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El actual artículo tiene o propósito de apresentar la análisis iconológica de la pintura en el techo de la nave de la capilla de Nuestra Señora del Rosario de los Negros de la antigua Villa de São José denominada Anunciación. Pretendemos comprender el discurso cristiano proclamado a los hermanos del rosario negros através de las narrativas plásticas referentes al primero misterio de la vida del Cristo e de la Virgen María y associar la imagen con la literatura cristiana, especialmente aquellas relacionadas a los Sermões de P. Antônio Vieira dedicados a los esclavos, devotos de Nuestra Señora del Rosario. La iconografía exprime la relación entre la pintura con una propuesta, de cuño teológico, que busca evangelizar y convertir los miembros de la hermandad conpuesto, en su mayoria, por negros - africanos y descendientes - oriundos de diversas naciones y consecuentemente, portadores de distintas concepciones culturales y religiosas. [ABSTRACT FROM AUTHOR]

This article is part of my master's research in Language Studies occurred in the last two years. Our proposal was to study the illustrations of designers Tony Johanot and Gustave Doré are considered renewals of generic scenes of the first part of the novel Don Quixote, especially in relation to the representation of female characters. However, such considerations are presented as a cut of the great historical and cultural context in which the study of romantic illustrations should be considered. In this way, in the first part of this work we develop a brief historical background, adequate to explain the iconographic incidence as historical and social issues. Moreover, this issue is closely linked to the idea of canon or even literary monument, so common when referring to the most famous works of Dante, Shakespeare and Cervantes -for examples. Ultimately, having been properly replaced in the historic place they occupy, the Quixote illustrations are no longer mere circumstantial artifacts and become a kind of second layer of the book, unveiled by the romantic subjectivity, especially with regard to female representation. Therefore, in the second part, we will investigate these illustrations while semiotics systems in relation to the novelistic text. [ABSTRACT FROM AUTHOR]