{"id":29441,"date":"2018-03-09T09:22:34","date_gmt":"2018-03-09T09:22:34","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/untersuchungen-zur-literarischen-parodie-im-reinhart-fuchs\/"},"modified":"2018-03-09T09:22:34","modified_gmt":"2018-03-09T09:22:34","slug":"untersuchungen-zur-literarischen-parodie-im-reinhart-fuchs","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/santiago-de-compostela\/untersuchungen-zur-literarischen-parodie-im-reinhart-fuchs\/","title":{"rendered":"Untersuchungen zur literarischen parodie im \u00abreinhart fuchs\u00bb"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Emilio Gonz\u00e1lez Miranda <\/strong><\/h2>\n<p>El presente trabajo de investigaci\u00f3n realiza un estudio exhaustivo de las distintas estructuras de la obra que la cr\u00edtica ha calificado como \u00abpar\u00f3dicas\u00bb. partiendo de una metodolog\u00eda basada en el an\u00e1lisis de los componentes \u00abcomicidad\u00bb e \u00abintertextualidad\u00bb, dos criterios b\u00e1sicos para poder hablar de \u00abreferencia par\u00f3dica\u00bb, se pretende, por una parte, delimitar con precisi\u00f3n la manifestaci\u00f3n par\u00f3dica en cada caso, analizando los elementos c\u00f3micos y su posible referencia a la tradici\u00f3n literaria correspondiente, por otra parte, y como segundo paso, definir y determinar la intenci\u00f3n s\u00e1tirica de la obra, al servicio de la cual est\u00e1 el medio literario de la parodia. De esta forma el an\u00e1lisis permite someter a revisi\u00f3n todas las manifestaciones y teor\u00edas dispersas para comprobar su validez o, en su defecto, establecer una teor\u00eda nueva al respecto. El trabajo se divide en seis cap\u00edtulos: un cap\u00edtulo introductorio, en el que se deja patente la disparidad de opiniones respecto al tema de la parodia en esta obra y se establece la metodolog\u00eda base para el an\u00e1lisis del texto. Los siguientes cuatro cap\u00edtulos: se centra en el an\u00e1lisis del tratamiento para\u00f3dico de los distintos g\u00e9neros y tradiciones literarias, cuyo reflejo en el \u00abreinhart fuchs\u00bb ha visto en parte la cr\u00edtica: el discurso del amor cortes en la l\u00edrica y al \u00e9pica; la poes\u00eda heroica, ante todo la posible referencia a los nibelungos; la m\u00e1s que dudosa referencia a la estructura de la \u00abnovela art\u00farica\u00bb y, finalmente las manifestaciones que se enmarcan dentro del contexto del g\u00e9nero de las \u00abvisiones\u00bb (sue\u00f1os y visiones del m\u00e1s all\u00e1). Como resultado se consiguen delimitar y precisar las referencias par\u00f3dicas al sistema literario de finales del s. Xiii, determinar una estructura par\u00f3dica subyacente a lo largo de toda la obra y establecer una relaci\u00f3n directa entre esta y la intenci\u00f3n sat\u00edrica del autor que denuncia los vicios y defectos de una sociedad corte<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Untersuchungen zur literarischen parodie im \u00abreinhart fuchs\u00bb<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Untersuchungen zur literarischen parodie im \u00abreinhart fuchs\u00bb <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Emilio Gonz\u00e1lez Miranda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Santiago de compostela<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 29\/03\/2004<\/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>Victor Millet Schr\u00c1\u00b6der<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: john Greenfield <\/li>\n<li>klaus Grubm\u00ed\u00bcller (vocal)<\/li>\n<li>klaus D\u00ed\u00bcwel (vocal)<\/li>\n<li>michael Schilling (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Emilio Gonz\u00e1lez Miranda El presente trabajo de investigaci\u00f3n realiza un estudio exhaustivo de las distintas estructuras de [&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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