{"id":55394,"date":"2006-08-11T00:00:00","date_gmt":"2006-08-11T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-cuerpo-y-lo-siniestro-en-la-fotografa%c2%ada-metodologa%c2%ada-historia-paradigmas-y-analisis\/"},"modified":"2006-08-11T00:00:00","modified_gmt":"2006-08-11T00:00:00","slug":"el-cuerpo-y-lo-siniestro-en-la-fotografa%c2%ada-metodologa%c2%ada-historia-paradigmas-y-analisis","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/fotografia\/el-cuerpo-y-lo-siniestro-en-la-fotografa%c2%ada-metodologa%c2%ada-historia-paradigmas-y-analisis\/","title":{"rendered":"El cuerpo y lo siniestro en la fotograf\u00eda. metodolog\u00eda, historia, paradigmas y an\u00e1lisis"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Marisol Romo Mellid <\/strong><\/h2>\n<p>La tesis plantea un recorrido hist\u00f3rico de la representaci\u00f3n del cuerpo en la fotograf\u00eda desde la perspectiva de lo siniestro. El contenido abarca desde los inicios mismos de la fotograf\u00eda hasta la actualidad y se ha tomado como punto de reflexi\u00f3n principal delos diferentes paradigmas a trav\u00e9s del an\u00e1lisis de fotograf\u00edas concretas.     el trabajo propone, por tanto, un recorrido por la metodolog\u00eda de an\u00e1lisis, los paradigmas te\u00f3ricos fundamentales y la forma de bordar el an\u00e1lisis en este tipo de representaci\u00f3n, bajo una l\u00ednea cronol\u00f3gica que auspicia el conjunto de la investigaci\u00f3n.     de esta forma, se han podido comprobar cu\u00e1les son los niveles de articulaci\u00f3n de lo siniestro en la imagen fotogr\u00e1fica, as\u00ed como las diferentes configuraciones del cuerpo y su particular relaci\u00f3n con lo siniestro. las expresiones radicales de violencia, dolor y angustia han conformado en su totalidad el material de trabajo gr\u00e1fico que se ha dividi\u00f3, a efecto de an\u00e1lisis, en dos apartados generales: fotograf\u00eda documental y fotograf\u00eda art\u00edstica; en sucesivas fases hist\u00f3ricas.     los resultados de la investigaic\u00f3n han sido expuesto en seis cap\u00edtulos, en donde ha quedado tambi\u00e9n en evidencia la necesita de hacerse cargo del an\u00e1lisis de este tipo de inconograf\u00eda externa, en donde lo pol\u00edtico y lo est\u00e9tico se cruzan de forma inevitable.     desde las macro-estructuras de an\u00e1lisis de los siniestros (lo est\u00e9tico, lo discursivo y los psicol\u00f3gico) hasta las configuraciones m\u00e1s b\u00e1sicas del cuerpo, todas conforman la base epistemol\u00f3gica a tener en cuenta en un trabajo de tesis doctoral que aborda un estudio del cuerpo y los siniestro en la fotograf\u00eda.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El cuerpo y lo siniestro en la fotograf\u00eda. metodolog\u00eda, historia, paradigmas y an\u00e1lisis<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El cuerpo y lo siniestro en la fotograf\u00eda. metodolog\u00eda, historia, paradigmas y an\u00e1lisis <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Marisol Romo Mellid <\/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 08\/11\/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>Jacques Terrasa<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: santos Zunzunegui d\u00edez <\/li>\n<li>Manuel Laguillo men\u00e9ndez (vocal)<\/li>\n<li>eduardo Rodriguez merchan (vocal)<\/li>\n<li>pedro Poyato sanchez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Marisol Romo Mellid La tesis plantea un recorrido hist\u00f3rico de la representaci\u00f3n del cuerpo en la fotograf\u00eda [&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":[5547,5270,12909,18074],"tags":[61312,122388,47602,122387,24151,5038],"class_list":["post-55394","post","type-post","status-publish","format-standard","hentry","category-cinematografia","category-fotografia","category-pais-vasco-euskal-herriko-unibertsitatea","category-problema-alma-cuerpo","tag-eduardo-rodriguez-merchan","tag-jacques-terrasa","tag-manuel-laguillo-menendez","tag-marisol-romo-mellid","tag-pedro-poyato-sanchez","tag-santos-zunzunegui-diez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/55394","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=55394"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/55394\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=55394"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=55394"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=55394"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}