Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, 2008. / Texto parcialmente liberado pelo autor. Conteúdo liberado: pré-textuais. / Submitted by Diogo Trindade Fóis (diogo_fois@hotmail.com) on 2009-09-29T14:28:09Z No. of bitstreams: 1 2008_RicardoMMello_completo.pdf: 633944 bytes, checksum: 0fa50b854d45fdd6e662e12a6b5c8a16 (MD5) / Approved for entry into archive by Luanna Maia(luanna@bce.unb.br) on 2009-09-30T11:05:04Z (GMT) No. of bitstreams: 1 2008_RicardoMMello_completo.pdf: 633944 bytes, checksum: 0fa50b854d45fdd6e662e12a6b5c8a16 (MD5) / Made available in DSpace on 2009-09-30T11:05:04Z (GMT). No. of bitstreams: 1 2008_RicardoMMello_completo.pdf: 633944 bytes, checksum: 0fa50b854d45fdd6e662e12a6b5c8a16 (MD5) Previous issue date: 2008 / A Dissertação ora apresentada investigou as funções que o conhecimento produzido pelos historiadores pode exercer segundo o historiador e teórico da literatura e historiografia Hayden White. O primeiro capítulo expõe sucintamente sua teoria do discurso historiográfico, enfatizando os aspectos pertinentes para se compreender o objeto deste trabalho. O segundo capítulo analisa as funções que devem ser evitadas pela historiografia. O terceiro apresenta as funções que a historiografia pode exercer, relacionando-as à teoria do discurso historiográfico (cap. 1) e às funções cognitivas da história refutadas por White (cap. 2). Na última seção, buscou-se sintetizar o que foi exposto anteriormente e questionar alguns aspectos da proposta whiteana. A partir disso, observou-se que a idéia norteadora consiste em argumentar a favor da limitação epistêmica do discurso produzido pelos historiadores, o que permitiria, por sua vez, usá-lo de determinadas maneiras a fim de auxiliar os homens do presente na resolução de seus problemas. Desta forma, o que possibilitaria à historiografia valer-se do passado com vistas ao presente e desempenhar tal ou qual função seria sua condição cognitivamente restrita. ________________________________________________________________________________________________ ABSTRACT / The Dissertation presented investigated the roles that knowledge produced by historians can exercise according to the historian and theoretical literature of historiography and Hayden White. The first chapter briefly outlines his theory of historiographic speech, emphasizing aspects relevant to understand the object of this work. The second chapter discusses the functions that should be avoided by historiography. The third presents the functions that historiography can exercise, listing them on the theory of speech historiographic (chap. 1) and the cognitive functions of the story refuted by White (chap. 2). In the last section, sought summed up what has been previously exposed and questioned some aspects of the proposal whiteana. From this, the main idea is to argue in favour of limiting epistemic the discourse produced by historians, which would, in turn, use it, certain ways, to help the men of this in the resolution of their problems. Thus, what would the historiography assert itself in the past with a view to the present and play such a role would be or what their condition cognitively limited.

Made available in DSpace on 2014-07-29T16:17:34Z (GMT). No. of bitstreams: 1 dissertacao Marcelo Rizzo.pdf: 265412 bytes, checksum: ff0b42b8378ccd056e81d55bd2e7d4d5 (MD5) Previous issue date: 2009-05-05 / This work concerns to Hayden White´s conception of history, like was exposed in his book Metahistory and the compilations of his articles. It will be presented and discussed White´s interpretation about the relation of the historical discipline with literature and science, Relation that guides his understanding of historical writing. / Este trabalho trata da concepção de história de Hayden White, tal como exposta em seu livro Meta-História e nas compilações de seus artigos. Será apresentada e discutida a interpretação de White sobre a relação da disciplina histórica com a literatura e a ciência, relação que norteia sua ompreensão sobre a escrita histórica.

This thesis contributes to the growing body of scholarship surrounding historical and filmic representations of the past. Moreover, it seeks to further the understanding and practical use of this sub-field in history by examining two films: Amistad (1997); and, The Wind That Shakes the Barley (2006). Building on the insistence of scholars such as Robert Rosenstone and Hayden White, this thesis seeks to evaluate historical films on their own terms as representations of the past that must be judged according to their own conventions. Cinema's attraction to historical subjects is not a recent phenomenon. However, the past two decades, have seen a marked increase in the academic critique of 'historical films' - most notably Hollywood features and television documentaries. Moreover, the appetite of the general public for filmic treatment of historical topics continues unabated. While it is agreed that historical film cannot be judged according to the criteria used in accessing traditional modes of historical representation, there is little agreement about what criteria, precisely, should be used in evaluating historical films' historical attributes and implications. This thesis commences with a general theoretical and methodological survey of the literature in this relatively new sub-field. It then analyses the film Amistad and its reception and criticism amongst historical professionals. This analysis, coupled with the findings of the first chapter, forms the basis for an original and independent review of The Wind That Shakes the Barley, a film that has not yet been widely critiqued by historians. The thesis suggests how historical films may be fruitfully evaluated in ways that are sympathetic both to the peculiar exigencies of the medium and the traditional concerns of historical scholarship.

AbstractIn 2011, the Swedish government created a new curriculum for the compulsory school. This curriculum included stricter guidelines about what was to be taught in a variety of subjects taught in public and many private schools. This policy, entitled Lgr 11, has potential to influence a generation or more of Swedes regarding their understanding of the postcolonial world and future dealings with that part of the world and its peoples. In this paper, elements of postmodern and postcolonial historiography is employed when analyzing Lgr 11’s history syllabus. How the postcolonial world and its histories are represented in Lgr 11‘s narrative(s) is investigated. The importance of this document to Swedes is that, with a significant proportion of the Swedish population recent immigrants from the postcolonial world, the perspectives of that region are important in the development of identity for recent immigrants, Swedes themselves and in understandings of a large portion of the world for less recent immigrant Swedes. Swedish identity now includes postcolonial histories.

Il presente lavoro vuole indagare le teorie di quegli autori che, negli ultimi ottant’anni, hanno studiato e approfondito il rapporto che lega la storia e la narrazione. Nonostante si possa parlare di narrativismo, inteso come filone di studio, solo a partire dalla seconda metà del ‘900, tutta la storia e tutti gli storici di ogni epoca, più o meno volontariamente, hanno ragionato sul concetto di storia e sul modo di raccontarla. La mia tesi quindi, se da un lato si concentrerà sugli esponenti del narrativismo novecentesco, dall’altro partirà dai greci, per ripercorrere, seppur brevemente, i contributi degli autori più significativi. / This paper aims to investigate the theories of those authors who, in the last eighty years, have studied and explored the relationship between history and its narration. Although we can talk about narrativism, considered as branch of study, only from the second half of XX century, all the history and all the historians of all time, more or less voluntarily, have reasoned about the concept of the story and how to tell it. My thesis, on the one hand, while it will focus on members of narrativism of the last century, on the other hand it will start by the Greeks, to analyse the contributions of the most significant authors of each age.

Cette thèse a pour objectif d’établir certains principes d’une potentielle théorisation de l’écriture biographiques. En liant des exemples prosaïques du XIXe siècle à certaines bases théoriques du XXIe siècle, il est question d’explorer les récurrences qui ont contribué à faire de certaines biographies des succès ou des échecs. En tant que biographe, essayiste et critique, Giles Lytton Strachey (1880-1932) est un sujet d’étude idéal qui permet d’analyser la relation entre le biographe, le biographié et le lecteur. Puis, selon le schéma structurel de la métahistoire proposé par Hayden White, il est possible d’émettre l’hypothèse que la biographie peut être un genre à part entière autant du point de vue de la forme que du fond. / The objective of this thesis attempts to illustrate a series of principles which could potentially lead to a theorisation of biographical writing. By exposing prosaic literary examples of the XIX century and certain theoretical bases of the XXI century, it is possible to depict recurrences that have contributed to the success or failure of various biographical works. Giles Lytton Strachey (1880-1932) as a biographer, essayist and critic appears to be the ideal subject that enables one to analyse the relationship between biographers, biographees and readers. Furthermore, the structural scheme of metahistory, as suggested by Hayden White, brings us one step closer to the assumption that biography can stand as a full-fledged genre both in terms of form and substance.

Denna uppsats undersöker hur samma historiska händelse kan ha olika betydelser i film. Idag är människor mer benägna att se en film om en historisk händelse än att läsa en historiebok, och detta innebär att vi måste lära oss att förstå de konventioner som används för att placera historia på film. Historiefilmen kan sägas besitta en palimpsestisk historiskt medvetenhet där lager av fakta och myt smälter samman, hellre än att skiljas åt. Men för att en historisk händelse ska passa in i filmens tidsram måste den bearbetas och detta resulterar i att vissa människor, händelser och rörelser prioriteras, medan andra utesluts. Därför undersöker denna uppsats vad som lagts till / uteslutits och effekterna på sammanhanget och trovärdighet, hur filmen hävdar sin autenticitet, och hur upphovsmannen påverkar trovärdigheten. Analysresultaten av två filmer om den kubanska revolutionen, visar att beroende på vilken del av den historisk händelsen som skildras, skapar filmerna helt olika berättelser med olika budskap. Medan filmen Che-Argentinaren (2008) fungerar som en hyllning av gerillanledaren Che Guevara som Kubas frälsare, visar en vänsterideologi och uttrycker USA förakt, skildrar däremot den andra filmen The Lost City (2005) revolutionens baksida. Den visar en högerideologi, familjevärderingar och USA som frihetens och drömmarnas land. Båda filmerna använder sig av liknande stilistiska strategier för att uppnå illusionen av autenticitet, och filmernas upphovsmän påverkar filmernas trovärdighet i olika grad. Vad jag i uppsatsen till sist menar är att historiefilmen inte bör tas som sanning, utan har en viktig roll som intresseväckare, som förhoppningsvis leder till att åskådaren blir intresserad av att söka sig mer kunskap. / This paper examines how the same historical event can have different meanings in films. Today people are more likely to watch a film about a historical event than to read a history book, and this means that we must learn and understand the conventions used to place history on film. The history film can be said to possess a palimpsetic historical consciousness in which layers of fact and myth come together rather than be separated. But for a historical event to fit within the film's time frame, it must be processed and this results in that certain people, events and movements are given priority, while others are excluded. Therefore, this paper studies what has been added/excluded and the effects on the context and credibility,how the film claims its authenticity, and how the author/filmmakers affects the credibility. The results of the analysis of two films about the Cuban revolution, shows that depending on which part of the historical event depicted, the films create entirely different stories with very different message. While the film Che-Part One (2008) serves as a celebration of the guerrilla fighter Che Guevara as Cuba's savior, according to a leftist ideology and the film is expressing U.S. disdain, the other film The Lost City (2005) however, portrays the revolutions backside, it shows a right-wing ideology, family values and the U.S. as the land of freedom and dreams. Both films use similar stylistic strategies to achieve illusion of authenticity, and the films' creators affect the films credibility in different amounts. What I finally conclude, is that the history film should not be considered as truth, but serve to arouse interest, which will hopefully lead the spectator to seek more knowledge about the historical event.

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