{"id":95966,"date":"2018-03-11T10:16:04","date_gmt":"2018-03-11T10:16:04","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/el-artista-y-las-disciplinas-del-afuera-magia-divinidad-e-irracionalidad\/"},"modified":"2018-03-11T10:16:04","modified_gmt":"2018-03-11T10:16:04","slug":"el-artista-y-las-disciplinas-del-afuera-magia-divinidad-e-irracionalidad","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/vigo\/el-artista-y-las-disciplinas-del-afuera-magia-divinidad-e-irracionalidad\/","title":{"rendered":"El artista y las disciplinas del afuera: magia, divinidad e irracionalidad"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Encarnaci\u00f3n Rodr\u00edguez Berm\u00fadez <\/strong><\/h2>\n<p>La construcci\u00f3n mitol\u00f3gica de la figura del artista en su devenir hist\u00f3rico se halla vinculada a las relaciones establecidas con disciplinas como la magia, la divinidad o la irracionalidad. la pregunta por la ontolog\u00eda del artista es deudora asimismo de su significado social; una funci\u00f3n subjetiva que se transpone en la materia; un sujeto que se objetualiza en aras de conquistar la eternidad, vencer el tiempo y con \u00e9l la muerte. Un acto de amor que se diluye en la experiencia sensible de un ser que se busca desde el afuera: un sujeto que se desata. transubstancializaci\u00f3n de materia en esp\u00edritu                                                                                                                                 una obra que habla, una obra que calla<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>El artista y las disciplinas del afuera: magia, divinidad e irracionalidad<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 El artista y las disciplinas del afuera: magia, divinidad e irracionalidad <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Encarnaci\u00f3n Rodr\u00edguez Berm\u00fadez <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Vigo<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 17\/09\/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>Jes\u00fas Hern\u00e1ndez S\u00e1nchez<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal: lourdes Mendez perez <\/li>\n<li>agust\u00edn Ramos  irizar (vocal)<\/li>\n<li>ricardo Forriols gonz\u00e1lez (vocal)<\/li>\n<li>  (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Encarnaci\u00f3n Rodr\u00edguez Berm\u00fadez La construcci\u00f3n mitol\u00f3gica de la figura del artista en su devenir hist\u00f3rico se halla [&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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