Imagens femininas da Segunda Guerra Mundial: a fotografia como fonte e linguagem historiográfica para o ensino de História

Abstract

This paper deals with the importance of including women in history teaching. In regard to this, considering that the presence of women in history might involve different discussions, the central objective is to highlight, through a historiographical debate, the main issues involving women in society, more precisely keeping the approach to the Second World War in the classroom as the main agenda, using photography as a source and image analysis as a proposal for historiographical language for the construction of knowledge through images, within the content most commonly worked on at school. In order to enter the context of the Second World War, it was necessary to understand certain factors that preceded the conflict, bearing in mind that these elements, such as the opening up of space in the world of work provided by the Industrial Revolution, as well as the feminist struggles for more participation in society, contributed directly to the events that permeated women's lives during that period. In this way, I seek to discuss, from a women's history perspective, the various roles played by them during the conflict and how this side of the context can be added to the teaching of history. To support the research, some of the theoretical contributions are: Claude Quétel (2009), whose book provides an overview of the various roles played by women throughout the war in different countries, contributing photographs and texts on the female scene in the Second World War; Joan Scott (2011) and Michele Perrot (2019), who deal with the history of women throughout the 19th and 20th centuries; Jörn Rüsen (2007), with the concepts of historical consciousness and historical culture in relation to history teaching; François Hartog (2019), on the relationship between the past, present and future for the construction of historical knowledge, based on what he calls regimes of historicity; and Boris Kossoy (2001 and 2002) and Johanna Smit (1996), with their theoretical and methodological contributions on images as historical documents.