{"id":91671,"date":"2018-03-11T10:10:31","date_gmt":"2018-03-11T10:10:31","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/lo-cotidiano-entorno-y-artificio-formas-de-representacion-en-el-arte-contemporaneo-1970-2003\/"},"modified":"2018-03-11T10:10:31","modified_gmt":"2018-03-11T10:10:31","slug":"lo-cotidiano-entorno-y-artificio-formas-de-representacion-en-el-arte-contemporaneo-1970-2003","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/historia-del-arte\/lo-cotidiano-entorno-y-artificio-formas-de-representacion-en-el-arte-contemporaneo-1970-2003\/","title":{"rendered":"Lo cotidiano: entorno y artificio. formas de representaci\u00f3n en el arte contempor\u00e1neo. 1970-2003"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Nieves Febrer Fern\u00e1ndez <\/strong><\/h2>\n<p>El objetivo de esta tesis, se ha basado en investigar las representaciones y narraciones que fundamentan y construyen lo cotidiano dentro del arte contempor\u00e1neo. El t\u00edtulo, lo cotidiano: entorno y artificio, hace menci\u00f3n, por esto mismo, a dos conceptos que a nuestro entender se plantean como la hip\u00f3tesis de este trabajo. En su acepci\u00f3n denotativa, se llama entorno al ambiente que nos rodea. \u00e9ste, se basa en un conjunto de condiciones y circunstancias f\u00edsicas, sociales y econ\u00f3micas que componen un lugar o una \u00e9poca concreta.  Por el contrario, el artificio es la habilidad con la que se hace algo; es decir, se relaciona con la acci\u00f3n de disimular, ocultar, disfrazar o fingir. Por lo tanto, nuestra hip\u00f3tesis se ha basado en situar lo cotidiano, en sus m\u00faltiples acepciones (cotidianidad, vida cotidiana, etc.) Como una pieza (o una ficha) m\u00e1s entre el entorno y el artificio.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Lo cotidiano: entorno y artificio. formas de representaci\u00f3n en el arte contempor\u00e1neo. 1970-2003<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Lo cotidiano: entorno y artificio. formas de representaci\u00f3n en el arte contempor\u00e1neo. 1970-2003 <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Nieves Febrer Fern\u00e1ndez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Valladolid<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 13\/02\/2009<\/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>Mercedes Miguel Borr\u00e1s<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Francisco De la plaza Santiago <\/li>\n<li>angel Luis Hueso monton (vocal)<\/li>\n<li>fern\u00e1ndo benito Gonz\u00e1lez Garc\u00eda (vocal)<\/li>\n<li>aurelio Del portillo Garc\u00eda (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Nieves Febrer Fern\u00e1ndez El objetivo de esta tesis, se ha basado en investigar las representaciones y narraciones [&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":[1014,12451],"tags":[5804,175239,141303,149437,6745,189846],"class_list":["post-91671","post","type-post","status-publish","format-standard","hentry","category-historia-del-arte","category-valladolid","tag-angel-luis-hueso-monton","tag-aurelio-del-portillo-garcia","tag-fernando-benito-gonzalez-garcia","tag-francisco-de-la-plaza-santiago","tag-mercedes-miguel-borras","tag-nieves-febrer-fernandez"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/91671","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=91671"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/91671\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=91671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=91671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=91671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}