Publication: El “último exiliado” como metáfora de reconciliación nacional en la Transición española: Imágenes sinópticas de Guernica-Legado Picasso
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Date
2025-06-25
Authors
Romero Escrivá, Rebeca
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Publisher
Universidad Complutense de Madrid
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DOI
https://dx.doi.org/10.5209/hics.100791
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info:eu-repo/semantics/article
Description
© 2025 Universidad Complutense de Madrid.____
This document is the submitted version of a published work that appeared in final form in Historia y Comunicación Social
This document is made available under the CC-BY 4.0 license http://creativecommons.org/licenses/by/4.0 ____
To access the final edited and published work see:
https://dx.doi.org/10.5209/hics.100791
Abstract
Resumen. A la luz de la interpretación iconográfica de las fotografías más representativas de la inauguración de la exposición Guernica-Legado Picasso, publicadas para mostrar las altas medidas de seguridad con las que se exhibió por vez primera en 1981 el Guernica en España, el texto cuestiona el fundamento histórico de
la metáfora del “último exiliado”, convertida en consigna mediática para la reconciliación nacional. Con un
enfoque interdisciplinar, este estudio concluye que la prensa asumió una posición supererogatoria respecto
a los hechos documentados, mientras que las imágenes plantearían una visión alternativa a la “cultura de
consenso” que predominó en la Transición, reforzando su simbología bélico-religiosa.
Palabras clave: fotoperiodismo, reconciliación nacional, exilio, evento monstruo, reinserción del patrimonio,
memoria, cultura de consenso
Abstract. Considering the iconographic interpretation of a selection of photographs representative of the inauguration of the Guernica-Legado Picasso exhibition, published to show the high security measures with which Guernica was exhibited for the first time in Spain in 1981, the text questions the scope and validity of the metaphor of the “last exile” as a media slogan for national reconciliation. With an interdisciplinary approach, this study concludes that the press assumed a supererogatory position with respect to the documented facts, while the images would propose an alternative vision to the “consensus culture” that prevailed in the Transition, reinforcing its bellicose and religious symbolism.
Abstract. Considering the iconographic interpretation of a selection of photographs representative of the inauguration of the Guernica-Legado Picasso exhibition, published to show the high security measures with which Guernica was exhibited for the first time in Spain in 1981, the text questions the scope and validity of the metaphor of the “last exile” as a media slogan for national reconciliation. With an interdisciplinary approach, this study concludes that the press assumed a supererogatory position with respect to the documented facts, while the images would propose an alternative vision to the “consensus culture” that prevailed in the Transition, reinforcing its bellicose and religious symbolism.
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Citation
Historia y Comunicación Social 30(1), 2025: 113-125
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