{"id":687,"date":"1994-01-01T00:00:00","date_gmt":"1994-01-01T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/1994\/01\/01\/ironia-y-seduccion-en-la-narrativa-de-jean-pierre-camus-obispo-de-belley\/"},"modified":"1994-01-01T00:00:00","modified_gmt":"1994-01-01T00:00:00","slug":"ironia-y-seduccion-en-la-narrativa-de-jean-pierre-camus-obispo-de-belley","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/ironia-y-seduccion-en-la-narrativa-de-jean-pierre-camus-obispo-de-belley\/","title":{"rendered":"Ironia y seduccion en la narrativa de jean-pierre camus, obispo de belley"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Jose Reyes De La Rosa <\/strong><\/h2>\n<p>Se analiza la narrativa de jean-pierre camus desde la perspectiva de su imbricacion en un proyecto de persuasion moral y doctrinal que se revela modelico de una estetica de la seduccion. Se sigue la filosofia de la ironia y de la seduccion de w. Jankelevitch y j.  baudrillard y la metodolog\u00eda del tematismo estructural de j. Del prado.  se toma como corpus representativo para el analisis las mas representativas de las histoires tragiques, como \u00abhistorias de amor para la muerte\u00bb que modulan el proceso de simbolizacion del eros tragico barroco. En ellas el conflicto existencial entre la voluntad de edificacion y el placer de la creacion literaria se resuelve en una escritura como ejercicio de seduccion especular. Con ello la obra se muestra plenamente inserta en el discurso barroco, que por autonomasia basa sus principios y objetivos en una estetica de la seduccion.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Ironia y seduccion en la narrativa de jean-pierre camus, obispo de belley<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Ironia y seduccion en la narrativa de jean-pierre camus, obispo de belley <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Jose Reyes De La Rosa <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 C\u00f3rdoba<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 01\/01\/1994<\/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>Miguel Angel Garcia Peinado<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Leocadio Martin Mingorance <\/li>\n<li>Vicente Bastida Mouri\u00f1o (vocal)<\/li>\n<li> Prado Biezma JavierDel (vocal)<\/li>\n<li>Lidia Vazquez Jimenez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Jose Reyes De La Rosa Se analiza la narrativa de jean-pierre camus desde la perspectiva de su [&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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