Inscrit à la liste des « Chefs-d’oeuvre du Patrimoine Oral et Immatériel de l’Humanité » de l’UNESCO en 2001, leCarnaval d’Oruro fait depuis plusieurs décennies l’objet d’une valorisation croissante. L’une des spécificités de la fêteréside dans son surprenant développement au cours du XXe siècle, ainsi que dans la théâtralisation des enjeux etconflits nationaux qu’elle propose. Cette thèse se propose d’appréhender la métamorphose du Carnaval d’Oruro aucours des XXe et XXIe siècles (1920-2015), en prenant pour points de départ l’analyse des différentes interactionsd’ordre économique, politique, social et culturel qu’engendra son évolution historique, ainsi que certains de ses enjeuxet conflits qui en découlèrent. La réflexion s’oriente dans un premier temps sur les modalités temporelles du Carnaval,organisé autour d’un réseau dense et complexe de manifestations qui façonnent son calendrier. Chacun des temps de lalongue période jalonnant la préparation et le déroulement du Carnaval apporte en effet une dimension spécifique à cedernier, permettant la mise en relation de groupes, pratiques ou personnes réunis autour d’une même festivité,polymorphe et parfois déroutante. La seconde partie s’attache à présenter et analyser la multiplication des événementset mesures politiques et économiques qui firent du Carnaval une fête mobilisant un nombre croissant d’acteurs, au fild’un vingtième siècle marqué par d’importants bouleversements historiques nationaux. L’étude de la « constructionphysique » du Carnaval, autour d’un certain nombre de marqueurs spatiaux et matériels, de ses retombéeséconomiques et touristiques, ou de son impact sur les politiques régionales et nationales, façonne cette partie articuléeautour du déroulement « concret » du Carnaval et de ses variations historiques. Enfin, la troisième partie propose uneréflexion sur les modalités de représentation et de mise en scène de la société orureña et/ou bolivienne à travers leCarnaval, reflet ou illustration des nombreuses transformations du pays au cours du XXe siècle. Le Carnaval entraeffectivement dans une nouvelle étape de son histoire à partir des années quatre-vingt, devenant progressivement lethéâtre voire le creuset de processus politiques et de modalités de représentation toujours plus complexes. Cettedernière partie explore également des conflits ou interactions liés aux processus d’affirmation identitaire, culturelle oupolitique que généra et continue de générer le Carnaval, particulièrement depuis sa consécration par l’UNESCO en mai2001. L’ensemble de ce travail repose sur trois types de sources, mises en relation ou en contraste dans chacune desparties présentées. Les observations de terrain (2012, 2014, 2015) sont complétées par un important travail derépertoriage des archives de presse produites par le quotidien orureño La Patria, depuis sa fondation en 1919 jusqu’ànos jours, justifiant les bornes temporelles de l’étude. Près de 3.500 articles de presse ont ainsi été recensés et étudiés,permettant de mieux appréhender l’histoire du Carnaval et ses répercussions sur la société orureña. Les donnéesrésultant de la mise en place de deux questionnaires diffusés sur place et en ligne (2014, 2016) auprès de plusieurscentaines de danseurs et participants du Carnaval viennent enrichir ce corpus journalistique et donner à la réflexion unedimension sociologique. À travers ces différents supports, la présente thèse propose une étude des principaux enjeux,interactions et conflits suscités par le Carnaval sur la période 1920-2015, dans une approche à la fois synchronique etdiachronique, afin de cerner l’ampleur et la complexité d’un Carnaval étudié non seulement dans sa dimension festivepremière, mais aussi depuis ses coulisses ou enjeux souterrains, parfois moins manifestes ou explicites. / From its proclamation as “Masterpiece of the Oral and Intangible Heritage of Humanity” by UNESCO in 2001, theOruro Carnival is being deeply highlighted. One of its specificities consists in its impressive evolution throughout theHistory, and in its dramatization of the Bolivian society conflicts. This work pretends to study the Carnival’stransformation during the 20 and 21st centuries (1920-2015), considering and understanding the metamorphosis of theOruro Carnival by taking initial postulates in the analysis of some of its most significant challenges and conflicts, aswell as the different interactions with economic, political, social or cultural produced by its historical evolution.The reflection focuses initially on temporary terms of Carnival, organized around a complex grid of events that shapeits schedule. Each moment of the period between the Carnival’s preparation and its development brings a specificdimension to it, allowing the development of relationship between groups, practices or people gathered around a samepolymorphic festivity. The second part aims to present and analyze the multiplication of events and political oreconomic measures that made the Carnival celebration mobilizing a growing number of players, over a century markedby major national historical upheavals. The study of the Carnival’s “physical construction”, around a great number ofspatial markers and equipment, its economic and tourism benefits, or its impact on the regional and national policy,shape this second part around the “concrete” course of Carnival and its historical changes. The third part proposes areflection on the modalities of representation and staging of the orureña and / or Bolivian society through a Carnivalthat reflects or illustrates some of the many transformations of the country during the twentieth century. The Carnivalthen entered a new stage in its history, becoming the theater of national political processes, and crystallizing newissues of representation. This last part also examines conflicts or interactions related to identity, cultural or politicalaffirmation processes, generated by the Carnival, especially since its consecration by UNESCO in May 2001. Thiswork is based on three types of sources. Field observations (in 2012, 2014 and 2015) are supplemented by importantwork of indexing newspaper archives produced by the orureño daily “La Patria”, since its foundation in 1919 untilnow, justifying the temporary terms of the study. Nearly 3.500 articles have been identified and studied to get to abetter understanding of the Carnival history and its impact on the orureña society. The data resulting from theimplementation of two questionnaires dissimilated locally and online (2014 and 2016) with hundreds of Carnivaldancers and participants, completes the journalistic corpus and gives an additional sociological dimension to thereflection. Through these media, this thesis proposes a study of the major issues, interactions and conflicts over theCarnival in the period 1920-2015, in both a synchronic and diachronic approach in order to better understand the scopeand complexity of the Carnival, not only in its festive dimension, but also for its underground scenes or issues,sometimes less obvious or explicit.

Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.

Este trabalho tem por objetivo analisar as relações entre o carnaval, enquanto iniciativa popular das escolas de samba, e o poder público que o promove e financia, sobretudo nas três últimas décadas. Para tal, identifica, inicialmente, os principais agentes que tem participado da organização oficial do festejo: do lado das escolas, os líderes sambistas das grandes agremiações e seus vários órgãos de representação (Liga, Superliga etc.), e do lado do estado, seus órgãos públicos (principalmente a SPTuris) e funcionários. Observando alguns casos concretos de negociações entre esses sujeitos (que envolvem desde a definição de políticas públicas formais ao uso dos espaços na cidade, como a rua, quadras, barracões e o sambódromo), o trabalho analisa de que forma um conjunto de noções é posto em debate associando o carnaval ao folclore, à cultura, ao turismo, ao negócio, ao espetáculo, ao lazer etc. Nesse enredo de negociações, conclui-se que os diversos interesses, prioridades e motivações dos agentes situam-se num continuum no qual as diferentes noções e posições tornam-se termos construídos ciclicamente em cada situação específica de diálogo e/ou embate. Tal como o carnaval, a cada ano um novo enredo se apresenta. / This study aims to analyze the relationship between the carnival, as a popular initiative of the Schools of Samba, and government that promotes and finances the event, especially over the last three decades. Initially, this dissertation identifies the main actors who have participated in the organization of the official celebration, which means, by the side of the government, state agencies, especially Spturis, and their employees; and, by the side of the Schools of Samba, leaders of their major associations and of their representative committees (called Liga League and Superliga Superleague). By observing some specific cases of negotiations between those actors, which involves from public politics development to the use of formal public spaces in the city, like streets, blocks, the Sambódromo, this study intends to examine how a set of concepts is called into a debate that associates the carnival to the folklore, culture, tourism, business, the spectacle, leisure etc. In this \"scenario of negotiations, its possible to conclude that the different interests, priorities and motivations of the agents fit a continuum in which different notions and positions are cyclically constructed, depending on the situation: if it is a dialogue or a controversy. Such as the carnival that happens every year, this scenario of negotiatios tell us, each year, another story.

Made available in DSpace on 2016-04-25T20:22:55Z (GMT). No. of bitstreams: 1 Aluisio Finazzi Porto.pdf: 4648924 bytes, checksum: ef651271f96064b3184e343ed2a1f1d5 (MD5) Previous issue date: 2009-10-15 / Brazil receives around 6 (six) million foreign tourists every year. The majority come from Europe (30,67%), Latin America (28,09%) and United States (14,38%). Considering Oriental countries, Japan is responsible for the biggest emission, with 1.3% or 75,000 tourists . Despite these impressive numbers, Brazil represents 0,59% regarding the worldwide tourist movement. There is therefore a wide field of action in the worldwide tourism where Brazil still has not performed a paper of international "player". The objective of the present research is to provide a better understanding of the motivations that lead a tourist to visit Brazil nowadays, as well as his/her final perception of the visit. The question " Why people travel to Brazil?" is complex, involving as well as cultural aspects, transport, tourist equipment availability, distance, motivation and other economic considerations. The expression that summarize these issues could be " tourist journey experience . There is a prominent fact to be considered: A high number of foreign tourists return to Brazil, after their first visit. In 2006, a research performed by Embratur showed that 64% of the tourists interviewed had already visited the country at least once, proving a high ability of fidelization of the Brazilian receptive. The reasons for that fidelity, how it works, and the final image that the foreign tourist builds of Brazil, is the focus of the present research. Carnival has been chosen as the core issue, because it is the preferred period to visit Brazil, being therefore responsible for Brazilian image abroad. We brought up the following hypotheses: 1) Carnival is a positive inductor for Brazilian tourism. It appears as Brazilian exclusivity, contributing, for the recognition of Brazil as an important tourist destination in the present world. 2) In the big majority of time barely the Carnival recognition, the Brazilian Carnival diversity is little known. In the majority of cases, regarding foreigners visiting Brazil for the first time, the only recognized Carnival is the one from Rio de Janeiro. The others, celebrated in Brazilian Northeast and country sides areas, are postponed for a second visit. The interviews with foreign tourists took place during Carnival periods in the following cities: Ouro Preto, Olinda/Recife and Rio de Janeiro. They were the main issue to delineate and analyze the image they build of Brazil and its Carnival, which is after all, one of the biggest spontaneous street festivities in the world / O Brasil recebe cerca de 6 (seis) milhões de turistas estrangeiros por ano. A grande maioria vem da Europa (30,67%), América Latina (28,09%) ou Estados Unidos (14,38). O primeiro país emissor oriental, com 1,3% ou 75.000 turistas é o Japão. Apesar de números impressionantes, em relação ao movimento turístico mundial o Brasil representa apenas 0,59%. Existe assim um amplo campo de ação no turismo mundial onde o Brasil ainda não desempenha um papel de player , ou jogador internacional. O objetivo do presente trabalho é um melhor entendimento sobre as motivações que levam um turista a visitar o Brasil atualmente, assim como a percepção final do turista acerca de sua visita. A questão porque as pessoas viajam para o Brasil é bem complexa, envolvendo aspectos culturais, bem como transporte, disponibilidade de equipamentos turísticos, distância, motivação e considerações econômicas. A isso tudo, chamamos de experiência de viagem do turista . Há um fato relevante a ser considerado: a taxa de retorno após a visita do turista ao Brasil é alta. Em 2006, 64% dos turistas entrevistados pela pesquisa Embratur já haviam visitado o país pelo menos uma vez. Isso demonstra uma alta capacidade de fidelização do receptivo brasileiro. O porquê dessa fidelização, como ela se dá, além da imagem final que o turista estrangeiro tem sobre o Brasil, são os focos da pesquisa em questão. Por ser um dos grandes responsáveis pela imagem do Brasil no exterior, além de ser o período com mais visitas de turistas estrangeiros, definimos o Carnaval foco da pesquisa. Levantamos as seguintes hipóteses: 1) O Carnaval é um indutor positivo do turismo brasileiro. Ele destaca-se como uma exclusividade do país, contribuindo, a partir de sua imagem, para o reconhecimento do Brasil como um destino turístico importante no mundo atual. 2) Apesar desse reconhecimento, a diversidade do Carnaval Brasileiro ainda é pouco conhecida. Na grande maioria das vezes apenas o Carnaval Carioca é reconhecido pelo turista estrangeiro que visita o país pela primeira vez, ficando os Carnavais Nordestinos e do interior do país para uma segunda viagem. As entrevistas com turistas estrangeiros ocorreram nas cidades de Ouro Preto, Olinda/Recife e Rio de Janeiro, em períodos de Carnaval. Com isso delineamos e analisamos a imagem do Brasil e de seu Carnaval, uma das maiores festividades espontâneas de rua do mundo, a partir dos olhares dos turistas estrangeiros em visita ao Brasil nesse período

Made available in DSpace on 2016-04-26T14:57:48Z (GMT). No. of bitstreams: 1 Aluisio Finazzi Porto.pdf: 4648924 bytes, checksum: ef651271f96064b3184e343ed2a1f1d5 (MD5) Previous issue date: 2009-10-15 / Brazil receives around 6 (six) million foreign tourists every year. The majority come from Europe (30,67%), Latin America (28,09%) and United States (14,38%). Considering Oriental countries, Japan is responsible for the biggest emission, with 1.3% or 75,000 tourists . Despite these impressive numbers, Brazil represents 0,59% regarding the worldwide tourist movement. There is therefore a wide field of action in the worldwide tourism where Brazil still has not performed a paper of international "player". The objective of the present research is to provide a better understanding of the motivations that lead a tourist to visit Brazil nowadays, as well as his/her final perception of the visit. The question " Why people travel to Brazil?" is complex, involving as well as cultural aspects, transport, tourist equipment availability, distance, motivation and other economic considerations. The expression that summarize these issues could be " tourist journey experience . There is a prominent fact to be considered: A high number of foreign tourists return to Brazil, after their first visit. In 2006, a research performed by Embratur showed that 64% of the tourists interviewed had already visited the country at least once, proving a high ability of fidelization of the Brazilian receptive. The reasons for that fidelity, how it works, and the final image that the foreign tourist builds of Brazil, is the focus of the present research. Carnival has been chosen as the core issue, because it is the preferred period to visit Brazil, being therefore responsible for Brazilian image abroad. We brought up the following hypotheses: 1) Carnival is a positive inductor for Brazilian tourism. It appears as Brazilian exclusivity, contributing, for the recognition of Brazil as an important tourist destination in the present world. 2) In the big majority of time barely the Carnival recognition, the Brazilian Carnival diversity is little known. In the majority of cases, regarding foreigners visiting Brazil for the first time, the only recognized Carnival is the one from Rio de Janeiro. The others, celebrated in Brazilian Northeast and country sides areas, are postponed for a second visit. The interviews with foreign tourists took place during Carnival periods in the following cities: Ouro Preto, Olinda/Recife and Rio de Janeiro. They were the main issue to delineate and analyze the image they build of Brazil and its Carnival, which is after all, one of the biggest spontaneous street festivities in the world / O Brasil recebe cerca de 6 (seis) milhões de turistas estrangeiros por ano. A grande maioria vem da Europa (30,67%), América Latina (28,09%) ou Estados Unidos (14,38). O primeiro país emissor oriental, com 1,3% ou 75.000 turistas é o Japão. Apesar de números impressionantes, em relação ao movimento turístico mundial o Brasil representa apenas 0,59%. Existe assim um amplo campo de ação no turismo mundial onde o Brasil ainda não desempenha um papel de player , ou jogador internacional. O objetivo do presente trabalho é um melhor entendimento sobre as motivações que levam um turista a visitar o Brasil atualmente, assim como a percepção final do turista acerca de sua visita. A questão porque as pessoas viajam para o Brasil é bem complexa, envolvendo aspectos culturais, bem como transporte, disponibilidade de equipamentos turísticos, distância, motivação e considerações econômicas. A isso tudo, chamamos de experiência de viagem do turista . Há um fato relevante a ser considerado: a taxa de retorno após a visita do turista ao Brasil é alta. Em 2006, 64% dos turistas entrevistados pela pesquisa Embratur já haviam visitado o país pelo menos uma vez. Isso demonstra uma alta capacidade de fidelização do receptivo brasileiro. O porquê dessa fidelização, como ela se dá, além da imagem final que o turista estrangeiro tem sobre o Brasil, são os focos da pesquisa em questão. Por ser um dos grandes responsáveis pela imagem do Brasil no exterior, além de ser o período com mais visitas de turistas estrangeiros, definimos o Carnaval foco da pesquisa. Levantamos as seguintes hipóteses: 1) O Carnaval é um indutor positivo do turismo brasileiro. Ele destaca-se como uma exclusividade do país, contribuindo, a partir de sua imagem, para o reconhecimento do Brasil como um destino turístico importante no mundo atual. 2) Apesar desse reconhecimento, a diversidade do Carnaval Brasileiro ainda é pouco conhecida. Na grande maioria das vezes apenas o Carnaval Carioca é reconhecido pelo turista estrangeiro que visita o país pela primeira vez, ficando os Carnavais Nordestinos e do interior do país para uma segunda viagem. As entrevistas com turistas estrangeiros ocorreram nas cidades de Ouro Preto, Olinda/Recife e Rio de Janeiro, em períodos de Carnaval. Com isso delineamos e analisamos a imagem do Brasil e de seu Carnaval, uma das maiores festividades espontâneas de rua do mundo, a partir dos olhares dos turistas estrangeiros em visita ao Brasil nesse período

A la fin du XVIIIe siècle, la population de la région stéphanoise est caractérisée par sa maîtrise des processus industriels, une culture spécifique du corps, influencée par les rituels carnavalesques, le mouvement convulsionnaire janséniste, puis le magnétisme animal. L'industrie dépend alors des corps des ouvriers, des Sublimes. Les critiques des élites face à un système industriel passent des discours à une lente immixtion dans la chair des ouvriers qu'il faut enfermer, contrôler et rationaliser. La disqualification des corps ouvriers commence par un déclassement esthétique, qui débouche sur une racialisation, confortée par les théories de la dégénérescence. La rationalisation, la morale hygiéniste et l'éducation physique participent de cette prise de contrôle de la chair. Les nombreuses résistances des ouvriers face à une industrialisation rationalisée et mécanisée aliénante se caractérisent par une contre-culture ouvrière tenace, le maintien de la petite industrie qui maintient des espaces de liberté, et des violences, qui passe par l'anarchisme violent la grève, fracassée par une répression d'Etat. / At the end of the eighteenth century, the population of the Stephan region was characterized by its mastery of industrial processes, a specific culture of the body, influenced by carnival rituals, the Jansenist convulsion movement, and then animal magnetism. lndustry then depends on the bodies of the workers, the Sublimes. The criticisms of the elites in the face of an industrial system pass !rom speeches to a slow interference in the workers' flesh, which must be locked up, controlled and rationalized. The disqualification of the workers' bodies begins with an aesthetic downgrading, which leads to racialization, reinforced by theories of degeneration. Rationalization, hygienic morality and physical education are part of this takeover of the flesh. The many resistance of the workers to an alienating mechanized and rationalized industrialization are characterized by a tenacious working-class counter-culture, the maintenance of small industry which maintains areas of freedom and violence, which passes through anarchism violate the strike, Shattered by a state repression.

This dissertation is a literary analysis of the popular culture phenomenon of a component of Uruguayan Carnival – the murga. Murga is a musical theater form whose members sing and act on tablados – neighborhood makeshift stages – and is the most politically subversive component of Carnival. My study traces the origins of murga and analyzes historically significant shows as well as contemporary performances. This project also includes an anthology of transcribed and annotated murga repertoires and interviews, which fills a gap in the study of Uruguayan popular culture as such research has never before been conducted. Chapter 1 examines the origins of Uruguayan Carnival and murga in particular, both in concrete history as well as in its “mythical origin,” a term used by Uruguayan historian Milita Alfaro to describe the collective idea of popular culture phenomena. In the 20th century, murgas became a crucial form of resistance during the military dictatorship as murguistas could subvert censorship and voice criticism of the regime. The chapter concludes with a discussion of present-day murga and its evolution into a Carnival institution, considering how the function of murga has changed in today’s society. Chapter 2 presents a close reading and literary analysis of two historically important murga performances, Falta y Resto in 1992 and Agarrate Catalina in 2011. These two years are significant because of their political context; in 1992, Uruguay was in a moment of post-dictatorship transition, and 2011 was the “honeymoon” period of the leftist Broad Front Coalition. In particular, I examine the intellectual, meta-literary nature of murga lyrics and their ever-present social commentary. Chapter 3 is a comprehensive study of three shows from 2017 and is based on research conducted in Montevideo, and also includes interviews with historically important murga figures including Milita Alfaro, creator of Falta y Resto Raúl Castro, and Edu “El Pitufo” Lombardo, one of the most recognized murga performers. The full transcriptions of the performances are collected and annotated in chapter 4. This final chapter, as well as the included appendices, represent the foundation of a murga archive and the construction of new primary texts as a base for future research.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este estudo retrata a trajetória de duas lideranças fundamentais não só no plano da Escola de Samba GRES Portela como na trajetória em geral das Escolas de Samba do Rio de Janeiro. A escolha dos dois personagens, além da conhecida relevância de ambos na história do carnaval carioca, se dá pelo fato de que os dois aparecem como importantes referências de suas agremiações carnavalescas representando e organizando interesses coletivos. Pretendo comparar a trajetória desses dois personagens inserindo ambos em seus contextos históricos. Respectivamente as primeiras três décadas do século XX, e os anos de 1960 até 1980. Elaborando uma pesquisa que compõe um balanço acerca das transformações nas Escolas de Samba do Rio de Janeiro, que ao longo do tempo se forjaram como representação máxima dos festejos carnavalescos da cidade. Analisar as Escolas de Samba pode ajudar a compreender o movimento da cultura popular na história recente da cidade, e como essa se articulou com sociedade e política. / This study analyzes the history of two key leaders not only in terms of Portela Samba School, as in the general trajectory of the Samba Schools of Rio de Janeiro. The choice of two actors, besides the known importance of both in the history of carnival, is given by the fact that the two appear as important references for their carnival associations, representing and organizing collective interests. It is intended to compare the trajectory of these two characters by inserting both in their historical contexts. Respectively, the first three decades of 20th Century, and the years 1960 to 1980. The research consists in a review about the transformations in the Samba Schools of Rio de Janeiro, which in the course of time were forged as the main representation of Carnival festivities in the city. Analyze the Samba Schools can help to understand the movement of popular culture in the recent history of the city, and how this has been linked to society and politics

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo. / n this research, we study the inversions of sexual gender that take place in Rio de Janeiro during the Carnival. We decided to work with the contemporary drag queens because they realize these inversions in exaggerated, funny and carnavalized ways. We also analyze the places and the parties that received homosexual men during the Carnival in the last decades, that shaped what we call The Gay Carnival from Rio now. In the last part of the research, we intend to connect Carmen Mirandas mith (Brazilian singer that became an international icon because of Hollywood in the 1940s) with the contemporary drag queens; the artist in one of the biggest esthetic reference for these performers. Questions as identity, gender, consumption and globalization are extremely important for our reflections. We want to deviate from traditional conceptions of essence, cultural purity and fixed identities. To achieve our purposes, the Cultural Studies, with its conception of popular culture as a space of constant contentions and symbolic negotiations, help us to understand in a better way our objects of study.

Procuramos neste trabalho tratar o carnaval e o humor no Rio de Janeiro, através da ótica difundida pelas revistas ilustradas Fon-Fon! e Careta, através de textos e ilustrações elaboradas por grandes nomes da caricatura e da literatura e de jornalistas que ficaram no anonimato por conta de suas crônicas e artigos não conterem assinaturas. Através destas publicações, é possível perceber a importância do carnaval na vida destes homens de letras e pincéis e quão importante foi a contrapartida que eles forneceram não apenas ao público leitor, mas a nós historiadores, pois é possível resgatar e reconstruir através destas publicações não apenas a história do carnaval, mas também compreender o contexto do período, os problemas políticos, a moda, as inovações e mudanças na vida da população carioca. É possível também entender o quanto era importante o carnaval e o humor , não apenas para a saúde financeira das empresas jornalísticas e editoriais, pois a abordagem e o tema agradavam o público leitor, mas principalmente na vida destes escritores e artistas, que não apenas escreviam sobre esta festa de forma irreverente, mas participavam ativamente dela como foliões e portanto, eles mesmos eram também artífices desta história. / This work analyzes carnival in Rio de Janeiro through the irreverent view disclosed by the illustrated magazines Fon-Fon! and Careta. For such purpose, texts and illustrations elaborated by great names in caricature and literature were used, as well as by journalists who remained anonymous due to the fact that their chronicles and articles did not carry their signatures. The way in which carnival was dealt with in said publications, was intimately related to the world view which intellectuals enjoyed, the Belle Epoque, and to the readers of these magazines: the urban middle classes and part of the elite. To understand both the view and the type of humoristic approach used, songs and the works of chronicle writers, memorialists and historians who worked on the theme were also investigated. At the end, what could be verified through the study of these publications was the importance that carnival enjoyed in the lives of those men of letters and brushes, and how relevant was the counterpart which they made possible not only to readers, but also to us, historians. Through these publications, it is possible to redeem and reconstruct part of the history of carnival as well as understand the context of the period, political problems, stylishness, innovations and changes in the lives of Rio de Janeiro (carioca) dwellers. So much attention to the theme from the illustrated press denotes the importance of carnival to the financial health of newspaper companies, since the subject and its well-humored approach pleased readers, besides showing that not only did those writers and artists write about the festivities in an irreverent manner, but they also actively participated in them as carnival merrymakers, and therefore they were, themselves, artificers of that history.