{"id":133177,"date":"1997-01-01T00:00:00","date_gmt":"1997-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-instante-y-la-eternidad-un-tiempo-de-la-pintura\/"},"modified":"1997-01-01T00:00:00","modified_gmt":"1997-01-01T00:00:00","slug":"el-instante-y-la-eternidad-un-tiempo-de-la-pintura","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/el-instante-y-la-eternidad-un-tiempo-de-la-pintura\/","title":{"rendered":"El instante y la eternidad. un tiempo de la pintura."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  San Martin Arostegui Miriam <\/strong><\/h2>\n<p>El conjunto de la tesis esta dividido en 3 grandes bloques. El primero es una exposicion de datos filosoficos e historicos y su fin es, por un lado, meramente informativo y por otro, hacer patente, desde un principio, que la tesis no sera ni un tratado filosofico sobre el tiempo ni una nueva recopilacion de descubrimientos historicos respecto al mundo chino de la dinastia song (s. X-xiii) o al romanticismo del pintor aleman g.D. Friedrich y del ingles j.M.W. Turner. El segundo gran bloque es un estudio de la incidencia del tiempo en el proceso artistico y corresponde al verdadero desarrollo del tema de la tesis. El tercer gran bloque corresponde a las conclusiones y vuelve a subdividirse en 3 partes. En la primera se plantea la ausencia de sensacion de de tiempo en el proceso creativo. La 2.  parte plantea la posibilidad de recuperacion del verdadero arte, el que siempre ha sido, el que es expresion natural de la experiencia sobrenatural, a traves de asumir como modelos: la actitud del artista oriental, el pensamiento romantico respecto a la naturaleza y las libertades plasticas de las vanguardias del s. Xx. La 3. Parte son experiencias plasticas personales.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El instante y la eternidad. un tiempo de la pintura.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El instante y la eternidad. un tiempo de la pintura. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  San Martin Arostegui Miriam <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1997<\/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>Gerard Sala Rossello<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Arnau Puig Grau <\/li>\n<li>Juan Hern\u00e1ndez PiJuan (vocal)<\/li>\n<li>Teresa Camps  Mir\u00f3 (vocal)<\/li>\n<li>Josep Cerda Ferre (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de San Martin Arostegui Miriam El conjunto de la tesis esta dividido en 3 grandes bloques. El primero [&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":[951,147,3806,1111],"tags":[15645,247166,20413,43252,247165,59951],"class_list":["post-133177","post","type-post","status-publish","format-standard","hentry","category-barcelona","category-ciencias-de-las-artes-y-las-letras","category-pintura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-arnau-puig-grau","tag-gerard-sala-rossello","tag-josep-cerda-ferre","tag-juan-hernandez-pijuan","tag-san-martin-arostegui-miriam","tag-teresa-camps-miro"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/133177","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=133177"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/133177\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=133177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=133177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=133177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}