{"id":112896,"date":"2018-03-11T10:40:04","date_gmt":"2018-03-11T10:40:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/las-imagenes-del-patrimonio-cultural-inmaterial-en-espana-1940-2010\/"},"modified":"2018-03-11T10:40:04","modified_gmt":"2018-03-11T10:40:04","slug":"las-imagenes-del-patrimonio-cultural-inmaterial-en-espana-1940-2010","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/las-imagenes-del-patrimonio-cultural-inmaterial-en-espana-1940-2010\/","title":{"rendered":"Las im\u00e1genes del patrimonio cultural inmaterial en espa\u00f1a, 1940-2010."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Mar\u00eda Jes\u00fas Velasco Guti\u00e9rrez <\/strong><\/h2>\n<p>La tesis traza una panor\u00e1mica del universo de las im\u00e1genes del patrimonio cultural inmaterial, centr\u00e1ndose primeramente en las representaciones visuales de la vida popular, de las costumbres y de los ritos que ha producido occidente. Hace un esbozo d e la evoluci\u00f3n de las representaciones gr\u00e1ficas de la cultura visual, que da cuenta de los c\u00f3digos esenciales y de algunas de las premisas formales e ideol\u00f3gicas relevantes sobre las que se han ido construyendo las im\u00e1genes en nuestra cultura.   en e ste contexto, la investigaci\u00f3n pone un foco espec\u00edfico en las im\u00e1genes del patrimonio cultural inmaterial en espa\u00f1a, desde 1940 hasta 2010, haciendo un recorrido exhaustivo por el escenario pol\u00edtico y social, y por la evoluci\u00f3n de las im\u00e1genes de la cultura popular de nuestro pa\u00eds. Dibuja un gran panorama diacr\u00f3nico, a trav\u00e9s del  an\u00e1lisis de im\u00e1genes de diferentes ritos y costumbres, en el que pormenoriza en los enunciados visuales y en su evoluci\u00f3n en el tiempo, con la intenci\u00f3n de estudiar la s diferentes estrategias que han adoptado los agentes que han representado los diversos aspectos del patrimonio cultural inmaterial. Se adentra en el an\u00e1lisis de los soportes, de las distintas formas de representaci\u00f3n y de las particularidades de la estil\u00edstica de los enunciados de la im\u00e1genes, proporcionando informaci\u00f3n sobre c\u00f3mo se han ido dando los cambios en las miradas, determinados siempre por los aspectos formales que proporciona la evoluci\u00f3n de las t\u00e9cnicas de representaci\u00f3n visual, per o suscitados por las ideas y por las maneras de pensar  propias de los distintos periodos abordados.   sobre esta base de an\u00e1lisis, la tesis apunta nuevas perspectivas y buenas pr\u00e1cticas en las formas de uso de las im\u00e1genes del patrimonio cultural in material que contribuyan a su conocimiento, a su salvaguardia y a su protecci\u00f3n.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Las im\u00e1genes del patrimonio cultural inmaterial en espa\u00f1a, 1940-2010.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Las im\u00e1genes del patrimonio cultural inmaterial en espa\u00f1a, 1940-2010. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Mar\u00eda Jes\u00fas Velasco Guti\u00e9rrez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 28\/06\/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>Antonio Mu\u00f1oz Carri\u00f3n<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco S\u00e1nchez p\u00e9rez <\/li>\n<li>lauro Olmo enciso (vocal)<\/li>\n<li>Ana fuencisla Toledo ch\u00e1varri (vocal)<\/li>\n<li>Mar\u00eda edisa Mondelo gonz\u00e1lez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Mar\u00eda Jes\u00fas Velasco Guti\u00e9rrez La tesis traza una panor\u00e1mica del universo de las im\u00e1genes del patrimonio cultural [&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 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