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THE ORIGINS OF CHARLOTTE REIHLEN'S "TWO WAY" LITOGRAPHY (1867): continuities, omissions, and modifications of the composition and central motives read from a confessional and citizenship perspective

Grant number: 19/25697-0
Support type:Scholarships in Brazil - Scientific Initiation
Effective date (Start): June 01, 2020
Effective date (End): May 31, 2021
Field of knowledge:Humanities - Theology - History of Theology
Principal researcher:Helmut Renders
Grantee:Rafaela Robertti Souza
Home Institution: Faculdade de Teologia (FATEO). Universidade Metodista de São Paulo (UMESP). Instituto Metodista de Ensino Superior (IMS). São Bernardo do Campo , SP, Brazil

Abstract

The research proposed here is related to the project "Evangelical visual culture: the emergence" of Helmut Renders (FAPESP: Process 2015.13737-7 Regular project / term Sept. 2017 - Aug. 2019 / Project 64/2015 / CONSUN / Umesp) and proposes to focus on the imagetic prehistory of Charlotte Reihlen's "The Two Ways" or "The Wide and Narrow Path", originally created in 1867 in the city of Stuttgart in Germany. The parts of this project are: (a) an analysis of the composition and the main motives of the respective lithography; (b) analysis of the origins of the precedents imagery ; and (c) interpretation of the main motives of the work and its composition as a whole, in its confessional connections and itis statements on citizenship. The general object of this research is to know the original imaginary of Charlotte Reihlen's work from Hieronymus Wierix's 1616 print "The Two Ways," including the five most important intermediate states. This research is justified by the need to overcome a still found visual illiteracy that or ignores the importance of visual culture in Protestantism of the mission or reduces to mere illustrations of texts, without their own life and peculiar meanings. As a method follows Erwin Panofsky's iconological method (pre-iconographic reading; iconographic and iconological reading). As a result it is expected to increase knowledge about the visual culture of Brazilian missionary Protestantism since its arrival, about its interfaith visual relations and about some themes related to citizenship that are generally ignored in its interpretation.

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