{"id":96878,"date":"2018-03-11T10:17:12","date_gmt":"2018-03-11T10:17:12","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/paisajes-de-la-imaginacion-un-dialogo-entre-visualidad-y-textualidad-en-la-obra-de-emily-carr\/"},"modified":"2018-03-11T10:17:12","modified_gmt":"2018-03-11T10:17:12","slug":"paisajes-de-la-imaginacion-un-dialogo-entre-visualidad-y-textualidad-en-la-obra-de-emily-carr","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/paisajes-de-la-imaginacion-un-dialogo-entre-visualidad-y-textualidad-en-la-obra-de-emily-carr\/","title":{"rendered":"Paisajes de la imaginaci\u00f3n: un di\u00e1logo entre visualidad y textualidad en la obra de emily carr."},"content":{"rendered":"

Tesis doctoral de Rosa Mar\u00eda Alamo Martin <\/strong><\/h2>\n

Null tesis doctoral universidad complutense de Madrid facultad de filolog\u00eda departamento de filolog\u00eda inglesa ii (literatura de los pa\u00edses de lengua inglesa) directora: dra. Esther s\u00e1nchez-pardo gonz\u00e1lez doctoranda: rosa m\u00aa \u00e1lamo mart\u00edn mad rid, mayo 2009 rosa m\u00aa \u00e1lamo mart\u00edn paisajes de la imaginaci\u00f3n: un di\u00e1logo entre visualidad y textualidad en la obra de emily carr \u00edndice 1.\tIntroducci\u00f3n\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 1 1.1.\tObjetivo de la investigaci\u00f3n\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf \u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 3 1.2.\tFuentes bibliogr\u00e1ficas\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 5 1.3.\tMetodolog\u00eda\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 7 1.4.\tDesarrollo te\u00f3rico de las disciplinas utilizadas.. 11 1.4.1.\tPsicoan\u00e1lisis\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 11 1.4.2.\tAntropolog\u00eda\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 15 1.4.3.\tCr\u00edtica de arte\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 20 1.4.4.\tCr\u00edtica cultural: el concepto de \u00c2\u00bfexotismo\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 29 2.\tPrimitivismo y modernidad……. …………………….. 39 2.1.\tConsideraciones generales\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 39 2.2.\tEl punto de vista de la antropolog\u00eda\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 41 2.3.\tEl punto de vista de la historia del arte\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf 78 2.4.\tEl discurso de l os artistas \u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf 89 2.5.\tEl retorno de lo primitivo \u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf 121 3.\tEmily carr: vocaci\u00f3n creadora 3.1.\tKlee wyck: una mirada ex\u00f3tica\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 134 3.2.\tDiarios de artista\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 176 3.3.\tE scritos te\u00f3ricos: la herencia del trascendentalismo\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 216 3.4.\tObra pict\u00f3rica\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf 269 3.4.1.\tLa pintura etnogr\u00e1fica\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 272 3.4.2.\tEl descubrimiento de la pintura\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 280 3.4.3. \tEl retorno a la naturaleza y a la tem\u00e1tica nativa\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf 299 4.\tConclusi\u00f3n\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf.. 308 bibliograf\u00eda\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf\u00c2\u00bf. 316 emily carr (1871-1945) es una figura se\u00f1era en el panorama del arte y las letras de canad\u00e1. Tiene, asimismo, un lugar destacado en las literaturas en lengua inglesa y su posici\u00f3n en la pintura moderna es incontestable a trav\u00e9s de una obra que retrata a los habitantes nativos y el paisaje de la costa noroeste de canad\u00e1 . Es autora de seis libros de contenido autobiogr\u00e1fico: klee wyck (1941), the book of small (1942), the house of all sorts (1944), growing pains (1946), the heart of a peacock (1953) y pause: a sketch book (1953) y hundreds and thousands: the journa<\/p>\n

 <\/p>\n

Datos acad\u00e9micos de la tesis doctoral \u00abPaisajes de la imaginaci\u00f3n: un di\u00e1logo entre visualidad y textualidad en la obra de emily carr.<\/strong>\u00ab<\/h3>\n
    \n
  • T\u00edtulo de la tesis:<\/strong>\u00a0 Paisajes de la imaginaci\u00f3n: un di\u00e1logo entre visualidad y textualidad en la obra de emily carr. <\/li>\n
  • Autor:<\/strong>\u00a0 Rosa Mar\u00eda Alamo Martin <\/li>\n
  • Universidad:<\/strong>\u00a0 Complutense de Madrid<\/li>\n
  • Fecha de lectura de la tesis:<\/strong>\u00a0 30\/10\/2009<\/li>\n<\/ul>\n

     <\/p>\n

    Direcci\u00f3n y tribunal<\/h3>\n
      \n
    • Director de la tesis<\/strong>\n
        \n
      • pardo Gonzalez Sanchez<\/li>\n<\/ul>\n<\/li>\n
      • Tribunal<\/strong>\n
          \n
        • Presidente del tribunal: Mar\u00eda rosa (secretario) Burillo gadea <\/li>\n
        • (vocal)<\/li>\n
        • (vocal)<\/li>\n
        • (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

           <\/p>\n","protected":false},"excerpt":{"rendered":"

          Tesis doctoral de Rosa Mar\u00eda Alamo Martin Null tesis doctoral universidad complutense de Madrid facultad de filolog\u00eda departamento de filolog\u00eda […]<\/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":[1],"tags":[198735,56371,198734],"class_list":["post-96878","post","type-post","status-publish","format-standard","hentry","category-sin-categoria","tag-maria-rosa-secretario-burillo-gadea","tag-pardo-gonzalez-sanchez","tag-rosa-maria-alamo-martin"],"_links":{"self":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/96878","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=96878"}],"version-history":[{"count":0,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/posts\/96878\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/media?parent=96878"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/categories?post=96878"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.deberes.net\/tesis\/wp-json\/wp\/v2\/tags?post=96878"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}