{"id":4438,"date":"2014-11-15T17:02:53","date_gmt":"2014-11-15T17:02:53","guid":{"rendered":"http:\/\/www.antropologiavisual.com.ar\/?post_type=project&#038;p=4438"},"modified":"2020-10-21T05:59:43","modified_gmt":"2020-10-21T05:59:43","slug":"arqueologia-de-la-imagen-del-rey","status":"publish","type":"project","link":"https:\/\/www.antropologiavisual.com.ar\/en\/project\/arqueologia-de-la-imagen-del-rey\/","title":{"rendered":"Archaeology of the King's image"},"content":{"rendered":"<p>[et_pb_section fullwidth=\u00bbon\u00bb specialty=\u00bboff\u00bb transparent_background=\u00bboff\u00bb background_color=\u00bb#b2a16a\u00bb inner_shadow=\u00bboff\u00bb parallax=\u00bboff\u00bb parallax_method=\u00bboff\u00bb][et_pb_fullwidth_header admin_label=\u00bbFullwidth Header\u00bb title=\u00bbArqueolog\u00eda de la imagen del Rey\u00bb subhead=\u00bbIntegrante de la programaci\u00f3n UBACyT 2014-2016&#8243; background_layout=\u00bbdark\u00bb text_orientation=\u00bbleft\u00bb \/][\/et_pb_section][et_pb_section fullwidth=\u00bboff\u00bb specialty=\u00bboff\u00bb][et_pb_row][et_pb_column type=\u00bb2_3&#8243;][et_pb_image admin_label=\u00bbImage\u00bb src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg\u00bb show_in_lightbox=\u00bboff\u00bb url_new_window=\u00bboff\u00bb animation=\u00bboff\u00bb sticky=\u00bboff\u00bb \/][\/et_pb_column][et_pb_column type=\u00bb1_3&#8243;][et_pb_text admin_label=\u00bbText\u00bb background_layout=\u00bblight\u00bb text_orientation=\u00bbleft\u00bb]<\/p>\n<p><strong>Director<\/strong><\/p>\n<ul>\n<li>Ander Gondra Aguirre &#8211; Universidad de Buenos Aires- CEISS<\/li>\n<\/ul>\n<p><strong>Team<\/strong><\/p>\n<ul>\n<li>Marina G. De Angelis &#8211; Universidad de Buenos Aires- CEISS<\/li>\n<li>Gorka L\u00f3pez de Munain- Universidad de Buenos Aires- CEISS<\/li>\n<li>Luis Vives-Ferr\u00e1ndiz S\u00e1nchez &#8211; Universitat de Valencia-CEISS<\/li>\n<\/ul>\n<p><a title=\"Archaeology of the King&#039;s image\" href=\"http:\/\/www.ceiss.es\/imagenrey\" target=\"_blank\" rel=\"noopener noreferrer\">Project website<\/a><\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00bb4_4&#8243;][et_pb_text admin_label=\u00bbText\u00bb background_layout=\u00bblight\u00bb text_orientation=\u00bbleft\u00bb]<\/p>\n<p align=\"JUSTIFY\"><em>Archaeology of the King's Image<\/em> is a research project of<em> Irudi \u2013 Estudios de la Imagen<\/em> which seeks to trace an archaeology of the \"media\" used by monarchies (with special emphasis on the Hispanic monarchy) within their strategies of domination and control through the use of visual resources. To this end, three lines of work and several work modules have been defined in which progress will be made progressively.<\/p>\n<p align=\"JUSTIFY\"><strong>Areas<\/strong><\/p>\n<ul>\n<li>1: Image and hunting: the loss of control of the media<\/li>\n<\/ul>\n<ul>\n<li>2. The King's Bodies<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\">Most monarchies, from their very beginning, have been characterized by a manifest interest in the use of images as key elements of political propaganda. If we look at the case of the Spanish monarchy, we see how the main monarchs knew how to surround themselves with the most famous artists of the time to be portrayed and thus show an image of power and cohesion. Their creations circulated throughout all corners of the empire, constructing a sort of visual atlas of successive generations and royal houses. Analyzing some details of these images \u2013 such as the moments in which certain iconographies were chosen, the dates on which the copies were multiplied, their fluctuating quality, the disparate reactions of those who observed them, the celebrations that were held around them, etc. \u2013 we notice the dimension of a phenomenon that goes beyond the usual consideration that is usually given to it.<\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\">This project seeks to construct a sort of archaeology of monarchical images, placing special emphasis on the \u201cmeans\u201d that were used over time. When we speak of an archaeological approach, we refer to the methodology proposed by Michel Foucault, but which, in our case, is closer to that presented by Giorgio Agamben in his work <em>Signatura Rerum<\/em> (2010). Both the diverse nature of the artefacts that we will analyse, as well as the perspective from which they will be approached, compel us to put forward a proposal under this theoretical framework, in order to achieve coherent results. This impulse is close to the Benjaminian idea of \u200b\u200bhistoricising the \u201cflow of becoming like a whirlpool\u201d in which the temporalities of the object, its relations with other subjects or objects, etc. are mixed (Benjamin, 1990:28).<\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\">For example, if we want to investigate the royalty-themed covers of satirical magazines like <em>El jueves<\/em> o <em>Tmeo<\/em>, we cannot ignore the representational tradition in which these images are framed. But also, and this is the interest of the approach, the same could be applied in the opposite sense: certain uses and situations around the image of the king in the 16th and 17th centuries are effectively understood when we put them in dialectical connection with images of our contemporary times. Continuing with the same example, the operability of the theory of the two bodies of the king is reaffirmed precisely if we study its crisis: the moment in which the monarchy loses power over its image \u2013as a result of social pressure, among other reasons\u2013 and its effectiveness is degraded or transformed into new visual realities. The archaeological approach, which allows us to see the stratigraphic layers, makes these dialectical, anachronistic connections possible.<a href=\"http:\/\/www.ceiss.es\/imagenrey\/presentacion\/#sdfootnote1sym\" name=\"sdfootnote1anc\"><\/a>, que bajo una propuesta lineal ser\u00edan impensables.<\/p>\n<p style=\"text-align: justify;\" align=\"JUSTIFY\"><strong>Articles<\/strong><\/p>\n<p><strong>Publications<\/strong><\/p>\n<ul>\n<li>Gorka L\u00f3pez de Munain, \u201cUna aproximaci\u00f3n a la cultura visual de la fiesta barroca\u201d. IMAGO Revista de Emblem\u00e1tica y Cultura Visual, [N\u00fam. 5, 2013] pp. 5-17.<\/li>\n<\/ul>\n<p><strong>Conferences<\/strong><\/p>\n<ul>\n<li style=\"text-align: justify;\">Gorka L\u00f3pez de Munain; Ander Gondra Aguirre; Luis Vives-Ferr\u00e1ndiz S\u00e1nchez; Marina Gutierrez De Angelis. \u201cA cuerpo de Rey\u201d: Censuras, ataques y fascinaci\u00f3n de una imagen superviviente en los nuevos medios digitales, XII Jornadas Rosarinas de Antropolog\u00eda socio-cultural. 24 y 25 de octubre de 2013. Universidad Nacional de Rosario. Facultad de Humanidades y Artes, Departamento de Antropolog\u00eda Socio-cultural.<\/li>\n<li style=\"text-align: justify;\">Gorka L\u00f3pez de Munain; Ander Gondra Aguirre; Luis Vives-Ferr\u00e1ndiz S\u00e1nchez; Marina Gutierrez De Angelis. \u201cLos cuerpos del Rey: Supervivencia y anacronismo de la imagen regia en los nuevos medios digitales\u201d, VII Jornadas de Investigaci\u00f3n en Antropolog\u00eda Social, FFyL, Universidad de Buenos Aires, 27-29 noviembre de 2013.<\/li>\n<\/ul>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00bb1_3&#8243;][et_pb_image admin_label=\u00bbImage\u00bb src=\u00bbhttp:\/\/www.antropologiavisual.com.ar\/wp-content\/uploads\/Cuando-desperto-el-elefante-todavia-estaba-ah\u00ed.jpg\u00bb show_in_lightbox=\u00bboff\u00bb url_new_window=\u00bboff\u00bb animation=\u00bboff\u00bb sticky=\u00bboff\u00bb \/][\/et_pb_column][et_pb_column type=\u00bb2_3&#8243;][et_pb_text admin_label=\u00bbText\u00bb background_layout=\u00bblight\u00bb text_orientation=\u00bbleft\u00bb]<\/p>\n<p><strong>Publication<\/strong><\/p>\n<p><strong>Book<\/strong>: <em>Cuando despert\u00f3, el elefante todav\u00eda estaba ah\u00ed. La imagen del rey en la cultura visual 2.0<\/em><\/p>\n<p><strong>Authors<\/strong><\/p>\n<p>Ander Gondra<br \/>\nPhD. Marina Guti\u00e9rrez De Angelis<br \/>\nGorka Lopez de Munain<br \/>\nLuis Vives-Ferrandiz<\/p>\n<p>Publishing House<a href=\"http:\/\/www.sanssoleil.es\/en-preparacion\/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sans Soleil Ediciones <\/a><\/p>\n<p>Year: 2014<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row][et_pb_column type=\u00bb4_4&#8243;][et_pb_text admin_label=\u00bbText\u00bb background_layout=\u00bblight\u00bb text_orientation=\u00bbleft\u00bb]<\/p>\n<p style=\"text-align: justify;\">Abstract<\/p>\n<p style=\"text-align: justify;\">In April 2012, the photograph of King Juan Carlos with his rifle in his hand, next to a dead elephant, went around the world and was leaked for the first time in the press and the media in an unstoppable way. From then on, his person became the object of criticism, but also of mockery. The abdication, in terms of images, recovered and brought to light many of the arguments and criticisms that the monarchy as an institution had begun to feel since the last unfortunate acts of the monarch. Since the events of the elephant hunt in Botswana, not only the figure of the King but of the monarchy as an institution were put to the test. The deterioration of the figure of the monarch was increasing and the acceptance of the monarchy as an institution reported the lowest historical rates since the coronation of Juan Carlos I. We could say that this book addresses that deterioration marked by the period between the photos of the hunt and the various images about the abdication as a temporal arc<\/p>\n<p style=\"text-align: justify;\">That is why this is a book written with the urgency and conditions that current events impose.<\/p>\n<p style=\"text-align: justify;\">The image of the king has been \u2013and continues to be\u2013 a central object of study for various disciplines, above all because of the singularities that its very nature entails and the challenge it imposes on us by involving concepts as complex as \u201cpresence\u201d and \u201clikeness\u201d. It is a problem that completely transcends those representations that are usually considered as simple portraits. Undoubtedly the pictorial images of the king will be mentioned in this work, but the proposed approach urges us to understand his image from the perspective of an extended visual culture and not from its iconographic analysis<\/p>\n<p style=\"text-align: justify;\">The portraits that accompany the monarch in Christmas speeches, official photographs, magazine reports, television appearances, etc., are perfectly calculated images aimed at the population with a clear purpose; but where is this purpose when the channels through which they end up being disseminated are outside the control of the monarchy? When the appropriability that characterizes the images of our time retouches, modifies and combines them?<\/p>\n<p style=\"text-align: justify;\">After presenting a theoretical framework that allows us to trace some of the analytical keys to the subject, the book will have the famous elephant hunt in Botswana carried out by King Juan Carlos I \u2013and its endless media consequences\u2013 as its backbone, to try to show that the study of images must be considered as one of the fundamental tools to understand the mechanisms that articulate and modulate the society in which we live.<\/p>\n<p style=\"text-align: justify;\">Present and past thus merge into an anachronistic conglomerate where the hunts of medieval monarchs explain many of the hunting inclinations of King Juan Carlos I or the theories of English jurists of the Renaissance period about the two bodies of the king cement the questions about whether or not the monarch can have a private image. But, as we will see, these dialectical connections are never unidirectional; the past can help us understand the present and vice versa.<\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","protected":false},"excerpt":{"rendered":"<p><div class=\"et_pb_row et_pb_row_0 et_pb_row_empty\">\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> Coordinaci\u00f3n: Ander Gondra Aguirre &#8211; Universidad de Buenos Aires- CEISS Integrantes: Marina G. De Angelis &#8211; Universidad de Buenos Aires- CEISS Gorka L\u00f3pez de Munain- Universidad de Buenos Aires- CEISS Luis Vives-Ferr\u00e1ndiz S\u00e1nchez &#8211; Universitat de Valencia-CEISS P\u00e1gina web del proyecto <div class=\"et_pb_row et_pb_row_1 et_pb_row_empty\">\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\n\t\t\t<\/div> Arqueolog\u00eda de la imagen del rey es un proyecto del grupo de investigaci\u00f3n Irudi \u2013 Estudios de la Imagen que busca trazar una arqueolog\u00eda de los \u201cmedios\u201d empleados por las monarqu\u00edas (con especial \u00e9nfasis en la monarqu\u00eda hisp\u00e1nica) dentro de sus estrategias de dominaci\u00f3n y control mediante el uso de recursos visuales.. Para ello, se han definido tres l\u00edneas de trabajo y varios m\u00f3dulos de trabajo en los cuales se ir\u00e1 avanzando de forma progresiva. L\u00edneas de trabajo: L\u00ednea 1: Imagen y caza: la perdida de control de los medios L\u00ednea 2: Los cuerpos y los medios del rey &nbsp; La mayor\u00eda de las monarqu\u00edas, desde su origen mismo, se han caracterizado por el inter\u00e9s manifiesto en el uso de las im\u00e1genes como elementos clave de propaganda pol\u00edtica. Si nos vamos al caso de la monarqu\u00eda hisp\u00e1nica, vemos c\u00f3mo los principales monarcas supieron rodearse de los m\u00e1s afamados artistas de la \u00e9poca para ser retratados y mostrar [&hellip;]<\/p>","protected":false},"author":1,"featured_media":4440,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"footnotes":""},"project_category":[85,80,73,77,49],"project_tag":[],"class_list":["post-4438","project","type-project","status-publish","has-post-thumbnail","hentry","project_category-ander-gondra-aguirre","project_category-gorka-lopz-de-munain","project_category-imagen-medio-cuerpo","project_category-marina-gutierrez-de-angelis","project_category-proyectos-finalizados"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v24.2 (Yoast SEO v24.2) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Arqueolog\u00eda de la imagen del Rey - \u00c1rea de Antropolog\u00eda Visual<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.antropologiavisual.com.ar\/en\/project\/arqueologia-de-la-imagen-del-rey\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arqueolog\u00eda de la imagen del Rey\" \/>\n<meta property=\"og:description\" content=\"Coordinaci\u00f3n: Ander Gondra Aguirre - Universidad de Buenos Aires- CEISS Integrantes: Marina G. De Angelis - Universidad de Buenos Aires- CEISS Gorka L\u00f3pez de Munain- Universidad de Buenos Aires- CEISS Luis Vives-Ferr\u00e1ndiz S\u00e1nchez - Universitat de Valencia-CEISS P\u00e1gina web del proyecto Arqueolog\u00eda de la imagen del rey es un proyecto del grupo de investigaci\u00f3n Irudi \u2013 Estudios de la Imagen que busca trazar una arqueolog\u00eda de los \u201cmedios\u201d empleados por las monarqu\u00edas (con especial \u00e9nfasis en la monarqu\u00eda hisp\u00e1nica) dentro de sus estrategias de dominaci\u00f3n y control mediante el uso de recursos visuales.. Para ello, se han definido tres l\u00edneas de trabajo y varios m\u00f3dulos de trabajo en los cuales se ir\u00e1 avanzando de forma progresiva. L\u00edneas de trabajo: L\u00ednea 1: Imagen y caza: la perdida de control de los medios L\u00ednea 2: Los cuerpos y los medios del rey &nbsp; La mayor\u00eda de las monarqu\u00edas, desde su origen mismo, se han caracterizado por el inter\u00e9s manifiesto en el uso de las im\u00e1genes como elementos clave de propaganda pol\u00edtica. Si nos vamos al caso de la monarqu\u00eda hisp\u00e1nica, vemos c\u00f3mo los principales monarcas supieron rodearse de los m\u00e1s afamados artistas de la \u00e9poca para ser retratados y mostrar [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.antropologiavisual.com.ar\/en\/project\/arqueologia-de-la-imagen-del-rey\/\" \/>\n<meta property=\"og:site_name\" content=\"\u00c1rea de Antropolog\u00eda Visual\" \/>\n<meta property=\"article:modified_time\" content=\"2020-10-21T05:59:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"700\" \/>\n\t<meta property=\"og:image:height\" content=\"300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/\",\"url\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/\",\"name\":\"Arqueolog\u00eda de la imagen del Rey - \u00c1rea de Antropolog\u00eda Visual\",\"isPartOf\":{\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1\",\"datePublished\":\"2014-11-15T17:02:53+00:00\",\"dateModified\":\"2020-10-21T05:59:43+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1\",\"width\":700,\"height\":300},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/www.antropologiavisual.com.ar\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Proyectos\",\"item\":\"https:\/\/www.antropologiavisual.com.ar\/project\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Arqueolog\u00eda de la imagen del Rey\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.antropologiavisual.com.ar\/#website\",\"url\":\"https:\/\/www.antropologiavisual.com.ar\/\",\"name\":\"\u00c1rea de Antropolog\u00eda Visual\",\"description\":\"Universidad de Buenos Aires\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.antropologiavisual.com.ar\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Arqueolog\u00eda de la imagen del Rey - \u00c1rea de Antropolog\u00eda Visual","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.antropologiavisual.com.ar\/en\/project\/arqueologia-de-la-imagen-del-rey\/","og_locale":"en_GB","og_type":"article","og_title":"Arqueolog\u00eda de la imagen del Rey","og_description":"Coordinaci\u00f3n: Ander Gondra Aguirre - Universidad de Buenos Aires- CEISS Integrantes: Marina G. De Angelis - Universidad de Buenos Aires- CEISS Gorka L\u00f3pez de Munain- Universidad de Buenos Aires- CEISS Luis Vives-Ferr\u00e1ndiz S\u00e1nchez - Universitat de Valencia-CEISS P\u00e1gina web del proyecto Arqueolog\u00eda de la imagen del rey es un proyecto del grupo de investigaci\u00f3n Irudi \u2013 Estudios de la Imagen que busca trazar una arqueolog\u00eda de los \u201cmedios\u201d empleados por las monarqu\u00edas (con especial \u00e9nfasis en la monarqu\u00eda hisp\u00e1nica) dentro de sus estrategias de dominaci\u00f3n y control mediante el uso de recursos visuales.. Para ello, se han definido tres l\u00edneas de trabajo y varios m\u00f3dulos de trabajo en los cuales se ir\u00e1 avanzando de forma progresiva. L\u00edneas de trabajo: L\u00ednea 1: Imagen y caza: la perdida de control de los medios L\u00ednea 2: Los cuerpos y los medios del rey &nbsp; La mayor\u00eda de las monarqu\u00edas, desde su origen mismo, se han caracterizado por el inter\u00e9s manifiesto en el uso de las im\u00e1genes como elementos clave de propaganda pol\u00edtica. Si nos vamos al caso de la monarqu\u00eda hisp\u00e1nica, vemos c\u00f3mo los principales monarcas supieron rodearse de los m\u00e1s afamados artistas de la \u00e9poca para ser retratados y mostrar [&hellip;]","og_url":"https:\/\/www.antropologiavisual.com.ar\/en\/project\/arqueologia-de-la-imagen-del-rey\/","og_site_name":"\u00c1rea de Antropolog\u00eda Visual","article_modified_time":"2020-10-21T05:59:43+00:00","og_image":[{"width":700,"height":300,"url":"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Estimated reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/","url":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/","name":"Arqueolog\u00eda de la imagen del Rey - \u00c1rea de Antropolog\u00eda Visual","isPartOf":{"@id":"https:\/\/www.antropologiavisual.com.ar\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage"},"image":{"@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1","datePublished":"2014-11-15T17:02:53+00:00","dateModified":"2020-10-21T05:59:43+00:00","breadcrumb":{"@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#primaryimage","url":"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1","contentUrl":"https:\/\/i0.wp.com\/www.antropologiavisual.com.ar\/wp-content\/uploads\/collage1.jpg?fit=700%2C300&ssl=1","width":700,"height":300},{"@type":"BreadcrumbList","@id":"https:\/\/www.antropologiavisual.com.ar\/project\/arqueologia-de-la-imagen-del-rey\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/www.antropologiavisual.com.ar\/"},{"@type":"ListItem","position":2,"name":"Proyectos","item":"https:\/\/www.antropologiavisual.com.ar\/project\/"},{"@type":"ListItem","position":3,"name":"Arqueolog\u00eda de la imagen del Rey"}]},{"@type":"WebSite","@id":"https:\/\/www.antropologiavisual.com.ar\/#website","url":"https:\/\/www.antropologiavisual.com.ar\/","name":"\u00c1rea de Antropolog\u00eda Visual","description":"Universidad de Buenos Aires","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.antropologiavisual.com.ar\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"}]}},"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project\/4438","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/types\/project"}],"author":[{"embeddable":true,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/comments?post=4438"}],"version-history":[{"count":13,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project\/4438\/revisions"}],"predecessor-version":[{"id":5950,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project\/4438\/revisions\/5950"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/media\/4440"}],"wp:attachment":[{"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/media?parent=4438"}],"wp:term":[{"taxonomy":"project_category","embeddable":true,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project_category?post=4438"},{"taxonomy":"project_tag","embeddable":true,"href":"https:\/\/www.antropologiavisual.com.ar\/en\/wp-json\/wp\/v2\/project_tag?post=4438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}