Dina Comisarenco
Biographic Data
| ID | 270780 |
|---|---|
| NAME | Dina Comisarenco |
| GIVEN NAMES | Dina |
| FAMILY NAME | Comisarenco |
| SIGNATURE | COMISARENCO D |
| AFFILIATIONS | Ibero American University |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Links in a Chain
In this text, I analyse some of the affective and political connotations of the reappearance in the twentieth century of iconography around the resurrection of the hero, with a new revolutionary and secular sense. Transiting between the disturbing photograph with which Freddy Alborta captured the last face of Che Guevara, and moving towards some prior images dedicated to the theme of Christian lamentation, and mainly to other works that followed …
Entre los dos crepúsculos del día
En este trabajo se estudian algunas de las variadas referencias iconográficas que la artista polaco-mexicana Fanny Rabel (1922-2008) combinó en su obra Lo olvidamos todo (1967), para expresar algunos aspectos muy significativos de los paralelos que existen entre la memoria individual y la colectiva. La característica perspectiva de género propia de Rabel, acostumbrada a considerar las experiencias y los sentimientos personales, probablemente fue …
Frida Kahlo, Diego Rivera, and Tlazolteotl
No prominent works on this page.
Frida Kahlo, Diego Rivera, and Tlazolteotl
Entre los dos crepúsculos del día
En este trabajo se estudian algunas de las variadas referencias iconográficas que la artista polaco-mexicana Fanny Rabel (1922-2008) combinó en su obra Lo olvidamos todo (1967), para expresar algunos aspectos muy significativos de los paralelos que existen entre la memoria individual y la colectiva. La característica perspectiva de género propia de Rabel, acostumbrada a considerar las experiencias y los sentimientos personales, probablemente fue …
Links in a Chain
In this text, I analyse some of the affective and political connotations of the reappearance in the twentieth century of iconography around the resurrection of the hero, with a new revolutionary and secular sense. Transiting between the disturbing photograph with which Freddy Alborta captured the last face of Che Guevara, and moving towards some prior images dedicated to the theme of Christian lamentation, and mainly to other works that followed …
Art (3 works) · Humanities (2 works) · Philosophy (2 works) · Allegory (1 works) · Art history (1 works) · Cinema History and Criticism (1 works) · Contemporary art, education, critique (1 works) · Face (sociological concept (1 works) · Feminist Theory and Gender Studies (1 works) · HERO (1 works)