{"id":3198,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/dispositivos-de-discontinuidad-transfiguraciones-y-formaciones-de-marcos-y-pedestales-en-el-arte-contemporaneo\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"dispositivos-de-discontinuidad-transfiguraciones-y-formaciones-de-marcos-y-pedestales-en-el-arte-contemporaneo","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/dispositivos-de-discontinuidad-transfiguraciones-y-formaciones-de-marcos-y-pedestales-en-el-arte-contemporaneo\/","title":{"rendered":"Dispositivos de discontinuidad. transfiguraciones y formaciones de marcos y pedestales en el arte contemporaneo."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Moraza Perez Juan  Luis <\/strong><\/h2>\n<p>Marcos y pedestales, convertidos en emblemas de tradicionalismo, convencionalidad y arbitrariedad, fueron sistematicamente anatemizados por la modernidad. La historiografia moderna tiende a corroborar esta supuesta disolucion de marcos y pedestales en un arte que se presenta como inmediato a la realidad. Y no obstante, el analisis pormenorizado de estos dispositivos abandonados, sino que de modos explicitos o transfigurados, retoricos o inmediatos, surgen y proliferan, en extension o intensidad, convertiendose en un tema fundamental de la experiencia moderna, en tanto preocupacion extrema por los limites. De este modo, las vias por las que la modernidad afronta su relacion con estos dispositivos permiten desvelar algunas dimensiones ocultas por el propio relato mitico\/historico que la modernidad despliega como estrategia de legitimacion e identidad, y convirtiendo el arte contemporaneo en la expresion monumental y ambiental de las nuevas formas de organizacion social y cultural.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Dispositivos de discontinuidad. transfiguraciones y formaciones de marcos y pedestales en el arte contemporaneo.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Dispositivos de discontinuidad. transfiguraciones y formaciones de marcos y pedestales en el arte contemporaneo. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Moraza Perez Juan  Luis <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/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>Francisco Jarauta Marion<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Simon Marchan Fiz <\/li>\n<li>Juan  Antonio Ramirez Dominguez (vocal)<\/li>\n<li>Jos\u00e9 Luis Brea Cobo (vocal)<\/li>\n<li>Carlos Reyero Hermosilla (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Moraza Perez Juan Luis Marcos y pedestales, convertidos en emblemas de tradicionalismo, convencionalidad y arbitrariedad, fueron sistematicamente [&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":[147,4363,12909,1111],"tags":[13424,8503,13423,13422,13421,5790],"class_list":["post-3198","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-escultura","category-pais-vasco-euskal-herriko-unibertsitatea","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-carlos-reyero-hermosilla","tag-francisco-jarauta-marion","tag-jose-luis-brea-cobo","tag-juan-antonio-ramirez-dominguez","tag-moraza-perez-juan-luis","tag-simon-marchan-fiz"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/3198","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=3198"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/3198\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=3198"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=3198"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=3198"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}