{"id":69826,"date":"2004-06-09T00:00:00","date_gmt":"2004-06-09T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-recepcion-de-georges-rodenbach-en-espana\/"},"modified":"2004-06-09T00:00:00","modified_gmt":"2004-06-09T00:00:00","slug":"la-recepcion-de-georges-rodenbach-en-espana","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-recepcion-de-georges-rodenbach-en-espana\/","title":{"rendered":"La recepci\u00f3n de georges rodenbach en espa\u00f1a"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Carmen Melendez Tauste <\/strong><\/h2>\n<p>El objetivo de esta tesis, que pretende ser una contribuci\u00f3n a la historiograf\u00eda literaria, ha consistido en dilucidar la recepci\u00f3n de georges rodenbach en la espa\u00f1a finisecular y demostrar su invocaci\u00f3n a caballo de dos siglos, ya que tiene su origen en la \u00faltima d\u00e9cada del siglo xix y alcanza el cuarto lustro de una nueva centuria. Se trataba de rehacer de forma objetiva el c\u00f3digo est\u00e9tico y subjetivo, individual y colectivo del escritor belga y sus lectores, y de reconstruir, a su vez, los condicionantes hist\u00f3ricos y sociales que influyeron en la valoraci\u00f3n, interpretaci\u00f3n, adopci\u00f3n y adaptaci\u00f3n de sus textos.  por tanto, era obligado dedicar el primer cap\u00edtulo a \u00e1ngel ganivet, introductor de rodenbach en espa\u00f1a. En aras de ahondar en dicha aproximaci\u00f3n, incluyo una peque\u00f1a cala en las letras catalanas, ya que el simbolismo belga penetra por la puerta de catalu\u00f1a y eclosiona en \u00e9sta una d\u00e9cada antes que en el resto de la pen\u00ednsula para dar lugar a lo que la cr\u00edtica ha denominado moda n\u00f3rdica.  el cap\u00edtulo central consiste en el an\u00e1lisis de las diferentes v\u00edas de penetraci\u00f3n. en \u00e9l, abordo el estudio de m\u00e1s de una treintena de revistas y publicaciones peri\u00f3dicas que ven la luz entre 1880 y 1912, pudiendo as\u00ed exhumar el casi medio centenar de textos -rese\u00f1as y art\u00edculos de fondo- que sobre rodenbach ofrecen. Asimismo, dedico parte de mi investigaci\u00f3n al estudio de las traducciones, fen\u00f3meno que se revela de forma targ\u00eda y que habr\u00e1 de prolongarse a lo largo de medio siglo y cuyas claves no deben hallarse \u00fanicamente en la proliferaci\u00f3n de las colecciones de novela  corta, sino en el conjunto de la producci\u00f3n editorial.  el tercer cap\u00edtulo consiste en el an\u00e1lisis tematol\u00f3gico y comparativista de los textos literarios en relaci\u00f3n con las artes pict\u00f3ricas y musicales, con el fin de arrojar luz sobre la recepci\u00f3n del t\u00f3pico de la ciudad muerta. incluyo un ap\u00e9ndice bibliogr\u00e1fico que contiene<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La recepci\u00f3n de georges rodenbach en espa\u00f1a<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La recepci\u00f3n de georges rodenbach en espa\u00f1a <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Carmen Melendez Tauste <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Aut\u00f3noma de barcelona<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 06\/09\/2004<\/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>Carme Riera Guilera<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: jordi Castellanos vila <\/li>\n<li>Juan Rodr\u00edguez rodr\u00edguez (vocal)<\/li>\n<li>Miguel angel Lozano marco (vocal)<\/li>\n<li>Luisa Cotoner cerdo (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Carmen Melendez Tauste El objetivo de esta tesis, que pretende ser una contribuci\u00f3n a la historiograf\u00eda literaria, [&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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