University Historian
The reflections of texts as: Rethink History, of Keith Jenkins; Foucault and the Zoo of the King, Margareth Rago; Rizoma, of Gilles Deleuze and Felix Guatarri, among others not less important, read and argued in this short academic passage, allow that I, wizard apprentice/historian, construct to a narrative ' ' sugerida' ' for or to the analyzed document however. All the cited text this authors at the beginning, are unanimous in saying of some possibilities of interpretations of the document, either of the displacement of the perspective or the idea of multiplicity, for both the proposals will arrive at a gamma of interpretations that will not be depleted neither. The letter (document), as is called in classroom, excites some quarrels, since questioning the reasons for which Rubens F. Days asks for excuses; the necessity to reaffirm ' ' velhas' ' declaration of love; the reasons for which Rubens cannot see it (Rubens every day would be married? Or Helena would be married); ' would have Rubens; ' forado' ' a situation any which Helena was not accustomed? As the private and subjective events they are captured by the State that finishes for becoming them public? That is, the document is repleto of interrogations, however to the historian ' fits; ' ver' ' in the space between lineses what it is not visible, what he is not obvious, the singular or as Jaques L Goff said, ' ' to love what vezes' will not be seen two; ' 1. As historian/apprentice I want ' ' experimentar' ' , and I find this word most appropriate since the University is an experimentation field, to make a narrative of the point of view of who analyzes the discursiva construction and to look for to make a dialogue enters the speech of the pardon, passion, treason and declaration of love displayed in the letter and the discursiva construction of popular musics and its citizens, of the Brazilian cancioneiro specifically; even because, this document is dated of the decade of 50 of century XX, but the speech still lasts in practical poetical of the composers the contemporaries and, although this thematic clipping that I make not to be evidenced in the document, I, eat pretense historian of the third edge, I believe the words that Durval Muniz, with much property writes: ' ' History possesss objects and citizens it manufactures because them, invent them, as well as the river it invents its course and its edges when passing. .