Créer contre l’oubli ou la censure de la mémoire uruguayenne
During its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, m...
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| Format: | Article |
| Language: | English |
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UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)
2018-02-01
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| Series: | Les Cahiers de Framespa |
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| Online Access: | https://journals.openedition.org/framespa/4629 |
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| author | Dorothée Chouitem |
| author_facet | Dorothée Chouitem |
| author_sort | Dorothée Chouitem |
| collection | DOAJ |
| description | During its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, murgas had claimed, by 1985, an important place in the Uruguayan entertainment stages, celebrating its long-lost liberties. If the immediate social context influences murga productions, how can a new way of communication, in theory without political controls, reflect current historic structures? How can the binomial memory vs silence be crystallized in artistic productions? How did the murga, through its government-subsidized entertainment productions, contravene a legal framework whose main objective was to dilute the Uruguayan collective memory and promote silence ? |
| format | Article |
| id | doaj-art-9f43b72ddc944850b866ad2b0a97faef |
| institution | DOAJ |
| issn | 1760-4761 |
| language | English |
| publishDate | 2018-02-01 |
| publisher | UMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA) |
| record_format | Article |
| series | Les Cahiers de Framespa |
| spelling | doaj-art-9f43b72ddc944850b866ad2b0a97faef2025-08-20T02:47:22ZengUMR 5136- France, Amériques, Espagne – Sociétés, Pouvoirs, Acteurs (FRAMESPA)Les Cahiers de Framespa1760-47612018-02-012610.4000/framespa.4629Créer contre l’oubli ou la censure de la mémoire uruguayenneDorothée ChouitemDuring its last dictatorship the murgas, like all forms of artistic entertainment, were closely monitored by a state-controlled censorship. After the 1984 elections, the Uruguayan dictatorship came into demise when the Colorado Party claimed victory. In this more permissive democratic environment, murgas had claimed, by 1985, an important place in the Uruguayan entertainment stages, celebrating its long-lost liberties. If the immediate social context influences murga productions, how can a new way of communication, in theory without political controls, reflect current historic structures? How can the binomial memory vs silence be crystallized in artistic productions? How did the murga, through its government-subsidized entertainment productions, contravene a legal framework whose main objective was to dilute the Uruguayan collective memory and promote silence ?https://journals.openedition.org/framespa/4629ImpunityTabladoCensorshipMemory |
| spellingShingle | Dorothée Chouitem Créer contre l’oubli ou la censure de la mémoire uruguayenne Les Cahiers de Framespa Impunity Tablado Censorship Memory |
| title | Créer contre l’oubli ou la censure de la mémoire uruguayenne |
| title_full | Créer contre l’oubli ou la censure de la mémoire uruguayenne |
| title_fullStr | Créer contre l’oubli ou la censure de la mémoire uruguayenne |
| title_full_unstemmed | Créer contre l’oubli ou la censure de la mémoire uruguayenne |
| title_short | Créer contre l’oubli ou la censure de la mémoire uruguayenne |
| title_sort | creer contre l oubli ou la censure de la memoire uruguayenne |
| topic | Impunity Tablado Censorship Memory |
| url | https://journals.openedition.org/framespa/4629 |
| work_keys_str_mv | AT dorotheechouitem creercontreloublioulacensuredelamemoireuruguayenne |