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Please use this identifier to cite or link to this item: https://hdl.handle.net/2445/153589
El Nómada y el exiliado. Consideraciones sobre la pintura, a partir de Zambrano y Deleuze
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[spa] En la obra de María Zambrano la pintura es el arte más estrechamente vinculado a la quietud, por lo que en él el exilio quedaría exorcizado. El despliegue de esta idea lleva, no obstante, a una contradicción que dicha autora no deja de reconocer. La intención de este artículo es mostrar cómo la teoría de Gilles Deleuze sobre la pintura y su discurso a propósito del nómada pueden ser utilizados para disolver esa contradicción.
[eng] In the work of María Zambrano painting is more closely linked to the feeling of stillness, so that the exile would be exorcized. However, the deployment of this idea leads to a contradiction that this author does not cease to recognize. The intention of this article is to show how the theory of Gilles Deleuze on painting and his speech concerning the nomad can be used to dissolve this contradiction.
[eng] In the work of María Zambrano painting is more closely linked to the feeling of stillness, so that the exile would be exorcized. However, the deployment of this idea leads to a contradiction that this author does not cease to recognize. The intention of this article is to show how the theory of Gilles Deleuze on painting and his speech concerning the nomad can be used to dissolve this contradiction.
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CASTILLA CEREZO, Antonio. El Nómada y el exiliado. Consideraciones sobre la pintura, a partir de Zambrano y Deleuze. Aurora. Papeles del Seminario María Zambrano. 2014. Vol. 15, num. 6-13. ISSN 1575-5045. [consulted: 11 of June of 2026]. Available at: https://hdl.handle.net/2445/153589