Malum : representações do monstro no feminino

• Autor(a) principal: Brazão, Ana Clara Antunes
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/40818
• topic: Idade Média; Cristianismo; Monstros; Representação feminina; Iconografia; Corpo; Ilustração; Simbologia; Domínio/Área Científica::Humanidades::Artes

The Middle Ages, is richly populated with depictions of the Monster, in numerous artistic manifestations. They are present in the travel narratives, the illuminations of the Books of Hours and Bestiaries, the sculptures of the cathedrals, and convey the concern and fear but also the imagination of medieval man. If the monster is inherited from the myths and legends of the Greek and Latin cultures and through them, also from Asia, it is taken up by the Christian tradition and religion, finding two distinct ways of representing it: originating from the fantastic stories or from the monstrous births that portended divine punishment. In such a vast field, we directed our study to the female representation of the monster. For this purpose, a theoretical and practical work was carried out in which, in the theoretical part, we sought to address issues related to the definition of the monster, the inheritance and iconography of the monster and in which several monstrous figures such as the dragon, the centaur, the unicorn, the mermaid and the melusine. The iconography of hell and the devil was studied as a contextualization of the church's view of the monstrous woman in the Middle Ages, especially at the end of this time, what are its visual characteristics, and its symbolic charge attributed by the church. For this, an iconographic collection was made that accompanied the theoretical foundation. This collection was important because it was intended to know medieval illustrations on this subject and libraries and museums, in their digital aspect, were an inexhaustible source that allowed a view of medieval art and consequently the mentality of the Middle Ages. The practical part is a work of illustration composed of 28 watercolors, organized in an album called “Malum, A Monster Catalog”. These illustrations establish a personal dialogue with medieval iconography, recognizing the religious view of women associated with Eve's sin, temptation, the serpent, the demonic, but also the sacred, with the redemptive figure of the mother of God.