{"id":41235,"date":"1999-01-01T00:00:00","date_gmt":"1999-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/opcion-y-accion-laberintos\/"},"modified":"1999-01-01T00:00:00","modified_gmt":"1999-01-01T00:00:00","slug":"opcion-y-accion-laberintos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/opcion-y-accion-laberintos\/","title":{"rendered":"Opcion y accion: laberintos."},"content":{"rendered":"<h2>Tesis doctoral de <strong>  Fernandez Olivera M. Luisa Manuela <\/strong><\/h2>\n<p>Ligado a las culturas estatales, el laberinto se habr\u00e1 desarrollado como herramienta que da forma a un tipo de cultura (la occidental), construida sobre la base del conocimiento revelado. Con \u00e9l se da forma a un sistema de creencias, se organza el espacio vital, y se propicia un tipo de conocimiento-comportamiento que se procura ajeno a los cambios de la realidad social: una l\u00f3gica cultural que piensa al ser humano como m\u00e1quina, cuya finalidad existir\u00e1 escondida en el centro del laberinto. S\u00f3lo los profetas, sabios o h\u00e9roes, intermediar\u00e1n para desvelar la finalidad, sus opciones, ser\u00e1n las acciones del grupo. El laberinto legitima una delegaci\u00f3n de la responsabilidad, que queda en manos de cierta elite (sacerdotal, pol\u00edtica, econ\u00f3mica). Y lo ha hecho a trav\u00e9s, primero del idolo (lo sagrado), m\u00e1s tarde con el icono (el arte) y en nuestra \u00e9poca con lo visual, hasta completar un laberinto del que cada vez resulta m\u00e1s dificil escapar. Crear laberintos habr\u00e1 sido crear creencias; y de los diferentes tipos de laberintos podremos deducir distintas formas de organizaci\u00f3n social. As\u00ed, el laberinto mismo se erigir\u00e1 en \u00abmoldeo\u00bb referido a diversos procesos de construcci\u00f3n y transmisi\u00f3n del saber en las distintas \u00e9pocas. As\u00ed tambi\u00e9n, el laberinto, en tanto artefacto ligado a la acci\u00f3n, la coacci\u00f3n y opci\u00f3n., Servir\u00e1 como \u00abparadigma\u00bb capaz de aproximarnos a distintos comportamientos propios del arte moderno, a distintos \u00absistemas\u00bb o \u00abacademias\u00bb del arte (cl\u00e1sico, moderno, postmoderno). y finalmente, el laberinto podr\u00e1 ser considerado \u00abmet\u00e1fora\u00bb cuyas evoluciones testificar\u00e1n las variaciones respecto a las formas de sociabilidad, a la propia construcci\u00f3n de la ciudad, desde la coacci\u00f3n (fisica), a la seducci\u00f3n (subliminal), del \u00eddolo a lo visual, de lo sagrado a lo virtual, del templo a la telara\u00f1a de amplitud mundial (word wide web).<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Opcion y accion: laberintos.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Opcion y accion: laberintos. <\/li>\n<li><strong>Autor:<\/strong>\u00a0  Fernandez Olivera M. Luisa Manuela <\/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\/1999<\/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>Juan  Fernando De La Iglesia Gonzalez De Pereda<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  Tolosa mar\u00edn Jos\u00e9 lu\u00eds <\/li>\n<li> Moraza perez Juan  Luis (vocal)<\/li>\n<li>yolanda Herranz pascual (vocal)<\/li>\n<li>maribel Domenech iba\u00f1ez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Fernandez Olivera M. Luisa Manuela Ligado a las culturas estatales, el laberinto se habr\u00e1 desarrollado como herramienta [&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":[104584,4367,37652,13421,7360,37654],"class_list":["post-41235","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-fernandez-olivera-m-luisa-manuela","tag-juan-fernando-de-la-iglesia-gonzalez-de-pereda","tag-maribel-domenech-ibanez","tag-moraza-perez-juan-luis","tag-tolosa-marin-jose-luis","tag-yolanda-herranz-pascual"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/41235","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=41235"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/41235\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=41235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=41235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=41235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}