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El Conflicto Cultural Y Político Del Humor Periodístico En La Era Global : Estudio Comparativo De La Cobertura Editorial De La

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El Conflicto Cultural Y Político Del Humor Periodístico En La Era Global : Estudio Comparativo De La Cobertura Editorial De La Universidad CEU Cardenal Herrera Departamento de Comunicación e Información Periodística El conflicto cultural y político del humor periodístico en la era global. Estudio comparativo de la cobertura editorial de las “Viñetas de Mahoma” en España y Estados Unidos TESIS DOCTORAL Presentada por: María Esther Asperilla Olmo Dirigida por: María José Pou Amérigo Estrella Israel Garzón VALENCIA 2017 Agradecimientos Esta tesis es el fruto no sólo de mi esfuerzo, sino del de quienes estuvieron a mi lado durante su elaboración. A mi familia le quiero agradecer su paciencia y su apoyo en el día a día, con ellos he compartido mis alegrías y progresos y sobre ellos he descargado mis desvelos y frustraciones, especialmente durante las últimas semanas del proceso. A mis directoras de tesis Estrella Israel y María José Pou por su experta guía, su consejo y su dedicación. Trabajar a su lado ha sido un verdadero privilegio. A Maurice Lee y Marisa Milanese. Mi estancia como doctorando en fase de investigación en Boston University no habría sido posible sin la ayuda de ambos. Ellos me facilitaron el acceso y también me ofrecieron su valiosa amistad y consejo, haciéndome sentir parte de su familia durante el tiempo que viví en Massachusetts. A Nico y a Mateo por su cariño y por aceptarme como solo los niños saben hacerlo. A Somy Kim, profesora de Boston University, por sus excelentes sugerencias y por su inagotable pasión académica. Ha sido un modelo a seguir y ha supuesto una ayuda inestimable. A David y a Silvia por estar siempre ahí. A Claire McNally por revisar las traducciones, al personal del CEU-Cardenal Herrera por su ayuda y diligencia con los trámites, a mis amigos por su apoyo emocional y a esas muchas otras personas que me han acompañado en mayor o menor medida durante este emocionante viaje. A todos, desde el corazón, gracias. Acknowledges This thesis is not just the result of my own effort, but of all those who stood by me during this process. I would like to thank my family for their patience and support on a daily basis. I shared with them my joy and progress, but also my anxieties and frustrations, especially during the last weeks of working on this dissertation. I also would like to thank my professors Estrella Israel and María José Pou for their expert guidance, advice and dedication. Working by their side has been a real privilege. To Maurice Lee and Marisa Milanese. My time as a PhD student at Boston University would simply not have been possible without their help. They not only provided access, but also offered their valuable friendship and advice, making me feel part of their family during the time I lived in Massachusetts. To Nico and Mateo for their affection and for accepting me as only kids can do. To professor Somy Kim for her invaluable suggestions and her inexhaustible academic passion. She has been a role model to me and has brought inestimable assistance. To David and Silvia for always being there. I would also like to thank Claire McNally for revising the translations, the CEU-Cardenal Herrera staff for their help with all the paperwork, all my friends for their emotional support and overall everybody who has accompanied me on this exciting journey. From the bottom of my heart, thank you. 3 4 ÍNDICE GENERAL PARTE I. INTRODUCCIÓN, METODOLOGÍA Y MARCO TEÓRICO ..................................................... 9 1. Introduction ................................................................................................................................................. 9 2. Objetivos de la investigación ............................................................................................................... 14 3. Hipótesis ...................................................................................................................................................... 16 4. Metodología ................................................................................................................................................ 17 4.1. Medios seleccionados .................................................................................................................... 17 4.2. Periodo Seleccionado ..................................................................................................................... 18 4.3. Muestra Seleccionada .................................................................................................................... 19 4.4. Parámetros para el Análisis Editorial ..................................................................................... 19 4.5. Parámetros de Análisis de las Caricaturas ............................................................................ 23 4.6. Metáforas y símbolos ..................................................................................................................... 24 5. Marco teórico ............................................................................................................................................. 27 PARTE II 6. EL CONFLICTO DE LAS VIÑETAS DE MAHOMA EN SU CONTEXTO POLÍTICO- INTERNACIONAL Y MEDIÁTICO ................................................................................................................. 35 6.1. Contexto histórico ................................................................................................................................ 35 6.2. Contenidos artístico-religiosos generadores de controversia desde el s. XX hasta nuestros días: de Salman Rusdhie a Charlie-Hebdo ........................................................................ 37 6.3. Conflictos bélicos y situación político-internacional asociada a las viñetas de Mahoma ............................................................................................................................................................ 42 • Ataques del 11 de septiembre en EEUU ................................................................................ 42 • Guerra de Afganistán .................................................................................................................... 43 • Guerra de Irak .................................................................................................................................. 43 • Atentados de Madrid ..................................................................................................................... 44 • Atentados de Londres ................................................................................................................... 45 • Presos de Abu Ghraib ................................................................................................................... 45 • Conflicto Palestino-Israeli ........................................................................................................... 45 • Relaciones con Irán ....................................................................................................................... 45 6.4. La crisis de las viñetas de Mahoma ............................................................................................... 46 6.4.1. Las caricaturas de Mahoma ..................................................................................................... 47 6.4.2. Reacciones a la publicación ..................................................................................................... 51 6.4.3. Influencia política y mediática del conflicto – razones para la publicación de las caricaturas .................................................................................................................................................. 53 5 6.4.4. Otras repercusiones mediáticas del conflicto – razones para la republicación de las caricaturas............................................................................................................................................ 57 6.4.5. La doble vertiente de las caricaturas de Mahoma como estrategia política ........ 57 7. LA GLOBALIZACIÓN Y EL MULTICULTURALISMO – VERTIENTE SOCIAL DEL CONFLICTO DE LAS VIÑETAS ...................................................................................................................... 61 7.1. El poder de la globalización en las sociedades modernas ................................................... 61 7.2. Globalización y periodismo moderno .......................................................................................... 63 7.3. Globalización, modernidad y religión en las sociedades occidentales ........................... 66 7.4. El factor multicultural, el factor religioso y el factor racial. La integración de los musulmanes en Europa y en USA........................................................................................................... 68 7.5. El factor religioso y el factor racial – la Islamofobia .............................................................. 72 7.6. Estereotipo y prejuicio en el seno de las sociedades multiculturales ............................ 77 8. EL ISLAM, IMÁGENES Y REPRESENTACIÓN ICONOGRÁFICA – VERTIENTE CULTURAL Y PERIODÍSTICA .................................................................................................................................................... 86 8.1. La realidad del Islam y su conocimiento parcial en Occidente .......................................... 86 8.2. El Islam inmigrado: musulmanes en Occidente ....................................................................... 88 8.3. Imágenes en el Islam. Prohibición de representar a Mahoma, e imágenes en el
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