Herramienta de chequeo de registro xml obtenido desde Cuadernos de Historia del Arte

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	<dc:title xml:lang="en-US">The landscape how topic, problem and situation</dc:title>
	<dc:title xml:lang="es-ES">El paisaje como tema, problema y situación </dc:title>
	<dc:title xml:lang="fr-FR">Le paysage en tant que thème, problème et situation</dc:title>
	<dc:title xml:lang="pt-BR">A paisagem como tema, problema e situação</dc:title>
	<dc:title xml:lang="ru-RU">Ландшафт как тема, проблема и ситуация</dc:title>
	<dc:creator>Prado Acosta, Carla Soledad</dc:creator>
	<dc:subject xml:lang="es-ES">Filosofía</dc:subject>
	<dc:subject xml:lang="es-ES">Filosofía del arte</dc:subject>
	<dc:subject xml:lang="es-ES">Paisaje</dc:subject>
	<dc:subject xml:lang="es-ES">Pampa</dc:subject>
	<dc:subject xml:lang="en-US">Philosophy</dc:subject>
	<dc:subject xml:lang="en-US">Philosophy of Arte</dc:subject>
	<dc:subject xml:lang="en-US">Landscape</dc:subject>
	<dc:subject xml:lang="en-US">Pampa</dc:subject>
	<dc:subject xml:lang="pt-BR">Filosofia</dc:subject>
	<dc:subject xml:lang="pt-BR">Filosofia da arte</dc:subject>
	<dc:subject xml:lang="pt-BR">Paisagem</dc:subject>
	<dc:subject xml:lang="pt-BR">Pampa</dc:subject>
	<dc:subject xml:lang="fr-FR">Philosophie</dc:subject>
	<dc:subject xml:lang="fr-FR">Philosophie de l'art</dc:subject>
	<dc:subject xml:lang="fr-FR">Paysage</dc:subject>
	<dc:subject xml:lang="fr-FR">Pampa</dc:subject>
	<dc:subject xml:lang="ru-RU">ФИЛОСОФИЯ</dc:subject>
	<dc:subject xml:lang="ru-RU">ФИЛОСОФИЯ ИСКУССТВА</dc:subject>
	<dc:subject xml:lang="ru-RU">ЛАНДШАФТ</dc:subject>
	<dc:subject xml:lang="ru-RU">ПАМПА</dc:subject>
	<dc:description xml:lang="en-US">The place of enunciation that sustains a discourse not only refers to the socioeconomic conditions that cross the subjects but also to the determined space that makes possible a particular existence. In this sense, the landscape can be presented, as well as a topic, as a situation in which and through which an artistic work is produced. To make this travel to the speaker's site, the turn of the relation with Kant's nature in his feeling of the sublime is interesting to recover to Debray in his reference to the 'geography of art'. This 'return to the ground' is one more point from which we can think about the framework of the landscape. And the case that calls principally our attention is the figure of 'La Pampa' in the Argentine writings, having as its first reference Facundo by Sarmiento. This concept, taken up by Horacio González, is not only a topic: the landscape transcends its physical place to move as a category, without leaving to be a place. At the same time, the project turn on to the situation that affects the conformation of senses that construct not only about the site but also too about the habitants.</dc:description>
	<dc:description xml:lang="es-ES">El lugar de enunciación que sustenta un discurso no sólo remite a las condiciones socioeconómicas que atraviesan a los sujetos sino también al espacio determinado que posibilita una existencia particular. En este sentido, el paisaje puede presentarse, además de como un tema, como una situación en la cual y a través de la cual se produce una obra artística. Para realizar este recorrido hacia el sitio del hablante, es interesante recuperar el giro de la relación con la naturaleza de Kant en su sentimiento de lo sublime para recuperar a Debray en su referencia a una ‘geografía del arte’. Esta ‘vuelta al suelo’ es una arista más desde la cual se puede pensar el entramado del paisaje. Y un caso que nos llama particularmente la atención es la figura de ‘la Pampa’ en los escritos argentinos, teniendo como primera referencia el Facundo de Sarmiento. Esta noción, retomada por Horacio González, no sólo es temática sino que el paisaje trasciende su lugar físico para trasladarse como categoría. A su vez, la propuesta gira hacia un tratamiento situacional que afecta la conformación de sentido que se construye en torno no sólo al lugar sino a sus habitantes.</dc:description>
	<dc:description xml:lang="fr-FR">Le lieu d'énonciation qui soutient un discours fait non seulement référence aux conditions socio-économiques que traversent les sujets, mais également à l'espace déterminé qui permet une existence particulière. En ce sens, le paysage peut être présenté comme thème et comme une situation dans laquelle et à travers laquelle une Å“uvre artistique est produite. Pour faire ce voyage vers le site du locuteur, il est intéressant de retrouver le sens de la relation avec la nature de Kant dans son sentiment de sublime pour retrouver Debray dans sa référence à une ‘géographie de l’art’. Ce « retour au sol » est un autre angle à partir duquel on peut penser au réseau paysager. Et un cas qui attire particulièrement notre attention est la figure de « la pampa » dans les écrits argentins, ayant pour première référence le Facundo de Sarmiento. Cette notion, reprise par Horacio González, n’est pas seulement thématique mais le paysage transcende sa place physique pour se déplacer en tant que catégorie. À son tour, la proposition se tourne vers un traitement de la situation qui affecte la conformation du sens qui se construit autour non seulement du lieu mais de ses habitants.</dc:description>
	<dc:description xml:lang="pt-BR">O lugar de enunciação que sustenta um discurso não só remite às condições socioeconômicas que atravessam aos sujeitos senão também ao espaço determinando que possibilite uma existência particular. Neste sentido, a paisagem pode apresentar-se, além de como um tema, como uma situação na qual e através da qual se produz uma obra artística. Para realizar este percorrido até o sítio do falante, é interessante recuperar o giro da relação com a natureza de Kant no seu sentimento do sublime para recuperar a Debray na sua referência a uma ‘geografia da arte’. Esta ‘volta ao solo’ é uma arista mais desde a qual se pode pensar a estrutura da paisagem. E um caso que nos chama particularmente a atenção é a figura de ‘a Pampa’ nos escritos argentinos, tendo como primeira referência o Facundo de Sarmiento. Esta noção, retomada por Horacio González, não só é temática senão que a paisagem transcende o seu lugar físico para se transladar como categoria. A sua vez, a proposta gira até um tratamento situacional que afeta à conformação de sentido que se constrói em torno não só ao lugar senão aos seus habitantes.</dc:description>
	<dc:description xml:lang="ru-RU">Место высказывания, которое поддерживает дискурс, относится не только к социально-экономическим условиям которые пересекают людей, но и в определенное пространство, которое позволяет конкретное существование. Ð’ этом смысле, ландшафт&amp;nbsp; может быть представлен, как тема, как&amp;nbsp; ситуация, в которой и с её помощью производится художественное произведение. Чтобы совершить это путешествие на сайт спикера, интересно восстановить поворот отношений с природой Канта в своём чувстве возвышенного, чтобы восстановить Дебрея в его ссылке на ‘географию искусства’. Это ‘назад к земле’ является ещё одним краем, из которого можно думать о ландшафте. И случай, который особенно привлекает наше внимание, - это фигура ‘Пампа’ в аргентинских текстах, имея в качестве первой ссылки Факундо Сармьента. Это понятие, взятое Орасио Гонсалесом, не только тематическое, но и ландшафт превосходит свое физическое место для перемещения в категории. Ð’ свою очередь, предложение обращается к ситуационному режиму, который влияет на конформацию смысла, который строится вокруг не только места, но и его жителей.</dc:description>
	<dc:publisher xml:lang="es-ES">Comité Editor IHA - Instituto de Historia del Arte  -  Facultad de Filosofía y Letras - Universidad Nacional de Cuyo</dc:publisher>
	<dc:date>2019-06-28</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:type xml:lang="es-ES">Artículos evaluados por pares</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2375</dc:identifier>
	<dc:source xml:lang="en-US">Art History Notebooks; No. 32 (2019): DOSSIER: TERRITORIO Y PATRIMONIO INDÍGENA; 183-200</dc:source>
	<dc:source xml:lang="es-ES">CUADERNOS DE HISTORIA DEL ARTE; Núm. 32 (2019): DOSSIER: TERRITORIO Y PATRIMONIO INDÍGENA; 183-200</dc:source>
	<dc:source>2618-5555</dc:source>
	<dc:source>0070-1688</dc:source>
	<dc:language>spa</dc:language>
	<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/2375/1742</dc:relation>
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