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https://repository.unad.edu.co/handle/10596/77300Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.advisor | Molano, Uliana | - |
| dc.coverage.spatial | Valledupar | - |
| dc.creator | Hernández Mirabal, Andrea | - |
| dc.date.accessioned | 2025-12-15T20:28:33Z | - |
| dc.date.available | 2025-12-15T20:28:33Z | - |
| dc.date.created | 2025 | - |
| dc.identifier | Https://munad.unad.edu.co/andrea-de-jesus-hernandez-mirabal/ | - |
| dc.identifier.uri | https://repository.unad.edu.co/handle/10596/77300 | - |
| dc.description.abstract | Este Ejercicio Creativo Aborda Reexisitir Dentro De Lo Híbrido Mediante La Creación Visual. A Partir Del Estudio De Cuatro Tradiciones Orales La Llorona, El Hombre Caimán, El Mohán Y La Zorra Pelá, Se Propuso Reinterpretar Estas Narrativas Que, Aunque Persisten En La Memoria Colectiva, La Mayoría Han Sido Distorsionadas Por Procesos De Sincretismo O Desplazadas Por Narrativas Hegemónicas Impuestas Por El Capitalismo Global Y Los Medios Masivos. Inspirado En Los Movimientos Gnoseológicos De Guiso, (2015) Educador E Investigador En Pedagogía Social, Plantea Estos Movimientos Como Parte De Un Diálogo De Saberes: Recuperar Memorias, Deconstruir Estructuras Dominantes, Resignificar Sentidos Y Recrear Alternativas. Aplicando Este Marco, El Arte Visual Se Convierte En Un Acto De Reexistencia Frente Al Neocolonialismo, Revitalizando Relatos Populares Desde Una Perspectiva Decolonial. Así, Se Busca No Solo Preservar, Sino Activar Su Potencia Crítica En El Contexto Contemporáneo. | - |
| dc.format | - | |
| dc.title | Reexistencia híbrida | - |
| dc.type | Investigación - Creación De Obra Artística | - |
| dc.subject.keywords | Re-existir | - |
| dc.subject.keywords | Reinterpretar | - |
| dc.subject.keywords | Oralidad | - |
| dc.subject.keywords | Preservar | - |
| dc.subject.keywords | Resistir | - |
| dc.subject.keywords | Arte | - |
| dc.description.abstractenglish | This Creative Exercise Addresses Re-existing Within The Hybrid Through Visual Creation. Based On The Study Of Four Oral Traditions—la Llorona, El Hombre Caimán, El Mohán, And La Zorra Pelá—the Goal Was To Reinterpret These Narratives That, Although They Persist In Collective Memory, Have Mostly Been Distorted By Processes Of Syncretism Or Displaced By Hegemonic Narratives Imposed By Global Capitalism And Mass Media. Inspired By The Gnoseological Movements Of Guiso (2015), An Educator And Researcher In Social Pedagogy, These Movements Are Proposed As Part Of A Dialogue Of Knowledge: Recovering Memories, Deconstructing Dominant Structures, Re-signifying Meanings, And Recreating Alternatives. By Applying This Framework, Visual Art Becomes An Act Of Re-existence Against Neocolonialism, Revitalizing Popular Stories From A Decolonial Perspective. Thus, The Aim Is Not Only To Preserve Them But To Activate Their Critical Power In The Contemporary Context. | - |
| dc.subject.category | Artes Visuales | - |
| Appears in Collections: | Artes Visuales | |
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