{"id":116772,"date":"2014-05-12T00:00:00","date_gmt":"2014-05-12T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-interrogacion-ironica-en-la-expresion-pictorica\/"},"modified":"2014-05-12T00:00:00","modified_gmt":"2014-05-12T00:00:00","slug":"la-interrogacion-ironica-en-la-expresion-pictorica","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/pintura\/la-interrogacion-ironica-en-la-expresion-pictorica\/","title":{"rendered":"La interrogaci\u00f3n ir\u00f3nica en la expresi\u00f3n pict\u00f3rica"},"content":{"rendered":"

Tesis doctoral de Naiara Herrera Ruiz De Eguino <\/strong><\/h2>\n

Resumenla presente investigaci\u00f3n tuvo como principal objetivo ahondar en los mecanismos designificaci\u00f3n de las obras pict\u00f3ricas figurativas a trav\u00e9s del estudio de la iron\u00eda.Para el desarrollo de la misma se estudi\u00f3 el devenir de la iron\u00eda en la historia delpensamiento y se indag\u00f3 el funcionamiento de los procesos de significaci\u00f3n de lapintura. Se estudi\u00f3 la iron\u00eda en numerosas pinturas contempor\u00e1neas, se contact\u00f3 con lamayor\u00eda de los artistas citados en la investigaci\u00f3n, y finalmente cuatro de ellos fueronentrevistados de forma audiovisual, lo cual procur\u00f3 un conocimiento contextual quecomplet\u00f3 las teor\u00edas previamente expuestas.Gracias al estudio realizado se consigui\u00f3 avanzar hacia la comprensi\u00f3n de lanaturaleza de la iron\u00eda y pudo observarse la idoneidad del campo pict\u00f3rico para elsuceder de la misma. Fue posible exponer el modo de abordar la interpretaci\u00f3n de unaobra en base a los mecanismos de significaci\u00f3n de la pintura. Se pudo elaborar unadescripci\u00f3n de los factores b\u00e1sicos que comparten todas las obras capaces de generariron\u00eda, y de los indicios que pueden ayudar al espectador a reconocer dichapotencialidad. Pudieron ser definidos cuatro contrastes b\u00e1sicos a partir de los cualessurge la iron\u00eda en pintura. Con ello, tom\u00f3 forma un marco te\u00f3rico donde confluyen losmecanismos propios de la pintura y de la iron\u00eda, que permite adentrarse en unainterpretaci\u00f3n abierta, y al mismo tiempo dirigida, de las obras pict\u00f3ricas.En conclusi\u00f3n, pudo constatarse que la pintura es susceptible de incitar al espectadora adoptar una mirada ir\u00f3nica, esencialmente cr\u00edtica y axiol\u00f3gica, y que teniendo encuenta el proceder de la iron\u00eda la interpretaci\u00f3n de una obra se intensifica y semultiplican sus connotaciones.Palabras clave: pintura; iron\u00eda; interpretaci\u00f3n; polisemia; contextualizaci\u00f3n.Abstractthe main objective of the present research was to explore the mechanisms ofsignificance in figurative pictorial works through the study of irony.Research focussed on the development of irony in the history of thought andexamined the functioning of significance processes in painting. Irony in severalcontemporary paintings was subjected to scrutiny, and contact was established withmost of the artists mentioned in the investigation, four of whom were interviewed andrecorded in audio-visual format in the final stages, securing contextual knowledge thatcompleted the theories previously expounded.This study enabled a deeper understanding of the nature of irony, while thesuitability of the pictorial field for such a purpose became clearly observable. Aprocedure was then devised for approaching the interpretation of a work through themechanisms of significance in painting. A description was made of the basic factorsshared by all the works that had the power to create irony, and of signs that can help thespectator to recognize that potential. Three basic hallmarks through which irony arisesin painting were defined. A theoretical framework thereby took shape in which themechanisms proper to painting and irony converge, permitting access to an open, but atthe same time directed interpretation of pictorial works.In conclusion, it was demonstrated that painting has the capacity to stimulate aspectator to adopt an ironic and essentially critical and axiological gaze and that,depending upon the behaviour of the irony, the interpretation of a work can beintensified and its connotations multiplied.Key words: painting; irony; interpretation; polysemy; contextualization.<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abLa interrogaci\u00f3n ir\u00f3nica en la expresi\u00f3n pict\u00f3rica<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 La interrogaci\u00f3n ir\u00f3nica en la expresi\u00f3n pict\u00f3rica <\/li>\n
  • Autor:<\/strong>\u00a0 Naiara Herrera Ruiz De Eguino <\/li>\n
  • Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 05\/12\/2014<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Schoentjes<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: rom\u00ed\u00a0 De la calle de la calle <\/li>\n
        • Jes\u00fas Melendez arranz (vocal)<\/li>\n
        • Alberto Carrere gonzalez (vocal)<\/li>\n
        • brigitte Adriaensen — (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Naiara Herrera Ruiz De Eguino Resumenla presente investigaci\u00f3n tuvo como principal objetivo ahondar en los mecanismos designificaci\u00f3n […]<\/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":[11589,230393,120029,230391,16851,230392],"class_list":["post-116772","post","type-post","status-publish","format-standard","hentry","category-pais-vasco-euskal-herriko-unibertsitatea","category-pintura","tag-alberto-carrere-gonzalez","tag-brigitte-adriaensen","tag-jesus-melendez-arranz","tag-naiara-herrera-ruiz-de-eguino","tag-romi-de-la-calle-de-la-calle","tag-schoentjes"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/116772","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=116772"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/116772\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=116772"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=116772"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=116772"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}