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Resumen Este artículo es un ejercicio explicativo e interpretativo que pone en diálogo y confronta la historiografía en historia económica escrita sobre Salta, una región del Norte de la República Argentina, con las grandes elaboraciones de la historia latinoamericana y global. Se priorizó en el análisis detenerse en las contribuciones que se ocuparon de los tiempos de fines del mundo virreinal y las primeras décadas independientes. Los actuales avances de las investigaciones parecen haber dado fin a las elaboraciones explicativas atrapadas en la órbita de la producción como clave explicativa de la generación de la riqueza y de la dominación de las clases. Los aportes de la perspectiva global dejan ver que el capital financiero incidió en la formación de las grandes fortunas de fines de la época virreinal y de los tiempos independientes. JEL: B0; B2; B5; N0. Abstract This article aims to carry out a balance of the studies on Salta's economy in the 19th century since its formation as a Province of the newest United Provinces of South America. Our objective is to integrate the different productions of historians, to build a long-term approach that articulates interpretative proposals, local, national, and / or global processes. This article is an exploratory and interpretive exercise that puts into dialogue and confronts historiography in economic history written about Salta, a region in the North of the Argentine Republic, with the great elaborations of Latin American history and Global history. The analysis gave priority to the events during the end of the viceroyalty period and on the first decades after independence was declared. Current advances in research seem to have put an end to explanatory elaborations stuck on the idea of production as a key factor to explain the generation of wealth and class domination. The contributions of a global perspective show that financial capital influenced the formation of the great fortunes of the viceroyalty's end period and that after independence was declared. JEL: B0; B2; B5; N0.

O tema deste artigo é a produção textual de Jacopo Gaetano Stefaneschi. A documentação consiste em dois textos: De centesimo seu Iubileo anno liber - sobre o primeiro Jubileu da Igreja, convocado por Bonifácio VIII, para 1300 - e o Liber Cerimoniarum Curiae Romane - texto que descreve cerimônias regidas por pontífices e que compreende o período em que Stefaneschi foi cardeal, de 1295 até sua morte em 1343. A hipótese que guia esta investigação é que analisar a produção de narrativas elaboradas por cardeais amplia a compreensão da história da corte pontifícia. A metodologia consiste em identificar, neste estudo de caso, expressões e referências que remetem a acontecimentos precisos e datáveis e, a partir disso, responder à questão: Pensar a escrita da história na idade média oferece respostas diferentes das encontradas na historiografia sobre a atuação dos cardeais? Os conceitos centrais para análise são cerimonial, familia cardinalis e corte papal. As conclusões apontam para o aprofundamento e diversificação, a partir do método, das discussões sobre a escrita da história na Idade Média. This article discusses the textual production of Jacopo Gaetano Stefaneschi. The documentation consists of two texts: De centesimo seu Iubileo anno liber – about the first Jubilee of the Church, requested by Pope Boniface VIII, for 1300; and Liber Cerimoniarum Curiae Romane – a text that describes ceremonies conducted by pontiffs and that encompasses the period during which Stefaneschi was a cardinal (from 1295 until his death in 1343). The hypothesis that guides this investigation is that the analyzes about the production of narratives elaborated by cardinals expands the understanding of the history of the pontifical court. The methodology consists in identifying expressions and references that point to precise and datable events and, from that, answer the question: does the writing of history in the middle ages offers different answers than those found in historiography about the performance of cardinals? The central concepts for analysis are ceremonial, familia cardinalis and papal court. The conclusions point to the deepening and diversification of discussions about the writing of history in the Middle Ages.

This thesis has as main goal the discussion about the relationships built by author/anarchist militants among its written history, policy proposals for the current society and its forms of subjectivity. In the first part of the thesis, the central focus of the debate involves active authors in Brazil and we contemporaries, among them Edgar Rodrigues and - somehow linked to the so-called \" poststructuralist anarchism\" - Edson Passetti and Nildo Avelino. For discussion of this problem, some issues and debates have gained prominence throughout the research, such as the construction of memories and oblivion in anarchist writings of history, the notion of contemporary and ownership via elaborations of memory, the thought of non-anarchist authors, as Max Stirner, Friedrich Nietzsche and Michel Foucault, for the construction of policies proposed by anarchist militants. The second part of the thesis consists of three essays that aim to contribute to the reflection on ways of libertarian social history. Three dialogues were chosen as problematizing motto: Mikhail Bakunin and other revolutionaries (or reformers ) of the League of Peace and Freedom and the International Workers Association, between the 1860s and 1870s; the sometimes acid debate between Ludwig Feuerbach, Max Stirner and Karl Marx, in the first half of the nineteenth century and, in a longer chronological retreat, the debate between Parmenides, Gorgias and Aristotle. Esta tese possui como principal problemática as relações construídas por autores/militantes anarquistas entre suas escritas da história, propostas políticas para a sociedade atual e suas formas de subjetivação, elaboradas junto ao processo de escrita. Na primeira parte da pesquisa, o foco central do debate envolve autores atuantes no Brasil e a nós contemporâneos, dentre eles Edgar Rodrigues e, vinculados de alguma forma ao chamado anarquismo pós-estruturalista , Edson Passetti e Nildo Avelino. Para a discussão dessa problemática, alguns temas e debates ganharam destaque ao longo da pesquisa, como a construção de memórias e esquecimentos nas escritas anarquistas da história, a noção de contemporâneo e a apropriação, via elaborações de memória, do pensamento de autores não-anarquistas, como Max Stirner, Friedrich Nietzsche e Michel Foucault, para a construção de propostas políticas por militantes ácratas. A segunda parte da tese é composta por três ensaios que objetivam contribuir para a reflexão sobre possíveis formas de história social libertária. Três diálogos foram escolhidos como mote problematizador: Mikhail Bakunin e demais revolucionários (ou reformadores) da Liga da Paz e da Liberdade e da Associação Internacional dos Trabalhadores, entre as décadas de 1860 e 1870; o por vezes ácido debate entre Ludwig Feuerbach, Max Stirner e Karl Marx, na primeira metade do século XIX e, em um recuo cronológico mais longo, o debate entre os gregos Parmênides, Górgias e Aristóteles. Doutor em História

En el texto presente se expone un estudio de investigación sobre la representación de la iconografía de la mujer en el Arte Prehistórico y su influencia cultural en los epígrafes de las primeras escrituras de la península Ibérica. Se presenta la evolución iconográfica de las figuras femeninas, del naturalismo Paleolítico al esquematismo Postpaleolítico y la integración de esos símbolos esquemáticos femeninos de tradición prehistórica, en los primeros signarios de escritura en la península Ibérica. En el contenido de este artículo, se documentan hasta siete símbolos prehistóricos femeninos que estuvieron involucrados en el proceso paleográfico del origen de la escritura tartesia. Grafías que en la Prehistoria simbolizaban diferentes formas de la silueta de la mujer (los motivos bitriangulares), o la representa- ción del parto, una escenografía característica del Arte Esquemático Prehistórico, quedaron reflejadas en forma de grafemas en los primeros textos paleohispánicos que se conocen de la Hispania Antigua. The present text presents a research study on the representation of the iconography of wo- men in Prehistoric Art and its cultural influence on the epigraphs of the first writings of the Iberian Peninsula. The iconographic evolution of female figures is presented, from Paleolithic naturalism to Pos- tpaleolithic schematism and the integration of those female schematic symbols of prehistoric tradition, in the first writings signatories in the Iberian Peninsula. In this article, up to seven prehistoric female symbols are documented that were involved in the palaeographic process of the origin of Tartessian wri- ting. Graphics that in Prehistory symbolized different forms of the woman’s silhouette (the bitriangular motifs), or the representation of childbirth, a scenography characteristic of Prehistoric Schematic Art, were reflected in graphemes in the earliest known paleohispanic texts of Ancient Hispania.

Les lettres que certains hagiographes intègrent dans leurs Vitae entre le ixe et le xiie siècle peuvent jouer le rôle de documents probatoires, au même titre que d’autres actes (diplômes, testaments, bulles). L’auteur les utilise, de bonne ou de mauvaise foi, comme les garanties d’un discours hagiographique qui place au premier plan de ses buts une écriture véridique de l’histoire. Néanmoins, les lettres se distinguent de tous les autres actes insérés dans les Vitae à cause d’une parenté générique entre écriture hagiographique et écriture épistolaire : l’une et l’autre prétendent conserver vivante la voix de l’absent ; bien des Vitae sont présentées comme un élément au sein du dialogue épistolaire plus large qui unit l’hagiographe et les familiers du saint, commanditaires et/ou récipiendaires de sa Vie. À partir du xie siècle, le projet historiographique qui faisait de la lettre une preuve semble devenir moins important que le projet spirituel qui voit dans la lettre un témoignage sincère ou un vivant souvenir. Many Vitae written c. 800-1200 incorporate letters: hagiographers use them as evidence, exactly as they quote royal diplomas, aristocratic wills or pontifical bullae as proofs of any community’s legitimate rights. These documents may indeed have been forged: they are nevertheless integrated in the hagiographical discourse when the claim for historical truth becomes one of its favourite mottoes during the 9th and 10th cent. Letters in Vitae however should not be seen as some or other mere documents, for epistolography and hagiography are heavily interwined: a Vita is itself a letter, that usually takes place among a dialogue by letters between an author and the community of fideles, friends and disciples of the saint who long for a text able to keep their model or founder alive. After c. 1000, the Vitae assimilate letters more as reminders of a voice alive than as evidences of a removed past – a shift that contributes to underline the lessening of historiographical aims in the hagiography of High Middle Ages.

Znaczenie personalizmu i relatywizmu, wypływające z filozofii Kanta, wskazuje na indywidualny wymiar procesów poznawczych (co oznacza, że nie ma jednej „prawdziwej“ wersji historii, ponieważ może być ona rozumiana i interpretowane na różne sposoby). Interpretacje historii powstają jako wynik dialogu, agonu, debaty, w których ścierają się różne poglądy. Spostrzeżenie to odnosi się nie tylko literackich ale także plastycznych wyobrażeń historii. Ich analiza prowadzi do wniosku, że opierają się one na mitycznych konstrukcjach. Wizje przeszłości, powstające jako rezultat społecznych, kulturowych, religijnych oraz artystycznych potrzeb sprawiają, że historia wydaje się raczej artystyczną transformacją przeszłości, która ma niewiele wspólnego z minionymi faktami. Wizje, z którymi mamy do czynienia na płótnach, są zaledwie artystycznymi reprezentacjami dobrze znanych wydarzeń (dobrze znanych także, a może przede wszystkim dzięki wcześniejszym interpretacjom). Trudno byłoby powiedzieć, że należą one do historycznego dyskursu. Są raczej rodzajem nie-historycznych albo quasi-historycznych narracji. The importance of personalism and relativism in interpreting history – as the result of Kantian philosophy – emphasised the individual aspect of cognition (it means that there is no one “truth“ and there is no one version of the past, because we can understand and interpret history in diffrent ways). The interpretations of history are created as a result of dialogue, emerging from the agon, from a dramatized “debate“, or verbal duels between the opposing parties. These remarks allow us to analise the construction of historical narrations not only in written texts but also in the visual arts. All of them lead us to the conclusion that the historical narrations are based on a mythical schema. If we look at the “writing and painting history“ from that perspective we will understand that the vision of the past has come into being under many social, cultural, religious, and aesthetical conditions and needs. History – in that sense – is a subject of artistic transformation which has nothing (or almost nothing) to do with the “truth“ of what we call historical facts. Those visions that we deal with on the canvas are artistic (and mythical) reinterpretations of well-known historical events (“well known“ due previous interpretations). It would be hard to say that they belong to historical discourse. They rather shape non-historical or quasi-historical narrations.

Autor zwraca uwagę, iż zadane w tytule pytanie należy poprzedzić wyjaśnieniem, jak rozumie się pojęcie Europy Środkowej i Wschodniej. Mając świadomość, iż każde pisanie o historii obecnie dane jest a priori poprzez charakter dyskursów, w które badacz włącza się swoimi narratywami i które jednocześnie za ich pośrednictwem współtworzy, przekonany jest, że prawdę historyczną odnajduje się w nieustannym dialogu pomiędzy przeszłością a teraźniejszością. W sporze o (nie)możliwość pisania historii opowiada się po stronie tych, którzy przekonani są o możliwości, a nawet konieczności prób opisania historii. Z własnego (czeskiego) punktu widzenia nie traktuje Europy Środkowej i Wschodniej jako części jednego narratywu, ponieważ oba pojęcia odbiera jako konstrukty innego rodzaju. Pojęcie Europy Środkowej można, zdaniem autora, wykorzystywać jako sposób zwrócenia uwagi na narody tego obszaru, które same siebie postrzegają jako organiczną część Zachodu oraz nie mogą (i nie mogły) pogodzić się z wpisywaniem ich w kontekst wschodni. Aczkolwiek literacka konstrukcja Europy Środkowej wydaje się być prostsza od politycznej, pozostaje pytanie, czy nadejdzie kiedyś generacja, która to, co „my” i „nasze” (kultura, literatura) odniesie do obszaru środkowoeuropejskiego. Drogę do skonstruowania historii Europy Środkowej upatruje autor w próbie ujęcia historii jako wypowiedzi problemowej na temat przemian zbioru pojęć wytwarzanego przez zderzenia, korespondencje i przenikanie się różnych podzbiorów: poszczególnych podmiotów i subiektywności; zakładając jako najwłaściwsze, z metodologicznego punktu widzenia, podejście komparatystyczne. The author draws attention to the fact that the question asked in the title should be preceded by an explanation of how to understand the concept of Central and Eastern Europe. Bearing in mind that each written piece about history is presently a priori due to the character of discourses that the investigators tune into in their narratives and which they simultaneously co-create, they are convinced that the historical truth is found in the ongoing dialogue between the past and the present. In the fight about the (in)ability to write history he stands on the side of those who are convinced about the ability and even necessity to attempt to write it. From his own (Czech) point of view he does not treat Central and Eastern Europe as a part of one narrative because he sees the two notions as constructs of different kind. The notion of Central Europe according to the author can be used as a means of drawing attention to the nations of this region which see themselves as inherently part of the West and cannot (and could not) come to terms with being inserted into the Eastern context. However, the literary construction of Central Europe seems to be simpler than the political one. The question is then when and whether at all the generation that will treat themselves and their (culture and literature) as part of the Central European context will come. The author sees the way to construct the history of Central Europe as an attempt to grasp the history as a statement of a problem on the changes to the set of notions produced by events, correspondence and the permeation of different subsets: particular entities and subjectivities; assuming a comparative attitude as the most correct from the methodological point of view.

Professor J. Boussard already pointed the importance of the oblique quill cutting concerning genesis and tracing of the gothic script; nowadays it continues to be one of the most debated palaeog-raphical subjects. So, the aim of this paper is studying this technique, essentially from a calligraphical point of view, in order to obtain some clarifying graphic results. Ya el profesor J. Boussard advirtió en su momento la importancia del biselado de la pluma en la génesis y trazado de la escritura gótica; en la actualidad este condicionamiento sigue siendo uno de los temas más debatidos en el ámbito paleográfico. Por ende, la finalidad de este artículo es estudiar esta técnica, esencialmente desde una óptica caligráfica, con la intención de obtener unos resultados gráficos aclaratorios.

International audience; In this paper, I aim at providing a non-polemical and analytical etiology to the controversial issue of inclusive writing. To this aim, I return to the old debate on the place of writing between Derrida and Lévi-Strauss, which allows making the link between the genealogy of deconstructionism and the exclusive politics of inclusive writing. Far from common and partisan declarations, the analysis of this episode that has become a founding moment in the history of ideas makes it possible to better understand the current evolution of fundamentalist drifts.; Pour une étiologie non polémique et analytique à la question controversée de l'écriture inclusive, je retourne à l'ancien débat entre Derrida et Lévi-Strauss sur le place de l'écriture, qui permet de faire le lien entre la généalogie du déconstructionisme et l’instrument politiquement excluant de l'écriture inclusive. Loin des déclarations communes et partisanes, l'analyse de cet épisode devenu un moment fondateur dans l'histoire des idées permet de mieux comprendre l'évolution actuelle des dérives fondamentalistes.