Le carnaval uruguayen, le plus long au monde, est né au XIXème siècle, presque en même temps que le pays. La murga uruguayenne, théâtre populaire musical spécifique du carnaval local, met en scène l'histoire quotidienne depuis le début du XXème siècle. Elle est passée à travers les réformes libérales du temps du battlisme, à travers le déclin économique des années 50 et 60, la dictature des années 70 et 80 et la renaissance démocratique des années 90. Son rôle est celui de porte-parole de la sphère publique populaire, moyen de communication horizontal, qui sert de miroir à la société uruguayenne. Depuis la moitié des années 90 elle subit des changements significatifs, dus aux influences contemporaines, tant au niveau esthétique (visuel et auditif), qu'au niveau thématique. Comment la tradition arrive-t-elle à survivre et à s'adapter à la modernité? Après avoir analysé le contexte historique, je me suis orientée spécialement vers un groupe traditionnel et un autre de jeunes, pour définir leurs façons spécifiques de pratiquer cet art. Comment font-ils pour garder ou gagner leur public? De plus j'ai analysé les thèmes abordés par les murgas classifiées comme les trois premières au concours officiel en 2008, pour voir de quelle manière est présentée sur scène l'actualité sociale et politique. Pour arriver à trouver des réponses à mes questions, j'ai choisi l'approche ethnographique et je suis allée sur place, lors du carnaval 2008, de janvier à avril. J'ai utilisé l'observation, les entrevues semi-dirigées et l'analyse de contenu, pour apprendre ce que pensent les gens du carnaval (artistes, historiens, sociologues) de l'évolution et les perspectives de la murga et comment vivent-ils les changements. L'analyse des spectacles et des paroles m'a permis d'apprendre que le théâtre, la musique, la chorégraphie, les effets de son et lumière influencent tous la murga depuis un bon bout de temps. De plus, l'élection du premier gouvernement de gauche a modifié sa perspective politique, car beaucoup des murguistas soutiennent cette orientation, donc la critique est moins mordante. La télévision, la presse, les nouvelles technologies, la globalisation culturelle, influencent leur façon de voir et dire les choses, tout comme les intérêts commerciaux, les commanditaires et les propriétaires des scènes privées. Tant le gouvernement, les murguistas, et certains journalistes et auteurs, déploient des efforts pour maintenir la tradition originale, sans toutefois la figer, car la survie du carnaval jusqu'à nos jours est due au changement permanent. La murga est vue comme caractéristique pour la culture uruguayenne, un facteur identitaire indéniable, mais qui est en compétition avec les autres formes de divertissement disponibles. La seule façon d'y arriver est d'intégrer des nouvelles techniques, thèmes et façons de dire les choses, tout en gardant son spécifique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Murga, Carnaval, Uruguay, Identité, Ethnographie, Communication, Culture populaire, Tradition.

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.

Orientador: Leandro Karnal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T23:45:33Z (GMT). No. of bitstreams: 1 Rocha_CarlosGuilherme_M.pdf: 1482216 bytes, checksum: e2a20df8d5f844e53dbe24f4409df4ca (MD5) Previous issue date: 2013 / Resumo: A proposta deste trabalho consiste em analisar a relação conflituosa entre o capitão-geral e governador da província de Cartagena das Índias, Francisco de Murga, e os ministros do tribunal da Inquisição da cidade de Cartagena. Os enfrentamentos entre as partes remontam aos primeiros meses do governo de Murga, que aportou em Cartagena em outubro de 1629, e perduraram até meados do ano de 1636, quando houve uma mudança no governo provincial. O objetivo principal é analisar o âmbito jurídico do conflito, isto é, o modo como as partes envolvidas recorriam ao uso do direito, quais as argumentações e os fundamentos enunciados. Parto do princípio que a análise do direito e da estrutura jurídica é ponto basilar para a compreensão das relações institucionais no Antigo Regime. Neste sentido será analisada principalmente a natureza jurídica do Santo Ofício apresentada nos discursos e práticas originárias do conflito. Será analisada também a representação da autonomia inquisitorial frente os poderes civis, que se destaca nas práticas em questão. Nesse sentido, este trabalho enfatiza como os fundamentos jurídicos da Inquisição e do governo provincial são princípios que orientam as ações dos envolvidos no conflito em questão / Abstract: The aim of this work is to analyze the conflicting relationship between the captain general and governor of the province of Cartagena of the Indies, Francisco de Murga, and the ministers of the court of the Inquisition in Cartagena. The confrontations between the parties date back to the first months of Murga's government, who arrived in Cartagena in October 1629, and lasted until mid-1636, when there was a change in the provincial government. The main purpose of this study is to analyze the legal scope of the conflict, i. e., the manner in which interested parties used to appeal to the use of the law, the arguments and pleas they had mentioned. I assume that the analysis of law and legal structure is fundamental to understanding the institutional relations in the Ancien Régime. In this sense, th legal nature of the Holy Office, presented in the discourses and practices thata had given rise to the conflicts will be mainly analyzed. It will be also analyzed the representation of inquisitorial autonomy in relation to civil powers, which stands out in the practices concerned. In this sense, the emphasis of this study is how the legal bases of the Inquisition and the provincial government are guiding principles of the actions of those Who were involved in the conflicting relationship concerned / Mestrado / Historia Cultural / Mestre em História