Publication: Imágenes y percepciones de España
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2013
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Abstract
La percepción de un país en el imaginario colectivo de una época, exige considerar un conjunto de aspectos teóricos y metodológicos iniciales. El tema puede observarse desde un perfil puramente institucional y, para ello hacer uso de fuentes de información clásicas, del estilo de la documentación oficial, gubernamental, de las cancillerías diplomáticas principalmente. El tipo de imágenes derivado de estos ámbitos no tendrá seguramente incidencia en un segmento extenso de población.
Cabe también abundar en la lectura de textos de viajeros y escritores extranjeros referidos a la historia y costumbres del país. En este capítulo de autorías pueden ser de utilidad tanto los cuadernos de notas como los archivos fotográficos y audiovisuales, pues todos ellos reflejan el punto de vista del narrador, dando a conocer los estereotipos prevalentes. Por medio de esta mirada quedan fijados los rasgos de las naciones en los aspectos más cotidianos.
En cualquier caso comporta un tipo de elaboración de imagen más durable en el tiempo que la que se confecciona a partir del estudio de las fuentes que remiten a una coyuntura política o administrativa. Ambos enfoques suelen ser complementarios. Por supuesto, las imágenes a propósito de los países y de las naciones en el mundo contemporáneo se elaboran en buena medida con las lecturas de prensa y el acceso a los medios de información. También con las experiencias personales, que, en un mundo ampliado y globalizado, tienden a ser muy variadas. Algo realmente interesante es la pertinaz costumbre de los tópicos en ser centro de la transmisión de imágenes, a pesar incluso de la constatación de las evidencias que los niegan.
Para abordar pues la cuestión de la percepción e imágenes de España en el siglo XX y el XXI, se estudian las fuentes que producen y gestionan las imágenes, los sujetos que las incorporan a su imaginario (autóctonos o foráneos), la influencia de las ideologías, los prejuicios, y las circunstancias en su evolución histórica, el dinamismo o el estatismo en las percepciones y, finalmente, la frecuente superposición de imágenes incluso si se contraponen.
The perception of a particular country in foreign collective images and in a specific time requires the consideration of initial theoretical and methodological aspects. The theme can be seen from a purely institutional profile and, for that, it uses traditional information sources: the official files or the governmental and diplomatic documents. But these sort of images, that come from these kind of sources, would not have probable influence on a large segment of world or foreign population. It also usual reading texts from the non native travelers and writers, those referred to the history and customs of the visited country. In this section of knowledge can be useful both, notebooks or photographic and audiovisual files, so they all reflect the point of view of the narrator, revealing most of times prevailing stereotypes. Through this kind of look, they are fixed most ordinary aspects of nations and peoples. In any case all these approaches involve a type of image more long-lasting over time than the one that is built from the study of the sources referring to a political or administrative situation. Both approaches are often complementary. Of course, images about countries and nations in the contemporary world are largely made with the reading of papers or the access to web and media information. Also through personal or particular experiences, which, in an expanded and globalized cultural world, tend to be diverse. Something really interesting is the persistent habit of the topics to be the central point of common images, even though the evidence refuses them. To address the issue of the perception and image of Spain (country and people) in the twentieth and twenty-first century, there are studied the sources that produce and manage images, the subjects that incorporate them into their images (native or foreign), the influence of ideologies, even prejudices, and the circumstances in their historical evolution –dynamic or static-; and finally, the frequent overlapping of images still if they are opposite.
The perception of a particular country in foreign collective images and in a specific time requires the consideration of initial theoretical and methodological aspects. The theme can be seen from a purely institutional profile and, for that, it uses traditional information sources: the official files or the governmental and diplomatic documents. But these sort of images, that come from these kind of sources, would not have probable influence on a large segment of world or foreign population. It also usual reading texts from the non native travelers and writers, those referred to the history and customs of the visited country. In this section of knowledge can be useful both, notebooks or photographic and audiovisual files, so they all reflect the point of view of the narrator, revealing most of times prevailing stereotypes. Through this kind of look, they are fixed most ordinary aspects of nations and peoples. In any case all these approaches involve a type of image more long-lasting over time than the one that is built from the study of the sources referring to a political or administrative situation. Both approaches are often complementary. Of course, images about countries and nations in the contemporary world are largely made with the reading of papers or the access to web and media information. Also through personal or particular experiences, which, in an expanded and globalized cultural world, tend to be diverse. Something really interesting is the persistent habit of the topics to be the central point of common images, even though the evidence refuses them. To address the issue of the perception and image of Spain (country and people) in the twentieth and twenty-first century, there are studied the sources that produce and manage images, the subjects that incorporate them into their images (native or foreign), the influence of ideologies, even prejudices, and the circumstances in their historical evolution –dynamic or static-; and finally, the frequent overlapping of images still if they are opposite.
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Historia, España, Política Exterior, Siglo XX, Siglo XXI, Imágenes, Percepciones, Viajeros, Escritores, Europa, Estados Unidos, History, Spanish Foreing Policy, 20th Century, 21th Century, Images, Perceptions, Travelers, Writers, Europe, United States of America
Bibliographic citation
Madrid, 2013