{"id":52825,"date":"2018-03-09T22:40:30","date_gmt":"2018-03-09T22:40:30","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-drama-romantico-polaco-los-antepasados-kordian-la-no-divina-comedia\/"},"modified":"2018-03-09T22:40:30","modified_gmt":"2018-03-09T22:40:30","slug":"el-drama-romantico-polaco-los-antepasados-kordian-la-no-divina-comedia","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-drama-romantico-polaco-los-antepasados-kordian-la-no-divina-comedia\/","title":{"rendered":"El drama rom\u00e1ntico polaco: los antepasados, kordian, la no-divina comedia"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Ana Le\u00f3n Manzanero <\/strong><\/h2>\n<p>Los antepasados iii (1832) de adam mickiewicz, kordian (1834) de julisuz stowacki y la no-divina comedia (1835) de zygmunt krasinski est\u00e1n considerados paradigma del drama rom\u00e1ntico polaco. Se trata de tres dramas de tem\u00e1tica contempor\u00e1nea cuya esencia es la reflexi\u00f3n fisiol\u00f3gico-religiosa sobre el futuro de la naci\u00f3n tras el intento fallido de recuperar su libertad con el levantamiento de 1830.     en la primera parte de la tesis se ubica cada uno de los dramas en el contexto de la vida y producci\u00f3n literaria de su autor y se ahonda en las motivaciones directas de su composici\u00f3n. La segunda parte est\u00e1 dedicada al reflejo y ex\u00e9gesis de la realidad hist\u00f3rica y cultural contempor\u00e1nea en el drama rom\u00e1ntico polaco. En ella se corteja la versi\u00f3n que ofrecen los autores de diferentes pasajes de la historia contempor\u00e1nea con fuentes de la \u00e9poca (obras de car\u00e1cter hist\u00f3rico, art\u00edculos period\u00edsticos publicados en la prensa nacional y de la emigraci\u00f3n, memorias y material epistolar) as\u00ed como con estudios actuales sobre historia y pensamiento polaco para extraer conclusiones sobre el modo en que cada uno de los tres autores interpreta su contemporaneidad. La tercera parte se centra en el estudio del h\u00e9roe del drama rom\u00e1ntico polaco, un h\u00e9roe que, si bien comparte numerosos rasgos de su personalidad y visi\u00f3n del mundo con sus contempor\u00e1neos europeos, est\u00e1 separado de ellos por importes diferencias. A partir del an\u00e1lisis del contenido del discurso del h\u00e9roe en las principales escenas del grama se reflexiona sobre la evoluci\u00f3n psicol\u00f3gica y espiritual de konrad, kordian y henryk, y se evidencia el intento por parte de sus creadores de dar paso un nuevo h\u00e9roe rom\u00e1ntico que responda a las exigencia de la tambi\u00e9n nueva realidad polaca.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El drama rom\u00e1ntico polaco: los antepasados, kordian, la no-divina comedia<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El drama rom\u00e1ntico polaco: los antepasados, kordian, la no-divina comedia <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Ana Le\u00f3n Manzanero <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 31\/05\/2006<\/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>Fernando Presa Gonz\u00e1lez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: julia Mendoza tu\u00f1\u00f3n <\/li>\n<li>salustio Alvarado socastro (vocal)<\/li>\n<li> Mart\u00ednez fern\u00e1ndez Jos\u00e9 e. (vocal)<\/li>\n<li>roberto Monforte dupret (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Ana Le\u00f3n Manzanero Los antepasados iii (1832) de adam mickiewicz, kordian (1834) de julisuz stowacki y la [&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":[1],"tags":[116563,62350,5504,62351,77300,59348],"class_list":["post-52825","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-ana-leon-manzanero","tag-fernando-presa-gonzalez","tag-julia-mendoza-tunon","tag-Martinez-fernandez-jose-e","tag-roberto-monforte-dupret","tag-salustio-alvarado-socastro"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/52825","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=52825"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/52825\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=52825"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=52825"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=52825"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}