{"id":155475,"date":"2026-01-12T17:20:43","date_gmt":"2026-01-12T17:20:43","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/funcion-social-del-arte-contemporaneo-en-espana-en-los-anos-ochenta\/"},"modified":"2026-01-12T17:20:43","modified_gmt":"2026-01-12T17:20:43","slug":"funcion-social-del-arte-contemporaneo-en-espana-en-los-anos-ochenta","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/funcion-social-del-arte-contemporaneo-en-espana-en-los-anos-ochenta\/","title":{"rendered":"Funcion social del arte contemporaneo en espa\u00f1a en los a\u00f1os ochenta."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Lopez Fernandez M. Angeles <\/strong><\/h2>\n<p>Partiendo de un analisis de las principales corrientes de pensamiento occidental, la posmodernidad tanto neoconservadora como desconstruccionista, esta tesis analiza los elementos que intervienen en la decada de los ochenta en el desarrollo artistico espa\u00f1ol. Para la realizacion de esta investigacion se han utilizado los siguientes puntos de referencia teoricos: evolucion de la opinion publica; revision del aporte de la critica en la esfera del arte; y papel del estado y de su politica artistica.  estos instrumentos teoricos nos han servido para analizar las tendencias artisticas e influencias foraneas, asi como el papel de las instituciones dentro de las cuales se revisan aquellas que han tenido mayor relevancia tanto en el ambito privado como en el publico.  a traves de este estudio hemos concluido que la funcion social del arte contemporaneo en la decada objeto de investigacion, se ha visto sustituida por la funcion politica estatal y la funcion mercantil favorecida por una situacion politica de transicion y por una economia en alza.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Funcion social del arte contemporaneo en espa\u00f1a en los a\u00f1os ochenta.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Funcion social del arte contemporaneo en espa\u00f1a en los a\u00f1os ochenta. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Lopez Fernandez M. Angeles <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1991<\/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>Manuel Sanchez Mendez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Enrique Dominguez Perela <\/li>\n<li>Juan  Fernando De La Iglesia Gonzalez De Pereda (vocal)<\/li>\n<li>Ricardo Marin Viadel (vocal)<\/li>\n<li> Gil Ameigeiras M. Teresa (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Lopez Fernandez M. Angeles Partiendo de un analisis de las principales corrientes de pensamiento occidental, la posmodernidad [&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":[147,986,269,2232,13716,1111],"tags":[234528,240136,4367,36689,4968,4102],"class_list":["post-155475","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-complutense-de-madrid","category-sociologia","category-sociologia-cultural","category-sociologia-del-arte","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-enrique-dominguez-perela","tag-gil-ameigeiras-m-teresa","tag-juan-fernando-de-la-iglesia-gonzalez-de-pereda","tag-lopez-fernandez-m-angeles","tag-manuel-sanchez-mendez","tag-ricardo-marin-viadel"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/155475","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=155475"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/155475\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=155475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=155475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=155475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}