{"id":1201,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/el-mito-de-orfeo-en-el-renacimiento\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"el-mito-de-orfeo-en-el-renacimiento","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/el-mito-de-orfeo-en-el-renacimiento\/","title":{"rendered":"El mito de orfeo en el renacimiento"},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Berrio Martin Retortillo Pilar <\/strong><\/h2>\n<p>Se ha estudiado el mito de orfeo en los principales autores del renacimiento italiano y espa\u00f1ol. Tras documentar la recepcion del mito desde sus origenes, hemos concluido que orfeo para marsilio ficino y su circulo era uno de los \u00abprisci theologi\u00bb, el gran civilizador por la palabra. Este planteamiento deja huella en la egloga ii de garcilaso o en la elegia a camoes de herrera; y en la \u00abmateria orfica\u00bb del genero bucolica, en prosa y verso.  por otro lado, orfeo es para muchos el desgraciado amante de euridice: para poliziano en su fabula, para las operas posteriores, para garcilaso -quien logra en su egloga iii fundirse poeticamente con el-, principalmente. Otros autores se acercan al mito desde distintos planteamientos: hurtado de mendoza, herrera, arguijo, sa de miranda, coloma, horozco, etc. En el barroco se alterara el sentido del mito, bien por versiones a lo divino, como las de calderon, bien por versiones burlescas, fundamentalmente en el teatro.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El mito de orfeo en el renacimiento<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El mito de orfeo en el renacimiento <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Berrio Martin Retortillo Pilar <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1994<\/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 Prieto Martin<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Mar\u00eda D\u00edez Borque <\/li>\n<li>Jos\u00e9 Antonio Pascual Rodr\u00edguez (vocal)<\/li>\n<li>Pilar Saquero Suarez-somonte (vocal)<\/li>\n<li>Antonio Rey Hazas (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Berrio Martin Retortillo Pilar Se ha estudiado el mito de orfeo en los principales autores del renacimiento [&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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