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Transcript of Portelli
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Oral Historyandthe
Art of Dialogue
Universityof Wisconsin Press.
1997
Itcontains 376 Pages
First Edition
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Alessandro Portelli
“History, we are often taught, is driven by vast social, political, and economic forces. But each political event, each war, each clash in the streets or at the picket lines, is experienced by individuals. It is this profound bond between public history and personal struggle”
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Alessandro Portelli
Professor of American literature at the
University of Rome–La Sapienza, is the
author of many books, including most
recently The Death of Luigi Trastulli
and Other Stories and The Text and the
Voice: Speaking, Writing, and
Democracy in American Literature.
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Factsabouthim…
He wasbornon July 8th, 1942 andwasraised in Terni, an industrial town 65 miles to the north.
His father was a civil servant, and his mother was a teacher of English. He spent his senior year of high school as an American Field Service exchange student in the Los Angeles area.
He studied at the University of Rome La Sapienza, receiving degrees in law in 1966 and in English in 1972. He began working for the Italian National Research Council in 1962.
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Academic career
Portellibeganhisacademiccareer at
theUniversityof Siena, where he taught American
literaturefrom 1974 to 1981. He moved
tothefacultyof human sciences at
theUniversityofRome La Sapienzatoteach
American literature in 1981 and has
remainedtheretothepresent.
Portelli'swriting has shiftedthefocusof oral
historyfromwhetherthesubject'saccountishistorica
llyaccuratetothemeaningofthestoryandthenatureo
fmemory.
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Publicintellectual
In 1972 PortellifoundedtheCircolo Gianni
Bosio,
anactivistcollectivededicatedtostudying
folklore, oral history, andpeople's culture.
He chairedthegroup,
whichcontinuedfortwentyyears, through
1992. Based in Rome,
thecollectivepublished a journal, I
GiorniCantati, for 23 years, ending in
1995. TheCircoloresumedactivity in 1999
andcontinuesto date.
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Alessandro Portelli
Portelli has been a
contributortotheindependentleft-
wingItaliandailypaperilmanifestosinc
eitsfounding in 1971.
Hiscommentaryoftenincludesobserva
tionsontheUnitedStates.
MARX
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ORGANIZATION
PART I.
ON THE PRACTICE OF ORAL HISTORY
PART II.WARS
PART III.MOVEMENTS
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I. ON THE PRACTICE OF ORAL HISTORY
Chapter 1. Oral History as Genre
Chapter 2. There is Gonna Be a Line History-Telling as a Multivocal Art
Chapter 3. Memory and Resistance: For a History and Celebration of the
Circolo Gianni Bosio
Chapter 4. Trying to Gather a little Knowledge: Some
Thought in Ethics
Chapter 5. Deep Exchange: Roles and Gazes in Multivocal and
Multilateral Interviewing
Chapter 6. Philosophy and the Facts: Subjectivity and Narrative Form in Autobiography and Oral History
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II. WARS
Chapter 7. Form and Meaning of
Historical Representation:
The Battle of Evarts and the
Battle of Crummies.
Kentucky: 1931 -1941
Chapter 8. Absolutely Nothing: Wartime refuges
Chapter 9. The Battle of Poggio
Bustone: Violence, Memory and
Imagination in the Partisan War.
Chapter 10. The Massacre at Civitella Val Di Chiana. Tuscani,
June 29, 1944. Myth and Politics, Mourning and Common sense.
Chapter 11. As Though it Were a Story: Versions of
Vietnam
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III. MOVEMENTS
Chapter 12. I am Going to Say it
Now: Interviewing the Movement.
Chapter 13. It was Supposed
to Be Happening in Berkeley: The 1960s Meet
Eastern Kentucky
Chapter 14. Luigi’s Socks
and Rita’s Makeup: Youth Culture. Of the
Working Classes.
Chapter 15. Conversations with the Panther: The Italian Student Movement of 1990.
Chapter 16. The Apple and the Olive Tree: Exiles,
Sojourners, and Tourists in the University.
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Chapter 1. Oral History
as Genre
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GENERO
DISCURSO
ANALISIS DE LA FUENTE
DISCURSO VERSUS DIALOGO
PROCESO VERBAL
LA HISTORIA ORAL ES UN GENERO NARRATIVO Y UN DISCURSO ORAL A LA VEZ.
EL HISTORIADOR DEFINE LOS ROLES CON LAS PREGUNTAS INICIALES.
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TERMINOS
EPISTEMOLOGICOSLA ENTREVISTA TIENDE A SER LA HISTORIA NO CONTADA
QUIEN DIJO QUE? CON QUE EFECTO? EN QUE CANAL? A QUIENES?
EL ENFOQUE TEMATICO QUE LA DISTINGUE DE LA ANTROPOLOGIA, LA SOCIOLOGIA, Y EL FOLKLORE, ES LA CONECCION ENTRE BIOGRAFIA E HISTORIA. LA EXPERIENCIA INDIVIDUAL Y TRANSFORMACIONES DE LA SOCIEDAD. QUE MOTIVOS HAY DETRÁS DE LA NARRACION? CADA PARTICIPANTE TIENE SU PROPIA “AGENDA”
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EL INTERCAMBIO PERSONAL SE CONVIERTE
EN UN ANUNCIO PUBLICO
CUAL ES EL MITO DE LA NO
INTERFERENCIA?
STEREOTYPES? THE “DUMB” INDIAN
CUALES SON LAS DIFERENCIAS ENTRE
ENTREVISTA DE CAMPO Y CONVERSACION?
“LA GRABADORA NO MAS…” EL IMPACTO.
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RECOLECCION EN COLECTIVO (MARK
BAKER)
RECOLECCION EN INDIVIDUAL (BLOODS)
BEAUTY…ORNAMENTAL AND TRUTH
QUE PERDIDA DE TIEMPO LA RECOLECCION
FACTUAL…
QUE VAMOS HACER CON ESTA
INFORMACION?
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Chapter 2. There is Gonna
Be a Line History-Telling
as a Multivocal Art
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TRES MODELOS
•INSTITUCIONAL
•REFERNETE SOCIAL, GOBIERNO, PARTIDOS POLITICOS
•UNIONES, SINDICATOS.
•REFERENTE ESPACIAL DE NACION Y ESTADO. EN TERCERA PERSONA
•COMUNAL
•REFERENTE SOCIAL, LA COMUNIDAD, EL VECINDARIO, EL TRABAJO, LAS HUELGAS, LAS CATASTROFES NATURALES, RITUALES. REFERENTE ESPACIAL, EL PUEBLO, EL VECINDARIO, EL LUGAR DE TRABAJO. EN PRIMERA PERSONA PLURAL
•INDIVIDUAL
•REFERENTE SOCIAL, LA VIDA PRIVADA, LA FAMILIA, EL CIRCULO DE LA VIDA, EL TRABAJO, LOS HIJOS, LA MUERTE.
•REFERENTE ESPACIAL, EL HOGAR
•PUNTO DE VISTA, PRIMERA PERSONA SINGULAR
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LA MEMORIA SE CONVIERTE EN UN LUGAR.
LAS GENERALIZACIONES Y LOS
STEREOTIPOS DE AHORA Y DEL ANTES.
NARRATIVA BIVOCAL. LA LINEA POR SI
MISMA SE CONVIERTE DE LO ARTIFICIAL A
LO REAL.
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Chapter 3. Memory and
Resistance: For a History
and Celebration of the
Circolo Gianni Bosio
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LAS HISTORIAS SON DE AIRE PERO DEJAN UNA MARCA EN LA REALIDAD.
LAS HISTORIAS PERSONALES COMUNICAN LO QUE LA HISTORIA ES PARA CADA INDIVIDUO.
LA VERDAD SE PUEDE ENCONTRAR EN EL LENGUAJE.
EL CONGELADOR DE LA MEMORIA QUE PRESERVA LOS DATOS Y EL SIGNIFICADO DE ESTOS. NO ES UN ARCHIVO
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LA CULTURA: A TRAVES DE LA
FRAGMENTACION Y LA DESTRUCCION.
TECNICAS NUEVAS COMO LA SALSA, EL
ROCK.
DIALOGO DE BALANCE ENTRE MI “YO” Y LA
OTRA PARTE
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Chapter 4. Trying to Gather
a little Knowledge: Some
Thought in Ethics
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HISTORIA ORAL
COMO CIENCIA Y COMO EL ARTE DE LO
INDIVIDUAL.
LOS TESTIMONIOS SON COMO HUELLAS
DIGITALES.
LA MEMORIA COLECTIVA …MEJOR NO USAR
ESTA EXPRESION.
BAJAR DE TONO Y DE NIVEL
ETICA DE LA INTERPRETACION
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OBJETIVIDAD
CIENTIFICA?NO A LA NEUTRALIDAD SINO A LA PRACTICA
INTELECTUAL DE LA INTERPRETACION.
MENTE ABIERTA.
QUE HACER CON ESTE CONOCIMIENTO?
NOS AYUDA A GANAR DIFERENTES
PERCEPCIONES DE NOSOTROS MISMOS.
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EL SERVICIO
VERDADEROA LA COMUNIDAD
A LOS MOVIMIENTOS
A LOS INDIVIDUOS
A TRAVES DE LA MEMORIA DE LA
DIFERENCIA PUESTA AL SERVICIO.
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Chapter 5. Deep
Exchange: Roles and
Gazes in Multivocal and
Multilateral Interviewing
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NO MAN’SLAND
LOS HECHOS DENTRO DE LA TIERRA DE
NADIE. LA SUBJETIVIDAD.
DE QUE DEPENDE LA OBJETIVIDAD?
MATERIALIDAD DE LA FUENTE VERSUS
INTELECTUALIDAD DEL INTERPRETE
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Chapter 6. Philosophy and
the Facts: Subjectivity and
Narrative Form in
Autobiography and Oral
History
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FREDERICK DOUGLASS
EL EMPEZO COMO UNA FUENTE ORAL PERO
NO PODIA VERSE SOLAMENTE COMO LA
PRUEBA VIVIENTE DE DE LOS
ARGUMENTOS DE OTROS.
COMO ORADOR Y ESCRITOR, EL INSISTIO
EN JUZGARSE “POR SI MISMO” Y “ASI
MISMO”.
SE GUARDO EL DERECHO DE CREAR SUS
PROPIAS DEFINICIONES.
DESDOBLAMIENTO.
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SUBJETIVIDAD
FOGEL
1. LA SUBJETIVIDAD ES INMATERIAL Y
FUERA DE NUESTRO CONTROL.
2. SUBJETIVIDAD INDIVIDUAL E
IDIOSINCRATICA.
3.SUBJETIVIDAD EN AUTOBIOGRAFIAS.
4. LA SUBJETIVIDAD COMO INGREDIENTE
DE NUESTRA HUMANIDAD
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LOS TEXTOS SON
HECHOSCOMO RECONOCER EN LAS HISTORIAS EN
QUE TRABAJAMOS, SU RELEVANCIA MAS
SIGNIFICATIVA MAS ALLA DE LA ESFERA
INDIVIDUAL DE INFLUENCIA?
LA RAZON DE LA HISTORIA ORAL.
UN PORCENTAJE? LOS POCOS LATIGAZOS?
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Chapter 7. Form and
Meaning of Historical
Representation: The
Battle of Evarts and the
Battle of Crummies.
Kentucky: 1931 - 1941
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DIFERENTES
INTERPRETACIONESCOMO SE VE?
COMO SE INTERPRETA?
LAS VERSIONES NO SON IGUALES
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LA GRAMATICA DEL
TIEMPO1. GRAMATICA DEL TIEMPO
2. REFERENTES ESPACIALES
3. EL PARADIGMA SOCIAL
4. EL PUNTO DE VISTA
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LA GRAMATICA DEL
TIEMPOEL TIEMPO ES CONTINUO, LOS HECHOS Y
EVENTOS SON PUNTUALES Y DISCRETOS.
ESTOS SE UBICAN LINEALMENTE EN EL
ESPACIO CON LA AYUDA DE LA
CRONOLOGIA.
TIENEN PARADIGMAS, UNA SIMULTANEIDAD
TEMPORAL, LA SIMILARIDAD FORMAL.
EL RESULTADO ES LA COMBINACION QUE
GENERA EL DISCURSO HISTORICO.
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NIVELES
DE ACUERDO A LOS REFERENTES
ESPACIALES.
1. EL INSTITUCIONAL
2. EL COMUNAL
3. EL PERSONAL
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REFERENTE PERSONAL
1. CICATRICES YA SEAN FISICAS O
MENTALES.
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Chapter 8. Absolutely
Nothing: Wartime refuges
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EXODOS
1. DESDE TARA
2. EL ROBO?
3. LOS DESPOJADOS?
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Chapter 9. The Battle of
PoggioBustone: Violence,
Memory and Imagination
in the Partisan War.
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TRES GUERRAS
1. SIGNIFICADO DE LA MEMORIA Y LA
RESISTENCIA ANTIFASCISTA EN ITALIA.
2. LA CANCION DE DANTE BARTOLINI.
LA NARRATIVA COMO INTERPRETACION DE
LA BATALLA Y A LA VEZ APOYADA POR LA
IMAGINACION.
CONTRADICCIONES.
3. JUSTICIA Y VIOLENCIA
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Chapter 10. The
Massacre at Civitella Val
Di Chiana. Tuscani, June
29, 1944. Myth and
Politics, Mourning and
Common sense.
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MITOS Y POLITICAS
1. EL DUELO
2. EL SENTIDO COMUN
3. LA INOCENCIA
LAS MEMORIAS MULTIPLES E INDIVIDUALES.
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Chapter 11. As Though it
Were a Story: Versions of
Vietnam
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Chapter 12. I am Going to
Say it Now: Interviewing
the Movement.
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Chapter 13. It was
Supposed to Be
Happening in Berkeley:
The 1960s Meet Eastern
Kentucky
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Chapter 14. Luigi’s Socks
and Rita’s Makeup: Youth
Culture. Of the Working
Classes.
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Chapter 15.
Conversations with the
Panther: The Italian
Student Movement of
1990.
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Chapter 16. The Apple
and the Olive Tree: Exiles,
Sojourners, and Tourists
in the University.
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CONCLUSIONES
Mediante la investigación a través de la tradición oral, el estudiante podrá hacerse participe de su experiencia de aprendizaje mediante un modelo constructivo. “cómo aprende el que aprende y qué sentido tiene lo que aprende”. Damos prioridad al cómo aprende y el para quéaprende, sobre el qué aprende, tratando de integrar al estudiante (actor principal del proceso) con el escenario del aprendizaje. Este modelo pretende incorporar al sujeto como protagonista de su aprendizaje, tratando de dar sentido a lo que aprende y también el escenario donde aprende
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MODELO
1. ABIERTO
2. FLEXIBLE
3. EQUILIBRADO
4. SIGNIFICANTE
5. MOTIVANTE
6. CONSTRUCTIVO