Academic literature on the topic 'Miraculous images'

Purpose – The purpose of this paper is to discuss various aspects of the development of the places of apparitions and miraculous images, motives and behavioral characteristics of pilgrims coming to the miraculous places of the Virgin Mary in Lithuania. Design/methodology/approach – The paper reviews literature about miraculous events and presents miraculous places in Lithuania (apparition places of the Virgin Mary and sites of miraculous images). Various classifications are applied. Pilgrims ' motivation and behavioral aspects are analyzed based on the quantitative survey. Findings – The research showed that the main motives of religious pilgrims visiting miraculous places were asking for God’s grace, health, expressing gratitude to Jesus or Virgin Mary as well as spiritual quest and renewal. These places attract pilgrims who want to solve different problems in their life or to recover from illnesses. Religious pilgrimage has different forms and rituals, and constitutes different models of the specific behavior. During the journey, pilgrims perform various religious practices such as praying, singing hymns, kissing the relics, etc. The grouping of devotional rituals performed during the pilgrimage and at the destination place is presented. Originality/value – The paper is important to the researchers of pilgrimage and religious tourism. For the first time, miraculous places of Lithuania are analyzed in the broader international context. Classifications of the miraculous sites indicate various aspects of the development of these places. Motives and behavioral characteristics of pilgrims enable to better understand the multidimensional reality of religious pilgrimage.

Book Review: Sandra Cardarelli and Laura Fenelli, eds., Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance. Tournhout: Brepols, 2017. 318pp; 87 color ills.; 30 b/w ills. Hardcover €120.00 (9782503568188)

This article examines the depiction of gambling in recent films. Often gambling is portrayed either very positively or very negatively. The authors found eight overlapping themes represented in these movies: (1) pathological gambling, (2) the magical skill of the professional gambler, (3) miraculous wins as happy endings, (4) gamblers are suckers, (5) gamblers cheat, (6) gambling is run by organized crime, (7) the casino heist, and (8) gambling as a symbolic backdrop to the story. These themes suggest that the portrayal of gambling in movies has a number of interesting distortions. The discussion centres on how these distortions have an impact on efforts to accurately disseminate information about gambling to the general public.

Em nossa dissertação de Mestrado analisamos o conjunto de quatro pinturas retabulares encomendadas na década de 40 do século XVII para ornar a capela do hoje extinto Convento dos Capuchinhos da Paciência de Cristo de Madri (1651-1836). Estas pinturas narram a lenda que ficou conhecida como a do Santo Cristo da Paciência ou do Cristo das Injurias, e figuram o ataque de um grupo de pessoas a um crucifixo que, enquanto sofre tal desacato, expressa o seu poder milagroso através da fala e do jorro de sangue. Nosso objetivo foi, por meio da análise dessas pinturas, entender o significado das imagens religiosas para a cristandade espanhola deste período e o quanto os ataques iconoclastas preocupavam os membros da Igreja católica e seus fiéis de modo geral, a ponto de gerar a encomenda de tais obras. Para tal, investigamos este corpus de imagens em dois níveis fundamentais: analisando seus elementos formais e temáticos; e sua relação com o cristianismo a encomenda e o debate sobre as imagens, sobre seus usos e funções nas práticas cultuais do catolicismo na Espanha do século XVII.
In our master dissertation we analyzed the group of four altarpieces commissioned in the 1640s to decorate the chapel of the extinct Capuchin Convent of Patience Christ of Madrid (1651-1836). These paintings ndepict the legend that became known as the Holy Christ of the Patience or Christ of the Injuries, and represent the attack of a group of people to a crucifix which, while suffering such disrespect, expressed his miraculous power through speech and the blood gush. Our aim was, through the analysis of these paintings, to understand the meaning of these religious images for Spanish Christendom in this period and how the iconoclastic attacks were a source of worry for the members of the Catholic Church and the faithful in general so as to generate a commission for such works. For this purpose, we investigated this corpus of images on two fundamental levels: analyzing their formal and thematic elements; and its relation to Christianity - the commission and the debate about images, their uses and functions in cultual practices of Catholicism in seventeenth century Spain.

This study examines the cult of Our Lady of Remedios from an art-historical perspective. Choosing this specific cult statue as a case study is not arbitrary: Remedios is among the oldest Marian images in the New World and was named first patroness of Mexico City in 1574, when the city council became the patron of her shrine and a confraternity was founded to better disseminate the cult. As a result, the statue was carried fifty-seven times through the streets of New Spain's capital in three hundred years (an average of one procession every five years), thus outnumbering any other religious event that was not part of the liturgical calendar. The fame of Our Lady of Remedios was closely linked to her role as Socia Belli of the Spanish army, as she was believed to have protected Hernán Cortés and his allies during the conquest of Mexico-Tenochtitlán in 1520-21. Her character as protector in times of war was enhanced in the centuries to come, when she was called to the city on every occasion when the Spanish Crown was involved in military campaigns. Her protection, however, was mainly requested in times of drought and epidemics, a reason for which her fame as protectress of the city grew intensively, and all sectors of society (Spanish, Indians, and Castas) followed her with the same fervent faith. This dissertation is a monographic study of a miraculous image that has hitherto been overlooked in the history of colonial religiosity of New Spain despite its symbolic relevance for the society of its time. It considers the sixteenth-century statue and the ways it was displayed to its devotional audiences as documents that inform us about its social role. By placing this cult image in the ritual context to which it belonged, both spatial and spiritual, this study considers the devotional gaze with which her devotees engaged her showing how devotion, aesthetics and politics were intertwined during colonial Mexico.
History of Art and Architecture

Dissertação apresentado ao ISPA-Instituto Universitário para obtenção do grau de Doutor em Psicologia Aplicada: Especialidade Psicologia da Clinica
A IMAGEM INCONSCIENTE DO CORPO, em Françoise Dolto, não é uma representação mental, directa e visível do corpo, já que se constrói com os ingredientes mais finos e subtis da vida psíquica (sensorialidades, memória, sentimentos, emoções, fantasias e pensamentos), opera como matriz vivencial do sujeito no mundo, e só é acessível, consciente e inconscientemente, através da relação verbalizada com o outro. Como se constata pelas produções artísticas da criança, a imagem inconsciente do corpo, em Françoise Dolto, é da ordem do real, do imaginário e do simbólico e impele a interrogar-se, sem cessar, sobre o que é que o espírito (subjectividade) deve ao corpo. Noutras palavras, a imagem inconsciente do corpo, em Françoise Dolto, é a concretização corporal, relacional e subjectiva do sujeito no mundo que, sob a forma de memorial, de suporte existencial, de sentimento de si mesmo e de desejo (mais da ordem do ser do que do ter, e mais na clave do inconsciente do que da consciência) o insere na história universal dos humanos. Conceito original e síntese viva de todas as experiências emocionais, cognitivas e corporais do sujeito, a imagem inconsciente do corpo vai-se construindo a partir das primeiras relações, fundadoras, mãe-bebé, até tornar-se o substracto da encarnação do sujeito no mundo. A imagem inconsciente do corpo, em Françoise Dolto, não é, portanto, a imagem consciente do corpo fantasiado no prisma perceptivo- - visual, mas corresponde a uma certa maneira de sentir, de amar e de pensar no processo interior de elaboração do eu. OS EVANGELHOS (do grego Euangelion) são a boa nova do Reino de Deus anunciado, por Jesus de Nazaré, particularmente aos pobres de Israel (Mt 11, 5). Efectivamente, é em Jesus de Nazaré (sobretudo na sua morte e na sua ressurreição) que se realiza a salvação de Deus Pai, concedida gratuitamente pelo Espírito a todos os homens de boa vontade (Jo 3, 14-18; Jo 4, 1-42; Act 4, 8-12; 1 Cor 15, 1-11). Os evangelhos compreendem os acontecimentos, as palavras e os gestos de Jesus de Nazaré, codificados, sob a inspiração do Espírito Santo, pelos quatro evangelistas (Mt, Mc, Jo, Lc), e proclamados, como uma notícia feliz, aos pobres, aos cegos, aos oprimidos, aos prisioneiros e a todos os que esperam o dia do Senhor (Is 61; Lc 4, 14-31). Como intervenções extraordinárias de Deus, em Jesus de Nazaré os milagres vêm confirmar a messianidade da sua pessoa e o carácter sublime da sua missão junto dos pobres de Israel. Neste sentido, os milagres operam como sinais (semeia) e como acções poderosas de Deus (dynameis) proclamando, sem cessar, as magnalia Dei. Apesar do peso sensível da sua historicidade, os milagres de Jesus de Nazaré apresentam uma linguagem e uma estrutura simbólicas peculiares, determinadas pela fé das primeiras comunidades cristãs e pela cultura do seu tempo. Os evangelhos, escritos entre os anos 68 e 95 da nossa era, testemunham, oral e existencialmente, a fé na ressurreição de Jesus de Nazaré (Mt 27, 50-53; Rm 6, 3-11; Ef 2, 4-10). A IMAGEM INCONSCIENTE DO CORPO + OS EVANGELHOS. O objectivo do nosso trabalho é a iluminação das curas miraculosas dos evangelhos com os conceitos da imagem inconsciente do corpo, segundo Dolto: Optamos pelos relatos evangélicos que nos parecem exprimir melhor a condição universal e finita de todos os humanos, quer do ponto de vista sintomático (os cegos, os paralíticos, os surdos), quer do ponto de vista dinâmico (a invisualidade, a imobilidade, a incomunicabilidade). Em conformidade com a reformulação dos mesmos textos evangélicos com os conceitos doltonianos, os miraculandos dos evangelhos apresentam-se como: - sujeitos de desejo (dimensão histórica); - corporalmente presentes no mundo (dimensão corporal); - simbolicamente instituídos (dimensão terapêutica ou espiritual). Não pretendemos fazer uma exegese científica ou teológica dos textos bíblicos, mas uma reformulação simbólica e clínica, pressupondo já a exegese histórico-crítica e teológica dos mesmos. ----------- ABSTRACT ---------- THE UNCONSCIOUS IMAGE OF THE BODY IN FRANÇOISE DOLTO, IT IS NOT A MENTAL, DIRECT and visible representation of the body, as it is built with the finest and subtlest ingredients of psychic life (sensations, memory, feelings, emotions, fantasies and thoughts), it operates as experiential matrix of the subject in the world, and it is only accessible, conscious and unconscious, through the verbalized relation with the other. As it can be seen by the artistic production of children, the unconscious image of the body, in Françoise Dolto, belongs to the real, to the imaginary and to the symbolic and urge the incessantly interrogation, about what the spirit (subjectivity) owes to the body. In another words, the unconscious image of the body in Françoise Dolto is the corporal, relational and subjective concretization of the subject in the world, that, under the shape of memorial, existential support, the feeling of himself, and of desire (more in the sense of being than of having and more in the key of unconscious than consciousness) inserts the subject in the universal history of humankind. Original concept and living synthesis of all emotional, cognitive and corporal experiences of the subject, the unconscious image of the body is built from the first relations, founders, mother-baby, until it becomes the substrate of the incarnation of the subject in the world. The unconscious image of the body, in Françoise Dolto, it is not the fantasized conscious image of the body, in the perceptive-visual prism, but corresponds to a certain way of feeling, loving and thinking in the interior process of elaboration of the self. THE GOSPELS (from the Greek Euangelion) are the good news of the kingdom of God announced, by Jesus of Nazareth, particularly to the poor of Israel (Mt 11, 5). Indeed, it is in Jesus of Nazareth (especially in His death and His death and His resurrection), that it is accomplished the Salvation of the God Father, freely granted by the Spirit, to all the men of Good Will (Jo 3, 14-18; Jo 4, 1-42; Act 4, 8-12; 1 Cor 15, 1-11). The Gospels include the events, the words and the gestures of Jesus of Nazareth, encoded by the inspiration of the Holy Spirit, by the four evangelists (Mt, Mc, Jo, Lc), and proclaimed, as a happy news, to the poor, to the blind, to the oppressed, to the prisoners and to all that wait for the Day of the Lord (Is 61; Lc 4, 14-31). As extraordinary interventions of God, in Jesus of Nazareth, the miracles are a confirmation of the Messiahship of His person and the sublime character of His mission with the poor of Israel. In this sense, the miracles operate as signs (Semeia) and, as powerful actions of God (dynameis) proclaiming, incessantly, the magnolia Dei. Despite the sensible weight of his historicity, the miracles of Jesus of Nazareth have a peculiar symbolic language and structure, determined by the faith of the first Christian communities and by the culture of its time. The Gospels written between the years 68 and 95 of our time, testify oral and existentially, the faith in the resurrection of Jesus of Nazareth (Mt 27, 50-53, Rm 6, 3-11; Ef 2, 4-10). THE UNCONSCIOUS IMAGE OF THE BODY + THE GOSPELS. The aim of our work is the illumination of the miraculous cures of the gospels with the concepts of the unconscious image of the body, according to Dolto: We opted for the evangelical reports which seem to better express the universal and finite condition of all humans, either from the symptomatic point of view (the blind, the paralytics, the deaf), or from the dynamic point of view (the blindness, the immobility, the lack of communication). According to the reformulation of the same evangelic texts with the concepts of Dolto, the miraculous of the Gospels are shown as: - subjects of desire (historical dimension); - bodily present in the world (corporal dimension); - symbolically instituted (spiritual or therapeutic dimension). We do not intend to do a scientific or theological exegesis of the biblical texts, but a symbolic and clinical reformulation assuming already a historical, critical and theological exegesis of the same.

L'image miraculeuse de la Vierge de Guadalupe mexicaine est bien plus qu'une icône religieuse : aujourd'hui symbole national, c'est un objet politique qui s'est trouvé au coeur de rivalités constantes entre le pouvoir civil et l'Eglise depuis son " apparition " au XVIe siècle. Sans pour autant négliger les liens qui la rattachent à chacun, ou presque, des Mexicains, nous nous sommes efforcés de mettre en lumière cet aspect trop souvent négligé de son histoire qui se déroule sur près de cinq siècles
The miraculous image of the Mexican Virgin of Guadalupe is much more than a religious icon : It is a national symbol and a political object which has been at the heart of constant rivalities between the civil authorities and the Church since her "apparition" in the XVIth century. Without neglecting the intimate relationship most Mexicans have developed with her, we have been focusing on this aspect, too often forgotten from most scholar studies on the matter

碩士
國立臺灣藝術大學
視覺傳達設計學系碩士班
101
The creation of the study focused on Dajia Mazu Procession, adopting textual analysis to reveal the history and cultural scene of Dajia Mazu Pilgrimage, conducting direct observation to photograph and collect data as the image material for the study. In addition, using case study to analyze content of Mazu-related artworks of Taiwan artists and interpreting creative ideas of artworks adopting photomontage technique by worldwide photography artists. The creation of the study use photomontage techniques, imitating the spirit of oriental painting of Long Chin-San’s composite photography works and poetic beauty of Jerry Uelsmann's(1934 ∼) artworks, presenting the enthralling images of pilgrimage troupe by using digital image composition technique to cut, combine, and collage photographs. Using the Chinese long handscroll's banner type to frame the artwork and expand the space and time of the image presentation, and applying Roland Barthes' semiotic theory to analyze and interpret the study. The researcher hopes the underlying meaning of three themes of the artwork--"Adversity", "Miraculous brightness", "Mindfield" can touch viewers deeply and move them to find their own value of life, and become the co-creation between the study and viewers. The creation process of the study lasted for two years participation and photo shooting during the procession in 2011 and 2012. The recorded results can apply to art creations and the follow-up research as reference materials; with the booming development of modern day's cultural and creative industry of Taiwan, the author anticipates that the final presentation of the study can apply to cultural creative product, and become the advertising resource of cultural tourism marketing of Dajia Mazu Procession Festival.