{"id":54721,"date":"2018-03-09T22:42:27","date_gmt":"2018-03-09T22:42:27","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/antonio-gamoneda-poeticas-radicales\/"},"modified":"2018-03-09T22:42:27","modified_gmt":"2018-03-09T22:42:27","slug":"antonio-gamoneda-poeticas-radicales","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/analisis-literario\/antonio-gamoneda-poeticas-radicales\/","title":{"rendered":"Antonio gamoneda: po\u00e9ticas radicales"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Palomo Garc\u00eda <\/strong><\/h2>\n<p>La presente tesis doctoral es un recorrido a trav\u00e9s de la obra de  antonio gamoneda realizado a partir de algunos aspectos b\u00e1sicos (cuestionamiento e indagaci\u00f3n de los l\u00edmites de la palabra) con especial atenci\u00f3n a pr\u00e1cticas po\u00e9ticas  relevantes como la intertextualidad y la reescritura. Como punto de partida se ha establecido un marco hist\u00f3rico general, que es el de las postrimer\u00edas de la tradici\u00f3n l\u00edrica rom\u00e1ntica, y se han analizado en cuatro grandes bloques (que representan las varias po\u00e9ticas contempladas) aquellas zonas de la escritura que presentan de una u otra forma una muestra de radicalismo po\u00e9tico.  el primer bloque consiste en una lectura de blues castellano que destaca el poco evidente continuismo de esta obra de juventud con otras posteriores del autor. Dedicamos especial atenci\u00f3n a  la presencia de varias voces en el texto (citas, mimotextos, apoyaturas r\u00edtmicas&#8230;) Y a la variada configuraci\u00f3n textual de la obra a trav\u00e9s del tiempo, desde 1968 (libro censurado, rescatado aqu\u00ed como documento in\u00e9dito) hasta 2004 (obra incluida en esta luz). Se adjunta una adenda sobre el expediente de la censura de dicha obra.  el segundo bloque versa sobre el tramo de escritura que conecta descripci\u00f3n de la mentira con arden las p\u00e9rdidas.  Realizamos un repaso al abigarrado universo simb\u00f3lico que puebla estos libros (incluidos l\u00e1pidas, libro del fr\u00edo y cecilia), configuraci\u00f3n que convive con un d\u00e9ficit textual (explicitado aqu\u00ed mediante un desglose).  Matizamos as\u00ed los an\u00e1lisis cr\u00edticos que inciden exclusivamente en la exposici\u00f3n de la coherencia o consistencia de los textos. \u00abFr\u00edo de l\u00edmites\u00bb es presentado como un verdadero punto de llegada, radical, en la depuraci\u00f3n expresiva a la que el autor somete a su escritura. el tercer bloque est\u00e1 dedicado a las \u00abmudanzas\u00bb. Ofrecemos varias posibles ex\u00e9gesis te\u00f3ricas que tienen en com\u00fan al consideraci\u00f3n de estas obras como \u00abinterpretaciones musicales\u00bb de poemas de otros autores.  De<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Antonio gamoneda: po\u00e9ticas radicales<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Antonio gamoneda: po\u00e9ticas radicales <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Palomo Garc\u00eda <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Le\u00f3n<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 26\/09\/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> Mart\u00ednes Fern\u00e1ndez Jos\u00e9 Enrique<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Jos\u00e9 Mar\u00eda Pozuelo yvancos <\/li>\n<li>alfredo Salda\u00f1a sagredo (vocal)<\/li>\n<li>Jos\u00e9 angel Blesa lalinde (vocal)<\/li>\n<li>luciano Rodr\u00edguez  g\u00f3mez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Palomo Garc\u00eda La presente tesis doctoral es un recorrido a trav\u00e9s de la obra de antonio [&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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