{"id":88437,"date":"2018-03-10T00:13:25","date_gmt":"2018-03-10T00:13:25","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-genitalidad-de-la-escultura\/"},"modified":"2018-03-10T00:13:25","modified_gmt":"2018-03-10T00:13:25","slug":"la-genitalidad-de-la-escultura","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/ciencias-de-las-artes-y-las-letras\/la-genitalidad-de-la-escultura\/","title":{"rendered":"La genitalidad de la escultura"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Eva Mu\u00f1oz Guinea <\/strong><\/h2>\n<p>El estudio anal\u00edtico y comparativo de representaciones de los \u00f3rganos sexuales en la escultura con la realidad f\u00edsica ha revelado actitudes del artista, de su sociedad y religi\u00f3n; el artista que realiza con fines expresivos, m\u00e1gicos o fetichistas, los \u00f3rganos sexuales: exageraciones, deformaciones, simbolog\u00edas e interpretaciones, las hemos consideramos de una revelancia vital en el mundo de la escultura, y por ello se hace hincapi\u00e9 a ellos a lo largo de esta tesis doctoral.  existen sin duda muchos caos distintos susceptibles de estudio en la representaciones de genitales, quiz\u00e1s los que m\u00e1s llamaron nuestra atenci\u00f3n(y tiene una importancia especial en este estudio),son las representaciones que aparecen como fragmentos,desvinculadas de un cuerpo pero evocando el lugar que ocupaban y sus funciones en el cuerpo humano. Organos sexuales que adoptan un lugar presidencial, en algunas ocasiones colosal. Estas obras son representadas para rememorar y conmemorar la importancia del sexo, de la procreaci\u00f3n y de la animalidad.  estos an\u00e1lisis han pretendido realizarse con los ojos del escultor aunque, por supuesto, ha sido necesario estudiar el tema desde el punto de vista m\u00e9dico, psicol\u00f3gico,filos\u00f3fico, religioso y social.  nuestro estudio surgi\u00f3 de la necesidad de explicar las fuerzas creadoras que dotan a la escultura de un componente sexual, a trav\u00e9s de la representaci\u00f3n de los genitales.  por esta raz\u00f3n ha recapacitado sobre los mecanismos psicol\u00f3gicos, est\u00e9ticos y afectivos que obligan al escultor a interpretar de las maneras m\u00e1s dispares los genitales, mostr\u00e1ndolos, amput\u00e1ndolos, fragment\u00e1ndolos,etc.  mirando a trav\u00e9s de la historia, el falo, la vagina, los s\u00edmbolos sexuales, se han representado de distintas manera y con distintos intereses, pero existe una constante, un denominador com\u00fan: la visceralidad, la magia sexual, la necesidad animal&#8230;El inter\u00e9s por representar al hombre y a la mujer mostrando sus g<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La genitalidad de la escultura<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La genitalidad de la escultura <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Eva Mu\u00f1oz Guinea <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 16\/01\/2001<\/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> Casas Gomez Jos\u00e9 L. De Las<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: manuel Parralo dorado <\/li>\n<li>victor Borrego nadal (vocal)<\/li>\n<li> Albadalejo gonzalez Juan  Carlos (vocal)<\/li>\n<li>Javier Pereda piquer (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Eva Mu\u00f1oz Guinea El estudio anal\u00edtico y comparativo de representaciones de los \u00f3rganos sexuales en la escultura [&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":[147,4363,1111],"tags":[35738,4660,184537,18457,6562,22841],"class_list":["post-88437","post","type-post","status-publish","format-standard","hentry","category-ciencias-de-las-artes-y-las-letras","category-escultura","category-teoria-analisis-y-critica-de-las-bellas-artes","tag-albadalejo-gonzalez-juan-carlos","tag-casas-gomez-jose-l-de-las","tag-eva-munoz-guinea","tag-javier-pereda-piquer","tag-manuel-parralo-dorado","tag-victor-borrego-nadal"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/88437","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=88437"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/88437\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=88437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=88437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=88437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}