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

<oai_dc:dc xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/  http://www.openarchives.org/OAI/2.0/oai_dc.xsd"><identifier>I11-R101article-2376</identifier><datestamp>2020-12-10T11:58:48Z</datestamp>
	<dc:title xml:lang="en-US">Painting in the Expanded Field </dc:title>
	<dc:title xml:lang="es-ES">La Pintura en el campo expandido</dc:title>
	<dc:title xml:lang="fr-FR">La Peinture dans le champ étendu</dc:title>
	<dc:title xml:lang="pt-BR">Pintura no campo expandido</dc:title>
	<dc:title xml:lang="ru-RU">Живопись в расширенном поле</dc:title>
	<dc:creator>Fares, Gustavo</dc:creator>
	<dc:subject xml:lang="es-ES">Pintura</dc:subject>
	<dc:subject xml:lang="es-ES">Campo</dc:subject>
	<dc:subject xml:lang="es-ES">Pluralismo</dc:subject>
	<dc:subject xml:lang="es-ES">Greimas</dc:subject>
	<dc:subject xml:lang="es-ES">Historia</dc:subject>
	<dc:subject xml:lang="en-US">Painting</dc:subject>
	<dc:subject xml:lang="en-US">Field</dc:subject>
	<dc:subject xml:lang="en-US">Pluralism</dc:subject>
	<dc:subject xml:lang="en-US">Greimas</dc:subject>
	<dc:subject xml:lang="en-US">History</dc:subject>
	<dc:subject xml:lang="pt-BR">Pintura</dc:subject>
	<dc:subject xml:lang="pt-BR">Campo</dc:subject>
	<dc:subject xml:lang="pt-BR">Pluralismo</dc:subject>
	<dc:subject xml:lang="pt-BR">Greimas</dc:subject>
	<dc:subject xml:lang="pt-BR">História</dc:subject>
	<dc:subject xml:lang="fr-FR">Peinture</dc:subject>
	<dc:subject xml:lang="fr-FR">Terrain</dc:subject>
	<dc:subject xml:lang="fr-FR">Pluralisme</dc:subject>
	<dc:subject xml:lang="fr-FR">Greimas</dc:subject>
	<dc:subject xml:lang="fr-FR">Histoire</dc:subject>
	<dc:subject xml:lang="ru-RU">ЖИВОПИСЬ</dc:subject>
	<dc:subject xml:lang="ru-RU">ПОЛЕ</dc:subject>
	<dc:subject xml:lang="ru-RU">ПЛЮРАЛИЗМ</dc:subject>
	<dc:subject xml:lang="ru-RU">ГРЕЙМАС</dc:subject>
	<dc:subject xml:lang="ru-RU">ИСТОРИЯ</dc:subject>
	<dc:description xml:lang="en-US">The present essay examines the historical and logical conditions of the existence of painting as an expanded field. After developing the concept of pluralism, the expanded field of painting is presented through the use of the Greimas rectangle. This expanded field incorporates the notions of originality / reproducibility, multidimensional related spaces, and history and chronology. The resulting field relates painting to other artistic manifestations previously seen as different or even opposed to it in today's society and makes it possible to re-invest in the medium with the characteristics that it has lost or gave away throughout time. The expanded field also allows to examine transformations and movements in more than one dimension at the same time, changes from one expressive form to another, from one object to another, and still allows for the possible addition of other artistic manifestations related to the expanded field.</dc:description>
	<dc:description xml:lang="es-ES">El presente ensayo examina las condiciones históricas y lógicas de la existencia de la pintura como un campo expandido. Luego de desarrollar el concepto de pluralismo, se presenta el campo expandido de la pintura mediante el uso del rectángulo de Greimas. Este campo expandido incorpora las nociones de originalidad/reproducibilidad, espacios afines multidimensionales, e historia y cronología. El campo resultante relaciona la pintura con otras manifestaciones artísticas previamente vistas como diferentes o aún opuestas a ella en la sociedad actual y posibilita volver a invertir en el medio las características que ha perdido o dado prestadas desde un tiempo a esta parte. El campo expandido también permite examinar las transformaciones y los movimientos en más de una dimensión al mismo tiempo, los cambios de una forma expresiva a otra, de un objeto a otro, y aún permite la posible adición de otras manifestaciones artísticas relacionadas en este campo con la pintura.</dc:description>
	<dc:description xml:lang="fr-FR">Cet essai examine les conditions historiques et logiques de l’existence de la peinture en tant que domaine étendu. Après avoir développé le concept de pluralisme, le champ étendu de la peinture est présenté grâce à l’utilisation du rectangle de Greimas. Ce champ étendu intègre les notions d’originalité / de reproductibilité, d’espaces multidimensionnels, d’histoire et de chronologie. Le champ qui en résulte relie la peinture à d’autres manifestations artistiques perçues auparavant comme différentes ou même opposées à la société d’aujourd’hui et permet de retourner au milieu des caractéristiques perdues ou prêtées depuis un certain temps. Le champ étendu permet également d’examiner les transformations et les mouvements de plusieurs dimensions à la fois, les changements d’une expression à une autre, d’un objet à un autre, tout en permettant d’ajouter d’autres manifestations artistiques liées dans ce domaine à la peinture.</dc:description>
	<dc:description xml:lang="pt-BR">O presente ensaio examina as condições históricas e lógicas da existência da pintura como um campo expandido. Depois de desenvolver o conceito de pluralismo, se apresenta o campo expandido da pintura mediante o uso do retângulo de Greimas. Este campo expandido incorpora as noções de originalidade/reprodutibilidade, espaços afins multidimensionais, e história e cronologia. O campo resultante relaciona a pintura com outras manifestações artísticas previamente vistas como diferentes ou ainda opostas a ela na sociedade atual e possibilita voltar a investir no meio as características que tem perdido ou dado emprestadas desde um tempo a esta parte. O campo expandido também permite examinar as transformações e os movimentos em mais de uma dimensão ao mesmo tempo, os câmbios de uma forma expressiva a outra, de um objeto a outro, e ainda permite a possível adição de outras manifestações artísticas relacionadas neste campo com a pintura.</dc:description>
	<dc:description xml:lang="ru-RU">В этом эссе рассматриваемся исторические и логические условия существования живописи как расширенное поле. После разработки концепции плюрализма, Расширенное поле живописи представлено с помощью прямоугольника Греймаса. Это расширенное поле включает понятия оригинальности/ воспроизводимости, многомерных связанных пространств, истории и хронологии. Получившееся поле относится живопись к другим художественным проявлениям, ранее рассматривается как разные или даже против этого в современном обществе и позволяет реинвестировать в среду те характеристики, которые он потерял или дал с тех пор этой части. Расширенное поле также позволяет изучать трансформации и движения более чем в одном измерении одновременно, изменения от одной выразительной формы к другой, от одного объекта к другому, и до сих пор допускает возможное добавление других художественных проявлений, связанных в этой поле с живописью.</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/2376</dc:identifier>
	<dc:source xml:lang="en-US">Art History Notebooks; No. 32 (2019): DOSSIER: TERRITORIO Y PATRIMONIO INDÍGENA; 201-237</dc:source>
	<dc:source xml:lang="es-ES">CUADERNOS DE HISTORIA DEL ARTE; Núm. 32 (2019): DOSSIER: TERRITORIO Y PATRIMONIO INDÍGENA; 201-237</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/2376/1743</dc:relation>
</oai_dc:dc>

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