{"id":93634,"date":"2018-03-11T10:13:04","date_gmt":"2018-03-11T10:13:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/tradicion-literaria-e-interdiscursividad-en-los-suenos-de-akira-kurosawa-espacios-simbolicos\/"},"modified":"2018-03-11T10:13:04","modified_gmt":"2018-03-11T10:13:04","slug":"tradicion-literaria-e-interdiscursividad-en-los-suenos-de-akira-kurosawa-espacios-simbolicos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/teatro\/tradicion-literaria-e-interdiscursividad-en-los-suenos-de-akira-kurosawa-espacios-simbolicos\/","title":{"rendered":"Tradici\u00f3n literaria e interdiscursividad en \u00ablos sue\u00f1os de akira kurosawa\u00bb. espacios simb\u00f3licos."},"content":{"rendered":"<h2>Tesis doctoral de <strong> Candelaria Vizca\u00edno Macero <\/strong><\/h2>\n<p>Nos centramos en el an\u00e1lisis (desde el punto de vista de la tradici\u00f3n literaria y de los espacios simb\u00f3licos) de la pel\u00edcula \u00ablos sue\u00f1os de akira kurosawa\u00bb del a\u00f1o 1990 (o \u00abyume\u00bb, seg\u00fan el t\u00edtulo abreviado del original) de este mismo director (tokio 1910-1998). La pel\u00edcula est\u00e1 dividida en ocho fragmentos con narraci\u00f3n y tem\u00e1tica independientes entre s\u00ed pero, tal como hemos demostrado y contrariamente a lo que la cr\u00edtica ha defendido hasta ahora, provistos de un hilo conductor unitario, tanto en el plano sint\u00e1ctico como en el de los sentidos. Hemos estructurado el trabajo en torno a tres puntos: en el primero, desarrollamos la epistemolog\u00eda y las bases metodol\u00f3gicas sobre las que nos sustentamos; en el segundo, hacemos un balance del \u00abopus\u00bb art\u00edstico del autor y proponemos una nueva clasificaci\u00f3n de su obra y en el tercero, nos adentramos en el an\u00e1lisis de la pel\u00edcula al completo desde el punto de vista de los espacios simb\u00f3licos y de las relaciones de interdiscursividad que mantiene con distintas artes. Anotamos que nos han interesado especialmente las mantenidas con el teatro tradicional japon\u00e9s conocido como n\u00ed\u00b4. Ya que la pel\u00edcula se construye en clave on\u00edrica, nos hemos centrado en el an\u00e1lisis de una amplia panoplia de s\u00edmbolos universales fundamentales. Al analizar \u00e9stos en relaci\u00f3n a un contexto, nos encontramos con la verdad \u00faltima que empuja a los individuos de los llamados emergentes a iniciar el duro camino de b\u00fasqueda que los convertir\u00e1 (tras duras pruebas como nos relata la tradici\u00f3n cl\u00e1sica) en h\u00e9roes aut\u00e9nticos. \u00abLos sue\u00f1os de akira kurosawa\u00bb, pues, nos dice del noble af\u00e1n de la humanidad por alcanzar un estado de conciencia superior que disipe los peligros del desconocimiento.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>Tradici\u00f3n literaria e interdiscursividad en \u00ablos sue\u00f1os de akira kurosawa\u00bb. espacios simb\u00f3licos.<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 Tradici\u00f3n literaria e interdiscursividad en \u00ablos sue\u00f1os de akira kurosawa\u00bb. espacios simb\u00f3licos. <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Candelaria Vizca\u00edno Macero <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Sevilla<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 29\/05\/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>Mar\u00eda  Elena Barroso Villar<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: Antonio S\u00e1nchez trigueros <\/li>\n<li>Manuel Alberca serrano (vocal)<\/li>\n<li>Manuel \u00e1ngel V\u00e1zquez medel (vocal)<\/li>\n<li>alfonso Palaz\u00f3n meseguer (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Candelaria Vizca\u00edno Macero Nos centramos en el an\u00e1lisis (desde el punto de vista de la tradici\u00f3n 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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