{"id":53021,"date":"2006-09-06T00:00:00","date_gmt":"2006-09-06T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-escultura-en-portugal-en-la-segunda-mital-del-siglo-xx\/"},"modified":"2006-09-06T00:00:00","modified_gmt":"2006-09-06T00:00:00","slug":"la-escultura-en-portugal-en-la-segunda-mital-del-siglo-xx","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/la-escultura-en-portugal-en-la-segunda-mital-del-siglo-xx\/","title":{"rendered":"La escultura en portugal en la segunda mital del siglo xx"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Armando Jes\u00fas Martins Paula <\/strong><\/h2>\n<p>El trabajo analiza la evoluci\u00f3n del arte portugu\u00e9s en general y de la escultura en particular, organizado en tres partes que se interrelacionan. en la primeira parte, en el cap\u00edtulo i, se procede a una reflexion y an\u00e1lisis sobre la sociedad portuguesa en general, com el fin de captar la naturaleza y las especificaciones pol\u00edticas, culturales, sociales y econ\u00f3micas. En el cap\u00edtulo ii tratamos exclusivamente el dominio de las artes pl\u00e1sticas. en la segunda parte, en el cap\u00edtulo iii, nos detuvimos en el estudio de la situaci\u00f3n de la escultura nacional desde 1945 hasta finales del referido siglo. la tercera parte est\u00e1 totalmente ocupada en lo que suele designarse por \u00abinvestigaci\u00f3n de campo\u00bb &#8211; investigaci\u00f3n propiamente dicha, incluyendo el an\u00e1lisis y la presentaci\u00f3n descriptiva de los datos obtenidos y una reducci\u00f3n visual de los mismos a trav\u00e9s de matrices y diferentes cuadros construidos a partir de aquellos datos; tratamiento y interpretaci\u00f3n de los datos.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La escultura en portugal en la segunda mital del siglo xx<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La escultura en portugal en la segunda mital del siglo xx <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Armando Jes\u00fas Martins Paula <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Salamanca<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 09\/06\/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 Laiglesia Juan<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: fernando Gil sinaga <\/li>\n<li>Juan Loek (vocal)<\/li>\n<li>alfonso Maso guerra (vocal)<\/li>\n<li>Antonio Delgado (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Armando Jes\u00fas Martins Paula El trabajo analiza la evoluci\u00f3n del arte portugu\u00e9s en general y de 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":[4363,1014,9386],"tags":[117014,2805,117011,9438,117012,117013],"class_list":["post-53021","post","type-post","status-publish","format-standard","hentry","category-escultura","category-historia-del-arte","category-salamanca","tag-alfonso-maso-guerra","tag-antonio-delgado","tag-armando-jesus-martins-paula","tag-fernando-gil-sinaga","tag-fernando-laiglesia-juan","tag-juan-loek"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/53021","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=53021"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/53021\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=53021"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=53021"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=53021"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}