<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>0120-1263</journal-id>
<journal-title><![CDATA[Escritos]]></journal-title>
<abbrev-journal-title><![CDATA[Escritos - Fac. Filos. Let. Univ. Pontif. Bolivar.]]></abbrev-journal-title>
<issn>0120-1263</issn>
<publisher>
<publisher-name><![CDATA[Universidad Pontificia Bolivariana]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S0120-12632021000200287</article-id>
<article-id pub-id-type="doi">10.18566/escr.v29n63.a06</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Estética de lo siniestro en la obra de Goya]]></article-title>
<article-title xml:lang="en"><![CDATA[Aesthetics of the sinister in Goya's work]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Machado Blandón]]></surname>
<given-names><![CDATA[Jorge Andrés]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Pontificia Bolivariana  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>12</month>
<year>2021</year>
</pub-date>
<volume>29</volume>
<numero>63</numero>
<fpage>287</fpage>
<lpage>306</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_arttext&amp;pid=S0120-12632021000200287&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_abstract&amp;pid=S0120-12632021000200287&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.co/scielo.php?script=sci_pdf&amp;pid=S0120-12632021000200287&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[RESUMEN Este artículo presentó el concepto de lo siniestro en la obra estética del pintor español Francisco de Goya (1746-1828), quien desde la pintura capta para un expresionismo histórico la resistencia y el ímpetu español de independencia del régimen francés al mando de Napoleón Bonaparte. El análisis parte de una revisión bibliográfica y pictográfica en ductilidad de dos categorías: Goya y la representación de lo siniestro y la simbólica de la pintura en el romanticismo ibérico. Se pretende demostrar que existe en el arte goyesco, más allá de un estilo, la supratextualidad hermenéutica retenida en la estética de lo siniestro sobre la eternidad del lienzo. A partir de esta reflexión, se podría develar que la estética de lo siniestro mediada por lo sublime se convierte en aquella expresión que causa fascinación, curiosidad y a la vez rechazo. De ahí que cuando se habla de lo siniestro se refiere a aquello que está velado, que necesita despojarse de su sombra, para poder contemplarse con claridad. En Goya, se conecta lo trágico: los rostros con dramatismo dan cuenta de la realidad perturbadora de su entorno y su obra deja sellado en los murales de su aposento imágenes codificadas de emociones, historia y horror. Es en ese momento donde lo sublime cumple el papel fundamental de ser el puente que permite acceder al conocimiento frente a los interrogantes que hacen parte de la existencia, ya que en el asombro filosófico se busca develar aquello dudoso, oculto e inquietante que hace parte de nuestra humanidad.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[ABSTRACT This article presented the concept of the sinister in the aesthetic work of the Spanish painter Francisco de Goya (1746-1828), who used his painting for a historical expressionism to capture the resistance and the Spanish impetus for independence from the French regime under the command of Napoleon Bonaparte. The analysis is based on a bibliographic and pictographic review on ductility of two categories: Goya and the representation of the sinister and the symbolic of painting in Iberian romanticism. It is intended to demonstrate that, beyond a style, there exists in Goya art the hermeneutical supratextuality retained in the aesthetics of the sinister over the eternity of the canvas. From this reflection, it could be revealed that the aesthetic of the sinister mediated by the sublime becomes an expression that causes fascination, curiosity and at the same time rejection. Hence, when speaking of the sinister, we refer to that which is veiled and which needs to cast off its shadow, in order to be able to see itself clearly. In Goya, the tragic is connected: the faces full of drama reveal the disturbing reality of their surroundings and his work leaves encoded images of emotions, history and horror sealed in the murals of his room. It is at that moment that the sublime fulfills the fundamental role of being the bridge that allows access to knowledge in the face of the questions that are part of existence, since in the philosophical amazement it is sought to reveal the doubtful, hidden and disturbing that is part of our humanity.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Goya]]></kwd>
<kwd lng="es"><![CDATA[Estética]]></kwd>
<kwd lng="es"><![CDATA[Siniestro]]></kwd>
<kwd lng="es"><![CDATA[Hermenéutica]]></kwd>
<kwd lng="es"><![CDATA[Lienzo]]></kwd>
<kwd lng="es"><![CDATA[Sublime]]></kwd>
<kwd lng="es"><![CDATA[Oculto]]></kwd>
<kwd lng="en"><![CDATA[Goya]]></kwd>
<kwd lng="en"><![CDATA[Aesthetics]]></kwd>
<kwd lng="en"><![CDATA[Sinister]]></kwd>
<kwd lng="en"><![CDATA[Hermeneutics]]></kwd>
<kwd lng="en"><![CDATA[Canvas]]></kwd>
<kwd lng="en"><![CDATA[Sublime]]></kwd>
<kwd lng="en"><![CDATA[Hidden]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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