O romance Terra Sonâmbula, do escritor moçambicano Mia Couto, foi publicado em 1992, ano em que chegava ao fim a guerra que durante dezesseis anos assolou Moçambique. O tempo da narrativa converge para o tempo da escrita, transformando o romance em narrativa alternativa à de cunho historiográfico. Os personagens que representam o povo são reabilitados das margens da história oficial e se tornam protagonistas da pequena história que Mia Couto se propõe a contar por meio do delineamento de certa ideia de africanidade, tradição e identidade nacional. Esta dissertação pretende, pois, analisar essa outra história de Moçambique que o autor escreve. Para tanto, perscruta nos interstícios do texto a relação com o contexto e seus silêncios desde a posição ocupada por Mia Couto na realidade moçambicana até a dinâmica da guerra e seu impacto sobre a população civil. Ao mesmo tempo, perscruta as mudanças e permanências do pós-guerra a fim de relacioná-las com a história a ser escrita em que residiria a esperança do romance. / The novel Sleepwalking Land by the Mozambican writer Mia Couto was published in 1992. In the same year, the war that raged Mozambique for sixteen years was coming to an end. The time of the narrative converges to the time of writing, turning the novel into an alternative narrative to historiography. The characters that represent the people are rehabilitated from the margins of official history. They become the actors of the little history, in which Mia Couto delineates certain idea of Africanness, tradition and national identity. Thus, this thesis intends to analyze the other history of Mozambique the author writes. For this, it searches in the interstices of the text the relationship with the context from the position occupied by Mia Couto in the Mozambican reality to the dynamics of war and its impact on the civilian population. At the same time, it searches the changes and continuities of postwar in order to correlate the history to be written (or the story to be told) on which it lays the hope of the novel.

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2018-04-23T20:13:43Z No. of bitstreams: 1 Renata Flavia de Oliveira Sousa.pdf: 1205297 bytes, checksum: a5165ee78a0bcf2105b363d2656958ab (MD5) / Made available in DSpace on 2018-04-23T20:13:43Z (GMT). No. of bitstreams: 1 Renata Flavia de Oliveira Sousa.pdf: 1205297 bytes, checksum: a5165ee78a0bcf2105b363d2656958ab (MD5) Previous issue date: 2018-03-20 / History is responsible for inserting man into his context, into his environment and into time. It is able to reconnect us in our complexity and make us perceive as practicing and responsible subjects for the creations of the world, an indispensable issue for human formation and survival in a time marked by gratuitous violence and fragility of ties. This analysis aims at: the construction of historical narrative as a practice of complex thought for a humanizing education. It seeks to analyze approximations and distances between history and literature, focusing on the construction of the narrative sensitive, relating to ideas of the complex thought of Edgar Morin. It understands that the uses existing in this relation can help in the development of a sensitive and humanizing education, thus contributing to an education that exercises complex thought. For this I use as reference the cultural history and the thinking of Edgar Morin to think a sensitive historical writing, inspired by literature and that is able to access our complexity. The research fits in a theoretical discussion using bibliographical sources, from academic works, magazines, theoretical books bases and literary books that come to contribute to the creation of the writing and discussions. In its methodology, we tried to construct a sensitive narrative using literature as instrument, as is the proposal launched in the research objectives.It was noticed that historical writing using the inputs provided by the literature as a key to access the human in its various parts (demens and sapiens, poetic and prosaic, etc.) is able to open doors to the practice of complexity. This narrative constructed with possibilities of rich interpretation stimulating the "ecological" thinking is able to make see the other and to perceive the constructed history, inserting the human in the nucleus of knowledge and responsibility in the historical construction, besides putting its parts, prosaic and poetic in a dance with this language full of windows. The results of this research indicate a path to the practice of complex thought in education and scientific production, because when we produce a sensitive writing that allows us to know and include the subject in the making of the world, we can also bring more than information, bring teachings to life. / La historia es responsable de insertar al hombre en su contexto, en su ambiente y en el tiempo. Es capaz de reconectarse en nuestra complejidad y hacernos percibir como sujetos practicantes y responsables de las creaciones del mundo, cuestión indispensable para la formación humana y supervivencia en un tiempo marcado por la violencia gratuita y fragilidad de lazos. Este análisis tiene como objeto: la construcción de la narrativa histórica como práctica del pensamiento complejo para una educación humanizadora. En este sentido, se trata de analizar aproximaciones y distanciamientos entre historia y literatura, centrándose en la construcción de la narrativa sensible, relacionando con ideas del pensamiento complejo de Edgar Morin. Entiende que los usos existentes en esa relación pueden ayudar en el desarrollo de una educación sensible y humanizadora, contribuyendo así a una educación que ejercite el pensamiento complejo. Para ello utilizo como referencia la historia cultural y el pensamiento de Edgar Morin para pensar una escritura histórica sensible, inspirada por la literatura y que sea capaz de acceder a nuestra complejidad. La investigación se encuadra en una discusión teórica usando fuentes bibliográficas, desde trabajos académicos, revistas, libros teóricos bases y libros literarios que contribuyan a la creación de la escritura y discusiones. En su metodología se buscó construir una narrativa sensible utilizando la literatura como instrumento, tal cual es la propuesta lanzada en los objetivos de la investigación. Se percibió que la escritura histórica, utilizando las entradas suministradas por la literatura como clave para acceder al humano en sus diversas partes (demens y sapiens, poética y prosaica, etc.), es capaz de abrir puertas a la práctica de la complejidad. Esta narración construida con posibilidades de interpretación rica, incentivando el pensamiento "ecologizante", es capaz de hacer ver al otro y de percibir la historia construida, insertando lo humano en el núcleo del saber y de la responsabilidad en la construcción histórica, además de colocar sus partes, prosaica y poética en una danza con ese lenguaje lleno de ventanas. Los resultados de esta investigación indican un camino para la práctica del pensamiento complejo en la educación y la producción científica, pues al producir una escritura sensible y que nos permita conocer e incluir al sujeto en la elaboración del mundo, podemos también traer más que información, traer enseñanzas para la vida. / A história é responsável por inserir o homem em seu contexto, em seu ambiente e no tempo. É capaz de nos religar em nossa complexidade e nos fazer percebermos como sujeitos praticantes e responsáveis pelas criações do mundo, questão indispensável para a formação humana e sobrevivência em um tempo marcado pela violência gratuita e fragilidade de laços. Essa análise tem como objeto: a construção da narrativa histórica como prática do pensamento complexo para uma educação humanizadora. Busca analisar aproximações e distanciamentos entre história e literatura, dando enfoque na construção da narrativa sensível, relacionando com ideias do pensamento complexo de Edgar Morin. Entende que os usos existentes nessa relação possam ajudar no desenvolvimento de uma educação sensível e humanizadora, contribuindo, assim, para uma educação que exercite o pensamento complexo. Para isso utilizo como referência a história cultural e o pensamento de Edgar Morin para pensar uma escrita histórica sensível, inspirada pela literatura e que seja capaz de acessar nossa complexidade. A pesquisa se enquadra em uma discussão teórica usando fontes bibliográficas, desde trabalhos acadêmicos, revistas, livros teóricos bases e livros literários que vierem a contribuir para a criação da escrita e discussões. Em sua metodologia buscou-se construir uma narrativa sensível utilizando a literatura como instrumento, tal qual é a proposta lançada nos objetivos da pesquisa. Percebeu-se que a escrita histórica, utilizando as entradas fornecidas pela literatura como chave para acessar o humano em suas diversas partes (demens e sapiens, poética e prosaica, etc.), é capaz de abrir portas para a prática da complexidade. Essa narrativa construída com possibilidades de interpretação rica, incentivando o pensamento “ecologizante”, é capaz de fazer ver o outro e de perceber a história construída, inserindo o humano no núcleo do saber e da responsabilidade na construção histórica, além de colocar suas partes, prosaica e poética em uma dança com essa linguagem cheia de janelas. Os resultados dessa investigação indicam um caminho para a prática do pensamento complexo na educação e na produção científica, pois ao produzirmos uma escrita sensível e que nos permita conhecer e incluir o sujeito na feitura do mundo, podemos também trazer mais que informações, trazer ensinamentos para a vida.

La présente thèse analyse les représentations narratives concernant le chevalier Bertrand Du Guesclin dans l'écriture de l'histoire en France du Bas Moyen Age, dans les œuvres du trouvère Cuvelier, La chanson de Bertrand Du Guesclin (1385), l'auteur anonyme de l’Histoire de Messire Bertrand Du Guesclin (1387) et Christine de Pizan dans son Livre des fais et bonnes meurs du sage roi Charles V (1404). Notre analyse est basée sur les concepts de représentation dans l'histoire de Paul Ricœur, en insistant sur les préceptes de la représentance et de l'identité narrative formulés par l'auteur, ainsi que sur la poétique du récit historique, approche développée par Leonardo Funes. A partir de la lecture des sources, nous observons que la construction de l'identité narrative de Bertrand Du Guesclin était fondée sur une réflexion à propos du profil d'un preux chevalier, et surtout sur une chevalerie en transformation à la fin du XIVe siècle. Sur la base de cette analyse, nous avons souligné que l'écriture de l'histoire a choisi Bertrand Du Guesclin comme modèle pour une redéfinition de la chevalerie dont les principes ont été dictés par le service à la couronne française, par la disposition permanente des troupes, par la rémunération régulière et par la performance guerrière de ses membres au détriment du lignage. / This thesis analyses the discursive representations about Knight Bertrand du Guesclin in the writing of history in Late Medieval France, in the works of troubadour Cuvelier, La chanson de Bertrand du Guesclin (1385), of the anonymous author of Histoire de Messire Bertrand du Guesclin (1387) and of Christine de Pizan, in her Livre des fais et bonnes meurs du sage roi Charles V (1404). Our analysis is based on the concepts of Representation in History of Paul Ricoeur, with emphasis on the precepts of the author's narrative identity and représentance, as well as on the poetics of historical account, methodology developed by Leonardo Funes. From the reading of the sources, we found that the construction of the narrative identity of Bertrand du Guesclin by the authors occurred on a reflection regarding the profile of a preux chevalier, and mainly of the chivalry that was in transformation in that late 14th Century. Based on this analysis, we point out that the Writing of History elected Bertrand du Guesclin as a model for a redefinition of the chivalry, whose principles were the service to the French Crown, the permanent disposition of the troops, the regular remuneration and the warrior performance of its members to the detriment of lineagistic ties. / A presente tese analisa as representações discursiv as sobre o cavaleiro Bertrand Du Guesclin na escrita da história na França da Baixa Idade Média, nas obras do trovador Cuvelier, La chanson de Bertrand Du Guesclin (1385), do autor anônimo da Histoire de Messire Bertrand Du Guesclin (1387) e de Christine de Pizan em seu Livre des fais et bonnes meurs du sage roi Charles V (1404). Nossa análise se pauta sobre os conceitos de representação na história de Paul Rico eur, com ênfase nos preceitos de representância e de identidade narrativa do autor, bem como na poética do relato histórico , metodologia desenvolvida por Leonardo Funes. A pa rtir da leitura das fontes, verificamos que a construção da identidade narrativa de Bertrand Du Guesclin pelos autores se dava sobre uma reflexão do perfil de um preux chevalier , e principalmente sobre a cavalaria que estava em tran sformação naquele final de século XIV. Com base nessa análise, apontamos que a Escrit a da História elegeu Bertrand Du Guesclin como modelo para uma redefinição da cav alaria cujos princípios se dariam pelo serviço à coroa francesa, pela disposiç ão permanente das tropas, pela remuneração regular e pela performance guerreira de seus membros em detrimento dos laços linhagísticos.

La littérature des Coréens du Japon ou la littérature des Coréens zainichi (zainichi signifie littéralement « étant au Japon ») obtient une large reconnaissance sur la scène littéraire japonaise à partir de la fin des années 1960, mais l’apparition des premiers écrivains zainichi remonte au lendemain de la Deuxième Guerre mondiale, dans une période marquée par la décolonisation de la Corée et plus tard par la guerre de Corée. Le présent travail consiste à mettre en perspective le processus de construction d’un discours littéraire à caractère identitaire et ce jusqu’à sa mise en question, ainsi qu’à examiner les stratégies esthétiques que mettent en œuvre les écrivains afin de se démarquer de la littérature japonaise. Cette recherche porte principalement sur le travail de trois écrivains majeurs de cette littérature : Kim Tal-su 金達寿(1919-1997), Kim Sŏk-pŏm 金石範(1925-) et Yi Yang-ji李良枝(1955-1992) qui représentent respectivement la période de l’émergence de l’écriture zainichi de 1946 jusqu’au début des années 1950, celle de la reconnaissance d’un statut littéraire spécifique au début des années 1970 et celle du renouvellement tant thématique que narratif des années 1980. Si ces auteurs se distinguent dans leur thématique et dans leur style, ils ont en commun d’inventer une nouvelle écriture dans une situation d’exigence – autrement dit diasporique – où représenter chaque vie et chaque voix singulière peut aussitôt prendre une dimension mémorielle aussi bien que politique. Ainsi, l’évolution de la littérature zainichi est-elle aussi celle de la voix narrative qui se forme et se renouvelle dans cette tension permanente entre le subjectif et le collectif. / Zainichi Korean literature (zainichi literally meaning “to be in Japan”) has met widespread recognition on the Japanese literary scene since the late 1960s. But in fact Korean zainichi writers emerged earlier: in the aftermath of WW2, during the decolonization of Korea and the subsequent Korean War. This dissertation focuses on the construction process of a new literary discourse, intricately linked to the question of identity, but also on the criticism it underwent. Furthermore, this work analyzes the aesthetic strategies used by each author to distance theirs works from Japanese literature. This dissertation focuses on the following three authors: Kim Tal-su (1919-1997), Kim Sŏk-pŏm (1925-) and Yi Yang-ji (1955-1992), who respectively represent a period of development of zainichi literature: the emergence of zainichi writers between 1946 to early 1950, the establishment of a new literary category in the early 1970s, and the thematical and narrative renewal in the 1980s.These authors worked on different themes and wrote in distinct styles, and yet their writings were all born within a complex relationship to their community, as a minority and diaspora. As such, they narrate individual histories, which also carry a memorial and political dimension. Thus, the history of zainichi literature is also a history of individual voices, which emerge from and permanently renew the tension between the subjective and the collective.

This thesis analyses a change in the ways people composed and engaged with texts during the Warring States (481-221 BCE) period in Early China. It examines changes in the textual sphere as a result of an emergent manuscript culture, that is to say, the increased spread and reliance on manuscript texts for the communication of ideas. This shift moved away from the predominantly oral, commemorative, and ritual use of text in earlier periods, and provided key elements that would function in the text based discourse of the early empires. It influenced the way text across a variety of genres of writing was used and understood, structured and composed, and how it was collected and combined to form new arguments. I focus on texts from the Documents ?, and Odes ? genres, in addition to philosophical texts dealing with the past, and collections of sayings and arguments dealing with questions from cosmological to ethical issues. These materials form the mainstay of Warring States intellectual discourse, and exemplify the following textual developments: 1) the rise of collecting materials into compilations; 2) the emergence of genre classification; 3) the development of new authorship functions, 3) an increase in textual structuring and the integration of lore about the past, 4) the development of commentarial traditions, 5) the emergence of an explicit, self-reflexive understanding of writing and transmission, 6) advances in material structuring of manuscript-texts that interrelate form and content. The analysis is based primarily on excavated materials not edited during the early empires, and engages with comparative and interdisciplinary theory. It argues against models solely based on transmitted sources, which explained Warring States developments as a response to socio-political contexts. Instead, it posits developments in the textual culture itself as a necessary condition to explain the changes in intellectual discourse of the period.

Cette thèse de doctorat a pour but d’étudier l’image d’Ernesto Che Guevara construite par le Neuvième art révélant ainsi les perceptions des auteurs, mais aussi celle de leur société. Notre corpus principal se compose de neuf œuvres provenant de divers horizons, Vida del Che de H. G. Oesterheld, A. et E. Breccia (1968) ; la trilogie de P. Muriana : CHE – Génesis, CHE – Cenit (1977) et CHE – Ocaso (1978) ; ABChé de Rius (1978) ; Libertad ! Che Guevara (2006) de M., J. F. Charles et Wozniak ; CHE de K. Yong-Hwe (2006) ; LE CHE – Une icône révolutionnaire de S. Rodriguez (2008) et EL CHE – La victoire ou la mort de G. Ramella et S. Cattaneo (2012). Notre travail d’analyse se divise en trois parties et postule que les bandes dessinées contribuent à l’élaboration d’un imaginaire guévariste en partageant plusieurs similitudes narratives et visuelles. Une première partie est consacrée à la présentation du corpus large et du sous-corpus afin de saisir les spécificités de chaque bande dessinée. Nous nous attachons ensuite à l’étude de la première phase ascendante du schéma actantiel héroïque de la naissance du guérillero à l’épiphanie héroïque. Enfin, notre dernière partie revient sur la phase descendante du schéma actantiel depuis la rupture jusqu’au devenir post mortem d’Ernesto Che Guevara. Les spécificités de chaque album apparaissent dans l’analyse du langage bédéïque qui modernise, de par son hybridité iconique et linguistique, la représentation d’Ernesto Che Guevara. Le Neuvième art s’inscrit ainsi dans la tradition de l’écriture de la vie du héros héritée de l’Antiquité et de la chrétienté, mais il interroge également l’écriture de l’Histoire. / This dissertation considers the representation of Ernesto Che Guevara as constructed by the Ninth Art, thus revealing the perceptions of the authors and the perception of their respective societies. Our main corpus is composed of nine works originating from diverse backgrounds, Vida del Che by H. G. Oesterheld, A. and E. Breccia (1968); P. Muriana’s trilogy : CHE – Génesis, CHE – Cenit (1977) and CHE – Ocaso (1978) ; ABChé by Rius (1978) ; Libertad ! Che Guevara (2006) by M., J. F. Charles and Wozniak ; CHE by K. Yong-Hwe (2006) ; LE CHE – Une icône révolutionnaire by S. Rodriguez (2008) and EL CHE – La victoire ou la mort by G. Ramella and S. Cattaneo (2012). Our analysis is divided into three parts and postulates that graphic novels contribute to the elaboration of a Guevarist imaginary by sharing several narrative and visual similarities. A first part is dedicated to the presentation of the large corpus and the secondary corpus in order to grasp the specificities of each graphic novel. Then we address the first phase of the upward heroic actantial model from the birth of the guerrillero to the heroic epiphany. To finish with, our last part tackles the downward phase of the actantial model from the break up to the post mortem process of becoming of Ernesto Che Guevara. Each album’s specificities appear in an analysis of the specific language at stake in the graphic novel, a language which, through its iconic and linguistic hybridity, modernizes the representation of Ernesto Che Guevara. Therefore, the Ninth Art is in line with the tradition of the writing of heroic lives, inherited from Antiquity and Christianity; the Ninth Art also delves into the writing of History.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho procura conhecer os caminhos pelos quais a história do movimento político-militar Farroupilha (1835-1845) foi escrita. Situando essa busca na produção historiográfica do século XIX, optamos por enfatizar o papel da obra biográfica História do General Osório, nesse processo. Escrita por Fernando Luis Osório sobre seu pai, o marquês do Herval, Manoel Luis Osorio e publicada em 1894, o primeiro volume da narrativa biográfica da vida do General Osorio possuí 7 capítulos sobre sua participação nos conturbados quase 10 anos do movimento Farroupilha. É nesses capítulos que concentramos nossa analise, buscando estabelecer o como essa narrativa participou do processo que delegou à Farroupilha um local de destaque na cultura histórica riograndense como experiência histórica valorosa, que lhe permite ser lembrada, narrada e comemorada em festa patriótica até hoje. Dessa forma, procurou-se estabelecer as bases dessa cultura histórica e o papel da Farroupilha junto à ela. Da mesma maneira, visitamos a produção historiográfica do XIX na intenção de compreender seu papel no estabelecimento de valor para o movimento. Analisamos as possibilidades historiografias da obra e as características principais da narrativa como o uso documental, o narrador, as discussões historiográficas e o personagem General Osorio que ali é construído. Identificamos na obra de Fernando Luis Osório impulsos historiográficos característicos do XIX, buscamos relações entre a narrativa ali desenvolvida e a história da Farroupilha e pensamos a participação da mesma no estabelecimento do espaço valoroso dado ao movimento na cultura histórica riograndense de fins do oitocentos. / This paper seeks to understand the ways in which the history of the political military movement known as Farroupilha (1835-1845) was written. Situating this research in the historiography production of the 19th century, we opt to emphasize the role of the biographical work História do General Osório in the process. This work was written by Fernando Luis Osório about his own father, the marquis of Herval, Manoel Luis Osorio being published in 1894. The first volume of biographical narrative of the life of General Osorio is composed of 7 chapters about his participation in the almost 10 year long movement Farroupilha. It is in these chapters that we focus our analysis in order to establish the role of this narrative in the process that positioned the Farroupilha in a prominent place in riograndense cultural history as a valuable historical experience. This, in turn, allows it to be remembered, recounted and celebrated in patriotic party to present day. Thus, we tried to establish the foundations of this particular historic culture and the role of Farroupilha in her. Likewise, we visited the historiographical production of the 19th century in an attempt to understand its role in establishing value for the movement. We analyzed the historiographical possibilities of this work and ist main characteristics such as the use of documentary narrative, the narrator, the historiographical discussions and the character General Osório that was built. We identified in the work of Fernando Luis Osório historiographical impulses characteristic of the 19th century, sought the relationships between the narrative developed in his work and the history of the Farroupilha movement. Finally we tried to understand its role in the establishment of the valuable place given to the movement in riograndense historical culture of the late 19th century.

Le « cas » Juan de Betanzos (1519-1576) est en apparence extrêmement simple et peut se résumer en quelques mots : en 1551, à Cuzco, un Espagnol, marié à une princesse indigène, écrit une histoire des Incas à la demande du vice-roi de l’époque, don Antonio de Mendoza. Cette simplicité explique sans doute, pourquoi ce « cas » n’a pas suscité davantage d’intérêt. Si la Suma y narración de los Incas, depuis la découverte d’une version complète en 1987, est unanimement considérée comme une source fondamentale pour la connaissance du Tahuantinsuyo et un passage obligé pour tout spécialiste du Monde andin, son contexte d’élaboration, ses sources et même son auteur n’ont reçu qu’une attention fort limitée. Ce dernier a été relégué à l’arrière-plan au sein de son propre ouvrage et cantonné à un second rôle au sein de la société de son époque. Abordé comme un « passeur culturel » et un « expert » de la langue quechua et du monde inca, Betanzos acquiert un tout autre relief : il n’apparaît plus comme un personnage secondaire, mais comme un acteur du processus de transition entre monde préhispanique et monde hispanique et de la construction de la société coloniale péruvienne. / The “case” of Juan de Betanzos (1519-1576), apparently simple, can be summed up in a few words: in 1551, in Cuzco, a Spaniard, married to an indigenous princess, writes a history of the Incas, commissioned by the viceroy at the time, don Antonio de Mendoza. This simplicity undoubtedly explains why this "case" did not raise more interest. Although the Suma y narración de los Incas, since the discovery of a complete version in 1987, has been considered unanimously as a fundamental source for understanding the Tahuantinsuyo, as well as required reading for any specialist of the Andean world, the context of its production, its sources, and even its author have only received very limited attention. The author has been pushed to the background of his own work and confined to a secondary role in his own society. Approached, however, as a “passeur culturel” and an "expert" of the Quechua language and Inca world, Betanzos acquires an altogether different depth: he no longer appears as a secondary character, but as an agent in the process of transition between pre-Hispanic and Hispanic worlds and in the construction of colonial Peruvian society.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho procura conhecer os caminhos pelos quais a história do movimento político-militar Farroupilha (1835-1845) foi escrita. Situando essa busca na produção historiográfica do século XIX, optamos por enfatizar o papel da obra biográfica História do General Osório, nesse processo. Escrita por Fernando Luis Osório sobre seu pai, o marquês do Herval, Manoel Luis Osorio e publicada em 1894, o primeiro volume da narrativa biográfica da vida do General Osorio possuí 7 capítulos sobre sua participação nos conturbados quase 10 anos do movimento Farroupilha. É nesses capítulos que concentramos nossa analise, buscando estabelecer o como essa narrativa participou do processo que delegou à Farroupilha um local de destaque na cultura histórica riograndense como experiência histórica valorosa, que lhe permite ser lembrada, narrada e comemorada em festa patriótica até hoje. Dessa forma, procurou-se estabelecer as bases dessa cultura histórica e o papel da Farroupilha junto à ela. Da mesma maneira, visitamos a produção historiográfica do XIX na intenção de compreender seu papel no estabelecimento de valor para o movimento. Analisamos as possibilidades historiografias da obra e as características principais da narrativa como o uso documental, o narrador, as discussões historiográficas e o personagem General Osorio que ali é construído. Identificamos na obra de Fernando Luis Osório impulsos historiográficos característicos do XIX, buscamos relações entre a narrativa ali desenvolvida e a história da Farroupilha e pensamos a participação da mesma no estabelecimento do espaço valoroso dado ao movimento na cultura histórica riograndense de fins do oitocentos. / This paper seeks to understand the ways in which the history of the political military movement known as Farroupilha (1835-1845) was written. Situating this research in the historiography production of the 19th century, we opt to emphasize the role of the biographical work História do General Osório in the process. This work was written by Fernando Luis Osório about his own father, the marquis of Herval, Manoel Luis Osorio being published in 1894. The first volume of biographical narrative of the life of General Osorio is composed of 7 chapters about his participation in the almost 10 year long movement Farroupilha. It is in these chapters that we focus our analysis in order to establish the role of this narrative in the process that positioned the Farroupilha in a prominent place in riograndense cultural history as a valuable historical experience. This, in turn, allows it to be remembered, recounted and celebrated in patriotic party to present day. Thus, we tried to establish the foundations of this particular historic culture and the role of Farroupilha in her. Likewise, we visited the historiographical production of the 19th century in an attempt to understand its role in establishing value for the movement. We analyzed the historiographical possibilities of this work and ist main characteristics such as the use of documentary narrative, the narrator, the historiographical discussions and the character General Osório that was built. We identified in the work of Fernando Luis Osório historiographical impulses characteristic of the 19th century, sought the relationships between the narrative developed in his work and the history of the Farroupilha movement. Finally we tried to understand its role in the establishment of the valuable place given to the movement in riograndense historical culture of the late 19th century.

This thesis is a study of the works of the historian Flodoard of Rheims (893/4–966), author of two substantial prose narratives (Annales and Historia Remensis ecclesiae) and an epic verse history (De triumphis Christi). Flodoard is the only major Frankish chronicler of his day, so his accounts of the political history of the West Frankish, Ottonian and Italian kingdoms are of paramount importance to modern scholars. Flodoard's Annales have been considered a reliable and neutral account of contemporary affairs, so historians have been content to mine them for ‘facts' informing wider debates concerning the history of late Carolingian Europe. Additionally, he has been judged a conscientious, source-driven archivist: his Historia Remensis ecclesiae preserves an abundance of otherwise-lost documentary sources which has been used by scholars to illuminate the church of Rheims' illustrious history. However, Flodoard was an actor on the highest political stage. He spent time at royal courts, travelled to Rome, and regularly communicated with the leading political and intellectual figures of his day. He was also deeply enmeshed in the affairs of the powerful archbishopric of Rheims. This study demonstrates that Flodoard's histories are not easily extricated from the context of his own turbulent career. It argues that Flodoard cannot be understood without reference to the vicissitudes of the complex political environment in which he operated. By taking Flodoard on his own terms and situating his historical works in their appropriate political and intellectual contexts, this thesis challenges the conventional way we read Flodoard, asking what kind of information we can reliably interrogate him for, whom his audiences were, why he wrote history at all and whether he is truly representative of his age.