This article seeks to analyze the drift of elements of Azorean popular religion into the domain of art orchestrated by two Azorean artists, Catarina Branco and Sofia de Medeiros. The change brings unlikely marriages into fruition, uniting the humor of pop art and the solemnity of the arches of the high choir in a church, the spirit of revelry and a sign of the cross, representing the unfathomable—death, the dread of emptiness to the feeling of unity in communitas. The presentation, together with the strangeness of decontextualization provoked by this change, invoke the walk of the visitor, during which different senses are awakened, in which the poetic imagination of the observer is called forth to complete the different meanings. In this thesis I shall argue that the elements of popular religiosity carried by these artists into the domain of art constitute sensory arrangements, in the sense given to this term by Meyer, providing structure to a collective religious experience particular to Azorean culture where the sacred intertwines with the profane. The mediation of the transcendent through these sensory arrangements leads, on one hand, to contamination and reciprocal intensification of the spheres of art and religion and, on the other hand, to a renewed look at the contemporaneous and its connection to the spiritual.

中文翻译：

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轰动形式的诗学

本文旨在分析亚速尔群岛流行宗教元素向两位亚速尔群岛艺术家 Catarina Branco 和 Sofia de Medeiros 精心策划的艺术领域的漂移。这种变化使不太可能的婚姻得以实现，将波普艺术的幽默与教堂高唱合唱团拱门的庄严、狂欢的精神和十字架的标志结合起来，代表着深不可测的死亡、对空虚的恐惧团结的感觉共同体. 展示，连同这种变化引发的去语境化的陌生感，唤起参观者的行走，在此期间不同的感官被唤醒，观察者的诗意想象被唤起以完成不同的意义。在这篇论文中，我将论证这些艺术家将大众宗教信仰的元素带入艺术领域构成了感官安排，在迈耶赋予这个术语的意义上，为集体宗教体验提供了结构，这种体验是亚速尔群岛文化特有的，神圣交织在一起与亵渎。通过这些感官安排对超越的调解，一方面导致艺术和宗教领域的污染和相互强化，另一方面，