{"id":94010,"date":"2018-03-11T10:13:37","date_gmt":"2018-03-11T10:13:37","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-dimension-performativa-de-la-practica-pictorica-analisis-de-los-mecanismos-de-transferencia-de-uso-entre-distintos-campos-performativos\/"},"modified":"2018-03-11T10:13:37","modified_gmt":"2018-03-11T10:13:37","slug":"la-dimension-performativa-de-la-practica-pictorica-analisis-de-los-mecanismos-de-transferencia-de-uso-entre-distintos-campos-performativos","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/escultura\/la-dimension-performativa-de-la-practica-pictorica-analisis-de-los-mecanismos-de-transferencia-de-uso-entre-distintos-campos-performativos\/","title":{"rendered":"La dimension performativa de la practica pictorica. analisis de los mecanismos de transferencia de uso entre distintos campos performativos"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Paulo Luis Ferreira De Almeida <\/strong><\/h2>\n<p>Esta tesis constituye una aproximaci\u00f3n metodol\u00f3gica al estudio de la relaci\u00f3n entre la pr\u00e1ctica pict\u00f3rica y contextos performativos.  una primera parte consiste en contrastar los modelos de emergencia de lo performativo en la pr\u00e1ctica pict\u00f3rica y rastrear las implicaciones ontol\u00f3gicas y procesuales que esa emergencia ha creado. Se proponen tres modelos: el ling\u00ed\u00bc\u00edstico, basado en la teor\u00eda de los actos de lenguaje y manifiesto en las listas de verbos realizadas por los artistas como espacios proto-performativos; el som\u00e1tico, que enmarca el uso ficticio de procedimientos y de las im\u00e1genes como sustitutos biogr\u00e1ficos del artista; y las transferencias de uso, que designan el redireccionamiento o sustituci\u00f3n de un acto performativo en la duraci\u00f3n de un proceso. Este proceso implica la \u00abmigraci\u00f3n\u00bb del acto hacia fuera de su marco contextual, de manera que albergue otros contenidos y desempe\u00f1e otra funci\u00f3n. la segunda parte analiza, a partir de la semi\u00f3tica experimental y de los estudios performativos, los mecanismos de transferencia de uso cuando se manifiestan en las pr\u00e1cticas pict\u00f3ricas. Se muestra que estos mecanismos son el principal s\u00edntoma de la dimensi\u00f3n performativa de lo pict\u00f3rico, pero tambi\u00e9n, y principalmente, mecanismos creativos mediante los cuales los procesos pict\u00f3ricos prestan o adoptan patrones de otros procesos, reemplaz\u00e1ndolos en sus propios medios y soportes.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La dimension performativa de la practica pictorica. analisis de los mecanismos de transferencia de uso entre distintos campos performativos<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La dimension performativa de la practica pictorica. analisis de los mecanismos de transferencia de uso entre distintos campos performativos <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Paulo Luis Ferreira De Almeida <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Pa\u00eds vasco\/euskal herriko unibertsitatea<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 15\/06\/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>Julian Irujo Andueza<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: domenec Corbella llobet <\/li>\n<li>Antonio Quadros ferreira (vocal)<\/li>\n<li>josep Mata benedicto (vocal)<\/li>\n<li>Manuel Viana botelho (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Paulo Luis Ferreira De Almeida Esta tesis constituye una aproximaci\u00f3n metodol\u00f3gica al estudio de la relaci\u00f3n entre [&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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