{"id":112689,"date":"2012-11-05T00:00:00","date_gmt":"2012-11-05T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/leer-en-la-imagen-paul-auster-y-el-cine\/"},"modified":"2012-11-05T00:00:00","modified_gmt":"2012-11-05T00:00:00","slug":"leer-en-la-imagen-paul-auster-y-el-cine","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/leer-en-la-imagen-paul-auster-y-el-cine\/","title":{"rendered":"Leer en la imagen: paul auster y el cine"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Oscar Curieses De Las Heras <\/strong><\/h2>\n<p>Tesis doctoral:  leer en la imagen. Paul auster y el cine  el presente trabajo aborda la obra cinematogr\u00e1fica y literaria del artista norteamericano paul auster desde la perspectiva de la literatura comparada y la teor\u00eda literaria. Tras una aproximac i\u00f3n introductoria a los distintos tipos de relaciones que se han dado entre la literatura y el s\u00e9ptimo arte en el primer cap\u00edtulo, se intenta trazar, en el segundo, el contexto literario y cinematogr\u00e1fico en el que se encuentra la producci\u00f3n del auto r estadounidense. En los siguientes cap\u00edtulos se entra en la materia propia de la tesis y se examinan de manera pormenorizada los trabajos en los que el escritor norteamericano ha participado como guionista y\/o director. Para smoke (1995) se utilizan  los conceptos de adaptaci\u00f3n, metaficci\u00f3n y autoficci\u00f3n; para blue in the face (1995) se trabaja sobre el t\u00e9rmino de ensayo en sus dos vertientes: literaria y cinematogr\u00e1fica; para lulu on the bridge se emplean las nociones de arquetipo, mito y s\u00edmbo lo en relaci\u00f3n a las fuentes f\u00edlmicas y personajes de la pel\u00edcula; y, finalmente para la vida interior de martin frost (the inner life of martin frost, 2007) se recurre a las ideas de intertextualidad e intratextualidad con la finalidad de profundiza r en la interpretaci\u00f3n del filme. adem\u00e1s, la presente investigaci\u00f3n relaciona toda su producci\u00f3n literaria publicada  hasta el a\u00f1o 2007 (poes\u00eda, ensayo, autobiograf\u00eda, novela, libros de miscel\u00e1nea, adaptaciones a c\u00f3mic, etc.) Con su obra cinematogr\u00e1f ica, y se constituye como el \u00fanico trabajo hasta la fecha que se ocupa de la totalidad de su obra f\u00edlmica. En este escrito tambi\u00e9n se examina de manera pormenorizada y sistem\u00e1tica la aparici\u00f3n del fen\u00f3meno cinematogr\u00e1fico, como tema, en sus trabajos de narrativa. por \u00faltimo, leer en la imagen. Paul auster y el cine incluye dos entrevistas in\u00e9ditas a paul auster en las que aparecen cuestiones puntuales acerca de su obra cinematograf\u00eda, precisamente aquellas en las que incide este trabajo.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Leer en la imagen: paul auster y el cine<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Leer en la imagen: paul auster y el cine <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Oscar Curieses De Las Heras <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 11\/05\/2012<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Pilar Andrade Boue<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: eugenia Popeanga chelaru <\/li>\n<li>llanos Mar\u00eda G\u00f3mez men\u00e9ndez (vocal)<\/li>\n<li>Jos\u00e9 Antonio Perez bowie (vocal)<\/li>\n<li>virginia Trueba mira (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Oscar Curieses De Las Heras Tesis doctoral: leer en la imagen. Paul auster y el cine el [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":""},"categories":[147,986],"tags":[6247,6655,129041,224097,4791,91037],"class_list":["post-112689","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-complutense-de-madrid","tag-eugenia-popeanga-chelaru","tag-jose-antonio-perez-bowie","tag-llanos-maria-gomez-menendez","tag-oscar-curieses-de-las-heras","tag-pilar-andrade-boue","tag-virginia-trueba-mira"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/112689","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/comments?post=112689"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/112689\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=112689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=112689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=112689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}