Massinissa est un personnage historique qui régna sur la Numidie entre 201 et 148 avant notre ère. Allié de Rome durant la deuxième guerre punique, il contribua à l’écrasement de Carthage. Ce roi ressort comme le premier « grand homme » de l’histoire de l’Afrique du Nord, dans l’historiographie ancienne que nous avons conservée (nous ne savons rien de l’historiographie punique ni libyque), mais aussi dans l’historiographie contemporaine des pays du Maghreb. Selon les auteurs grecs et romains, il aurait été doté de qualités exceptionnelles, et c’est à lui que reviendrait la gloire d’avoir le premier constitué un État numide unifié. Il est le sujet de nombreux exempla, de l’époque classique jusqu’au Moyen-Âge. À la fin de la période médiévale, on observe, en Europe, un transfert générique : Massinissa, délaissé par les genres savants, devient une source d’inspiration pour les poètes. Pendant la même période, le roi numide disparaît de la tradition savante nord-africaine, et sans doute également de la tradition populaire orale, jusqu’à la colonisation de l’Afrique du Nord par les Français.Mon étude s’inscrit dans le temps long, puisqu’elle retrace le parcours de Massinissa dans l’Antiquité et au fil de sa redécouverte par les historiens de la France coloniale et de sa récupération par les historiens des mouvements nationalistes algériens. Avec la conquête de l’Algérie à partir de 1830, le discours colonial instaure la figure de Massinissa en tant que figure de référence de la région. Les institutions cherchant dans l’histoire de la mainmise progressive de Rome sur l’Afrique du Nord un précédent, c’est-à-dire à la fois une légitimation et une expérience utile pour guider leur action, Massinissa suscite bien entendu un fort intérêt, puisqu’il est présenté par les auteurs classiques, dont les historiens de l’époque sont pétris, comme l’allié très fidèle, voire le client de Rome. Cependant, il serait caricatural de penser que tous les historiens de la période coloniale se sont conformés sans nuance à cette idéologie, et l’étude précise de différents ouvrages montrent au contraire comment cette historiographie coloniale a pu ouvrir la voie à une récupération nationaliste du personnage, en posant un regard critique sur les sources anciennes.Les mouvements nationalistes se sont emparés à leur tour du personnage. Massinissa, premier habitant de l’Algérie dont le nom ait retenti au-delà des mers et par-delà les siècles, était un candidat évident au « panthéon » de héros nationaux que les intellectuels algériens se sont efforcés de mettre en place pour créer un sentiment d’appartenance nationale dans les premières décennies du XXe siècle. Et cela, d’autant plus que les rois numides furent les derniers souverains autochtones avant des siècles de domination étrangère. Il fallait alors affronter certains paradoxes : se réapproprier, ou plutôt s’approprier une histoire modelée par les colonisateurs d’hier et ceux d’aujourd’hui, valoriser un héros encensé par l’ennemi, et enfin ménager une place à un Berbère polythéiste, à rebours de l’arabo-islamisme des discours identitaires majoritaires.Ce travail replace chacune des représentations de Massinissa dans son contexte historique et idéologique ainsi que dans les codes propres à sa nature ou à son genre littéraire, de façon à repérer les filtres qui ont infléchi son élaboration et à mieux comprendre l’orientation qui en résulte. Sources littéraires, archéologiques, épigraphiques et numismatiques seront également analysées en tant que pratiques discursives, et l’on s’attachera à retracer la généalogie de ces représentations. / Massinissa is a historical figure who reigned over Numidia between 201 and 148 BCE. An ally of Rome during the Second Punic War, he contributed to the annihilation of Carthage. This king appears as the first «great man» of the history of North Africa, within the ancient historiography which has been preserved (we know nothing of the ancient Punic or Libyan historiography), but also in contemporary historiography from countries of the Maghreb. According to Greek and Roman authors, he was endowed with exceptional qualities, and to him goes the glory of having first constituted a unified Numidian State. He is the subject of many exempla, from the classical period until Middle Ages. At the end of the medieval period, we observe, in Europe, a generic transfer: Massinissa, neglected by scholars, becomes a source of inspiration for poets. During the same period, the Numidian king disappears from the North African scholarly tradition, and no doubt also from the oral folk tradition, until the colonization of North Africa by the French.My study covers a long time period, since it retraces the path of Massinissa in Antiquity and follows the thread of its rediscovery by historians of colonial France and appropriation by historians of nationalist movements in Algeria. With the conquest of Algeria starting from 1830, the colonial discourse establishes the figure of Massinissa as a reference figure for the region. The institutions seeking a precedent in the history of Rome's gradual stranglehold over North Africa, that is both a legitimacy and a useful experience to guide their action, Massinissa aroused of course a strong interest since classical authors, whom historians of the time were steeped in, present him as a very loyal ally, even the client of Rome. However, it would be caricatural to believe that every single historian of the colonial era complied without nuance with this ideology, and the precise study of various works show on the contrary how this colonial historiography could open the way to a nationalist appropriation of the character, by taking a critical look to ancient sources.In turn, nationalist movements took over the character. Massinissa, the first inhabitant of Algeria whose name has resounded beyond the seas and over the centuries, was an obvious candidate for the «pantheon» of national heroes that Algerian intellectuals strove to set up to create a sense of national belonging in the first decades of the twentieth century. And this, all the more since the Numidian kings were the last indigenous rulers before centuries of foreign domination. It was then necessary to face certain paradoxes: to reclaim, or rather appropriate a history written by the colonizers of yesterday and those of today, to valorize a hero praised by the enemy, and finally to make room for a Berber polytheist, at odds with the Arab-Islamism of the majority identity discourse.This work places each of Massinissa's representations in its historical and ideological context, as well as in the codes specific to its nature or literary genre, so as to identify the filters that have influenced its development and to better understand the resulting orientation. Literary, archeological, epigraphic and numismatic sources will also be analyzed as discursive practices, and I will insist on retracing the genealogy of these representations.

A presente tese visa analisar e compreender as relações entre os textos e as imagens contidas no livro didático de autoria de Antonio José Borges Hermida Compêndio de História do Brasil, editado pela Companhia Editora Nacional entre os anos de 1962 e 1975, sendo estas relações reveladoras de um discurso de determinado conhecimento histórico. Para este trabalho foi realizado estudo bibliográfico sobre a história da disciplina de História, a cultura escolar e o contexto político para a sustentação das análises de produção, editoração e circulação do livro, em todas as suas 60 edições, como suporte mercadológico, ideológico e cultural. O Compêndio de História do Brasil, de Borges Hermida, foi aqui analisado como um produto industrial e em sua condição de fonte a ser estudada para a compreensão de parte de uma História da Educação e da História do Ensino de História, assim como para entendimento e estudo de uma História do Livro (didático). O livro, como produto de uma indústria cultural, é fruto da intervenção de diversos sujeitos e autores e um elemento material de conceito complexo, devendo ser também concebido como corpo documental histórico; o nome de seu autor, embora este não se faça presente em todas as suas etapas de formação e produção, deve servir como atrativo comercial em uma perspectiva de maiores vendagens. O discurso historiográfico do autor, expresso pelo texto escrito, é ponto crucial da análise, assim como as imagens utilizadas nos diversos contextos. Além do conteúdo histórico divulgado através dos textos e das imagens, também foram objeto de análise as suas características formais representadas pela forma de sua organização, tipografia e editoração, entendidas como partes integrantes do discurso histórico e didático estabelecido pela obra. As análises dos elementos editoriais e historiográficos possibilitaram uma melhor compreensão da constituição dos diálogos entre o texto e as imagens divulgadas pelo livro como um produto material. O Compêndio, por largo período de tempo, foi o difusor de um conhecimento e de determinado discurso histórico expresso em suas páginas através do trabalho de diversos profissionais da área editorial, das imagens que reproduzem o trabalho de dezenas de pintores e desenhistas e, principalmente, através das palavras de seu autor, Antônio José Borges Hermida. / This thesis aims to make an analysis and understanding the relations between texts and the images contained in didactic book written by Antonio Jose Borges Hermida, Compêndio de História do Brasil, published by Companhia Editora Nacional between 1962 and 1975, considering these relations, indicative of a determinate discourse of historic knowledge. To this study a bibliographic study was carried, approaching the ways of History as a school discipline, the school culture and the political context that gives support to the production analysis, publication and circulation of the book, in all these 60 editions, as merchandising, ideological and cultural support. The Compêndio de História do Brasil, by Borges Hermida was analyzed as an industrial product an in his condition of source to be studied to the comprehension of a part of the history of education and of the history of teaching History, as well as to understanding and study of a didactic book study. The book, as an industrial cultural product is fruit from the intervention of several individuals and authors and a material element of complex elements, bringing the necessity to be conceived as an historical documental body; the authors name, although it doesnt appear in all the stages of formation and production, should serve as a commercial appeal in larger sales. The authors historiographical discourse, expressed by the written text, is a crucial point of the analysis, as well the images used in the various contexts. Besides the historical content publicized through the texts and images, also were object of analysis, their formal characteristics represented by their lay out organization, typography and editing, seen as integrant parts of the historical and didactical discourse established by the project. The analysis of editorial and historiographical elements allowed a better comprehension of the establishment of dialogues between the text and the images that were publicized by the book as a material product. The Compendio, for a long time, was a diffuser of knowledge and of a determinate historical discourse expressed in his pages through the work of several professionals of the editorial area, of the images that reproduce the art of dozen of painters and draftsmen and, mainly, through the words of his author, Antonio José Borges Hermida.

In surveys of American architecture, the so-called “colonial period” from the founding of Jamestown in 1607 to the war for independence in the 1770s has generally been viewed from an “Anglo-American” perspective with a concentration on the British colonies that would become the United States. This period has been defined by the transplantation of architecture from the “mother country” to British North America according to what the architectural historian John Summerson has characterized as “English standards pure and simple.” The persistence of historiographical assumptions that privilege English sources and focus on evidence of “Englishness” still serves as the core of early American architectural narratives. While an effort has been made to increase the diversity of those represented, yet one dimension has essentially been written out, that of America’s connection to Ireland. And yet Irish elements have long had a presence in the already existing historical evidence. Therefore this dissertation takes an alternative view of that same colonial history by collecting the available Irish materials and tracing the threads that tie Ireland to America, whether that connection is direct or mediated through England. By assembling various forms of evidence, often relegated to footnotes, asides, or ambiguous citations, this dissertation seeks to construct a counter-narrative that spans the Atlantic and stretches from the 1530s to the 1730s. It explores a diverse constellation of elements including landscapes, plans, buildings, and monuments, while situating them within a larger historical context, thereby reframing some of the same canonical events, individuals, and artifacts that currently appear in surveys of American architecture. With a shift in perspective comes a shift in the history, one that complicates, challenges, and at times upends, Anglo-centric readings of colonial America and the transformation of its physical environment. For when seen from the perspective of Ireland, a more complex, as well as a more “Irish,” story emerges, resulting in a history that has, in effect, been hiding in plain sight. In making this history visible, the dissertation addresses both the historical and historiographical conditions that produced some of the gaps, tensions, ambiguities, and erasures that have contributed to keeping this history hidden. Taking Summerson’s Architecture in Britain, 1530-1830 as a starting point, the dissertation begins in 1530 and examines some of the preconditions for American colonization in England and Ireland. Then, working from the historiographical foundations already laid regarding the English plantations in Ireland and Virginia, it goes on to address the continuity of connections that run through New England, the “Middle Colonies,” and the American south, including such well known works as William Penn’s plan for Philadelphia, George Berkeley’s Whitehall, and William Byrd II’s Westover, all three of which have been viewed as exemplary in their ties to English sources and influences. Though traditionally divided by period, type, style, and region, here they are no longer treated as isolated data points but rather as part of a larger, inter- connected, and continuous story, one intimately, and inextricably, tied to Ireland and “Irish” networks in England and America. In addition, by examining the historiographical as well as the historical dimensions and placing the history and the historiography in dialogue, this dissertation hopes to offer insights into the production of early American architectural history, as well as the production of plans, spaces, and objects. In doing so it seeks to call into question the overwhelming “Englishness” of the American colonial period as it has been constructed through histories of American architecture and planning during the twentieth-century.

In both the narratives of their reigns and as objects of allusion in accounts of later periods of Roman history, the seven kings of Rome (r. 753-509 BCE, traditionally) frequently feature in historiographical and biographical works written after the death of Livy (17 CE) with meaningful nuance despite the relative crystallization of Rome's founding and regal legends during the age of Augustus (r. 31 BCE-14 CE). I demonstrate how 12 authors writing over a period of four centuries, from late in the reign of Tiberius (r. 14-37 CE) to shortly after the death of Theodosius I (r. 378-395), refashion the kings as creative reflections of, or reactions to, the Roman emperors in both their narratives and the time of writing those narratives. These writers are, in Latin, Velleius Paterculus, Tacitus, Suetonius, Florus, Justin, Aurelius Victor, Eutropius, Ammianus Marcellinus, and the anonymous authors of the Historia Augusta and Epitome de Caesaribus; in Greek, Appian and Cassius Dio. Through close, contextual readings I examine how and explain why certain authors present the kings as exemplary monarchs whose conduct should be imitated or avoided, especially in contexts where those kings are by a variety of rhetorical tactics compared or contrasted with figures in narratives of later history. I then place those readings along a chronological spectrum to reveal common elements of continuity and evolution of the kings among these 12 authors at various points in imperial history. It can be shown that the idealization of the kings is roughly a function of the author's audience and social class (i.e. Roman senators are less favorable to them than equestrians and provincials). Moreover, the kings evolve over time, beginning as blood ancestors of emperors in the early Principate, expanding to products and benefactors of a diverse, Mediterranean cosmopolis during the High Empire, then restricting to symbols of traditional political, cultural, and religious notions tied to the physical city of Rome in Late Antiquity, when the political, spatial, and spiritual transformation of the imperial office made the kings obsolete as persuasive models of imperial rulership. More broadly, this project adds to our understanding that at any point, societies tend to not only reinvent their histories as reflections of their own time, but also credit "Great Men" both as explanatory devices for major events and as embodiments of national identity.

Only two ancient historians have written comprehensive histories of Rome that survive in more than fragments, Livy and Dionysius of Halicarnassus, both working in the years after Augustus came to power. Of the original twenty books of Dionysius' Roman Antiquities, which covered the history of Rome from pre-history to the beginning of the First Punic War, we have the first ten, substantial parts of the eleventh and fragments of the rest. But although Dionysius has been well received for his works of literary criticism, his historical work has been comparatively neglected. There are two recent commentaries on selected portions of the Antiquities, but only one commentary for a complete book, an unpublished dissertation commentary for Book I. A French translation with notes exists for Books 1 and 2, but the notes, though useful, are intended for the general reader, not the scholarly community. Dionysius' history, which parallels the work of his greater contemporary Livy, deserves more attention, hence this dissertation, a scholarly commentary on Book II of the Roman Antiquities covering the reigns of Romulus and Numa, the first two kings of Rome. The purpose of this dissertation is, simply stated, to give a scholarly explanation of the text, to elucidate matters of interest to a careful reader. The method used (again, simply stated) was to carefully read the text and ask the basic question: what does this passage mean? Other questions followed. The result is primarily an explication of antiquarian, historical and historiographical matters; textual and linguistic matters were rarely considered. The antiquarian and historical explications are useful for promoting a further understanding of early Roman history. But the examination of Dionysius' historiography shows other points of interest which include the following: Dionysius is adept at thematic development, for example of realistic narrative detail in contrast to Livy's artistic idealization of the Roman experience; in important ways he exhibits a historiography that differs from Livy's, as when he portrays early Rome as cautious, moderate and somewhat defensive in contrast to Livy's confident and aggressive city on the way to fulfilling a pre-ordained glory. The book contains numerous evidences of Augustan influence, and includes Dionysius' thoughts on the use of myth in historical writing. The most significant discovery is that the entire book is the most comprehensive description we have in antiquity of an actual, not theoretical, constitution as Dionysius understood and presented it; that Dionysius thought of the Roman constitution as the creation of Rome's first two kings, who based it upon Socratic virtues; and that he describes a working constitution as no other writer of antiquity did, integrating the virtues into an enduring system of laws and customs that goes beyond a mere rehearsal of ordinances in place at any given time. It is hoped that this commentary will prompt further research and insight into the historical and literary world in which Dionysius worked.

This thesis is concerned with making explicit the role that language plays in apprenticing social subjects into different social or 'discourse' communities. It focuses specifically on the textual and rhetorical strategies of school history texts written by students, aiming to bring a close linguistic analysis of the texts into relationship with the wider social and cultural context. In particular it focuses on three semantic domains. These are Cause, Time and an area of interpersonal evaluation known as Appraisal. The main questions addressed are ???How do the semantic motifs of Cause, Time and Appraisal function within the discourse of school history? How are they grammatically and lexically realised? What are the semantic and grammatical shifts and interactions that occur as a result of students moving through the different levels of their apprenticeship? In order to answer these questions the analytical tools of systemic-functional grammar are applied to a corpus of texts produced within the context of Australian secondary schooling. These texts represent the range of written genres that history students need to produce in order to fulfil the objectives and outcomes of the history curriculum. A major feature of the research is the use of Appraisal theory, a framework recently developed in systemic-functional linguistics, for analysing the linguistic resources used to negotiate emotions, judgements and social valuations. This theory proves valuable in taking us beyond more traditional linguistic concerns with interpersonal meaning, which focus on modality and mood structure. The main findings of the linguistic analysis show that construals of Cause, Time and Appraisal are core linguistic tools both for interpreting the past and for persuading audiences of the validity of such interpretations. Analysis also reveals that induction into the (discourse) community of historians can be generally characterised as a process of the student expanding their repertoire of metaphorical and specialised language resources as they move from recording the past to arguing about the past. By providing a fine grained linguistic analysis of the different types of texts that make up school history writing, the research is able to provide insights into the apprenticeship process and into the function and role of history both within and beyond the school context. The major conclusion reached here is that history inducts students into an abstract world of grammatical metaphor and in so doing provides them with the linguistic means to talk about people and time as abstract entities. It also provides them with the positioning and persuading strategies (the ???intellectual flexibility???) necessary for social positions of responsibility.

<p>This article evaluates the narrative and it´s didactic role in historiographic textbooks for schools. The primary study is a comparing qualitative analysis of the narrative in the different textbooks. The result leads to a pedagogical discussion based on Kieran Egans theories about cognitive tools, and how they shape our comprehension. The theoretical background defining and discussing narrative as a concept is partly based on a semiotic view, part linguistic. The main conclusion of the work is how the narrative seems to be a product of discourse in the ways the textbooks differ at the most from each other; Broken down, how the role of the writer and the reader and their conception of the world take part I a significant comprehension of the stories told in history textbooks.</p> / <p>Uppsatsen ser till narrativet och vilken roll det spelar för läromedel i historieämnet. Genom kvalitativ analys jämförs olika läromedel från 1900-talets början samt läromedel ifrån början av 2000-talet för att se till vilken utveckling berättandet har haft historiskt sett. Den teoretiska bakgrunden vilar på ett semiotiskt perspektiv samt ett lingvistiskt perspektiv av narrativet, för att vidare avsluta med en pedagogisk diskussion där Kieran Egans teorier kring hur kognitiva verktyg formar vår förståelse är i fokus. Den huvudsakliga slutsatsen i uppsatsen är att narrativet agerar som en produkt av diskursen där de olika undersökta läromedlen skiljer sig som mest; Enkelt sett, beroende av författare och läsare, deras roller och den uppfattning de äger i världen skapas en unik förståelse av berättelserna i historieläromedlen.</p>

« Du mélange progressif dinfluences ethniques diverses, le temps a pu faire surgir un art spécial, ni rhénan, ni flamand, ni français, bien quil se rattache à tous les trois par de nombreuses affinités. Cet art, dont Liège a voulu étaler les productions dans lordre chronologique, il faudrait aujourdhui lui donner un nom, pourquoi pas « art mosan ». Charles de Linas, écrivait ces quelques lignes en se remémorant sa visite de lexposition dart ancien, organisée à Liège, en 1881, à loccasion du cinquantenaire de lindépendance belge. Frappé par la parenté de style, de conception et desprit des oeuvres quil avait pu y admirer, il proposait de les regrouper, sous le vocable commun dart mosan. En réalité, il ne sagissait pas là dune révélation soudaine. Une poignée dérudits avait, depuis quelques décennies, déjà, pressenti lexistence dun art spécifique aux rives de la Meuse. Une fois nommé, cet art mosan semblait toutefois accéder à un nouveau degré de vraisemblance. En portant lart mosan sur les fonts de baptême, Charles de Linas lui conférait une certaine légitimité. Il ouvrait le pas, sans le savoir, à une impressionnante littérature. À lexception de quelques brèves synthèses, récapitulant en quelques lignes les étapes majeures du débat scientifique, ou dressant létat de la question pour certains aspects spécifiques, il nexistait, jusquà lheure actuelle, aucune étude historiographique de lart mosan. Après plus dun siècle et demi de recherches, il semblait nécessaire de faire le point, non seulement pour dresser un bilan, un état de la question, mais également pour situer lart mosan au sein de lévolution générale du débat historique, en évaluant linfluence du contexte historique, politique et culturel sur lévolution générale des débats qui lui étaient consacrés. Cette historiographie de lart mosan, est abordée sous une double démarche, appréhendant le phénomène, dune part sous une approche terminologique, identitaire, géographique et historique, et dautre part par le biais dun vaste état de la question, mettant en évidence les étapes majeures, les apports, et, le cas échéant, les manquements ou les failles du débat scientifique. La première partie de cette étude retrace la manière dont le patrimoine artistique mosan fut perçu, à lépoque médiévale tout dabord, tout dabord, puis par les esthètes et les érudits des siècles suivants. Dans cette même optique, une importance toute particulière est accordée au destin du patrimoine mosan, tout au long du XIXe siècle, jusquà la création du terme art mosan, par Charles de Linas. Le rôle joué dans sa redécouverte et sa sauvegarde par les collectionneurs et les amateurs dart ancien, par les sociétés archéologiques, par les érudits locaux, par lÉtat belge et ses organes officiels, sont tour à tour évoqués. La manière dont le concept même dart mosan fut reçu, dès sa création, par les milieux scientifiques belges et étrangers est également analysée. Dès les premiers débats les spécialistes semblent avoir éprouvé du mal à saccorder quant à la définition géographique et chronologique du phénomène artistique mosan. De toute évidence, le concept dart mosan simposa dès le départ comme un concept à géométrie variable, de sorte quil nexiste pas une, mais plusieurs définitions de lart mosan, coexistant et se superposant tant bien que mal. Dans ce contexte, il nous semblait pertinent daborder la définition de lart mosan par le biais de plusieurs questionnements successifs : Lart mosan est-il un art flamand, un art wallon ou un art lotharigien ? Sagit-il dun art impérial ? Dun art chrétien ? Comment se situe-t-il par rapport à son voisin rhénan ? Lart mosan ne peut être perçu comme un phénomène indépendant et autonome, fonctionnant à huis clos. Il semblait, dans ce sens, utile daborder la question des échanges artistiques avec létranger : la Rhénanie, mais aussi la France, lAngleterre, la Basse-Saxe, la Scandinavie, la Pologne et lItalie. Quelques grandes expositions dart ancien, organisées, à des propos divers, depuis le milieu du XIXe siècle, sur un plan national, régional et international, jouèrent un rôle essentiel dans la diffusion et la vulgarisation des connaissances relatives au patrimoine mosan. Certaines dentre elles, comme par exemple lexposition de Malines en 1864, celle de Liège, en 1881, ou, plus récemment, la grande exposition Rhin-Meuse de 1972, purent savérer, à cet égard, particulièrement déterminantes. Aussi avons-nous tenu à leur consacrer un bref survol historique, envisageant tour à tour le contexte de leur organisation et leurs apports scientifiques essentiels. La seconde partie de cette thèse se concentre essentiellement sur lévolution générale du débat scientifique. Elle dresse un vaste état de la question, retraçant les étapes majeures des recherches et en analysant certains points spécifiques du débat scientifique. Nous avons choisi de laborder par le biais des différentes techniques artistiques mosanes : lorfèvrerie tout dabord, art mosan par excellence, mais également la dinanderie, lenluminure, larchitecture et la sculpture. Cette parcellisation artificielle du sujet correspond à la situation réelle du corpus bibliographique. Présente dès les premiers débats, cette catégorisation sous la forme de terrains de recherche ponctuels, dut incontestablement contribuer à brouiller la perception que lon se faisait de certains domaines de recherche. Il convient dailleurs de noter que, au sein de limmense bibliographie consacrée à lart mosan, les ouvrages de synthèse consacrés au phénomène artistique mosan dans son ensemble restent relativement peu nombreux. Leur approche est souvent superficielle et les différentes techniques y sont toujours envisagées séparément. Les approches synchroniques du phénomène artistique mosan, pour chaque période artistique donnée, restent particulièrement rares. Aussi, avons-nous également choisi daborder cet état de la question par domaine de recherche, non parce que cela correspond à notre perception personnelle du sujet, mais par souci de clarté et dexhaustivité. La période de recherche analysée dans le cadre de cette étude sétend, à lexception de quelques sources anciennes, du XIXe siècle jusquà nos jours. À titre documentaire, quelques notices biographiques sont, en fin de thèse, consacrées aux principales personnalités marquantes, actives avant 1950. Cette étude est complétée par un album. Comme il ne sagit pas dune étude artistique proprement dite, mais dune historiographie, cet album se limite à un rôle purement illustratif. Vu lampleur du sujet abordé, il aurait été irréalisable dy reproduire toutes les oeuvres qui sy trouvent mentionnées, aussi nous sommes nous limités aux principales, complétées de certains documents iconographiques illustrant certains points de vue représentatifs.

This article evaluates the narrative and it´s didactic role in historiographic textbooks for schools. The primary study is a comparing qualitative analysis of the narrative in the different textbooks. The result leads to a pedagogical discussion based on Kieran Egans theories about cognitive tools, and how they shape our comprehension. The theoretical background defining and discussing narrative as a concept is partly based on a semiotic view, part linguistic. The main conclusion of the work is how the narrative seems to be a product of discourse in the ways the textbooks differ at the most from each other; Broken down, how the role of the writer and the reader and their conception of the world take part I a significant comprehension of the stories told in history textbooks. / Uppsatsen ser till narrativet och vilken roll det spelar för läromedel i historieämnet. Genom kvalitativ analys jämförs olika läromedel från 1900-talets början samt läromedel ifrån början av 2000-talet för att se till vilken utveckling berättandet har haft historiskt sett. Den teoretiska bakgrunden vilar på ett semiotiskt perspektiv samt ett lingvistiskt perspektiv av narrativet, för att vidare avsluta med en pedagogisk diskussion där Kieran Egans teorier kring hur kognitiva verktyg formar vår förståelse är i fokus. Den huvudsakliga slutsatsen i uppsatsen är att narrativet agerar som en produkt av diskursen där de olika undersökta läromedlen skiljer sig som mest; Enkelt sett, beroende av författare och läsare, deras roller och den uppfattning de äger i världen skapas en unik förståelse av berättelserna i historieläromedlen.

This Senior Thesis in History analyzes a number of newspaper articles from the 1950s and 1960s in order to investigate a noticeable historiographical narrative on former Harlem Globetrotters’ owner Abe Saperstein. Three historiographical accounts present the debated dichotomy of Abe’s character as a patronizing, bigoted owner toward his black players and as a champion of blacks’ rights. This research inquires as to the extent to which 1950s and 1960s newspaper portrayals of Abe either support or oppose historiographical interpretations. The resultant analysis argues that while a large portion of 1950s and 1960s articles bolster the substantially negative modern interpretations of Abe’s character, a significant amount of the primary sources present the owner in a much more favorable manner.