Sila e Maria Bonita : duas biografias para ressignificação da história das mulheres no ensino de história

• Ano de defesa: 2023
• Autor(a) principal: Santos, Lidiane Metodio dos
• Orientador(a): Souto, Paulo Heimar
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Programa de Pós-Graduação: Pós-Graduação Profissional em Ensino de História
• Palavras-chave em Português: Ensino de história; Mulheres; Cangaço; Sila; Maria Bonita
• Palavras-chave em Inglês: Teaching history; Women
• Área do conhecimento CNPq: CIENCIAS HUMANAS::HISTORIA
• Link de acesso: https://ri.ufs.br/jspui/handle/riufs/18188

The official historiography has silenced the history of women for centuries, describing them as supporting characters and being at the mercy of the shadows of "great men". In view of this context, the aim of this work was to create a comic book using the biographies of Maria Bonita and Sila, participants in the Cangaço movement, as a teaching methodology in the classroom for students in basic education, with a focus on elementary school students, final years, and high school students, with the aim of re-signifying women's history in the classroom and using them as examples of life stories, as protagonists of their own history, analyzing the uniqueness of women in social movements in order to help overcome the barriers of patriarchy today. To do this, we used the authors Circe Bittencourt (2018) and Elza Nadai (1993) as theoretical references for History Teaching, and authors such as Michele Perrot (2005), Losandro Tedeschi (2015) and Ana Veiga (2007), among others, to contextualize Women's History. The following authors provide an analysis of the cangaço: Maria Isaura P. de Queiroz (1977), by Rui Facó (1963), Maria Matta Machado (1969), Eric J. Hobsbawm (1978), Luitgarde Oliveira Cavalcanti Barros (2000), Gustavo Barroso (1930), Luiz Pericás (2015) and Frederico Pernambucano de Mello (2018), as well as the contributions of Vergueiro (2010) and Paiva (2016), on the use of comics as teaching tools, as well as testimonies from women survivors of Cangaço, such as Sila, Adília and Dadá, to analyze their perceptions of the time and construct the comic book, set in accordance with the language of the period. It can therefore be said that the language of comic books, through verbal and non-verbal elements, facilitates the teaching-learning process, bringing the reader closer to the subject matter, shaping new perceptions about the participation of women in Cangaço, re-signifying their life stories and seeking to form an anti-machismo consciousness in the students.