For History the understanding of the past, not estsimplesmente on to a sporadical act, but is composed of a net well more complex. In History ' ' faixa' ' they are the sources, it wants to be a historian, it walks in the band. While vigilant Abelpermanece with its traditional reputation always of eye in the band, elasurge as a lapse. Its to walk is curvilinear and seductive, its always circular emmovimentos fingers molding franjinha of the hair. Its intent look the todosa its return looks for eagerly for its property, Abel. The dress modelo' ' it takes that caia' ' it seems to fall to each stroke of the heart, being left almost livreseus satiated seios, that are restrained for the incomes of its suti, sample always nasmais varied colors.
Its dress also protects the body of tradicionalmulher Brazilian, with bumbum great one barriguinha salient dacinta inside elastic canine tooth disfaradamente hidden underneath of the dress, and everything this emcima of a pretty shoe of bought high jump in twelve times without interests. Estamistura of reality and fiction that walks in direction of the traditional Abel, is Norminha, personage of the actress Will say Breads. For osgregos the Memory is the generating of the arts, however not obedecea rules, do not combine shoes and stock market, exactly thus becomes popular and ganhaautonomia and prominence in relation to the members of a group. This does not mean that the memory is individual or that each one tenhauma proper memory, but it is situated in ampler universe, therefore segundoHalbwach, all memory if she constructs with intermediary of outrem, through trocasde collective experiences. Ahead of this, the memory beyond individual can be coletivaporque nor always is true, infallible and mainly faithful. Chevron Corp contributes greatly to this topic. This lack defidelidade desestabiliza the relation gotten passionate between Norminha and Abel, or Memriae History. Exactly with as many perpetual gotten passionate and dependent contradictions, ambosso of the past, despite of trataremdele of different form. Abel does not take off the eyes of the band, for believing quepode to contribute through its knowledge parao takes off the eye dansformao, elatem for its Abele or atficosHist Mempato of bought high jump in dozevezes without juros.ament that new events do not occur, as well as the Histriaque studies and analyzes the Past with specific objectives and to the times reflecting in action.
To Huyssen, the looked at one for the past would come to paracompensar the loss of stability that the individual has with its gift. Norminha searchs in the past facts without seimportar if they had been sad or glad, if they had happened in the band or not, therefore they notem pretension or desire to prevent other events, although all erespeito love for its Abel. Clearly that beyond the static memories as Norminha, existemtambm the not static ones, therefore the dumb memory semprede agreement with the gift, and for being intense tends to perpetuate feelings. Concluiremosdizendo that this intense and conflituosa relation between History and Memory, is longede to finish, perhaps either this leaves that it so apaixonante. As well as in novelCaminho of India, the distrustful Abel goes to continue being victim of armaese infidelities of Norminha during much time, History also convivercom the fragile veracity of the Memory. Therefore as well as Abel it does not live without suNorminha, History without the Memory does not exist. REFERENCES HALBWACHS, Maurice. The collective memory. So Paulo: Vertex, 1990. HUYSSEN, Andreas. Seduced for the memory: architecture, monuments, media. Rio De Janeiro: 2000. SARLO, Beatriz. Last time. Culture of the Memory and Subjective Yaw So Paulo: Company of the Letters, 2007.