História e imaginação em Natalie Zemon Davis
This thesis aims to problematize the question of historical imagination in Natalie Zemon Davis. Reputed historian, the North American used the historical imagination constantly in her literary works, to compose gaps, to dialogue directly with her research objects. It attempts to interdisciplinary di...
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| Format: | master thesis |
| Status: | Published version |
| Publication Date: | 2019 |
| Country: | Brasil |
| Institution: | Universidade Federal de Goiás (UFG) |
| Repository: | Repositório Institucional da UFG |
| Language: | Portuguese |
| OAI Identifier: | oai:repositorio.bc.ufg.br:tede/10234 |
| Online Access: | http://repositorio.bc.ufg.br/tede/handle/tede/10234 |
| Access Level: | Open access |
| Keyword: | Natalie Zemon Davis Imaginação histórica Escrita da história Cinema Historical imagination History writing CIENCIAS HUMANAS::HISTORIA |
| Summary: | This thesis aims to problematize the question of historical imagination in Natalie Zemon Davis. Reputed historian, the North American used the historical imagination constantly in her literary works, to compose gaps, to dialogue directly with her research objects. It attempts to interdisciplinary dialogues, Natalie Zemon Davis dialogued with the anthropology, ethnography, literature and the cinema, and thus, researched about multiple objects, as religion, culture, peasants, workers, women, and others, being knew an eclectic historian in approaches and in research objects. Her most highlighted literary work in the historiography is The return of Martin Guerre (1982), projected internationally and whose question of the historical imagination being a fundamental element. The research process about the case of Martin Guerre put doubly the problem of imagination to Natalie Zemon Davis. First, in the work of the historian as historical consultant in the production of Le retour de Martin Guerre movie and then, in the writing of the book The return of Martin Guerre. This process of an inverse production, first in a movie and then in a book, availed to conclude that the imaginative work in cinema, awakened Natalie Zemon Davis to more attention in the using of imagination in the history writing, permitted, only, in moments of need. To the historian it is possible to use the imaginative resource in the history writing, provided it is so responsibly towards the evidences. In this way, only was possible to reach this conclusion since the moment in what we approach the book and the movie about Martin Guerre as a central axe by what all the discussion about the imagination passed. |
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