R - Teses de Doutoramento / Doctoral Theses
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- A construção do discurso teológico na obra de José Augusto MourãoPublication . Vasconcelos, Rui Pedro Rodrigues; Teixeira, Alfredo Manuel Matos Alves R.A presente investigação tem como objeto de estudo a obra do dominicano José Augusto Miranda Mourão (1947-2011), procurando relevar nesta escrita uma operação de constituição de um discurso teológico. O quadro epistemológico que preside à investigação é fornecido pela Teologia Prática tal como a compreende Marcel Viau, enquanto fides quarens verbum, "a fé que busca um discurso", segundo o qual a missão fundamental da prática teológica consiste na produção de "artefactos teológicos", dotados de uma dimensão epistemológica, retórica e estética, capazes de suscitar, nos seus interlocutores, uma interrogação e uma experiência do crer. Esta missão da Teologia Prática, tal como a entende Viau, tem como ponto de partida a natureza linguística do intelecto e da praxis humanas, realçado pelo processo de Linguistic Turn. À luz deste quadro, pretende-se evidenciar o modo como o pensamento de Mourão, no modo como segue os múltiplos eixos da linguagem e das textualidades, permite compreender o exercício teológico sob o signo do texto, da leitura e da hermenêutica. O facto desta obra extensa e plurifacetada se enquadrar, nos seus lugares de produção e nos seus eixos de reflexão, no horizonte das ciências humanas, particularmente da semiótica e dos estudos literários, constitui um repto e ao mesmo tempo uma oportunidade para dotar a teologia de uma capacidade de diálogo interdisciplinar, na convicção de que o discurso teológico deve encarnar nos registos múltiplos da linguagem. Esta indagação permanente do ser humano enquanto produtor de objetos culturais de sentido (literários, artísticos, religiosos) permite, por outro lado, dotar o discurso teológico de uma capacidade de renovar a sua própria linguagem e os modos como busca uma enunciação de Deus. Tal projeto teológico preside à produção de objetos textuais, homiléticos e poéticos, tatuados pela marca do espaço litúrgico, na preocupação fundamental de prover o corpo crente, pessoal e comunitário, de uma dicção do seu desejo e da sua experiência.
- Contours of resiliences : cimate futures reimagined in post-disaster PhilippinesPublication . Ambulo, Brian Jay de Lima; Silva, Ana Luísa dos Santos Diniz daThe escalating climate crises, coupled with entrenched systemic inequalities and fragmented development approaches, have propelled the discourse of resilience into prominence, particularly concerning marginalised communities within the Global South. The concern, then, is not whether resilience is possible but how it can be conceptualised to honour the agency of those most affected. My central question arises from this very challenge: How can potentials for resilient places and communities in post-disaster settings be navigated when evaluating co-developments between environmental changes and everyday human and more-than-human creative practices? This dissertation reimagines resilience by critically examining the intersections of extractive colonial legacies, socio-ecological transformations, placemaking, and development trajectories in a post-disaster Philippines. It interrogates how global power imbalances, embedded in colonial histories, continue to shape material and immaterial landscapes, perpetuating inequalities and marginalising pluralistic epistemologies. These colonial residues continue to shape modern development paradigms that prioritise exploitative growth, driving anthropogenic climate change and the increasing likelihood of future disasters. Through an investigation of island spatialities and placemaking practices in Siargao Island, the research uncovers the complex interdependencies between humans and more-than-humans, advocating for development approaches incorporating local knowledge systems and ecological commingling. I offer a manifesto that tinkers and fiddles with elements of unorthodox views yet situated practices, radical opinions yet lived experiences, creatively reshaping our interlinkages and interrelationships with our home, our ecologies, our economies, and our selves. It posits that the essence of resilience transcends survival or adaptability; it encapsulates a transformation of culture and nature, thereby engendering spaces and communities that are not fleeting and volatile, but enduring and flourishing.
- Creativity as performance : on the cultural conditionsof western art music interpretationPublication . Hilsdorf, Leonardo Marranghello; Hanenberg, Peter HeinrichThis thesis aims to contribute to the understanding of creativity in Western music performance. Building upon Glaveanu (2020) and Csikszentmihalyi (1988) cultural theories of creativity, this study focuses on the understanding of music performance creativity as a dynamic and transdisciplinary process. It similarly aims to address the commonly held notion that modern pianists exhibit lower levels of originality compared to previous generations. In order to do this, it will analyse creativity in musical performance from three interrelated and interdependent perspectives: individual, societal, and cultural. From the perspective of the individual creator, I will examine the role of the performer as a co-creator, as well as the notions of interpretation as the catalyst for newness in Western music performance. A comparative case study between eight distinct renditions of the Mazurka op. 59 n.1 by Chopin is developed. The performances were selected from live recordings of the semi-finals of two distinct editions (1980 and 2015) of the International Chopin Competition in Warsaw. The objective of the suggested case study is to demonstrate that a single noted musical composition has multiple interpretative truths, so establishing the initial stage for a performance to be deemed innovative. Nevertheless, creativity mostly refers to a cultural designation given to novel artefacts following societal approval. Hence, to examine under which cultural conditions an innovative performance is regarded as creative, the thesis will situate the analysed performances within a performative tradition in Western art music that is passed down orally through generations. Additionally, it will explore the impact of digitalization of recordings archive on the performers in modern society. Finally, to address the social role in selecting the appropriate variants worth being preserved, Ivo Pogoreli 's elimination in the 1980 Chopin Competition will be discussed, analysing the social reactions of specialised critics and audience members. This case will address the concept of transgression as a generative will that fosters the new, and also explore the distinction between an innovative performance deemed creative by field members versus those perceived as bizarre or idiosyncratic. To address the hypothesis of the current homogenization of modern pianists, this study examines musical creativity as a procedural occurrence that is influenced by socio-cultural forces, and unique to different cultures and performing styles throughout history. The conclusion evidences the limiting role that society and cultural traditions have in promoting and embracing innovative interpretations, revealing a paradox between the praise of novelty within Western art music performance and its constricted limits of its acceptance.
- A dialogue on shock and culture: the queer case of BeirutPublication . Khairallah, Jad; Barba, Maria Luísa Homem Leal de Faria GeraldesThe aim of this dissertation is to locate the concept of shock within a political economy formation that responds to the queer situation of the city of Beirut. Moving away from shock as trauma, I redefine the notion as an investigative tool and lens, transcending a reactionary feeling. Shock, in this context, is understood as a phenomenological and embodied experience that is temporal, affective and relational, one that communicates within a triangulation of triggers, players and culture. Instead of pursuing reasons and causes, the thesis explores shock operations, focusing on how it exists, it maneuvers, and is applied. The dialogue between shock and culture establishes a methodological foundation within Lebanon, specifically emphasizing queerness in Beirut. In a setting where regional disconnects, colonial histories and pseudo religious socio-political powers intersect normativity with continuous instabilities, the research investigates the shock’s affective valence and queer future within its cityscape. I contextualize shock by means of analytical engagements that are informed by culture studies as an essential component for understanding the site and development of a culture that assimilates with shock as it moves along through societies, community dynamics and power structures. I underscore queer theoretical approaches that hone in on the relational figure of ‘the shocking other,’ to reveal the intricate negotiation of implied normativity, difference, and otherness within broader social, economic and political systems. I explore the shock’s navigation in both the digital and material landscapes of Beirut by means of LGBT subjectivities. Through field visits to the city, auto-ethnography, and an analysis of the October 17th protest ground in 2019, I account for embodied shock experiences that document shock traces. Additionally, I integrate conceptual, practical, and lived applications that encourage a reflexive approach, especially when recalling the August 4th Beirut port explosion in 2020. By dwelling on the shock’s destructive path, both literally and metaphorically, the thesis identifies shock as a political tool, particularly advantageous for the queer body. It highlights the economy of shock within discussions of temporalities, emphasizing affective exchanges with established cultural concepts. Furthermore, it serves as a hopeful opening carrying potentiality in its aftermath. This dynamic interplay between shock and culture offers a fresh investigative lens into the evolving human outlook amid unexpected escalations and an abundance of shocks from within the contemporary experience.
- Do mar ao(s) livros(s) : açorianidade e (in)traduzibilidade em mau tempo no canal, de Vitorino NemésioPublication . Brasil, Ana Catarina Silveira; Lopes, Maria Alexandra AmbrósioDo Mar ao(s) Livro(s) procura refletir sobre a açorianidade – e a condição de ser ilhéu –, olhando-a de um novo prisma: o da sua (in)traduzibilidade. Partindo do romance Mau Tempo no Canal (Bertrand [1944] 1994), de Vitorino Nemésio, nesta tese analisa-se a sua tradução para língua francesa, da autoria de Denyse Chast, intitulada Gros Temps sur L’Archipel (Éditions de La Différence, 1988, 2014) – inicialmente editada sob o título Le Serpent Aveugle (Plon, 1953) e a única publicada em vida do autor, que acompanhou de perto o processo de tradução –, bem como a sua tradução para língua inglesa, da autoria de Francisco Cota Fagundes, Stormy Isles: an Azorean Tale (Gávea-Brown, 1998; Tagus Press, 2019). O principal foco de análise será as marcas da açorianidade patentes no romance e o seu tratamento nas referidas traduções. Para o efeito, entenda-se “marcas da açorianidade” como traços identitários do povo açoriano materializados em Mau Tempo no Canal em duas vertentes: Heterolinguismo – externo e interno, ou seja, entendido como a utilização, no romance, não só de línguas estrangeiras, mas também de variedades da língua portuguesa, incluindo o recurso a regionalismos híbridos de base anglo-americana (como “alvarozes” [1994:109] overalls) –, bem como Descrições da Paisagem e do Clima. Ambas as vertentes integram referências a diversos aspetos da vivência açoriana, da fauna à flora, à baleação, às tradições culturais e religiosas, remetendo com frequência para a história dos Açores. É, portanto, minha convicção que a presença, no romance, destes elementos difunde e subsidia a noção de açorianidade, concebida por Nemésio cerca de uma década antes da publicação de Mau Tempo no Canal. Assim, ao traçar a história interna da tradução do romance, constitui esta tese um estudo comparativo textual das edições de língua portuguesa, francesa e inglesa, com vista a identificar os efeitos das estratégias tradutórias adotadas no entendimento do romance, em particular na perceção e disseminação da açorianidade que o caracteriza. Além disso, procura desenhar a história externa da tradução da obra, apresentando, para tal, um estudo comparativo peritextual de todas as traduções existentes do romance (além de traduzido para francês e inglês, Mau Tempo no Canal está também publicado em russo e polaco), promovendo assim o entendimento do processo de exportação da obra. Com o intuito de dar visibilidade aos tradutores e às traduções do romance, colocando particular ênfase nos fenómenos de heterolinguismo e (in)traduzibilidade, espera-se que Do Mar ao(s) Livro(s) possa assumir-se como um documento de consulta e de trabalho para quem se interesse por tais temas, bem como contribua para o aprofundamento do estudo da açorianidade, da insularidade, de Nemésio e de Mau Tempo no Canal, profundamente marcado pela voz do povo açoriano.
- English-language retellings of the Rāmāyaṇa and the ideas of India : culture and society (2010-2020)Publication . Oliveira, João Pedro Marques Morgado Ferreira de; Barba, Maria Luísa Homem Leal de Faria GerladesThe Rāmāyaṇa is one of the most important narrative traditions for the Indian civilisation. This story has been recreated through different media and across the broad social spectrum of India for centuries. In the 21st century, especially from the second decade onwards, several adaptations of the epic in English have appeared in the Indian literary market. The most successful authors have adopted unique approaches to the epic: Anand Neelakantan often adapts colonial, anticolonial, regional, and postcolonial discourses to invert the traditional roles of the main protagonists and antagonists; Devdutt Pattanaik recreates Indian mythology as a system with psychological value opposed to the Western and Hindu nationalist approaches, which the author regards as materialistic; Amish Tripathi recreates the epic as a nationalist narrative for a globalised audience used to the popular transnational epic fantasy genre; Kavita Kané tells the story of the epic from the perspective of less important female characters; and Chitra Banerjee Divakaruni does the same, but from the perspective of the main female characters. Despite these differences, the most successful adaptations of the Rāmāyaṇa have followed two important discursive lines: male authors have tended to use the epic to create positive representations of the Indian civilisation and Hindu religion, often by explicitly or implicitly opposing them with foreign civilisations and religions, while female authors have tended to use the epic to create positive representations and models of Indian women. Structurally, both male and female authors have used the epic as a collective memory that encapsulates past virtues, which are regarded as containing the answer to current social problems. By adopting values that have become relevant in India since the anticolonial period and especially after the implementation of neoliberal reforms in 1991, which include greater global openness coupled with a fear of losing one’s native roots and the desire to decolonise contemporary Indian culture, these authors have become important spokespersons for contemporary India among middleclass, English-speaking Indian readers. In this dissertation, I use Multimodal Critical Discourse Analysis based on qualitative data combined with the fields of Orientalism, re-Orientalism, postcolonialism and decoloniality to understand: 1. how the male authors have created a socio-historical worldview centred on Indian civilisation and Hindu religion, with both being simultaneously regarded as traditional and modern; 2. how the female authors have adopted a similar approach to create a new representation of Indian femininity, which is also regarded as traditional and modern. Although the authors promote a discourse according to which they have based their approaches on Indian perspectives, often explicitly contradicting Western discourses and creating socially holistic adaptations, they are actually authors who come from a privileged and Westernised social class. The protagonists of the epic have been recreated as ideal characters that embody positive global characteristics such as equality of choice, equality of opportunity, and social justice, here often reinterpreted as pre-colonial characteristics. With the exception of female characters, subaltern groups are often described with negative characteristics associated with non-Indian and non-Hindu ways of being and living in the world.
- Exploring new sustainable solutions based on chitosan and cellulose crystals towards the preventive conservation of cultural heritagePublication . Silva, Nádia Suati Caetano da; Costa, Patrícia Raquel Fernandes de Melo Moreira da; Pintado, Maria Manuela Estevez; Madureira, Ana Raquel Mendes Ferreira MonteiroOutdoor sculptures made of stone and mortar are a significant part of the worldʼs cultural heritage. Consequently, their conservation is of great importance, mainly due to their vulnerability to deterioration. Deterioration occurs as a combination of factors that cause alterations and devalue the artworks over time, including those resulting from biodeterioration mechanisms triggered by the growth and activity of microorganisms. Developing sustainable strategies to slow down the proliferation of microorganisms is necessary to reduce the negative environmental and human health impacts of currently used toxic biocides. Hence, this thesis aims to contribute to developing low-toxicity and more sustainable antimicrobial coatings for the preventive conservation of stone heritage, particularly outdoor sculptures. Firstly, an evaluation of the biocontamination and microbiological composition of five outdoor sculptures, made of different materials and located in the district of Porto (Portugal), was performed. Two methodologies were tested to collect samples from the sculptures in a non-invasive and non-destructive way: cotton swabs (classical approach) and poly(2-hydroxyethyl methacrylate) cryogels (alternative method). The quantification and determination of the cell viability of the microorganisms collected were performed by flow cytometry, which proved to be an analytical technique of interest for microbiological studies of cultural heritage. Both methods were effective, although higher concentrations of microorganisms were collected with swabs, while data visualisation of viable and non-viable cells was clearer with cryogels. Consequently, swab samples were taken to characterise the epilithic bacterial and fungal communities of the sculptures. High-throughput sequencing revealed great taxonomic diversity and species richness, including in well-preserved sculptures. Fungal diversity was lower than that of the bacterial communities. Proteobacteria was the core taxa common to all the sculptures. Ascomycota were also detected in all the sculptures and Basidiomycota were a significant part of the microbiomes in granite, where an abundance of pigment-producing microorganisms was also found. Additionally, colourimetry and adenosine triphosphate quantification assays quickly identified contaminated areas of the sculptures. The next stage of the work dealt with the preparation and characterisation of chitosan formulations, to be used as antimicrobial coatings to inhibit the growth of microorganisms in sculptures. The first set of formulations consisted of chitosan solutions containing citric acid and different concentrations of sodium tripolyphosphate (CHGCA-TPP), which were polymerised into films for their characterisation. Fourier transform infrared (FTIR) spectroscopy confirmed the establishment of cross-linking interactions, and the films exhibited partial wettability (40.81-31.44°), solubility (43.64-55.14%) and swelling (123.36-75.17%) in water, but allowed water vapour exchanges due to their high permeability (140.055-372.575 g m-2 d). The films reduced the growth of microorganisms that commonly colonise stone heritage: Staphylococcus aureus (0.87-1.58-log reduction), Bacillus cereus (ca. 1-3-log reduction), Rhodotorula spp. (between 0.73-1.27-log reduction and complete inhibition) and Penicillium chrysogenum (11.92-21.48% inhibition). Another set of formulations was prepared to enhance the properties of the CHGCA-TPP formulations. A screening was conducted with chitosan solutions containing microcrystalline cellulose (MCC) or cellulose nanocrystals, and the chosen formulation was supplemented with oregano essential oil (OEO) at 1% and 2%. Cross-linking interactions and incorporation of OEO were confirmed by FTIR analysis of the films, which remained poorly soluble (15.74-16.85%), with low percentages of swelling (16.10-28.22%) and relatively low wettability (> 70°). These formulations are an improvement on the CHGCA-TPP ones, including their antimicrobial action, since the films containing 2% OEO completely inhibited the growth of S. aureus, Rhodotorula spp. and P. aeruginosa, induced ca. 60% inhibition of P. chrysogenum and reduced the growth of B. cereus. Lastly, the two most promising formulations (CHGCA-TPP-a and 2-MCC-OEO-2) were tested in granite, limestone and marble samples. Both formulations polymerised on the stones’ surfaces, as confirmed by scanning electron microscopy and FTIR spectroscopy, but formed irregular coatings. The CHGCA-TPP-a coating reduced the wettability of granite and limestone, while 2-MCC-OEO-2 did the same in a more pronounced way and in all stone types. Neither coating caused visible colour changes when the formulations were applied with a brush. In vitro antimicrobial assays with stone samples inoculated with selected strains showed that CHGCA-TPP-a inhibited the growth of B. cereus, Rhodotorula spp. and P. aeruginosa in granite after 7 days to ca. 4 to 5 log10 (CFU mL -1 ). In contrast, 2-MCC-OEO-2 reduced the concentrations of viable cells in all stone types to ca. 3 to 5 log10 (CFU mL -1 ) depending on the strain. In situ antimicrobial assays, where samples were placed in an outdoor setting, showed that CHGCA-TPP-a did not have an inhibitory effect under the conditions tested, with concentrations of viable cells equal to or higher than those of uncoated slabs, regardless of the mode of application of the formulation (deposition with a micropipette or spreading by brush) or the number of treatments over the assay period. However, multiple applications of 2-MCC-OEO-2 with a micropipette over time reduced the concentrations of viable cells in granite and marble, but the same occurred only in limestone when the coating was applied with a brush. In conclusion, this work added to the knowledge of the biocontamination and diversity of the microbiomes of outdoor sculptures, in particular of the Porto district in Portugal, which can help outline future conservation strategies. The chitosan formulations tested, especially those with MCC and OEO, are a potential base for further development and optimisation of novel low-toxicity antimicrobial coatings towards more sustainable preventive conservation strategies of stone heritage.
- Música, identidade cultural e globalização : a construção de uma identidade portuguesa na música dos DeolindaPublication . Sousa, Maria de Nazaré Valente de; Hanenberg, Peter HeinrichIn Cultural Studies, the topic of cultural identity is a recurring theme. As an interdisciplinary field, it examines identity through the lens of various connected disciplines, such as Popular Music Studies. This latter field, although relatively new and still evolving, has been gradually gaining attention, utilizing diverse methodologies that depend on both the object of study and the research purpose, while addressing a set of recurring themes. The dialogue between Music and Identity frequently arises within the discipline’s thematic framework, serving as the starting point for this critical exercise. Thus, framing the study within the issue of National Identity, we address the topic of Portuguese identity, shared by an imagined community and considered a cultural construct in permanent reconfiguration, highlighting the aspects that contribute to its construction, particularly with globalization. Taking the nation as a narration (cf. Bhabha, 1990), we understand popular music, in this case, Portuguese popular music, as a cultural field in which this narrative can also be constructed. Consequently, the musical project Deolinda (2008-2017) serves as the subject of this critical exercise, situated within the landscape of 21st-century Portuguese popular music. A predominantly qualitative approach was chosen for its analysis, structured into four key areas: the contexts and discourses surrounding the project, the song lyrics, the music itself, and their visual identity and performances. Methodologically, we adopt the analytical strategy suggested by David Machin (2010), which advocates for a segmented analysis of popular music (lyrics, music, and imagery). Additionally, we propose a methodology applicable to other musical objects, drawing on insights from various scholars Furthermore, Simon Frith (1996), in his exploration of the relationship between music and identity, argues that music not only represents identity but can also embody it. Accordingly, we interpret the Deolinda project as not merely representing a construction of Portuguese identity but actively incorporating that construction through its lyrics, music, imagery, performances, and related contexts. This process evolves and reconfigures itself over time, mirroring the fluid nature of cultural identity. Deolinda thus exemplifies the thesis that national identity is also constructed through (Portuguese) popular music. Furthermore, despite the impact of globalization on identity formation, symbolic markers associated with the imagined community of Portugal persist in popular music, particularly in Deolinda, rooted in collective memory and history, and in a growing convergence between popular and traditional music.
- On the borderlands of culture : Israeli migrants beyond the TejoPublication . Iancu, Zohar; Gil, Isabel Maria de Oliveira Capeloa; Barkay, TamarAt the heart of this dissertation is the phenomenon of Israeli-Jewish citizens migrating to Europe, specifically to rural Portugal. This migration trend has gained increasing visibility in Israeli media in recent years. Numerous articles and news reports are dedicated to the emigration of Israeli-Jewish citizens from the nation-state. Within this context, migration to Portugal has often been portrayed as "the new dream" for Israelis. Against this backdrop, this study focuses on migration to the region of south-western Alentejo, Portugal. This area has become a popular destination for those seeking alternative lifestyles, including Israelis. The trend suggests that migration to Alentejo is influenced by and reflective of cultural and socio-economic trends at the Israeli, global, and local levels. To achieve a multi-dimensional and nuanced comprehension of the phenomenon at hand, the research is analytically grounded in cultural and sociological theorizations of migration and diaspora, particularly in the context of contemporary Israeli society. Concretely, the study juxtaposes considerations from culture, border, and diaspora studies, utilizes the notion of symbolic boundaries, and builds on research on in- and out-migration within Israel, and global trends of counterurbanization. This body of research and scholarship allows for the exploration of the thesis that phenomenon of the “borderlands” of Israeli cultural identity can challenge both the collective boundaries and the internal divisions within Israeli culture. Essentially, Israeli emigration to Portugal represents a territorial border crossing. However, this dissertation suggests that contextualizing this border crossing within a broader perspective contributes to our understanding of how physical and symbolic boundaries work together to shape mental, physical, and social human existence. To thoroughly explore the subjective experiences and perceptions of Jewish-Israelis in Alentejo, Portugal, the study employed an interdisciplinary qualitative approach. Data was collected over three years, from August 2021 to May 2023, using multiple research methods, including participant observations of holiday ceremonies, gatherings, and cultural events; 21 in-depth interviews with JewishIsraeli citizens residing in Alentejo, and a focus group of Jewish-Israeli women. The visual research method known as “photovoice” was utilized to document the daily lives of the women in the focus group. The research shows that while initially aiming to distance themselves from Israeli culture and other Israelis while pursuing cosmopolitan, alternative lifestyles, the participants in the fieldwork maintain close and intricate connections with their culture of origin, often forging meaningful social relationships with other Israelis in the region. Based on this finding, the study suggests that the participants operate within a “cultural borderland”—a liminal and hybrid space that draws on Israeli cultural practices while at the same time challenging conventional Israeli-Jewish collective identity. Overall, the dissertation suggests that the case study of the Israeli diasporic space in Alentejo illuminates how ex-Israeli communities are constructed and reimagined beyond Israeli national and cultural borders. In doing so, this dissertation aims to amplify voices that are often excluded from discourses on Israeli migration. The study’s empirical and analytical contributions enrich the literature on diasporas, particularly in the emerging field of modern Israeli diasporas, as well as in research on current migration patterns to rural Portugal, academic inquiry into the nexus of culture and borders, and the study of Israeli society and culture.
- Ontologia trinitária : da analogia entis à analogia amoris. Uma leitura da obra de Piero CodaPublication . Castel-Branco, Tomás de Albuquerque Emiliano; Palma, AlexandreA presente dissertação aborda a obra de Piero Coda, principalmente Dalla Trinità L'avvento di Dio tra storia e profezia, centrando-se na proposta de uma ontologia trinitária baseada na analogia do amor (analogia amoris). Através da análise das suas principais in fluências teológicas e filosóficas e, posteriormente, do pensamento do próprio autor, procu ramos demonstrar como ele concebe a unidade do Ser divino como relação de amor na dis tinção das Pessoas da Trindade. A partir do mistério pascal e da kenósis de Cristo na Cruz, defende-se uma epistemologia ontológica que valoriza a categoria do não ser positivo e traz implicações eclesiais. A obra propõe, assim, uma renovada abordagem teológica em que a analogia amoris se apresenta como a chave de leitura ontológica da trindade e de toda a rea lidade criada.