＂The Drama of the Tua Line＂, a Fictional Narrative and Literary Dialogue With the Contemporary Portuguese Railway Technology

This paper is a socio-literary approach to the book 《TUA》 COLECTANEA LITERARIA： Mem6rias do Vale e da Linha Ferrea, a collection of literary texts on the Tua centenarian railway, like the Swiss or French Alps railways, highlighting the analysis of the short story ＂The Tua Line drama＂ which builds a fictional dialogue between objects of a technological museum about the past and the future of the Tua railway, which is now disabled. It aims to focus on and discuss relations between technology and literature within its contemporary social context and to understand their complex and dynamic interrelations of interest regarding musealization. This paper will discuss the source base, methods and theory. The source base consists of literary publications appearing throughout the twentieth century. These texts, with originate from various authors, both classic and anonymous （novels, poetry, short stories, popular literature, news columns）, illustrate the action of/in the history of individuals and populations in relation to the Tua Valley, River, line and train, over the course of more than 100 years. Narratives, characters, events and episodes in various timeframes make up the set of literary fictions that provide an approximate and sensitive vision of the Tun Valley and realities around the construction, operation and closing of the railway line. Memories, identities, and historical contexts where norms, customs and social representations operate under various logics or social worlds which illustrate, by means of the fictional production of an imaginary realism, the socio-historical meaning of the Tua Valley and line. The methods employed are a longitudinal qualitative analysis of the occurrence of these themes during this period, and a socio-historical content analysis, drawing from literary studies, which aims to identify the main patterns of fictional narrative, in which sociotechnical knowledge regarding railways was packaged. The interdisciplinary analysis which is made is developed in the socio-historical framework （M. Block）, the ＂sociology of action＂ （Thevenot ＆ Boltanski）, the theory of social representations （Durkheim） and literature theory （Todorov） and aims to open other avenues of academic research on this topic.

Healing Is Believing： Yeon Gaesomun and Xue Rengui in the Making of Mid-Seventh-Century Tang-Goguryeo War Narratives

This paper examines how historical narratives and fictional narratives treat China＇s loss in Tang-Goguryeo War differently to heal China＇s damaged pride. Emperor Tang Taizong （599-649） invaded Goguryeo in 645 but failed to conquer her because of severe weather and strong resistance led by Yeon Gaesomun （603-666）. This paper argues that official histories including Jiu Tangshu （Old Book of Tang） and Xin Tangshu （New Book of Tang） focus on Emperor Tang Taizhong＇s legitimacy to invade Goguryeo because Yeon Gaesomun＇s coup d＇etat overthrew Yeongnyu-wang. These two histories also pay extra attention to Yeon Gaesomun＇s negative characters. Novels about Tang-Goguryeo War including Xue Rengui zheng Liao shi lue （薛仁贵徵辽事略）, Tang shu zhi zhuan tong su yan yi （唐书志传通俗演义）, and Shuo Tang hou zhuan （说唐后传） take a different approach to heal China＇s wounded pride. Instead of focusing on diplomatic and military legitimacy, these stories blur China＇s loss by creating a national hero Xue Rengui whose military skills, loyalty to Tang Dynasty, and dauntless rescue of Emperor Tang Taizong were constantly emphasized.

Fiction, Docudrama and Joumalism in the Globo Group （Grupo Globo）： A Memory of the Brazilian Military Dictatorship Directed at the General Public

From the early days of the moving image and its recordings of facts and events considered to be historical, followed by the consolidation of the classic narrative cinema grammar in the 1910s reaffirmed until today by a large part of the television production that turns to the past, without disregarding authorial aesthetic experiences produced especially since the 1920s, history has been present for over more than a century in several types of media. Movie theaters, people＇s homes and, nowadays, thanks to new media technology, any and every place are spaces for projecting historical narratives. They are both entertainment--by deploying strategies for constructing a ＂truth＂ about the past--and critical reflection, going against a belief in that possibility, in rendering explicit their nature as a language. Since all of these narratives presuppose an audience, a public, within different genres, styles and formats, with more realist overtones, more to the general public＇s taste, or anti-naturalist, in experiences for smaller audiences, it seems pertinent to discuss these issues considering that audiovisual narratives are powerful agents in constructing a memory of the past. Particularly in this text, we will examine how the most powerful communication enterprise in Brazil - Global Group - had construct a memory of the Brazilian military dictatorship （1964-1985） until 2016.