[pt] Esta dissertação apresenta um roteiro de atividades didáticas para a abordagem da história de Angola, voltado para turmas de nono ano do ensino fundamental. Em caráter interdisciplinar, o roteiro busca relacionar os referenciais históricos do período contemporâneo com parte da obra do autor angolano Ondjaki. O objetivo desta proposta é aguçar a curiosidade, o interesse e despertar a admiração dos alunos pelo continente africano, ajudando-os a superar mitos e estereótipos puramente negativos em relação à África. A sequência didática proposta foi elaborada a partir de leituras de historiografia, antropologia e literatura. Foi igualmente importante para fundamentar o produto desta dissertação a reflexão teórica sobre a abordagem em sala de aula da literatura como forma de conhecimento, para o exercício da empatia e do respeito à diversidade cultural. / [en] This dissertation presents a script of didactic activities to approach the history of Angola, aimed at 9th grade elementary school classes. In an interdisciplinary character, the script seeks to relate the historical references of the contemporary period with part of the work of the Angolan author Ondjaki. The proposal is to whet curiosity, interest and arouse students admiration for the African continent, helping them to overcome myths and purely negative stereotypes about Africa. The proposed didactic sequence was elaborated from readings of historiography, anthropology and literature. It was also important to base the product of this dissertation on the theoretical reflection on the classroom approach to literature as a form of knowledge, for the exercise of empathy and respect for cultural diversity.

[pt] A proposta deste trabalho é apresentar o samba-enredo como objeto de Ensino de História, atuando como componente estruturante para a formulação de questões históricas e percursos de investigação, em sala de aula. Para isso, abordamos o samba-enredo como problema histórico, a partir de sua constituição como gênero musical. Entre os sambas-enredos com temática afro-brasileira, elaborou-se uma amostra representativa das abordagens e tratamentos em momentos chaves, como o início da década de 1960, com os desfiles afros da Acadêmicos do Salgueiro, e o ano de 1988, centenário da Abolição. A análise dos sambas-enredo de temática afro-brasileira tem o potencial de produzir, para a sala-de-aula, questões sobre temas relacionados à escravidão, à condição da população negra no período pós-abolição, assim como na abordagem de trajetórias negras, nas quais o protagonismo desses personagens na História é o mote principal. Um desses sambas mereceu uma especial atenção nesse trabalho, O papel e o mar, da escola de samba Renascer de Jacarepaguá, de 2017. Nessa obra, a escritora Carolina Maria de Jesus e o marinheiro João Cândido travam um diálogo fictício, permeado de representações sobre as relações raciais em nossa sociedade, a invisibilidade social e o dever de memória que paira sobre eles, símbolos da luta contra o racismo. Um conjunto de sambas a serem trabalhados em sala de aula são apresentados ao final desse trabalho, nos quais a produção social do samba e as trajetórias dos dois personagens surgem como construções tangíveis do pós-abolição e da diáspora negra no Brasil. / [en] The purpose of this work is to present the samba-plot as an object of History Teaching, acting as a structuring component for the formulation of historical questions and research paths, in the classroom. For this, we approached the samba-enredo as a historical problem, starting from its constitution as a musical genre. Among the sambas-enredos with an Afro-Brazilian theme, a representative sample of approaches and treatments at key moments, such as the beginning of the 1960s, with African parades, and the year 1988, the centenary of the Abolition. The analysis of the Afro-Brazilian theme sambas-plot has the potential to produce questions on themes related to slavery, the condition of the black population in the post-abolition period, as well as in the approach of black trajectories , in which the protagonism of these characters in history is the main motto. One of these sambas deserved special attention in this work, O papel e o mar, by Renascer de Jacarepaguá, 2017. In this work, the writer Carolina Maria de Jesus and the sailor João Cândido engage in a fictional dialogue, permeated by representations about race relations in our society, social invisibility and the duty of memory that hangs over them, symbols of the fight against racism. A set of sambas to be worked on in the classroom are presented at the end of this work, in which the social production of samba and the trajectories of the two characters emerge as tangible constructions of the post-abolition and black diaspora in Brazil.

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En 1837, le château de Versailles est « converti » en un vaste musée visant à « réunir tous lessouvenirs historiques nationaux qu’il appartient aux arts de perpétuer ». Durant près d’unsiècle, cette histoire muséale de la France est reconduite, remaniée et actualisée jusqu’auprésent du Second Empire puis de la Troisième République. Notre thèse tente de comprendre,à partir d’un matériau archivistique dense, la contribution du musée à l’élaboration tout autantqu’à la diffusion d’un imaginaire national et civique.L’analyse iconographique de près de 1300 peintures, réinscrites dans leur cadre palatial,permet d’approcher les mises en forme picturales et matérielles du politique, ses variations etses invariants. Dès lors, l’enjeu est d’appréhender comment ces visions historicisées d’unÉtat-nation ont pu tenir et être appropriées. Leurs succès ne relèvent pas seulement d’uneaction politique et administrative mais s’arriment à l’agencement réciproque de différentessphères sociales et strates d’appartenance. Cette histoire nationale se forme en retraduisant lesunivers les plus familiers des acteurs, en empruntant à la mémoire domestique des « grandsnotables », aux normes et aux enjeux de groupements professionnels (peintres, historiens,militaires) ou encore en solennisant les pratiques routinières d’un « public mêlé ». L’histoirede France s’objective dans cette interpénétration des identités et des loyautés, dans cesconsolidations croisées de secteurs sociaux, dans ces dynamiques de politisation du social etde socialisation du politique. Saisir la formation, le contenu et la diffusion de cet imaginairenational équivaut alors à scruter des systèmes de relation entre groupements sociaux, desarticulations variables entre le quotidien et le national, entre l’art et l’histoire, entre le social etle politique. / In 1837, the Palace of Versailles was « converted » into a vast museum aiming to « gather allthe national historical memories that it belongs to the arts to perpetuate ». For about a century,the Second Empire, followed by the Third Republic, maintained, reshuffled and expanded themuseum, to include representations of contemporaneous events. This thesis aims tounderstand, based on a dense network of archival materials, the museum’s contribution to theelaboration and diffusion of a national and civic imagination.The iconographic analysis of nearly 1,300 paintings within the context of their palatialframework allows us to explore the pictorial and material representations of the political, theirsimilarities and differences. The issue, therefore, is to apprehend the manner in which thesehistoricized visions of the nation-Statecould hold and become internalized. Their success isnot only the result of political and administrative action, but also finds its source in the mutualreinforcement of different social spheres and loyalties. This national history takes shape byreproducing the actors’ most familiar environments, by borrowing from the domestic memoryof the “great notables” and from the norms and issues of professional groups (painters,historians, the military), or by solemnizing the popular habits. The history of France becomesobjective through this interpenetration of identities, through this mutual reinforcement ofsocial sectors, in these processes of politicization of the social and socialization of thepolitical. To understand the formation, content and diffusion of this national imaginationamounts to scrutinizing the systems of relationships between social groups, the evolvinginterrelations between everyday life and the national, between art and history, and betweenthe social and the political.