431–39. http://dx.doi.org/10.1017/s0034412515000335.

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AbstractIn this article, we argue that a secularist cannot experience Christian art in the same way that a Christian can. To defend this claim, we argue that Christian faith is best conceived as an engagement with God, such that coming to have faith is a transformative, second-person experience where a person comes to know what it is like to be loved by God and that Christian art is best conceived as iconic, such that it is an occasion for, and a mode of, experiencing God. Thus, for the Christian, but not for the secularist, experiencing Christian art consists in an experience of God himself.
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NAVONE, J. "The Value of Christian Art." Studies in Spirituality 14 (January 1, 2004): 303–17. http://dx.doi.org/10.2143/sis.14.0.505199.

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Russell, Ada. "Jensen, Understanding Early Christian Art." Studies in World Christianity 7, no. 2 (October 2001): 267–69. http://dx.doi.org/10.3366/swc.2001.7.2.267.

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Gustafsson, Daniel. "The Beauty of Christian Art." Forum Philosophicum 17, no. 2 (2012): 175–96. http://dx.doi.org/10.5840/forphil201217212.

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Strickland, Debra Higgs. "The Jewishness of Christian Art." Ars Judaica: The Bar Ilan Journal of Jewish Art 11 (May 2015): 97–100. http://dx.doi.org/10.3828/aj.2015.6b.

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Hemans, Caroline J., and Robert Milburn. "Early Christian Art and Architecture." American Journal of Archaeology 94, no. 3 (July 1990): 517. http://dx.doi.org/10.2307/505832.

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AL-AKAM, RUAA SADEQ MHMOOD, and Salam Hameed Rasheed. "Aesthetics of Byzantine Christian Art." Journal of Humanities and Social Sciences Studies 4, no. 1 (February 27, 2022): 143–53. http://dx.doi.org/10.32996/jhsss.2022.4.1.14.

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The current study addressed the study of (The aesthetics of Byzantine Christian art). Its problem was identified by answering the following question: What are the aesthetics of Christian art represented by the Byzantine icon? Also, it aims to (recognize the aesthetics of Byzantine icon art). The research community was identified to achieve the goal, which consisted of icons and religious drawings that the researchers could count as a framework for the research community after collecting pictures of the subject from foreign and Arab sources and Internet sites. The sample was drawn according to the following reasons: a) It covers the temporal and spatial limits of the research and what fits with the data to achieve the goal, b) Diversity of technical methods adopted in drawing icons and c) The study sample models witnessed a diversity of contents and ideas. The research study reached the following conclusions. First, they borrow iconographic products, religious images and semantic symbols related to the Christian tradition and employ them through analytical visual inferences, in harmony with the structural and structural treatments of the elements and organizational foundations. Second, the products of icon art are associated with the nature of the transition from the tangible to the ideal and in line with the loading of the composition structure with an expressive energy, explaining the necessity of interpretation of religious discourse, and defining the operational vision with a clear dramatic sense. Third, the iconographic models depend on philosophical data supporting the religious meaning carried in them and giving endless explanations for the public discourse affecting the functionality of (idea) or (event). Fourth, the models of iconographic art are close to the nature of the functional induction of spiritual and sacred tendencies. At the level of deep interpretations accompanying visual forms with a clear aesthetic impact, we find that icon art carries with it religious reference effects related to the sacred. Lastly, Icon art invests in accumulating aesthetic knowledge to produce the artistic image and summons the largest possible amount of data affecting its formulation and output.
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Smith, James K. A. "The Art of Christian Atheism." Faith and Philosophy 14, no. 1 (1997): 71–81. http://dx.doi.org/10.5840/faithphil19971418.

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Elliott, J. K. "Art and the Christian Apocrypha." Expository Times 113, no. 3 (December 2001): 84–87. http://dx.doi.org/10.1177/001452460111300304.

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Bruce, S. G. "Environmental Values in Christian Art." Environmental History 15, no. 3 (July 1, 2010): 563–65. http://dx.doi.org/10.1093/envhis/emq062.

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Dissertations / Theses on the topic "Christian art and synbolism"

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Gustafsson, Daniel. "A philosophy of Christian art." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/8052/.

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This thesis offers an original and comprehensive philosophical approach to the understanding of Christian art. It draws on a range of sources, from analytic and theological aesthetics, philosophy and theology, to interpret and articulate a vision of the aims and prerogatives of Christian art. Works by William Blake, David Jones, and R. S. Thomas are among those receiving close attention; works which yield a picture of art and creative labour as deeply implicated in the central mysteries and practices of the Christian faith. In five chapters, the thesis addresses the nature and the implications of the Form, the Beauty, the Good, the Ontology, and the Love of Christian art. It is the aim of Christian art to manifest God under the particular forms and beauty of the artwork. These forms are realised and discerned in the context of a Christian life. The artwork’s beauty invites a response of delight, gratitude, and the reorientation of our desires and dispositions towards the infinite beauty of God. As a sacramental object, the Christian artwork is positioned in a Christian ontological narrative, in which we humans are entrusted with transformative stewardship of the world. Outside this conceptual and ontological context, the work will not be experienced as what it is. Ultimately, the Christian artwork begs to be perceived and engaged with – as indeed it is created – as an object of love. Thus the artwork finds its place within an understanding of Christian faith as the striving for a personal union with God. Above all, Christian art is made, received and loved as part of our calling to grow in the divine likeness. In presenting this vision, the thesis breaks new ground, and not only makes significant contributions to analytic and theological aesthetics, but also offers material with implications for philosophy and theology more widely.
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Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.

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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
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McDonald, David L. "The art of financial stewardship consultation." Theological Research Exchange Network (TREN) Access this title online Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Allen, Susanne Bostick. "Christian Diet Books| Thinning, Not Sinning." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118622.

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All women, including Christian women, are susceptible to the diet industry’s selling of thin bodies as a commodity and media portrayals of thin women as desirable and successful. Overall, diet books are the most popular category of nonfiction, worth over $1.2 billion annually as of 2005. Evangelical Christian women believe they are obeying God’s will when they follow a Christian diet, but in reality they are subscribing to and perpetuating the prevailing American culture of thinness. The popularity of Christian diet books began in post-World War II America and continues today. They propose to solve the problem of women’s dissatisfaction with their bodies by offering diets based on Biblical teachings and Christian beliefs. This paper examines five Christian diet books published between 1957 and 2013: Pray Your Weight Away; First Place; The Weigh Down Diet; What Would Jesus Eat? The Ultimate Program for Eating Well, Feeling Great, and Living Longer; and The Daniel Plan: 40 Days to a Healthier Life. As long as the culture of thinness is an integral part of American society, there will be a market for diet books, and among evangelical Christian women for Christian diet books. This phenomenon is pernicious because it damages women’s self-assurance and alters their beliefs about the way they appear to the world.

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Von, Veh Karen Elaine. "Transgressive Christian iconography in post-apartheid South African art." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002220.

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In this study I propose that transgressive interpretations of Christian iconography provide a valuable strategy for contemporary artists to engage with perceived social inequalities in postapartheid South Africa. Working in light of Michel Foucault’s idea of an “ontology of the present”, I investigate the ways in which religious iconography has been implicated in the regulation of society. Parodic reworking of Christian imagery in the selected examples is investigated as a strategy to expose these controls and offer a critique of mechanisms which produce normative ‘truths’. I also consider how such imagery has been received and the factors accounting for that reception. The study is contextualized by a brief, literary based, historical overview of Christian religious imagery to explain the strength of feeling evinced by religious images. This includes a review of the conflation of religion and state control of the masses, an analysis of the sovereign controls and disciplinary powers that they wield, and an explication of their illustration in religious iconography. I also identify reasons why such imagery may have seemed compelling to artists working in a post-apartheid context. By locating recent works in terms of those made elsewhere or South African examples prior to the period that is my focus, the works discussed are explored in terms of broader orientations in post-apartheid South African art. Artworks that respond to specific Christian iconography are discussed, including Adam and Eve, The Virgin Mary, Christ, and various saints and sinners. The selected artists whose works form the focus of this study are Diane Victor, Christine Dixie, Majak Bredell, Tracey Rose, Wim Botha, Conrad Botes, Johannes Phokela and Lawrence Lemaoana. Through transgressive depictions of Christian icons these artists address current inequalities in society. The content of their works analysed here includes (among others): the construction of both female and male identities; sexual roles, social roles, and racial identity; the social expectations of contemporary motherhood; repressive role models; Afrikaner heritage; political and social change and its effects; colonial power; sacrifice; murder, rape, and violence in South Africa; abuses of power by role models and politicians; rugby; heroism; and patricide. Christian iconography is a useful communicative tool because it has permeated many cultures over centuries, and the meanings it carries are thus accessible to large numbers of people. Religious imagery is often held sacred or is regarded with a degree of reverence, thus ensuring an emotive response when iconoclasm or transgression of any sort is identified. This study argues that by parodying sacred imagery these artists are able to disturb complacent viewing and encourage viewers to engage critically with some of its underlying implications.
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Nail, Brian W. "Models of sacrifice and the art of Christian tragedy." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3183/.

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This thesis is a literary investigation of sacrifice in works of tragic literature and the Bible. In Part I, this thesis critiques René Girard’s scapegoating model of sacrifice and demonstrates the interpretive limitations that his theory of sacrifice imposes upon works of tragic literature and the Bible. In the first chapter, this thesis examines Eurpides’ play The Bacchae. Contrary to Girard’s assessment of works of classical Greek tragedy as texts that come to the defense of the tragic victim, I argue that this play participates in an elaborate re-mystification of scapegoating. Next, I conduct a tragic reading of the first twelve chapters of Exodus—focusing specifically on the birth of Moses and the story of the Passover. Contrary to a Girardian reading which simplifies the conflicts in Exodus to an irreducible opposition between Egypt and Israel, a tragic reading of the biblical narrative reveals a much more complex relationship between these groups. Using Christopher Fry’s play The Firstborn as a literary framework for investigating the biblical narrative, I read Moses as a tragic figure who struggles to come to grips with his own identity as a man raised by Egyptians and yet born an Israelite. Most importantly, Fry’s play dramatically highlights the sacrificial costs of the Israelites’ deliverance in Exodus—namely the infanticidal genocide of the firstborn of Egypt. In Part II of this study, I describe an alternative to Girard’s model of sacrifice which appears in the Gospel of Mark as well as in the work of Flannery O’Connor. In my reading of the Gospel of Mark as a work of Christian tragedy, I argue that at the Last Supper Jesus poetically improvises a model of eucharistic sacrifice that radically reconfigures the relationship between humans and the divine. According to this eucharistic model of sacrifice, the sacred is configured within the very materials of artistic representation. Consequently, the Jesus of Mark’s Gospel not only transfigures the opposition between oppressors and the oppressed but most importantly the opposition between the sacred and the profane. This study concludes with an investigation of the Catholic writer Flannery O’Connor. Through a close reading of "A Good Man Is Hard to Find" and Wise Blood, I argue that O’Connor’s work employs a model of eucharistic sacrifice to bring about a moment of transfiguration that defies interpretive closure. Finally, this thesis argues that by exploring this eucharistic model of sacrifice it may be possible to conceive of new approaches to imagining the relationship between readers, texts and the sacred.
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Blakeley-Carroll, Grace. "Illuminating the spiritual : the symbolic art of Christian Waller." Phd thesis, Canberra, ACT : The Australian National University, 2017. http://hdl.handle.net/1885/146396.

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Australian artist Christian Waller nee Yandell (1894-1954) created artworks that unified her aesthetic and spiritual values. The technical and expressive brilliance of her work across a range of art media - drawing, painting, illustration, printmaking, stained glass and mosaic - makes it worthy of focused scholarly attention. Important influences on her practice included Pre-Raphaelitism, Art Deco and the Celtic Revival. Her spirituality was informed by a range of orthodox and alternative systems of belief, including: Christianity, Theosophy, the Hermetic Order of the Golden Dawn and the international Peace Mission Movement. Acting as an emissary, she included personal symbols - especially the sun, the moon, stars and flowers - in her artworks to encourage spiritual contemplation. In this thesis, I argue that Waller harnessed the decorative and expressive potential of these movements - along with a commitment to Arts and Crafts values - to develop a personal set of symbols that expressed her sense of the spiritual. This encompassed the harmony of word, image and message, which underscored her work. It is for this reason that I locate Waller within the international discourse of spiritual art. Despite her remarkable talents across media and the distinctive quality of her art, Waller has always occupied a peripheral position within Australian art and art history. Even when she is included in significant books and exhibitions, most often it is in relation to her hand-printed book 'The Great Breath: A Book of Seven Designs' (1932) and her relationship with her husband, fellow artist Napier Waller. Key aims of this thesis are to highlight the breadth and depth of Waller's art practice and to demonstrate that she made important contributions to Australian art and to art that addresses the sacred.This thesis introduces a number of Waller's artworks, stories and personal ephemera into scholarship, making a comprehensive study of the artist possible for the first time. It makes a major contribution to scholarship on the artist, especially in relation to the spiritual values that underpinned her practice, as expressed in the key symbols that are identified. By extension, it contributes a more nuanced understanding of art produced between the First and Second World Wars to Australian art history and to scholarship on art that addresses the sacred.
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Fung, Nok-kan Nicole, and 馮諾勤. "Christian faith in the art of Wu Li (1632-1718)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199497.

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Wu Li 吳歷 (1632-1718) was an early Qing scholar artist who dedicated half his lifetime to religious pursuits. He was not only one of the many Chinese Christian converts in the seventeenth century, but one of the few early Chinese Jesuit priests. He was part of the educated elite community in Changshu, where foreign Catholic priests would visit and stay. Although Wu Li was exposed to Christianity at an early age, it was only when he was around forty sui that he turned to Christianity, possibly prompted after the deaths of close friends and family. Thereafter, he assisted European missionaries for a few years before leaving home to study in the Roman Catholic Diocese of Macao. On becoming a priest, he dedicated all his efforts in spreading his faith, and to take care of the Christian communities in Shanghai and Jiading. Throughout his priesthood, Wu Li continued with his scholarly practices including painting and poetry. It is in his poetry where elements of his Christian faith are most pronounced and there have been numerous research efforts focusing on this area of his m?tier. In contrast, current scholarship seldom examines the role of his faith in painting, and when there are interests, the tendency is to focus on the tension between his training in the Chinese literati painting tradition and his exposure to imported western artifacts. The predominant conclusion is that, as a painter, Wu was not influenced by western styles and elements, and maintained his status as an orthodox style painter. However, given Wu’s dedication to the church, his many poems on the Christian faith, and the close connection between poetry and painting, it is unlikely that Wu’s paintings remained untouched. This thesis unveils how Christianity, which had taken a new form in China and had captured the attention of the scholar-elite class, directed Wu Li’s approach to life, shaped his perception of nature, and, as I will show, inspired new ways of painting landscapes. I will scrutinize the Christian environment in seventeenth century China and within Wu Li’s immediate circles, and use the lens of religion to enrich a more nuance reading of Wu’s pictorial language. One of the key ways of breaking new investigative ground is to consider the function of paintings. As Wu Li presented gifts, including both didactic Christian artifacts and non-didactic landscape paintings to Christian converts, I examine the reciprocating relationships between Wu Li and his recipients, as well as his messages for them, which were driven by his priestly duty and ultimately his Christian faith.
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Fine Arts
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Master of Philosophy
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Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.

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Joumaa, Jamal, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The influence of the icon in contemporary Egyptian art." THESIS_CAESS_CAR_JOUMAA_J.xml, 2002. http://handle.uws.edu.au:8081/1959.7/229.

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The icon represents a great part of the heritage of Christian arts in Egypt. In this thesis the early stages of iconic art are studied to find out the influential factors leading to the formation of the icon as it is now. The Coptic icon in particular is studied, both the icon itself and how it differs from the Byzantine icon. The religious factor is focussed on as an effective and modelling element in defining the icon, and the symbols are studied in order to go back to their historical roots. This study also aims at tracing the phenomenon of iconic art, by studying its characteristics and the works themselves and by clarifiying the iconic symbols as part of the cultural and creative activity. The important artworks in iconic art are analysed, and the effect of iconic art on human and social life is shown
Master of Arts (Hons)
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Books on the topic "Christian art and synbolism"

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Fernando, Winitha. Christian art. United Kingdom: Fernando Publishers, 2008.

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Fernando, Winitha. Christian art. United Kingdom: Fernando Publishers, 2008.

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Meer, Frederik van der. Early Christian art. Ann Arbor, Mich: University Microfilms, 1995.

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Morman, Jean Mary. Art shapes faith shapes art. Chicago: ACTA Publications, 1993.

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Imperial art as Christian art, Christian art as imperial art: Expression and meaning in art and architecture from Constantine to Justinian. Roma: Bardi Editore, 2001.

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Early Christian & Byzantine art. London: Phaidon, 1997.

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Christian art in India. Madras: Christian Literature Society, 1986.

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Dictionary of Christian art. New York: Continuum, 1994.

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K, Elliott J., ed. Art and Christian Apocrypha. London: Routledge, 2001.

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Malta) Biennale of Christian Art (4th 2002 Mdina. Contemporary Christian art: Malta 2002 : the Fourth Biennale of Christian Art. Edited by Borg Vincent and Cathedral Museum (Mdina Malta). Mdina, Malta: Cathedral Museum Publications, 2002.

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Book chapters on the topic "Christian art and synbolism"

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Jensen, Robin M. "Art." In The Early Christian World, 717–44. Second edition. | New York : Routledge, 2017. | Series: Routledge worlds: Routledge, 2017. http://dx.doi.org/10.4324/9781315165837-35.

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Couzin, Robert. "“Early” “Christian” “Art”." In The Routledge Handbook of Early Christian Art, 380–92. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-23.

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Pattison, George. "Christian Theoria." In Art, Modernity and Faith, 54–77. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21461-7_4.

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Stokstad, Marilyn. "The Early Christian Period." In Medieval Art, 13–44. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-2.

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Jensen, Robin M. "Jesus in Christian Art." In The Blackwell Companion to Jesus, 475–503. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444327946.ch29.

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Bhalla, Niamh. "Christian Ivories." In The Routledge Handbook of Early Christian Art, 207–20. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-13.

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Smith, Eric C. "Art and Heterotopia." In Foucault’s Heterotopia in Christian Catacombs, 39–70. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137468048_5.

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Leader-Newby, Ruth. "Early Christian Silver." In The Routledge Handbook of Early Christian Art, 240–53. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-15.

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Talgam, Rina. "Christian Floor Mosaics." In The Routledge Handbook of Early Christian Art, 104–23. First [edition]. | New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315718835-7.

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Löwner, Gudrun. "Buddhist-Christian Dialogue in Art." In The Routledge Handbook of Buddhist-Christian Studies, 323–36. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043225-32.

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Conference papers on the topic "Christian art and synbolism"

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Moiseenko, Marina. "Phenomenon of Christian Art Through the Prism of Ancient Russian Art." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.3.

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Isbasoiu, Iulian. "Representations of God in Icons. Immanence and Transcendence in Christian Art." In The concepts of "transcendence" and "immanence" in the Philosophy and Theology. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2015.2.2.14.

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Siahaya, K. M., N. Rinukti, N. D. Nababan, S. A. Budiyanto, and S. H. Nugroho. "The Effect of Emotional Intelligence on Music Art Learning Performance Mediated by Motivation." In International Conference on Theology, Humanities, and Christian Education (ICONTHCE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220702.038.

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Zendrato, Melur, Suharno Suharno, and Leo Agung. "Development of Christian Character Teaching Materials In the Implementation of Character Education." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294878.

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Du, Yingying. "Interpretation of Power: A Comparison Between Christian-based West and Confucius-based East." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.171.

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Vatamanu, Catalin. "THE VOICE OF GOD AND ITS ANTHROPOMORPHIC REPRESENTATION IN THE JEWISH AND CHRISTIAN ART." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/2.2/s06.019.

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Bogatyrev, Andrei, and Elena Milyugina. "PALLADIAN TRADITION OF STUDYING CHRISTIAN ARCHITECTURE IN THE ART HISTORY HERITAGE OF NIKOLAY LVOV." In 8th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscah.f2021/s07.15.

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Dancak, Pavol. "The Christian Universalism, Globalization and Tolerance in the Thought of Joseph Ratzinger - Benedict XVI." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.165.

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Sabella, Maria Paola. "Le Corbusier et Christian Zervos dans Cahiers d’art." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1018.

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Abstract: The search has as purpose to notice the importance of Christian Zervos (Argostoli 1889 – Paris 1970), a greek art historian and founder of the magazine and publishing house Cahiers d’art, that lived in Paris from 1907 to the end of his life) with Le Corbusier, inserted in the contest of Cahiers d’art. The exceptional versatility of Zervos’s mind had allowed him to realize, through Cahiers d’art, a intellectual environment that exceeded the ordinary publishing house of that period, beacuse it was enchanted and nourished by all sector of knowledge. Zeros, inside the Cahiers d’art, made Le Corbusier protagonist of the section of Architecture, that submits to Sigfried Giedion. In fact since the first number of Cahiers d’art the work of Le Corbusier was broadly taken in examination. The articles related to the work of the Architect have gone since 1926 to 1954; the themes that touch these texts can be separate in four major topics: design, private house, great public buildings, painting. La recherche a le but de relever l’importance de Christian Zervos (Argostoli 1889-Parigi 1970), historien de l’art et fondateur des Éditions Cahiers d’art, qui vécut à Paris depuis 1907 à sa mort, et Le Corbusier, insérée dans le contexte de Cahiers d’art. L’exceptionnel éclectisme de Zervos a permis de réaliser dans Cahiers d’art un excellent milieu intellectuell qu’il va au-delà des Éditions, car uni et nourri par chaque domaine de la connaissance. Dans les Cahiers d’art, Zervos rend Le Corbusier le protagoniste de la section d’architecture, soignée par Siegfried Giedion. Keywords: Cahiers d’art; Christian Zervos; projects. DOI: http://dx.doi.org/10.4995/LC2015.2015.1018
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Chistyakova, Olga. "Philosophical-anthropological Grounds of Self and God (as Other) Relationship in Christian and Islam Discourses. In the Context of Interreligious Communications." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.181.

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