{"id":57705,"date":"2018-03-09T22:45:32","date_gmt":"2018-03-09T22:45:32","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-hispanismo-y-la-cultura-musical-de-para%c2%ads-1898-1931\/"},"modified":"2018-03-09T22:45:32","modified_gmt":"2018-03-09T22:45:32","slug":"el-hispanismo-y-la-cultura-musical-de-para%c2%ads-1898-1931","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-hispanismo-y-la-cultura-musical-de-para%c2%ads-1898-1931\/","title":{"rendered":"El hispanismo y la cultura musical de par\u00eds: 1898-1931"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Samuel Llano \u00e1lvarez <\/strong><\/h2>\n<p>La tesis trata sobre la recepci\u00f3n de la m\u00fasica espa\u00f1ola en par\u00eds entre 1898 y 1931, poniendo de relieve cu\u00e1les son los prejuicios que condicionan la reacci\u00f3n cr\u00edtica a la llegada de ese repertorio, y c\u00f3mo influyen en la visi\u00f3n de se pa\u00eds. La tesis tambi\u00e9n indaga en los procesos de construcci\u00f3n de la imagen nacional de espa\u00f1a puestos en marcha desde par\u00eds. As\u00ed se demuestra que la capital francesa, sus m\u00fasicos, sus intelectuales y su p\u00fablico, desempe\u00f1aron un papel relevante en la construcci\u00f3n de la identidad nacional de espa\u00f1a durante las primeras d\u00e9cadas del siglo xx. La imagen construida en par\u00eds, en parte heredada despu\u00e9s por los propios espa\u00f1oles, es una imagen interesada, que responde aunos fines. en el primer cap\u00edtulo, la tesis trata sobre la manipulaci\u00f3n de la imagen de espa\u00f1a con el fin de convertirla en una lado cultural con el que contar para hacer frente la amenaza cultural germana, especialmente en los a\u00f1os que rodean ala primera guerra mundial. La presunta colaboraci\u00f3n de espa\u00f1a es planteada en el marco de la uni\u00f3n latina que muchos intelectuales y m\u00fasicos propusieron, para hacer boicot a alemania. el segundo cap\u00edtulo trata sobre las escenas de \u00f3pera de par\u00eds, a lo largo del mismo periodo. un seguimiento de las \u00f3peras hispanistas, tanto de compositores espa\u00f1oles como de compositores franceses, muestra c\u00f3mo la imagen de espa\u00f1a que se ten\u00eda en la sociedad de par\u00eds fue cambiando, conforme cambiaban los intereses que reg\u00edan el uso de la misma, o conforme la realidad pol\u00edtica y social de francia cambiaba tambi\u00e9n. el tercer y \u00faltimo cap\u00edtulo indaga en el hecho de que espa\u00f1a fuese considerada por los m\u00fasicos e intelectuales frances como una provincia frances, en el sentido de que par\u00eds ejerc\u00eda de centro de atracci\u00f3n de m\u00fasicos e intelectuales espa\u00f1oles, al tiempo que se erig\u00eda en capital de juicio universal, y enfrentaba a los espa\u00f1oles a la duda de tener que renunciar a sus propios principios para pleg<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El hispanismo y la cultura musical de par\u00eds: 1898-1931<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El hispanismo y la cultura musical de par\u00eds: 1898-1931 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Samuel Llano \u00e1lvarez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 27\/03\/2007<\/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>Emilio Casares Rodicio<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco javier Su\u00e1rez pajares <\/li>\n<li>yvan Nommtck (vocal)<\/li>\n<li>louis Jambou (vocal)<\/li>\n<li>celsa Alonso gonz\u00e1lez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Samuel Llano \u00e1lvarez La tesis trata sobre la recepci\u00f3n de la m\u00fasica espa\u00f1ola en par\u00eds entre 1898 [&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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