Books by Cristina Parellada Bezares
by Ana Castro Santamaria, María Victoria Alonso Cabezas, Mariano Casas, Silvia Ferreira, José Julio García Arranz, Javier Gómez Darriba, Jorge Jiménez López, Lucía Lahoz, José Miguel López Castillo, María Marcos Cobaleda, Julia Martínez Cano, Mariona Navarro Font, Cristina Parellada Bezares, Javier Pérez Flecha González, Carmen Poblete Trichilet, Juan Pablo Rojas Bustamante, Vega Torres Sastrús, Victoria Zaragoza Vidal, Mercedes Burgos Martínez, Francisco Javier Domínguez Burrieza, José Luis Cano de Gardoqui García, Antonio Matei, Carmen Sáez-González, Irene Valle Corpas, David Vázquez Couto, antonio Burgos, Alejandro Jaquero Esparcia, María Montesinos Castañeda, María Ortiz Tello, Raul Romero Medina, Melania Ruiz Sanz de Bremond, Judith Urbano, Manuel Gámez Casado, María del Castillo García Romero, MARÍA VICTORIA HERRÁEZ ORTEGA, Pedro Luengo Gutierrez (龙彼得), Antonio Daniel Montesdeoca García, Maria João Pereira Coutinho, Patricia Monteiro, Patricia Meilán, Alexandra M. Gutiérrez-Hernández, Azucena Hernández, Eduardo Azofra, Paula Pita Galán, phd, Pedro Cruz Freire, Diana Espada, María Garrote Recarey, Ana Celeste Glória, Salvador Hernández González, Ana Isabel Hernández Tudela, Joan Molet Petit, chiara occelli, Irene Ruiz Bazán, Juan Escorial Esgueva, Joana Balsa de Pinho, María Elvira Mocholí Martínez, Maria del Mar Escalas Martín, Patricia Labrador Ballestero, Brianda Otero Moreira, and John A Tyson Universidad de Salamanca, 2021
Resúmenes de las ponencias y comunicaciones presentadas en el XXIII Congreso Nacional de Historia... more Resúmenes de las ponencias y comunicaciones presentadas en el XXIII Congreso Nacional de Historia del Arte, que se celebrará de modo virtual en Salamanca, del 17 al 20 de mayo del 2021.
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Papers by Cristina Parellada Bezares
Logos : Revista de Lingüística, Literatura y Filosofía
Este artículo aísla metódicamente las figuras que en la pintura dan la espalda al espectador a pa... more Este artículo aísla metódicamente las figuras que en la pintura dan la espalda al espectador a partir del Trecento. Son motivos minoritarios, pero semánticamente fértiles, que renuevan los esquemas iconográficos y generan un nuevo orden visual y, por ello, son un caso de estudio paradigmático para explicar algunos de los fundamentos y problemáticas de la estrategia semiótica de análisis de la imagen. La semiótica visual estudia las figuras dorsales como signos abiertos y proxémicos que tienen en la vida referentes culturales y sociales, y referencias lingüísticas y conceptuales en la literatura, pero también producen significados desde su propio medio pictórico porque las imágenes denotan y connotan con autonomía de sentido.
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Logos, Revista de Lingüística, Filosofía y Literatura, 2023
Resumen: Este artículo aísla metódicamente las figuras que en la pintura dan la espalda al espect... more Resumen: Este artículo aísla metódicamente las figuras que en la pintura dan la espalda al espectador a partir del Trecento. Son motivos minoritarios, pero semánticamente fértiles, que renuevan los esquemas iconográficos y generan un nuevo orden visual y, por ello, son un caso de estudio paradigmático para explicar algunos de los fundamentos y problemáticas de la estrategia semiótica de análisis de la imagen. La semiótica visual estudia las figuras dorsales como signos abiertos y proxémicos que tienen en la vida referentes culturales y sociales, y referencias lingüísticas y conceptuales en la literatura, pero también producen significados desde su propio medio pictórico porque las imágenes denotan y connotan con autonomía de sentido.
Palabras clave: semiótica visual – proxémica – transliteración – iconografía – Rückenfigur – dorsalidad
Abstract: This article methodically isolates the figures that in paintings turn their backs on the viewer from the Trecento onwards. They are sparse motifs, but semantically fertile, that renew the iconographic schemes and generate a new visual order and, therefore, are a paradigmatic case study to explain some of the foundations and problematics of the semiotic approach to analysing images. Visual semiotics studies dorsal figures as open and proxemic signs that have cultural and social references in the real life, and linguistic and conceptual references in literature, but also produce meanings from their own pictorial way because images denote and connote their own self-meaning.
Keywords: visual semiotics – proxemics – transliteration – iconography – Rückenfigur– figures seen from behind
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Fedro, Revista de Estética y Teoría de las Artes, 2022
Este artículo distingue una particular forma de iconoclasia que subvierte la tradicional naturale... more Este artículo distingue una particular forma de iconoclasia que subvierte la tradicional naturaleza de los ataques contra los iconos, entendidos como signos que representan una individualidad. Es una iconoclasia gestual y semiótica que los artistas planifican y ejercen durante el mismo proceso de creación de las imágenes. Utilizan las figuras que dan la espalda al espectador y las que ocultan el rostro como motivos pictóricos con capacidad significante. Estas figuras, que reaparecen en la pintura a partir del Trecento, desempeñan una doble función iconoclasta. Externamente a las representaciones, socavan la cultura visual de la Edad media, arremetiendo contra la tradicional y casi inamovible representación frontal de los iconos. Internamente, marginan las imágenes de ciertos personajes ingratos; para desmitificar la representación unívoca y simbólica de un icono individualizado; para ocultar los afectos; y para representar alegóricamente a un colectivo o ideas universales. El giro de lo simbólico a lo alegórico que rompe la unicidad de las representaciones obliga al espectador a cambiar la naturaleza de su mirada y sustituir la intuición estética por la comprensión filosófica.
This article distinguishes a particular form of iconoclasm that subverts the traditional nature of the attacks against icons, understood as signs that depict an individuality. It is a gestural and semiotic iconoclasm that the artists plan and exercise during the very process of creating images. They use the figures that turn their back to the viewer and those that hide their faces as pictorial motifs with significant capacity. These figures, who reappear in paintings from the Trecento onwards, perform a double iconoclastic function. Externally to the depictions, they undermine the visual culture of the Middle Ages, attacking the traditional and almost immovable frontal depiction of the icons. Internally, they marginalize images of certain disagreeable characters, to demystify the univocal and symbolic depiction of an individualized icon; to hide feelings; and to allegorically depict a group or universal ideas. The turn from the symbolic to the allegorical that breaks the uniqueness of representations forces the viewer to change the nature of their gaze and replace aesthetic intuition with philosophical understanding.
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Goya: Revista de Arte, 2022
Este artículo analiza los motivos que podrían haber condicionado la representación u ocultación d... more Este artículo analiza los motivos que podrían haber condicionado la representación u ocultación del rostro en una selección de ilustraciones anatómicas de los siglos XVII y XVIII. El rostro es un signo de identidad social y, al mismo tiempo, un motivo estético con un acaudalado potencial semántico dentro del lenguaje gráfico compartido por el arte y la ciencia para la representación del cuerpo humano. En sus formas explícita y omitida condiciona la lectura de la imagen humana desde los ámbitos cultural, filosófico, político y social.
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Universitas. Las artes ante el tiempo: XXIII Congreso Nacional de Historia del Arte. Universidad de Salamanca 17 al 20 de mayo, 2021, 2021, ISBN 978-84-7797-673-8, págs. 334-344, 2021
Resumen: The Three Graces es un collage de Louise Bourgeois con una imagen tri dica entre figurat... more Resumen: The Three Graces es un collage de Louise Bourgeois con una imagen tri dica entre figurativa y abstracta que no recuerda en nada a las Gracias cl sicas. El objetivo es presentar las met foras visuales y conceptuales que conectan dos modelos de representaci n realizados en dos contextos cronol gica e ideol gicamente muy distanciados, mostrar las conexiones formales, iconogr ficas y semi ticas que la artista podr a haber establecido entre la forma y contenido de su collage y la iconograf a cl sica de Las tres Gracias.
Palabras clave: Mitolog a cl sica en el Arte Contempor neo, Las tres Gracias, Louise Bourgeois.
Abstract: The Three Graces is a collage by Louise Bourgeois with a triadic image between figurative and abstract which are in no way similar to the classic Graces. The aim is to present the visual and conceptual metaphors that connect two ways of representation which are depicted in two very distinct chronological and ideological distant contexts, showing the formal, iconographic and semiotic links that the artist could have established between the shape and content of her collage and the classic iconography of The Three Graces.
Keywords: Classical Mythology in Contemporary Art, The Three Graces, Louise Bourgeois.
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Memoria ID-095. Ayudas de la Universidad de Salamanca para la innovacion docente, curso 2018-2019.
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Aprendizaje, Innovación y Cooperación como impulsores del cambio metodológico
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Books by Cristina Parellada Bezares
Papers by Cristina Parellada Bezares
Palabras clave: semiótica visual – proxémica – transliteración – iconografía – Rückenfigur – dorsalidad
Abstract: This article methodically isolates the figures that in paintings turn their backs on the viewer from the Trecento onwards. They are sparse motifs, but semantically fertile, that renew the iconographic schemes and generate a new visual order and, therefore, are a paradigmatic case study to explain some of the foundations and problematics of the semiotic approach to analysing images. Visual semiotics studies dorsal figures as open and proxemic signs that have cultural and social references in the real life, and linguistic and conceptual references in literature, but also produce meanings from their own pictorial way because images denote and connote their own self-meaning.
Keywords: visual semiotics – proxemics – transliteration – iconography – Rückenfigur– figures seen from behind
This article distinguishes a particular form of iconoclasm that subverts the traditional nature of the attacks against icons, understood as signs that depict an individuality. It is a gestural and semiotic iconoclasm that the artists plan and exercise during the very process of creating images. They use the figures that turn their back to the viewer and those that hide their faces as pictorial motifs with significant capacity. These figures, who reappear in paintings from the Trecento onwards, perform a double iconoclastic function. Externally to the depictions, they undermine the visual culture of the Middle Ages, attacking the traditional and almost immovable frontal depiction of the icons. Internally, they marginalize images of certain disagreeable characters, to demystify the univocal and symbolic depiction of an individualized icon; to hide feelings; and to allegorically depict a group or universal ideas. The turn from the symbolic to the allegorical that breaks the uniqueness of representations forces the viewer to change the nature of their gaze and replace aesthetic intuition with philosophical understanding.
Palabras clave: Mitolog a cl sica en el Arte Contempor neo, Las tres Gracias, Louise Bourgeois.
Abstract: The Three Graces is a collage by Louise Bourgeois with a triadic image between figurative and abstract which are in no way similar to the classic Graces. The aim is to present the visual and conceptual metaphors that connect two ways of representation which are depicted in two very distinct chronological and ideological distant contexts, showing the formal, iconographic and semiotic links that the artist could have established between the shape and content of her collage and the classic iconography of The Three Graces.
Keywords: Classical Mythology in Contemporary Art, The Three Graces, Louise Bourgeois.
Palabras clave: semiótica visual – proxémica – transliteración – iconografía – Rückenfigur – dorsalidad
Abstract: This article methodically isolates the figures that in paintings turn their backs on the viewer from the Trecento onwards. They are sparse motifs, but semantically fertile, that renew the iconographic schemes and generate a new visual order and, therefore, are a paradigmatic case study to explain some of the foundations and problematics of the semiotic approach to analysing images. Visual semiotics studies dorsal figures as open and proxemic signs that have cultural and social references in the real life, and linguistic and conceptual references in literature, but also produce meanings from their own pictorial way because images denote and connote their own self-meaning.
Keywords: visual semiotics – proxemics – transliteration – iconography – Rückenfigur– figures seen from behind
This article distinguishes a particular form of iconoclasm that subverts the traditional nature of the attacks against icons, understood as signs that depict an individuality. It is a gestural and semiotic iconoclasm that the artists plan and exercise during the very process of creating images. They use the figures that turn their back to the viewer and those that hide their faces as pictorial motifs with significant capacity. These figures, who reappear in paintings from the Trecento onwards, perform a double iconoclastic function. Externally to the depictions, they undermine the visual culture of the Middle Ages, attacking the traditional and almost immovable frontal depiction of the icons. Internally, they marginalize images of certain disagreeable characters, to demystify the univocal and symbolic depiction of an individualized icon; to hide feelings; and to allegorically depict a group or universal ideas. The turn from the symbolic to the allegorical that breaks the uniqueness of representations forces the viewer to change the nature of their gaze and replace aesthetic intuition with philosophical understanding.
Palabras clave: Mitolog a cl sica en el Arte Contempor neo, Las tres Gracias, Louise Bourgeois.
Abstract: The Three Graces is a collage by Louise Bourgeois with a triadic image between figurative and abstract which are in no way similar to the classic Graces. The aim is to present the visual and conceptual metaphors that connect two ways of representation which are depicted in two very distinct chronological and ideological distant contexts, showing the formal, iconographic and semiotic links that the artist could have established between the shape and content of her collage and the classic iconography of The Three Graces.
Keywords: Classical Mythology in Contemporary Art, The Three Graces, Louise Bourgeois.