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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.

Cet article porte sur la façon dont les premiers romans de Nodier, qui relèvent d’une littérature intimiste et sentimentale, abordent la question historique sur un mode oblique. À l’inverse du roman historique, fondé sur la relation des faits positifs, c’est à une pensée négative de l’Histoire que les romans de Nodier convient le lecteur. La mobilisation des topiques du roman intime et sentimental est ainsi corrélée au besoin qu’éprouvent les personnages de contourner l’Histoire., This paper focuses on how Nodier’s early novels, which fall under the umbrella of intimate and sentimental literature, address the question of history in an oblique mode. In contrast to the historical novel, which is based on the recounting of positive facts, Nodier’s novels invite the reader to think negatively about history. The mobilization of the topics of the intimate and sentimental novel is correlated to the character’s perceived need to circumvent history.

We approach in this text, as the main objective, the writing emergence and development as an important technique that enables the human being to accomplish many activities. We present, even concisely, a historical overview of the practice of texts register from the mnemonic scribbles to the alphabet invention, and to the texts production in large scale in ancient and modern societies as a way of control in the State administration. As theoretical fundaments we bring up authors such as Fischer (2009), Higounet (2003), Acioli (1994), among others who approach the writing subject. We present and analyze two texts from the eighteenth century and four texts from the twenty-first century to compare the writing processes and the domain of the technique for the scriveners during the Brazilian colonial period, and for the cearenses (from Ceará State) university students nowadays. We could notice that there are similarities in both synchronies, both in the use of the space (paper) and in the letters tracing, and in the language usages. We could infer that writing is a process, and that the acquisition of this competence demands effort and much practice. We emphasize that the students writing difficulty degree, nowadays, can be understood as a historical phenomenon that requires comprehension from the evaluators of the texts. Aborda-se, neste texto, como principal objetivo, o surgimento e o desenvolvimento da escrita como uma técnica importante que possibilita o ser humano realizar várias atividades. Mesmo de forma sucinta, este artigo apresenta um panorama histórico da prática de registro de textos desde os rabiscos mnemônicos à invenção do alfabeto e à produção de textos em larga escala, nas sociedades antiga e moderna como forma de controle na administração do Estado. Para fundamentação teórica, o trabalho recorre à autores como Fischer (2009), Higounet (2003), Acioli (1994), dentre outros, que abordam sobre o tema da escrita. Analisa-se dois textos do século XVIII e quatro do século XXI, comparando os processos de escrita e o domí­nio da técnica por parte de escrivães do perí­odo colonial brasileiro e de estudantes universitários cearenses na atualidade. As análises revelam que, nas duas sincronias, há semelhanças, tanto no uso do espaço (papel), quanto no traçado das letras e nos usos da lí­ngua. Pode-se inferir que escrever é um processo e que a aquisição dessa competência requer esforço e muita prática. Salientamos, ainda, que o grau de dificuldade de registro dos estudantes, hoje, pode ser entendido como um fenômeno histórico que requer a compreensão da parte dos avaliadores dos textos.

Österreichische Zeitschrift für Geschichtswissenschaften, Bd. 32 Nr. 2 (2021): Geschichtsdidaktik. Zur Formierung einer Disziplin

Secondary students across the United States often graduate without the prerequisite writing skills needed for post-secondary education and employment success. This thesis examines the history of U.S. writing instruction and the influential figures that have influenced writing instruction across secondary school classrooms. It also explores the effects of teacher education and legislation like the Elementary and Secondary Education and No Child Left Behind acts on writing outcomes. This thesis also identifies the most effective evidence-based writing interventions before concluding with recommendations and a teacher's guide.

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

Un endroit familier est composé de trois portraits littéraires. L’auteur y met en relief des moments marquants de la vie de trois membres de sa famille : son grand-père maternel, qui a participé activement à un réseau de radio clandestine dans la France occupée, dans les années 1940; sa grand-mère paternelle, qui a élevé quatorze enfants à Saint-Joachim-de-Montmorency, et dont la longue vie embrasse à elle seule tout un pan de la ruralité québécoise du siècle dernier; puis son arrière-grand-mère maternelle, dont le mari est mort dans les tranchées de Champagne, durant la Première Guerre mondiale. Avec en arrière-plan le vingtième siècle, ses enthousiasmes et ses dérives, cette galerie de portraits en comprend un autre, plus discret, fragmenté, celui de l’auteur qui cherche à mieux comprendre d’où il vient. À la recherche de l’autre, ne sommes-nous pas toujours un peu à la recherche de nous-mêmes ? L’essai qui suit, intitulé Le problème de la mémoire dans le portrait littéraire, aborde le recours aux sources documentaires qu’exige le genre, de même que l’incidence des intentions de l’auteur sur la façon dont les sources seront exploitées. Il est ensuite question du degré d’exclusivité de la mémoire individuelle et de ce qu’implique l’idée, nourrie par la théorie de la postmémoire, notamment, d’une mémoire des traumas où le souvenir de l’un devient le souvenir de l’autre. L’essai se referme sur une réflexion portant sur le pouvoir qu’a la littérature de faire sortir de l’ombre, avec leurs énigmes non résolues, celles et ceux qui nous ont précédés. Et s’il y avait d’abord, au coeur d’une telle démarche d’écriture, le besoin de mieux vivre avec ses morts ?, Un endroit familier is made up of three literary portraits. The author highlights significant moments in the life of three members of his family : his maternal grandfather, who actively participated in an underground radio network in occupied France, in the 1940s; his paternal grandmother, who raised fourteen children in Saint-Joachim-de-Montmorency, and whose long life alone encompasses a vast segment of Quebec rurality of the last century; finally, there will be his maternal great-grandmother, whose husband died in the trenches of Champagne, during the First World War. Against the backdrop of the twentieth century’s enthusiasms and excesses, this gallery of portraits includes as well the more discreet, fragmented image of the author who seeks to better understand where he comes from. Looking for the other, aren't we always looking a little for ourselves ? The following essay, Le problème de la mémoire dans le portrait littéraire, discusses the use of documentary sources required by the genre, as well as the impact of the author's intentions on how those sources will be exploited. Then we will explore the degree of exclusivity of individual memory and the idea, drawn from the theory of postmemory, in particular, of a memory of traumas in which one’s memory becomes that of another. The essay ends with a reflection on the power of literature to bring out of the shadows, with their unsolved puzzles, those who came before us. What if there was first, at the heart of such a writing process, the need to live better with our dead ?, Mémoire en recherche-création

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.

Le carnet de recherche Hypothèses (en construction) reprend le mémoire d'HDR : https://depuislestalag11a.hypotheses.org/; This Habilitation to Conduct Research is divided into two main parts.L’hétérotopie du topinambour. Confidences d’un faux baby-boomer, coming from ego-history, goes back over the career of the author, a "fourth generation" sports historian, connected to a school of meaning and experience and enamelled with artistic experiences. This essay proposes to decipher the successive processes, punctuated by encounters, woven from readings and epistemological research, allowing us to characterize his place as a historian in a field that is largely constituted. In so doing, this first part, resolutely epistemological, takes an interest in subjectivity, if only to apprehend, understand and shed light on the personal involvement of researchers in theirobjects of study, the focal points they favor, or the life experiences that interfere with their way of making history.Pour une biographie que nous n’avons pas écrite, Roger Lemonnier : jardinier, militaire et prisonnier de guerre (1911-1995), is part of the biographical narrative. This unpublished work lays the foundations of a project that will go beyond the few chapters presented in this dissertation. While the biographer, grandson of the biographer, tries to keep the right distance essential to the historical process, he is at the same time confronted with incomplete primary sources: a captivity notebook, a 26-minute film documentary and some administrative documents. So, isit possible to write this biography? This is the question at the heart of the three constituent parts of this novel. Each of them is part of the overall research project. The narrative itself is only the result of a reflection on the writing of history with the intention of immersing the reader jointly in the life story and the mysteries of a historical investigation. This project, inspired by the work of François Dosse and Alain Corbin, considers, in the tradition of I. Jablonka, history as a "contemporary literature" whose mission is to share the sensible. In order to ensure the reader's immersion, the narrative summons up writing inducers to serve as a demonstration of some aspect of the biographer's life, his feelings or the emotions of a prisoner who writes to escape imprisonment but re-actualizes the social, political and professional constraints and frustrations that his body has experienced.; Ce mémoire d’Habilitation à Diriger des Recherche se décompose en deux grandes parties.L’hétérotopie du topinambour. Confidences d’un faux baby-boomer, relevant de l’égo-histoire, revient sur le parcours de l’auteur, historien du sport de « quatrième génération », relié à une école du sens, de l’expérience et émaillé d'expériences artistiques. Cet essai propose de décrypter les processus successifs, rythmés de rencontres, tissés de lectures et de recherches épistémologiques, permettant de caractériser sa place d’historien dans un champ largement constitué. Ce faisant, cette première partie, résolument épistémologique, porte un intérêt à la subjectivité, ne serait-ce que pour appréhender, comprendre et éclairer l’implication personnelle des chercheurs dans leurs objets d’étude, les focales qu’ils privilégient ou les expériences de vie qui interfèrent dans leur manière de faire de l’histoire.Pour une biographie que nous n’avons pas écrite, Roger Lemonnier : jardinier, militaire et prisonnier de guerre (1911-1995), relève du récit biographique. Cet inédit pose les bases d’un projet qui ira au-delà des quelques chapitres présentés dans ce mémoire. Alors que le biographe, petit-fils du biographé, tente de garder la juste distance indispensable à la démarche historique, il se trouve parallèlement confronté à des sources primaires lacunaires : un carnet de captivité, un documentaire cinématographique de 26 minutes et quelques documents administratifs. Dès lors, l’écriture de cette biographie est-elle possible ? Telle est la question au cœur des trois parties constitutives de cet inédit. Chacune d’entre-elles participe du projet de recherche global. Le récit proprement dit n’est que la résultante d’une réflexion sur l’écriture de l’histoire ayant pour intention d’immerger le lecteur conjointement dans le récit de vie et les arcanes d’une enquête historique. Empreint des travaux de François Dosse et Alain Corbin, ce projet considère, dans la lignée d’I. Jablonka, l’histoire comme une « littérature contemporaine » dont la mission est le partage du sensible. Afin d’assurer l’immersion du lecteur, le récit convoque des inducteurs d’écriture pour servir la démonstration sur tel aspect de la vie du biographé, de ses ressentis ou les émotions d’un prisonnier qui écrit pour échapper à l'enfermement mais réactualise les contraintes et frustrationssociales, politiques et professionnelles que son corps a vécues

This Habilitation to Conduct Research is divided into two main parts.L’hétérotopie du topinambour. Confidences d’un faux baby-boomer, coming from ego-history, goes back over the career of the author, a "fourth generation" sports historian, connected to a school of meaning and experience and enamelled with artistic experiences. This essay proposes to decipher the successive processes, punctuated by encounters, woven from readings and epistemological research, allowing us to characterize his place as a historian in a field that is largely constituted. In so doing, this first part, resolutely epistemological, takes an interest in subjectivity, if only to apprehend, understand and shed light on the personal involvement of researchers in theirobjects of study, the focal points they favor, or the life experiences that interfere with their way of making history.Pour une biographie que nous n’avons pas écrite, Roger Lemonnier : jardinier, militaire et prisonnier de guerre (1911-1995), is part of the biographical narrative. This unpublished work lays the foundations of a project that will go beyond the few chapters presented in this dissertation. While the biographer, grandson of the biographer, tries to keep the right distance essential to the historical process, he is at the same time confronted with incomplete primary sources: a captivity notebook, a 26-minute film documentary and some administrative documents. So, isit possible to write this biography? This is the question at the heart of the three constituent parts of this novel. Each of them is part of the overall research project. The narrative itself is only the result of a reflection on the writing of history with the intention of immersing the reader jointly in the life story and the mysteries of a historical investigation. This project, inspired by the work of François Dosse and Alain Corbin, considers, in the tradition of I. Jablonka, history as a "contemporary literature" whose mission is to share the sensible. In order to ensure the reader's immersion, the narrative summons up writing inducers to serve as a demonstration of some aspect of the biographer's life, his feelings or the emotions of a prisoner who writes to escape imprisonment but re-actualizes the social, political and professional constraints and frustrations that his body has experienced., Ce mémoire d’Habilitation à Diriger des Recherche se décompose en deux grandes parties.L’hétérotopie du topinambour. Confidences d’un faux baby-boomer, relevant de l’égo-histoire, revient sur le parcours de l’auteur, historien du sport de « quatrième génération », relié à une école du sens, de l’expérience et émaillé d'expériences artistiques. Cet essai propose de décrypter les processus successifs, rythmés de rencontres, tissés de lectures et de recherches épistémologiques, permettant de caractériser sa place d’historien dans un champ largement constitué. Ce faisant, cette première partie, résolument épistémologique, porte un intérêt à la subjectivité, ne serait-ce que pour appréhender, comprendre et éclairer l’implication personnelle des chercheurs dans leurs objets d’étude, les focales qu’ils privilégient ou les expériences de vie qui interfèrent dans leur manière de faire de l’histoire.Pour une biographie que nous n’avons pas écrite, Roger Lemonnier : jardinier, militaire et prisonnier de guerre (1911-1995), relève du récit biographique. Cet inédit pose les bases d’un projet qui ira au-delà des quelques chapitres présentés dans ce mémoire. Alors que le biographe, petit-fils du biographé, tente de garder la juste distance indispensable à la démarche historique, il se trouve parallèlement confronté à des sources primaires lacunaires : un carnet de captivité, un documentaire cinématographique de 26 minutes et quelques documents administratifs. Dès lors, l’écriture de cette biographie est-elle possible ? Telle est la question au cœur des trois parties constitutives de cet inédit. Chacune d’entre-elles participe du projet de recherche global. Le récit proprement dit n’est que la résultante d’une réflexion sur l’écriture de l’histoire ayant pour intention d’immerger le lecteur conjointement dans le récit de vie et les arcanes d’une enquête historique. Empreint des travaux de François Dosse et Alain Corbin, ce projet considère, dans la lignée d’I. Jablonka, l’histoire comme une « littérature contemporaine » dont la mission est le partage du sensible. Afin d’assurer l’immersion du lecteur, le récit convoque des inducteurs d’écriture pour servir la démonstration sur tel aspect de la vie du biographé, de ses ressentis ou les émotions d’un prisonnier qui écrit pour échapper à l'enfermement mais réactualise les contraintes et frustrationssociales, politiques et professionnelles que son corps a vécues

This article analyzes the constitution of a historiographical approach on cultural heritage in Brazil, based on two works considered as references for the study of the theme, published in the 1980s: Producing the past, organized by Antonio Augusto Arantes (1984) and Protection and revitalization of cultural heritage in Brazil: a trajectory (1980), launched by SPHAN/ Pró-Memória. Emphasizing both the context in which these publications were launched, as well as the internal characteristics that made them representative of a new approach to cultural heritage, it highlights, in addition to the new themes proposed by these works, new approaches, which in turn translated new looks at the nation's culture, memory and materialized past. Such approaches organized a new patrimonial discourse, associated with notions as a cultural asset, and at the same time demarcated the conditions for the possibility of writing the history of heritage in Brazil. Este artigo analisa a constituição de uma abordagem historiográfica sobre o patrimôniocultural no Brasil, a partir de duas obras de referência para o estudo do tema, editadas nadécada de 1980: Produzindo o passado, organizada por Antonio Augusto Arantes (1984), e Proteção e revitalização do patrimônio cultural no Brasil: uma trajetória (1980), lançada pelo Secretaria do Patrimônio Histórico e Artístico Nacional (Sphan/Pró-Memória). Enfatizando tanto o contexto em que essas obras foram publicadas, como as características que as tornaram representativas da nova abordagem do patrimônio cultural, o texto ressalta, para além das novas temáticas propostas por esses títulos, novas perspectivas, que traduziam, por sua vez, novos olhares sobre a cultura, a memória e o passado materializado da nação. A partir daí foi possível organizar novo discurso patrimonial, associado a noções como de bem cultural, e, com isso, surgiu a possibilidade da escrita da história do patrimônio no Brasil.

RESUMO Este artigo analisa a constituição de uma abordagem historiográfica sobre o patrimônio cultural no Brasil, a partir de duas obras de referência para o estudo do tema, editadas na década de 1980: Produzindo o passado, organizada por Antonio Augusto Arantes (1984), e Proteção e revitalização do patrimônio cultural no Brasil: uma trajetória (1980), lançada pelo Secretaria do Patrimônio Histórico e Artístico Nacional (Sphan/Pró-Memória). Enfatizando tanto o contexto em que essas obras foram publicadas, como as características que as tornaram representativas da nova abordagem do patrimônio cultural, o texto ressalta, para além das novas temáticas propostas por esses títulos, novas perspectivas, que traduziam, por sua vez, novos olhares sobre a cultura, a memória e o passado materializado da nação. abordagens partir daí foi possível organizar novo discurso patrimonial, associado a noções como de bem cultural, e, com isso, surgiu a possibilidade da escrita da história do patrimônio no Brasil. ABSTRACT This article analyzes the constitution of a historiographical approach on cultural heritage in Brazil, based on two works considered as references for the study of the theme, published in the 1980s: Producing the past, organized by Antonio Augusto Arantes (1984) and Protection and revitalization of cultural heritage in Brazil: a trajectory (1980), launched by SPHAN / Pró-Memória. Emphasizing both the context in which these publications were launched, as well as the internal characteristics that made them representative of a new approach to cultural heritage, it highlights, in addition to the new themes proposed by these works, new approaches, which in turn translated new looks at the nation's culture, memory and materialized past. Such approaches organized a new patrimonial discourse, associated with notions as a cultural asset, and at the same time demarcated the conditions for the possibility of writing the history of heritage in Brazil.

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.

International audience

In the UK, over the past three decades, a wide range of standards-based education reforms - impacting on school curriculum, professional teaching standards, assessment and accountability regimes - have significantly shaped the ways in which L1 teachers have understood their work and learning as teachers and professionals. These impacts have been particularly acute in respect to current L1 (English) teachers’ autonomous professional thinking about the place of student-centred learning and writing practices (Smith, 2018). However, such reforms cannot and do not determine English teachers’ thinking about the possibilities and affordances of writing in young people’s lives and indeed in the teachers’ own lives. Recent research has begun to explore the ways in which English teachers’ awareness of and insights into their own agency as professionals and practitioners have shaped their current practices and identities (e.g., Doecke, Turvey & Yandell, 2016; Smith 2014; Smith 2017). This paper draws on experiences in the National Writing Project (NWP) in the UK (nwp.org.uk), in which teachers and teacher educators have participated in professional learning communities, with a focus on writing and writing pedagogies. Most recently, this has included a series of ‘writing history workshops and interviews’ in the UK for students, teachers and writing educators, co-designed and run synchronously in Monash University, Australia. Drawing on the spoken and written testimony of 3 groups of NWP (UK) teachers analysed through a hermeneutic lens, the study reports on participants’ views of their writing practices and histories as English/literacy teachers, and examines the spaces within current UK national curriculum and assessment arrangements for their current practices and thinking about writing to be recognised and accommodated. The study compares current arrangements and practices in UK schools and classrooms with writing teachers’ accreted experience as students and writers themselves. Thereby, we trace the evolution of different pedagogic skills and cultural values, and a developing sense of the affordances of writing beyond the testing regime. Our paper describes ways in which experimentation, collaboration, dialogue and reflection characterise effective writing pedagogy (both for student learning and teacher learning) and the evidence that such pedagogy remains at ‘the heart’ of powerful learning. We illustrate this with narratives drawn from participants in different writing communities in the UK NWP.