{"id":117743,"date":"2018-03-11T10:47:23","date_gmt":"2018-03-11T10:47:23","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-intertextualidad-literatura-y-bellas-artes-en-jose-lucas-una-investigacion-de-enfoque-anala%c2%adtico-semiotico\/"},"modified":"2018-03-11T10:47:23","modified_gmt":"2018-03-11T10:47:23","slug":"la-intertextualidad-literatura-y-bellas-artes-en-jose-lucas-una-investigacion-de-enfoque-anala%c2%adtico-semiotico","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/lengua-y-literatura\/la-intertextualidad-literatura-y-bellas-artes-en-jose-lucas-una-investigacion-de-enfoque-anala%c2%adtico-semiotico\/","title":{"rendered":"La intertextualidad, literatura y bellas artes, en jos\u00e9 lucas. una investigaci\u00f3n de enfoque anal\u00edtico-semi\u00f3tico"},"content":{"rendered":"

Tesis doctoral de M\u00aa Encarnacion Navarro Martinez <\/strong><\/h2>\n

La intertextualidad, literatura y bellas artes, en jos\u00e9 lucas. Una investigaci\u00f3n de enfoque anal\u00edtico-semi\u00f3tico. m\u00aa encarnaci\u00f3n navarro mart\u00ednez. universidad de murcia. 2015 el presente trabajo tiene como objetivo fundamental analizar la obra del pintor jos\u00e9 lucas desde un enfoque semi\u00f3tico, como un acto de "lectura" que actualiza su significado y su sentido desde una perspectiva intertextual. Se han desarrollado adem\u00e1s, otros objetivos como concebir la pintura como una obra abierta, teniendo en cuenta conceptos como el lector impl\u00edcito y el intertexto lector; realizar un enfoque de valores heteros\u00e9micos de la obra por su encuentro intertextual con el mundo art\u00edstico del autor y con el mundo est\u00e9tico del lector; proporcionar enlaces intertextuales con la obra art\u00edstica de jos\u00e9 lucas desde el reconocimiento y comprensi\u00f3n del alcance poli\u00e9drico de su producci\u00f3n en diversos aspectos y textos como pretextos po\u00e9ticos que los une; e interpretar la pintura ecfr\u00e1stica de jos\u00e9 lucas como elemento mediador entre el cuadro y la realidad. esta tesis doctoral ha seguido una metodolog\u00eda cualitativa, fundamentada principalmente en la interpretaci\u00f3n de datos a trav\u00e9s de un an\u00e1lisis triangular: investigaci\u00f3n del tesinando, revisi\u00f3n del director de la tesis, confrontaci\u00f3n con las ideas del autor. la recogida de datos realizada para este estudio se puede dividir en tres grandes categor\u00edas: la observaci\u00f3n directa, las entrevistas en profundidad y el empleo de documentos. Es importante destacar que tambi\u00e9n se han conseguido numerosos textos in\u00e9ditos que nos han acercado a la obra de jos\u00e9 lucas, firmas como las de jaime siles, antonio colinas, luis antonio de villena, antonio lucas, xavier ribalta, juan antonio molina, jos\u00e9 antonio lozano,\u00c2\u00bf las conclusiones alcanzadas por este trabajo parten de un enfoque de los valores heteros\u00e9micos. Sobre la discutida indeterminaci\u00f3n sem\u00e1ntica del signo pict\u00f3rico es necesario considerar como esencial su car\u00e1cter polis\u00e9mico o polivalente al explicar las consecuencias efectivas de dicha indeterminaci\u00f3n, ya que se trata de un significado indeterminado, pero no por ello menos real. La imposici\u00f3n del arte moderno ha supuesto la abdicaci\u00f3n del orden can\u00f3nico de la referencialidad realista lo que ha contribuido a "abrir" relativamente las posibilidades de sugerencia del texto pl\u00e1stico; potenciando a su vez la colaboraci\u00f3n fant\u00e1stica de los receptores. Es lo que sucede con las obras de jos\u00e9 lucas. Para poder dar sentido y establecer determinados significados referenciales, el intertexto lector de la persona que contemple sus obras debe ser amplio y debe tener presente los c\u00f3digos y ra\u00edces de los que bebe el artista. Las relaciones entre texto e imagen, en la obra de jos\u00e9 lucas, establecen m\u00faltiples correspondencias que unas veces tienen su origen en el texto y otra en la imagen, o al rev\u00e9s, generando una dial\u00e9ctica que germina en una s\u00edntesis de ambas a partir de una semiotizaci\u00f3n (en el sentido de peirce) de una de ellas o de ambas juntas. Los mecanismos estil\u00edsticos de los que jos\u00e9 lucas se sirve para construir su obra ecfr\u00e1stica son m\u00faltiples y muy variados. Pero lo m\u00e1s interesante, sin duda, es que nacen de un profundo conocimiento de las relaciones entre pintura y literatura, que constituye, a su vez, un modo concreto de acercarse a la realidad e interpretarla. Un modo en que es fundamental, como en todo ejercicio ecfr\u00e1stico, la presencia del poema ausente como elemento de mediaci\u00f3n entre la subjetividad del yo que pinta y la objetividad primera, ya perdida, de la que el poema se ha valido. En esto jos\u00e9 lucas se destaca, desde la cualidad mediadora de su pintura, como un autor profundamente original, a la par que enraizado en una nueva tradici\u00f3n, la del ut poesis pictura, inagotable en sus ramificaciones y derivaciones. intertextuality, literature and fine arts in jos\u00e9 lucas. An investigation from a semiotic-analytical perspective. m\u00aa encarnaci\u00f3n navarro mart\u00ednez. universidad de murcia. 2015 abstract: the main objective of this work is to analyse jose lucas' working life from a semiotic viewpoint, as an act of interpretation, this document is trying to present his meaning and his sense from an intertextual perspective. Other objectives that have been developed are "to conceive of" the painting as open work, having in mind concepts like "implicit reader" or "intertextual reader"; focussing on "heterosemic values" of the work for the intertextual encounter between the artistic world of the autor and the reader's aesthetic world. This document tries to give "intertextual" links with the artistic work of jos\u00e9 lucas from the recognition and understanding of the "poliedric range" of his output in different aspects and texts as a poetic pretext which links both. And interpreting the ecfrastica painting of jos\u00e9 lucas with an element of mediation between the painting and reality. this phd thesis follows a qualitative methodology, based mainly on the interpretation of information through a triangular analysis: the phd candidate's research, review by the supervisor of the thesis and engagement with the author's ideas. the information discovered by these studies can be divided into three main categories: direct observation, in-depth interviews and the use of different documents. It's important to emphasise the large amount of unpublished documents which helped in getting closer to an understanding of jose lucas' work; names like jaime siles, antonio colinas, luis antonio de villena, antonio lucas, xavier ribalta, juan antonio molina, jos\u00e9 antonio lozano,\u00c2\u00bf the conclusions reached by this work started from a 'heterosemic value' standpoint. On the uncertain meaning of the pictorial signs, it is necessary to consider how essentially polemic and versatile his character was for explaining the effective consequences of that uncertainty – that even though the behaviour and meaning of the sign is uncertain, it is no less real for him. the imposition of modern art has created the abdication of the canonic order of referencing realism which has contributed to opening up the possibilities of plasticity of suggestion in text; strengthening the collaboration of the receiver. It is this that has occured with jos\u00e9 lucas' work. To be able to give sense and establish some meanings, the person who contemplates his life's work needs a lot of context about where and from whom is the artist's inspiration. The relations between between text and image in jos\u00e9 lucas work, establish numerous links which sometimes have their origin in the text and sometimes in the image or vice versa. This generates a dialectic which germinates in a synthesis of both from a semioticisation (in peirce's meaning) of one of them or both together. the stylistic mechanisms used by jos\u00e9 lucas to build his "ecfr\u00e1sica" work are knowledge of the relations between painting and literature which are at the same time a way to be close with reality and interpret it. This is essential in every "ecfr\u00e1stico" exercise, the presence of the absent poem like an element of mediation between the subjectivity of the "i" which is painted and the first objectivity already lost. In this camp jos\u00e9 lucas is noted from his mediator painting as a deeply original author rooted in a new tradition "the ut poesis picture" tradition, unquenchable of ramifications and derivations<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abLa intertextualidad, literatura y bellas artes, en jos\u00e9 lucas. una investigaci\u00f3n de enfoque anal\u00edtico-semi\u00f3tico<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 La intertextualidad, literatura y bellas artes, en jos\u00e9 lucas. una investigaci\u00f3n de enfoque anal\u00edtico-semi\u00f3tico <\/li>\n
  • Autor:<\/strong>\u00a0 M\u00aa Encarnacion Navarro Martinez <\/li>\n
  • Universidad:<\/strong>\u00a0 Murcia<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 29\/06\/2015<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • Pedro Guerrero Ruiz<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: Francisco Jarauta marion <\/li>\n
        • angel gregorio Cano vela (vocal)<\/li>\n
        • Jaime Siles ruiz (vocal)<\/li>\n
        • Jos\u00e9 Sanchez-corralero lopez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

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

          Tesis doctoral de M\u00aa Encarnacion Navarro Martinez La intertextualidad, literatura y bellas artes, en jos\u00e9 lucas. Una investigaci\u00f3n de enfoque […]<\/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":[636,8235],"tags":[139893,8503,25770,198529,231855,35581],"class_list":["post-117743","post","type-post","status-publish","format-standard","hentry","category-lengua-y-literatura","category-murcia","tag-angel-gregorio-cano-vela","tag-francisco-jarauta-marion","tag-jaime-siles-ruiz","tag-jose-sanchez-corralero-lopez","tag-ma-encarnacion-navarro-Martinez","tag-pedro-guerrero-ruiz"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117743","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=117743"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/117743\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=117743"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=117743"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=117743"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}