A griotte in West African culture is a female professional storyteller, responsible for preserving a tribe's history and genealogy by relaying its folklore in oral and musical recitations. Similarly, Griotte is an interdisciplinary project that seeks to foster collaboration between tradition bearers, subject experts, and computer specialists in an effort to build high quality digital oral history collections. To accomplish this objective, this project preserves the primary strength of oral history, namely its ability to disclose "our" intangible culture, and addresses its primary criticism, namely its dubious reliability due to reliance on human memory and integrity. For a theoretical foundation and a systematic model, William Moss's work on the evidentiary value of historical sources is employed. Using his work as a conceptual framework, along with Semantic Web technologies (e.g. Topic Maps and ontologies), a demonstrator system is developed to provide digital oral history tools to a "sample" of the target audience(s). This demonstrator system is evaluated via two methods: 1) a case study conducted to employ the system in the actual building of a digital oral history collection (this step also created sample data for the following assessment), and 2) a survey which involved a task-based evaluation of the demonstrator system. The results of the survey indicate that integrating oral histories with documentary evidence increases the evidentiary value of oral histories. Furthermore, the results imply that individuals are more likely to use oral histories in their work if their evidentiary value is increased. The contributions of this research – primarily in the area of organizing metadata on the World Wide Web – and considerations for future research are also provided.

O objetivo do estudo foi compreender como estudantes do ensino fundamental mobilizam elementos e operações do pensamento histórico suscitados pelo desafio de narrar a história do Brasil. A tarefa enfrentada pelos sujeitos da pesquisa provocou uma série movimentos cognitivos: selecionar eventos, personagens, períodos e conceitos na longa temporalidade, interpretá-los e articula-los num relato explicativo que servisse de orientação para o interlocutor. Para consecução dos objetivos propostos, a investigação partiu da reflexão sobre as relações entre pensamento e linguagem, tomando as formas narrativas como ferramentas culturais fundamentais no processo de desenvolvimento cognitivo e na aprendizagem. Com essa premissa, foram discutidas as especificidades da narrativa na produção do conhecimento histórico, suas relações com a aprendizagem histórica e a formação do pensamento/consciência histórica, tendo como referencial teórico principal as proposições de Jörn Rüsen (2001, 2009) sobre a constituição narrativa do conhecimento e pensamento histórico e das estruturas da consciência histórica. No percurso metodológico de caráter qualitativo buscou-se articular os aportes de Rüsen com referenciais oriundos de pesquisas empíricas, notadamente as realizadas pela Educação Histórica no Brasil e em Portugal, de modo que subsidiassem a análise dos materiais escritos recolhidos em oito turmas da oitava série/nono ano de uma escola da rede municipal de São Paulo em 2010 e 2011. Foi realizada a descrição e análise dos marcadores históricos (acontecimentos, agentes, temporalidades e espaços), caracterizados como conteúdos e conceitos históricos substantivos estruturantes e das formas de sua articulação nas narrativas coletadas. A análise e reflexão desses elementos possibilitaram a identificação de perfis das estruturas narrativas dos estudantes e das perspectivas de atribuição de significância histórica. Desse modo foi possível evidenciar a compreensão e interpretação dos estudantes sobre o passado e a história, auxiliando no entendimento de elementos e processos de formação do pensamento e da consciência histórica no grupo investigado. / The aim of this study was to understand how students from basic education mobilize elements and historical thinking operations raised by the challenge of narrating the History of Brazil. The task faced by the researched actors led to a series of cognitive movements: events selection, characters, periods and concepts in long temporality, interpret them and articulate them in a explanatory account that would provide guidance to the interlocutor. For the attainment of the proposed aims, the research started from a reflection about the relations between think and language, taking the narrative shapes as fundamental cultural tools in the cognitive development process and learning. By this premise, was discussed the specificities of narrative in historical knowledge production, their relations with historical learning and the historical thinking /consciousness, taking as main theoretical the propositions of Jörn Rüsen (2001, 2009) about the creation of knowledge and historical thinking, and structures of historical consciousness. In a qualitative methodological approach sought to articulate the contributions of Rüsen with references from empirical research, especially those carried out by history education in Brazil and Portugal, so that subsidize the analysis of written materials collected in eight classes of eighth grade / ninth year of a municipal school of Sao Paulo in 2010 and 2011. Was performed an analysis and description of historical markers (events, agents, temporalities and spaces), characterized as substantive historical content and structuring concepts and forms of its articulation in the narratives collected. The analysis and discussion of these elements allowed the identification of profiles of the narrative structures of students and assignment prospects of historical significance. Therefore it was possible to demonstrate the students understanding and interpretation of the past and history, assisting in the understanding of elements and formation processes of historical thinking and consciousness in the investigated group.

A presente dissertação é uma pesquisa qualitativa que investiga os enfoques didáticos de uma professora de História que trabalha na rede pública de São Paulo e que foram conceituados como Identidade Histórica Docente. Estes enfoques didáticos foram investigados utilizando uma metodologia de análise das relações temporais que a professora desencadeia na prática docente. Para fazer esta investigação, foi utilizado um questionário Likert, duas entrevistas semiestruturadas, análise de planejamentos e observações gravadas em áudio do trabalho da professora. A base teórica desta pesquisa foi o paradigma da Didática da História, um paradigma construído por meio dos trabalhos desenvolvidos em universidades públicas brasileiras que investigam o trabalho de professores de História. Os principais conceitos deste paradigma que foram utilizados foram os de paradigma de Kuhn, consciência histórica, narrativa histórica e identidade histórica de Rüsen, experiência e expectativa de Koselleck, com contribuições de autores que utilizaram estes mesmos conceitos em seus trabalhos, como Seixas, Lee e Borries. A metodologia de análise dos dados foi criada com a adaptação destes conceitos para a microanálise qualitativa de Strauss e Corbin. Após a construção metodológica, obtenção e análise dos dados, chegou-se à conclusão de que a Identidade Histórica da docente pesquisada é predominantemente política sobre os demais aspectos investigados. / The present masters thesis is a qualitative research that investigates the teaching approaches of a history teacher who works in public schools in São Paulo and which were defined as historical teaching identity. These educational approaches were investigated using a methodology of analysis of time relations that the teacher triggers in her teaching practice. In order to do this research, a Likert questionnaire was used as well as two semistructured interviews, planning analysis, and observations about the work of the teacher recorded in an audio recorder. The theoretical basis of this research was the paradigm of Didactics of History, a paradigm built through work undertaken in Brazilian public universities that investigate the work of history teachers. The core concepts of this paradigm that were used were Kuhn\'s paradigm, Rüsens historical consciousness, historical narrative and historical identity, Kosellecks experience and expectation, with contributions from authors who have used these same concepts in their work, such as Seixas, Lee and Borries. The methodology of data analysis was created with the adaptation of these concepts to Strauss and Corbins grounded theory. After establishing the methodology, data collection and analysis, it was concluded that the historical identity of the teacher researched is predominantly political on the other aspects investigated.

Submitted by Mario BC (mario@bc.ufrpe.br) on 2016-08-05T12:22:06Z No. of bitstreams: 1 Isabella Karim Morais Ferreira de Vasconcelos.pdf: 6904868 bytes, checksum: 342184ff5d5bf6f3fc3e2a35bf15b52d (MD5) / Made available in DSpace on 2016-08-05T12:22:06Z (GMT). No. of bitstreams: 1 Isabella Karim Morais Ferreira de Vasconcelos.pdf: 6904868 bytes, checksum: 342184ff5d5bf6f3fc3e2a35bf15b52d (MD5) Previous issue date: 2016-02-29 / This research is presented as a history narrative of manual embroidery practice in Passira, a city locaded in rural zone from Pernambuco. A tradition, an art, a heritage, an economic product, a knowing / doing that, from the 1980s was widespread as identity symbol, making this city be recognized - and recognize - as the "Land Embroidery Manual". First the reader is located on the city's history, from the time when it was a village, through his fame as the "land of corn," to be known strong production manual embroidery. The main objective is to examine events that caused the manual embroidery were to be cultural heritage Passira. From then on, the tone becomes embroidery, their meanings and some of its approaches. There is talk about the Fair Embroidery Passira Manual, annual event that takes place for more than 20 years, a place of marketing and dissemination of this embroidery. There is talk about the women said space and the performance of those women who are artisans, but they are also entrepreneurs, and the performance of some cooperatives and associations to score together these embroiderers. Finally, the issue of manual embroidery as cultural heritage is again discussed, this time from the perspective of the absence of a formal heritage education. The final considerations concludes what we could discuss during the narrative and ensures that there is still a lot to learn about this practice and its historical background. / Essa pesquisa se apresenta como uma narrativa da história da prática do bordado manual em Passira, cidade localizada no agreste pernambucano. Uma tradição, uma arte, um patrimônio, um produto econômico, um saber/fazer que, a partir década de 1980 foi disseminado como símbolo indentitário, fazendo essa cidade ser reconhecida – e se reconhecer – como a “Terra do Bordado Manual”. Primeiro situa-se o leitor sobre a história da cidade, desde a época em que era um povoado, passando por sua fama como a “terra do milho”, até ser conhecida pela forte produção de bordado manual. O objetivo principal é examinar que acontecimentos fizeram com que o bordado manual viesse a ser patrimônio cultural em Passira. A partir de então, o mote passa a ser o bordado, seus significados e algumas de suas abordagens. Fala-se sobre a Feira do Bordado Manual de Passira, evento anual que acontece há mais de 20 anos, um lugar de comercialização e difusão desse bordado. Fala-se sobre o dito espaço feminino e a atuação dessas mulheres que são artesãs, mas também são empresárias, e pontua-se o desempenho de algumas cooperativas e associações junto a essas bordadeiras. Por fim, a questão do bordado manual como patrimônio cultural volta a ser discutida, dessa vez, pela perspectiva da ausência de uma educação patrimonial formalizada. As considerações finais arremata o que foi possível discutir durante a narrativa e assegura que ainda há muito que se estudar a respeito dessa prática e seu percurso histórico.

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The subject for this thesis is to examine the portrayal of the local farmer in four different museums in Scania. The purpose is to examine these two questions:1.Which narrative and museal strategies are used in the portrayal of the local farmer by the local history societies?2.How do the actors of the local societies relate to the living conditions and hierarchies of the rural society of Scania?The source material consists of guided tours and text material from the museums. The theoretical fields consists of history culture, use of history, historical narrative, museology and rural science act as our theoretical fields. Peter Aronsson, Anna Eskilsson and Maria Björkroth act as our main theoretical framework.Our research presents two central discourses in the portrayal of the local farmer. The stories that we have identified in our results are those of success, of exhibitionistic value. Stories that carry elements of success and exhibitionistic value are both desirable and displayed. The stories portrayed are also neglecting the gender aspect. They are genderblind.The local history societies of Scania in the year of 2014 could be seen as museal activities focused more on conservation and nostalgia than on activities aimed at new visitors and the challenges of the present day.

This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.

Ce mémoire propose un regard transdisciplinaire : historique, sociologique et musical sur Harmonium, un groupe culte de folk-rock progressif québécois des années 1970. Y sont étudiées la révolution musicale engendrée par l’arrivée du folk et du rock progressif au Québec ainsi que la mise en récit de l’œuvre et de l’histoire d’Harmonium. Les œuvres du groupe, les sources écrites d’époque (articles de journaux et de revues), l’histoire documentaire et l’histoire et la mémoire publiques y sont confrontées pour analyser les processus narratifs. D’abord, l’essor du groupe est situé dans les transformations de la scène musicale québécoise au cours des années 1960-1970. L’histoire d’Harmonium, entre 1972 et 1978, est ensuite reconstituée au travers des sources d’époque, articles scientifiques et biographies. Par la suite, les caractéristiques musicales des œuvres ainsi que les thèmes, valeurs et messages véhiculés par le groupe sont examinés. L’essor et le succès d’Harmonium sont ainsi réinterprétés au travers du développement de la scène musicale progressive internationale et de la popularisation de la contre-culture. Finalement, en regard de l’ambiguïté politique d’Harmonium dans les sources historiques, la prédominance des réinterprétations néonationalistes de son œuvre et de son histoire sont analysées selon un processus de mise en récit de l’histoire nationale. Il en ressort que la narration prédominante au sein de l’histoire et de la mémoire publiques semble assimiler le destin des artistes québécois à celui du peuple et de la nation. Dans le cas d’Harmonium, ce récit qui s’appuie principalement sur le nationalisme de Serge Fiori, la figure de proue du groupe, contribue à l’occultation du projet artistique spirituel, progressif, contre-culturel et « authentique » du groupe. / This study proposes a transdisciplinary point of view: historic, sociologic and musical to Harmonium, a Quebec preeminent progressive folk-rock group of the 1970s. This work is interested in the musical revolution that came with the birth of folk and progressive rock musical scenes in Quebec and in the narrative and symbols associated with the musical work and history of Harmonium. The group’s albums, the written sources of the time (articles in journals and magazines), the documentaries and the public history and memory are all examined and confronted in this research to study the historical narrative. To begin with, the rise of the group is contextualized in the transformations of Quebec’s musical scene in the 1960s-1970s. The history of Harmonium, situated between 1972 and 1978, is then reconstructed using historical sources, scientific articles and biographies. Thereafter, the musical characteristics, themes, values, ideals and messages of the group are examined. Harmonium’s emergence and success is then reinterpreted through the development of the progressive rock international musical scene and the popularization of the counter-culture. Finally, in light of the political ambiguity of Harmonium that the historical sources reveal, the neonationalist reinterpretations of its work and history is analyzed as a narrative process. This narration, which predominates in public history and memory, seems to assimilate the destiny of Quebec’s artists with the destiny of its people and its nation, therefore contributing to the occultation of Harmonium’s progressive, counter-cultural and “authentic” musical quest.

Empathy and cultural understanding of groups that are marginalized due to religious, ethnic or sexual background is essential for peace in schools, neighborhoods, and society at large. Literacy classrooms can be a safe environment in which students can develop their own understandings and empathies. Although worthwhile, much of the research lacks details of student reactions to the people and cultures read about in historical narratives, as well as a focus on pedagogical practices that could give students a deep understanding of the culture. This study analyzed the empathetic responses of 13 sixth grade students to themes presented in a Mexican American narrative text, The Circuit. The purpose of this study was to understand the nature of student empathy and how empathetic responses reflect a rich historical and visual context. Key data sources of this interpretive study included large group discussions, small group discussions, written journal responses, and interviews. The results of this study indicated that students' empathetic responses are varied and complex and seem to reflect familiarity with topics in the text and personal background. Minimizing the cognitive demand of cultural content seemed to be a key pedagogical factor in helping students reach deeper levels of empathy. Suggestions are given for educators looking to teach empathy through cultural texts. Possible areas of research are recommended.

The thesis compares Polish and Ukrainian Institutes of National Remembrance, analyses Polish and Ukrainian dominant models of the collective memory and historical narratives of the massacre of Poles in Volhynia and Eastern Galicia 1943. The analysis also clarifies and compares interpretations of this phenomenon by Polish and Ukrainian Institutes. The subjects of the research are Polish and Ukrainian Institutions of National Remembrance themselves, as the main promoting tools of politics of memory in their states. The thesis covers a period from the revolutionary changes in Ukraine in 2014 (have changed Ukrainian historical narratives and politics of memory) to present days. Political situations in Ukraine (2014) and Poland (2015) are reflected in this thesis, as they are in the direct relation with changings in politics of memory, which have restored the conflict of memory. The first signs of the memory conflict (Yushchenko presidency and the first Law and Justice cabinet) are explained briefly, as thesis is focused on a current situation. The massacre of Poles in Volhynia and Eastern Galicia, which is the most tragic point of modern Polish-Ukrainian relations, is described as a sticking point between Poland and Ukraine. The analysis argues in detail that Polish and Ukrainian Institutes are...