{"id":115202,"date":"2018-03-11T10:43:36","date_gmt":"2018-03-11T10:43:36","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/lo-siniestro-femenino-en-la-creacion-plastica-contemporanea-analisis-y-experimentacion\/"},"modified":"2018-03-11T10:43:36","modified_gmt":"2018-03-11T10:43:36","slug":"lo-siniestro-femenino-en-la-creacion-plastica-contemporanea-analisis-y-experimentacion","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/pintura\/lo-siniestro-femenino-en-la-creacion-plastica-contemporanea-analisis-y-experimentacion\/","title":{"rendered":"Lo siniestro femenino en la creaci\u00f3n pl\u00e1stica contempor\u00e1nea. an\u00e1lisis y experimentaci\u00f3n"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Andrea Abalia MariJuan <\/strong><\/h2>\n<p>El tema principal de esta tesis es lo siniestro femenino. Nuestro enfoque desde las bellas artes est\u00e1 comprometido con el estudio de los procesos de creaci\u00f3n art\u00edstica y tiene como fin analizar lo siniestro en el campo espec\u00edfico de la imagen, principalmente pict\u00f3rica y fotogr\u00e1fica. La relaci\u00f3n de lo siniestro y la expresi\u00f3n art\u00edstica aparece vinculada en la est\u00e9tica que explora los l\u00edmites del deseo inconsciente, donde se edifica el sentimiento siniestro. El contenido de la tesis se dirige as\u00ed a estudiar los significantes visuales que configuran dicho sentimiento y a conceptualizar la feminizaci\u00f3n de lo siniestro en la creaci\u00f3n pl\u00e1stica, a trav\u00e9s de la elaboraci\u00f3n de una metodolog\u00eda de an\u00e1lisis que configura y delimita, finalmente, el objeto de estudio. Partiendo de la base de que la feminidad posee una especial potencialidad como objeto siniestro, como producto de una sociedad patriarcal que ha negativizado su condici\u00f3n diferencial respecto al g\u00e9nero masculino dominante, el desarrollo anal\u00edtico se centra despu\u00e9s en el estudio de las propuestas contempor\u00e1neas de mujeres artistas que adoptan una perspectiva in\u00e9dita en torno a la tem\u00e1tica de lo siniestro femenino, que involucra cierto cuestionamiento cr\u00edtico e identitario, desdibujando los l\u00edmites entre lo siniestro y la iron\u00eda propia de la postmodernidad. Como colof\u00f3n del trabajo, desarrollamos una experimentaci\u00f3n pict\u00f3rica personal mediante la que demostramos las posibilidades de aplicaci\u00f3n creativa del tema de investigaci\u00f3n y de los contenidos desarrollados, a la vez que trasladamos nuevos interrogantes a la continuidad del estudio iniciado.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Lo siniestro femenino en la creaci\u00f3n pl\u00e1stica contempor\u00e1nea. an\u00e1lisis y experimentaci\u00f3n<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Lo siniestro femenino en la creaci\u00f3n pl\u00e1stica contempor\u00e1nea. an\u00e1lisis y experimentaci\u00f3n <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Andrea Abalia MariJuan <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 31\/01\/2014<\/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>Julian Irujo Andueza<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: josu Rekalde izaguirre <\/li>\n<li>Jos\u00e9 Chavete rodriguez (vocal)<\/li>\n<li>eva Mar\u00eda Mar\u00edn jord\u00e1 (vocal)<\/li>\n<li>pedro Osakar (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Andrea Abalia MariJuan El tema principal de esta tesis es lo siniestro femenino. Nuestro enfoque desde las [&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":[12909,3806],"tags":[228020,31321,6495,28148,13055,205670],"class_list":["post-115202","post","type-post","status-publish","format-standard","hentry","category-pais-vasco-euskal-herriko-unibertsitatea","category-pintura","tag-andrea-abalia-marijuan","tag-eva-maria-marin-jorda","tag-jose-chavete-rodriguez","tag-josu-rekalde-izaguirre","tag-julian-irujo-andueza","tag-pedro-osakar"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115202","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=115202"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/115202\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=115202"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=115202"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=115202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}