{"id":128890,"date":"1996-01-01T00:00:00","date_gmt":"1996-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-arte-comprometido-en-espana-en-los-anos-70-y-80\/"},"modified":"1996-01-01T00:00:00","modified_gmt":"1996-01-01T00:00:00","slug":"el-arte-comprometido-en-espana-en-los-anos-70-y-80","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia\/el-arte-comprometido-en-espana-en-los-anos-70-y-80\/","title":{"rendered":"El arte comprometido en espa\u00f1a en los a\u00f1os 70 y 80."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Parre\u00f1o Velasco Jos\u00e9 M. <\/strong><\/h2>\n<p>La presente tesis se ocupa del arte comprometido en espa\u00f1a especialmente durante la decada de los a\u00f1os ochenta. A diferencia de epocas anteriores, el arte comprometido actual no se vincula a propuestas politicas especificas, sino que se centra en problemas concretos:  la destruccion de la naturaleza, la discriminacion por razon de cultura o raza, la problematica de los generos, la lucha contra el sida, la critica al modo de desarrollo capitalista y especialmente en lo que se refiere a sus consecuencias en la vida urbana.  los distintos temas se presentan en su marco teorico y se ofrece una panoramica del arte internacional vinculado a ellos, para despues ocuparnos de los artistas espa\u00f1oles, y se\u00f1alar sus diferencias y similitudes con el contexto internacional. Al estudio propiamente dicho se le ha a\u00f1adido un apendice documental que permite conocer de forma directa la posicion de los artistas nacionales, asimismo cuentan con un curricula de su actividad, y hemos tratado de ofrecer una mejor comprension de sus obras a traves de una seleccion de mas de ochenta imagenes.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El arte comprometido en espa\u00f1a en los a\u00f1os 70 y 80.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El arte comprometido en espa\u00f1a en los a\u00f1os 70 y 80. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Parre\u00f1o Velasco Jos\u00e9 M. <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1996<\/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>Valeriano Bozal Fern\u00e1ndez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio Bonet Correa <\/li>\n<li>Jos\u00e9 Javier Maderuelo Raso (vocal)<\/li>\n<li>Juan  Antonio Ramirez Dominguez (vocal)<\/li>\n<li>Guillermo Solana Diaz (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Parre\u00f1o Velasco Jos\u00e9 M. La presente tesis se ocupa del arte comprometido en espa\u00f1a especialmente durante la [&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":[986,104,1014,222],"tags":[7416,242228,19164,13422,242227,14283],"class_list":["post-128890","post","type-post","status-publish","format-standard","hentry","category-complutense-de-madrid","category-historia","category-historia-del-arte","category-historias-especializadas","tag-antonio-bonet-correa","tag-guillermo-solana-diaz","tag-jose-javier-maderuelo-raso","tag-juan-antonio-ramirez-dominguez","tag-parreno-velasco-jose-m","tag-valeriano-bozal-fernandez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/128890","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=128890"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/128890\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=128890"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=128890"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=128890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}