{"id":{"repo_id":"cork","oai_identifier":"oai:cora.ucc.ie:10468/18992"},"canonical_url":"https://search.dev.ndltd.org/etd/cork/oai:cora.ucc.ie:10468/18992","repository":{"repo_id":"cork","name":"University College Cork","base_url":"https://cora.ucc.ie/server/oai/request"},"display":{"title":"Hoc est enim corpus meum: christian art and passion inonography in the work of Pier Paolo Pasolini and Jean-Luc Godard","abstract":"In this thesis I examine how Pier Paolo Pasolini and Jean-Luc Godard deploy images from Christian art, particularly in relation to the Passion, in their respective oeuvres. Using the work of French philosopher Jean-Luc Nancy on the image and post-Christianity as a methodological touchstone, I discuss how both directors locate the sacred in the human by using figuration adopted predominantly from Renaissance painting, but also from the work of later painters such as Goya and Manet, in the case of Godard, and more transgressive twentieth-century interpreters of Passion iconography, such as Francis Bacon, in the case of Pasolini. Through close readings of Pasolini's films that deal with the sacred, including La ricotta (1963), Il Vangelo secondo Matteo (1964) and Teorema (1968), and Godard's later work, including Passion (1982), Je vous salue Marie (1985), Hélas pour moi (1993) and Histoire(s) du cinéma (1988–1998), I consider how the selected works of the two directors overlap and interact in their use of art-historical imagery as a mediating agent for the sacred—specifically as figured by the human body—within the filmic image.","abstract_html":"In this thesis I examine how Pier Paolo Pasolini and Jean-Luc Godard deploy images from Christian art, particularly in relation to the Passion, in their respective oeuvres. Using the work of French philosopher Jean-Luc Nancy on the image and post-Christianity as a methodological touchstone, I discuss how both directors locate the sacred in the human by using figuration adopted predominantly from Renaissance painting, but also from the work of later painters such as Goya and Manet, in the case of Godard, and more transgressive twentieth-century interpreters of Passion iconography, such as Francis Bacon, in the case of Pasolini. Through close readings of Pasolini's films that deal with the sacred, including La ricotta (1963), Il Vangelo secondo Matteo (1964) and Teorema (1968), and Godard's later work, including Passion (1982), Je vous salue Marie (1985), Hélas pour moi (1993) and Histoire(s) du cinéma (1988–1998), I consider how the selected works of the two directors overlap and interact in their use of art-historical imagery as a mediating agent for the sacred—specifically as figured by the human body—within the filmic image.","abstract_has_math":false,"creators":["Murphy, Jill"],"institution":"University College Cork","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Rascaroli, Laura"],"committee_chairs":[],"committee_members":[],"year":2012,"date_issued":"2012-07-24","date_published":"2012-07-24","updated_at":"2026-07-24T01:48:31Z","subjects":["Godard","Pasolini","Intermediality"],"languages":["en"],"rights":["© 2012, Jill Murphy."],"rights_urls":["https://creativecommons.org/licenses/by-nc-nd/4.0/"],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/10468/18992","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Rascaroli, Laura"]},{"key":"dc:creator","label":"Author","values":["Murphy, Jill"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2026-07-02T10:56:39Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2026-07-02T10:56:39Z"]},{"key":"dc:date.issued","label":"Date","values":["2012-07-24"]},{"key":"dc:publisher","label":"Institution","values":["University College Cork"]},{"key":"dc:type","label":"Dc Type","values":["Doctoral thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["PhD - Doctor of Philosophy"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Godard","Pasolini","Intermediality"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["© 2012, Jill Murphy."]},{"key":"dc:rights.uri","label":"Rights URI","values":["https://creativecommons.org/licenses/by-nc-nd/4.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/10468/18992"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["In this thesis I examine how Pier Paolo Pasolini and Jean-Luc Godard deploy images from Christian art, particularly in relation to the Passion, in their respective oeuvres. Using the work of French philosopher Jean-Luc Nancy on the image and post-Christianity as a methodological touchstone, I discuss how both directors locate the sacred in the human by using figuration adopted predominantly from Renaissance painting, but also from the work of later painters such as Goya and Manet, in the case of Godard, and more transgressive twentieth-century interpreters of Passion iconography, such as Francis Bacon, in the case of Pasolini. Through close readings of Pasolini's films that deal with the sacred, including La ricotta (1963), Il Vangelo secondo Matteo (1964) and Teorema (1968), and Godard's later work, including Passion (1982), Je vous salue Marie (1985), Hélas pour moi (1993) and Histoire(s) du cinéma (1988–1998), I consider how the selected works of the two directors overlap and interact in their use of art-historical imagery as a mediating agent for the sacred—specifically as figured by the human body—within the filmic image."]},{"key":"dc:format.mimetype","label":"Dc Format Mimetype","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Hoc est enim corpus meum: christian art and passion inonography in the work of Pier Paolo Pasolini and Jean-Luc Godard"]}]}],"canonical_facts":{"dc:contributor.advisor":["Rascaroli, Laura"],"dc:creator":["Murphy, Jill"],"dc:date.accessioned":["2026-07-02T10:56:39Z"],"dc:date.available":["2026-07-02T10:56:39Z"],"dc:date.issued":["2012-07-24"],"dc:description.abstract":["In this thesis I examine how Pier Paolo Pasolini and Jean-Luc Godard deploy images from Christian art, particularly in relation to the Passion, in their respective oeuvres. 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