Publication: Iconografía de la pobreza (siglo XII – siglo XX): la imagen de la pobreza en la ciudad de Madrid (2000-2010)
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2016-09-13
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Universidad Complutense de Madrid
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Abstract
Hemos adoptado una definición sociológica de pobreza, que nos ha permitido elaborar una imagen del pobre como individuo ante la sociedad. El estado de la cuestión del que partimos está formado por las definiciones sintéticas de pobreza que ofrecen autores actuales (por ejemplo, pobreza absoluta-relativa, pobreza-desviación social, dualización social-pobreza de Tezanos; nueva pobreza-pobreza tradicional de Tortosa) a partir de las cuales comprendemos y contextualizamos a los autores canónicos de la pobreza en su época (Vives-Robles-Soto, Giginta-Herrera, Weber, Tocqueville, Bentham o Marx por poner algunos ejemplos clásicos). Objetivos de la tesis: Esta tesis pretende establecer una tipología que razone los significados de los iconos de pobreza en el diseño y arte madrileños del inicio del siglo XXI, entroncando esas imágenes de pobreza con la tradición iconográfica occidental del pauperismo. La caracterización del pobre, su posición social, sus atributos y escenarios mantienen una afinidad visual y conceptual con el presente (hemos situado imágenes separadas en el tiempo pero unidas por los ejes semánticos que planteamos y se comprueba sus puntos visuales). Hipótesis: Nuestra hipótesis de partida, que confirmamos al concluir la tesis es que existe una relación entre esas imágenes míseras y un concepto de riqueza y pobreza de honda raíz cultural. La descomposición iconográfica de las imágenes se combina con un análisis de campo semántico de los discursos que en cada época y autor acompaña los iconos de pobres. Metodología: Para analizar el corpus de más de 600 imágenes y 1000 discursos sobre la pobreza hemos empleado un protocolo común para poder establecer posteriores comparaciones. Nuestro método combina el análisis de discurso (Muñoz, Álvarez-Uría), con especial atención al empleo de metáforas (Lakoff, Lizcano), y el análisis iconográfico (Panofsky). Los epígrafes de este modelo de análisis son: datos de la época, teóricos que definen la pobreza, antecedentes de concepto de pobreza, metáfora sobre la pobreza, movilidad social: ser o estar pobre, legitimación social, políticas de la pobreza, número de pobres, tipos de pobres, pobreza y clase social, relación ricos pobres, aspecto y ejemplos del pobre, denominación del pobre, lugares de la pobreza, ceremonias de la pobreza y las imágenes artísticas y de diseño. Conclusiones: Hemos conseguido describir el significado de las imágenes artísticas y de diseño sobre la pobreza madrileñas en el principio del s. XXI elaborando una tipología semántica con seis definiciones de pobreza: pobreza ironizada, recreada, bella, fea, de lucha social y exótica. Damos cuenta de ejemplos paradigmáticos del presente para ilustrar cada tipo y relacionamos cada una de esas clases de pobreza con visiones de la pobreza tradicional.
We have taken a sociological definition of poverty, which has permitted us to develop an image of the poor as an individual in the face of society. The state of affairs from which we begin is formed by synthetic definitions of poverty offered by current authors (for example, absolute-relative poverty, social deviation poverty, social dualization-Tezanos poverty; new poverty-traditional Tortosa poverty) from which we understand and contextualise the canonical authors on poverty of their time (Vives-Robles-Soto, Giginta-Herrera, Weber, Tocqueville, Bentham o Marx, to name a few classic examples). Thesis objectives: This thesis aims to establish a typology to explain the meaning of icons of poverty in the design and art of Madrid from the beginning of the 21st century, relating these images with traditional occidental iconography of poverty. The characterisation of the poor, through their social position, attributes and settings maintains a visual and conceptual affinity with the present (having located images separated in time but united by the core meanings we proposed, and verified by their visual points). Hypothesis: The hypothesis that was confirmed on conclusion of the thesis is that a relationship exists between the miserable images and a concept of rich and poor that has deep cultural roots. The breaking down of the images is combined with an analysis in the field of semantics of the discourse which for each period and author, accompanies the icons of the poor. Methodology: To analyse a body of more than 600 images and 1000 literary discussions on poverty we employed a common protocol to be able to establish later comparisons. Our method combines the analysis of the discourse (Muñoz, Álvarez-Uría), with special attention to metaphors (Lakoff, Lizcano), and iconographic analysis (Panofsky). The synopsis of this model of analysis are: information on each period of time, theoreticians that define poverty, antecedents of the concept of poverty, metaphors about poverty, social mobility: to be poor (intrinsically or otherwise), social legitimacy, social politics of poverty, number of poor, types of poor, poverty and social class, rich-poor relations, appearance and examples of the poor, origins of the poor, areas of poverty, ceremonies of the poor and artistic and design images. Conclusions: We were able to outline the meaning of artistic images and design with regard to poverty in Madrid at the beginning of the 21st century, developing a semantic typology with six definitions of poverty: ironized poverty, recreated, beautiful, ugly, social struggle, and exotic. We used paradigmatic examples of the present to illustrate each type and we related each of these classes of poverty with visions of traditional poverty.
We have taken a sociological definition of poverty, which has permitted us to develop an image of the poor as an individual in the face of society. The state of affairs from which we begin is formed by synthetic definitions of poverty offered by current authors (for example, absolute-relative poverty, social deviation poverty, social dualization-Tezanos poverty; new poverty-traditional Tortosa poverty) from which we understand and contextualise the canonical authors on poverty of their time (Vives-Robles-Soto, Giginta-Herrera, Weber, Tocqueville, Bentham o Marx, to name a few classic examples). Thesis objectives: This thesis aims to establish a typology to explain the meaning of icons of poverty in the design and art of Madrid from the beginning of the 21st century, relating these images with traditional occidental iconography of poverty. The characterisation of the poor, through their social position, attributes and settings maintains a visual and conceptual affinity with the present (having located images separated in time but united by the core meanings we proposed, and verified by their visual points). Hypothesis: The hypothesis that was confirmed on conclusion of the thesis is that a relationship exists between the miserable images and a concept of rich and poor that has deep cultural roots. The breaking down of the images is combined with an analysis in the field of semantics of the discourse which for each period and author, accompanies the icons of the poor. Methodology: To analyse a body of more than 600 images and 1000 literary discussions on poverty we employed a common protocol to be able to establish later comparisons. Our method combines the analysis of the discourse (Muñoz, Álvarez-Uría), with special attention to metaphors (Lakoff, Lizcano), and iconographic analysis (Panofsky). The synopsis of this model of analysis are: information on each period of time, theoreticians that define poverty, antecedents of the concept of poverty, metaphors about poverty, social mobility: to be poor (intrinsically or otherwise), social legitimacy, social politics of poverty, number of poor, types of poor, poverty and social class, rich-poor relations, appearance and examples of the poor, origins of the poor, areas of poverty, ceremonies of the poor and artistic and design images. Conclusions: We were able to outline the meaning of artistic images and design with regard to poverty in Madrid at the beginning of the 21st century, developing a semantic typology with six definitions of poverty: ironized poverty, recreated, beautiful, ugly, social struggle, and exotic. We used paradigmatic examples of the present to illustrate each type and we related each of these classes of poverty with visions of traditional poverty.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 22-01-2016