<?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>2448-864X</journal-id>
<journal-title><![CDATA[Interpretatio. Revista de hermenéutica]]></journal-title>
<abbrev-journal-title><![CDATA[Interpret. Rev. herméneut]]></abbrev-journal-title>
<issn>2448-864X</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-864X2023000200109</article-id>
<article-id pub-id-type="doi">10.19130/irh.2023.2.00s01x016</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Rocky Balboa contra Marcel Duchamp. Trabajo artístico y consunción en el último capitalismo]]></article-title>
<article-title xml:lang="en"><![CDATA[Rocky Balboa vs. Marcel Duchamp Artistic Work and Consumption in Late Capitalism]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Giraldo]]></surname>
<given-names><![CDATA[Efrén]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad EAFIT  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Colombia</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2023</year>
</pub-date>
<volume>8</volume>
<numero>2</numero>
<fpage>109</fpage>
<lpage>135</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-864X2023000200109&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-864X2023000200109&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-864X2023000200109&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: El artículo analiza la recepción contemporánea de la obra de Marcel Duchamp y la lectura que podemos hacer en retrospectiva de la imaginería de esfuerzo, consunción y logro en las películas sobre el boxeo, especialmente la saga Rocky, iniciada en 1976, poco después de la gran retrospectiva dedicada a Duchamp. Ambos fenómenos se examinan a la luz de las transformaciones del nuevo espíritu del capitalismo, cuya aceleración, producida por la crisis de materias primas y la posterior conversión del dólar en moneda fiduciaria, supusieron el abandono del respaldo del oro y la aparición de la economía creativa en tiempos de la entronización del arte conceptual. El ascenso de Rocky por las escalinatas del Museo de Arte de Filadelfia, una de las secuencias más recordadas (1976), ofrece el hilo conductor para analizar la figuración del ascenso en el caso de Rocky Balboa y del ingreso &#8220;de lo cualquiera en lo supremo&#8221; (Badiou) en el caso de Marcel Duchamp. Se busca conducir una nueva lectura, en la que las estrategias existenciales de Duchamp suponen una puerta de salida a la autoexplotación y la precarización en el trabajo artístico de hoy.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: The article analyzes the contemporary reception of Marcel Duchamp&#8217;s work and the reading that we can make in retrospect of the imagery of effort, consumption, and achievement in films about boxing, especially the Rocky saga, begun in 1976, shortly after the great retrospective dedicated to Duchamp. Both phenomena are examined in the light of the transformations of the new spirit of capitalism, whose acceleration, produced by the crisis of raw materials and the subsequent conversion of the dollar into fiat currency, meant the abandonment of the backing of gold and the emergence of the creative economy at the time of the enthronement of conceptual art. The ascent up the steps of the Philadelphia Museum of Art, one of the most remembered sequences of Rocky (1976), offers the common thread to analyze the figuration of the ascent in the case of Rocky Balboa and the entry &#8220;of the anyone in the supreme&#8221; (Badiou) in the case of Marcel Duchamp. It seeks to lead a new reading, in which Duchamp&#8217;s existential strategies represent an exit door to self-exploitation and precariousness in artistic work in our days.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[Marcel Duchamp]]></kwd>
<kwd lng="es"><![CDATA[Rocky]]></kwd>
<kwd lng="es"><![CDATA[arte contemporáneo]]></kwd>
<kwd lng="es"><![CDATA[trabajo inmaterial]]></kwd>
<kwd lng="es"><![CDATA[estética administrativa]]></kwd>
<kwd lng="en"><![CDATA[Marcel Duchamp]]></kwd>
<kwd lng="en"><![CDATA[Rocky]]></kwd>
<kwd lng="en"><![CDATA[contemporary art]]></kwd>
<kwd lng="en"><![CDATA[immaterial work]]></kwd>
<kwd lng="en"><![CDATA[administrative aesthetics]]></kwd>
</kwd-group>
</article-meta>
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