Cette thèse se propose de faire une anthropologie socio-historique des cultes de deux saints non reconnus par l’Église, le Gaucho Gil et San la Muerte, tous deux originaires de la province de Corrientes dans le Nord-Est de l'Argentine. L’objectif est à la fois d'analyser la genèse de ces phénomènes et de définir l’apport de la religion populaire dans la construction d’identités collectives. Il s'agit d'interroger la dimension politique et l'historicité de ces systèmes symboliques et rituels en spécifiant les liens qu'ils entretiennent avec la culture guarani et avec la résistance à une situation d'oppression sociale. La réflexion débute par l’exploration socio-historique de la constitution des populations de l’intérieur de l'Argentine afin de comprendre dans quelle mesure ces cultes naissent dans un contexte de mépris social et culturel et de déni de mémoire qui a catégorisé les classes populaires rurales comme subalternes et invisibles. Dans un second temps sont présentées, dans le détail, à partir des données couplées de l’anthropologie historique et d'une analyse ethnographique locale, la fabrication aussi bien des légendes, des images que des pratiques rituelles, du Gaucho Gil puis du San la Muerte. Cette exploration contextualisée nous permet pour finir d’envisager ces dévotions non plus comme de simples résistances à l’ordre ou comme des reproductions déformées de la religion catholique, mais comme des créations culturelles autonomes, issues d’un peuple nouveau et métissé, qui produit une mémoire et des symboles aptes à rendre compte des expériences de sa condition. / This thesis offers a socio-historic anthropology of the worship of two saints not recognized by the Church, Gaucho Gil and San la Muerte, in the province of Corrientes, in the North-East of Argentina. It aims at analyzing the genesis of these phenomena and at defining the contribution of popular religion in the construction of collective identities. It means to question the political dimension and the historicity of these symbolic and ritual systems by specifying the links they maintain with the guarani culture and with the resistance to a situation of social oppression. The study begins with a socio-historic exploration of the constitution of Argentina inland populations in order to understand to what extent these cults were born in a context of social and cultural contempt and denial of memory which has categorized the rural popular classes as subordinate and invisible. Secondly, the making of the legends, images and ritual practices related to gaucho Gil and San la Muerte are explained both through historic anthropology and a local ethnographical analysis. Finally, this contextualized exploration leads to consider these worships no longer as simple means of resistance to an established order or as distorted reproductions of the Catholic religion, but as autonomous cultural creations which belong to a new and mixed people, producing a memory and symbols which accurately represent the experience of their condition.

[pt] Trata-se de uma análise das narrativas curtas do escritor argentino Julio Cortázar (1914-1984), como alternativas à criação literária diante de determinados impasses colocados pelo mundo moderno. Pressupondo a dificuldade de delimitação da experiência em inícios e fins - ou seja, da representação dos propósitos finais das ações humanas -, num primeiro momento os contos de Cortázar surgem como totalidades cerradas que proporcionam o alcance de uma meta no território do jogo. O que se dá em um gesto contundente e preciso: um nocaute, uma estocada, um assassinato. Tais configurações, porém, são incapazes de satisfazer plenamente o desejo de unidade que alimentam; e assim são enfocados, numa segunda etapa, relatos que reconhecem a impossibilidade de cessação da vontade, manifestando uma cisão interna do discurso, mas ainda assim seguem em busca da criação de formas como espaço do diálogo e tentativa de um contato. Inscritos sobre as superfícies móveis do mundo moderno, estes contos trabalhariam cuidadosamente a matéria informe da linguagem para que, em gestos sutis, às vezes hesitantes - um olhar, um toque, um traço - manifeste-se a procura de um encontro e uma fugaz iminência de sentido. / [en] The objective of this work is to analyse the short stories by the Argentine writer Julio Cortázar (1914-1984), as alternatives to literary creation in front of certains impasses placed by the modern world. Pressuposing the dificulty in delimitating experience in begginings and ends - that is, the representation of human action`s final purposes -, in a first moment Cortázar`s narratives appear as enclosured totalitys which provide the reach of a goal, in the territory of play, with a contusing, precise gesture: a knock-out, a thrust, a murder. These configurations, however, are incapable to satisfact the desire of unity they nourish; and so, in a second moment, the dissertation focuses stories which recognize the impossibility of ceasing desire, and then keep the the search of form as a dialogical space and attempt of contact. Inscribed on modernity`s unstable surfaces, these short stories work carefully the matter of language, so as to, in subtile, sometimes hesitating gestures - a look, a touch, a trace - they manifest the will of a gathering and an imminence of sense.

"Populisme", "abstentionnisme", "rupture de confiance", "défiance des politiques", "médiacratie", "affaiblissement de l’État", "perte de contenu de la citoyenneté", la liste n’est pas close. Tous ces phénomènes sont parfois ramenés sous le mot commode de crise ; crise de la représentation, crise de la démocratie, crise du politique. Phénomènes complexes et multiformes qui peuvent être saisis, dans de multiples lieux et par des disciplines diverses. Cette recherche part d’abord d’une situation, celle de l’Argentine contemporaine. Connaissant, depuis 1983, une période de relative stabilité politique répondant aux critères basiques du "régime démocratique" elle a connu un moment critique sur les plans politique, économique et social en 2001. Cet événement a été marqué par un profond rejet de la classe politique exprimé dans la consigne "que se vayan todos" [qu’ils s’en aillent tous] scandée dans les manifestations. Si à l’époque les assemblées de quartier, les "usines récupérées", les réseaux de troc, les organisations de chômeurs ont attiré l’attention pour ce qu’elles portaient de rupture avec le passé, apparaissant comme des lieux de réinvention du politique, il a été très vite évident que les "vieilles" institutions politiques seraient les vraies actrices du "retour à la normale". Le chercheur choisit alors un point d’entrée ; ce sera le Parlement. Considérant cette institution comme une sorte de négatif que viendraient impressionner les changements de la société. Sur la photo, nous percevons la réalité, mais selon la mise au point, la quantité de lumière, le cadre choisi, la photo est avant tout une des représentations possibles de la réalité. Dès lors, il s’agit moins de s’intéresser à l’institution qu’à la pratique représentative, c’est-à-dire à l’activité des représentant(e)s et au Parlement comme "espace public". S’intéresser d’abord à la représentation en train de se faire, à ce qui se construit entre "un dedans" de l’institution et "un dehors" de la société parce que la représentation est, avant tout, coupure entre le représentant et le représenté. Lorsque les représenté(e)s s’agitent et s’organisent, cela perturbe la pratique représentative plus habituée à figurer les absent(e)s. Le gouvernement représentatif est pris dans une contradiction ; entre désertion des urnes et surinvestissement de la sphère publique ; désintéressement et interruption ; entre logique de la police et démocratie. Fondée sur une recherche en sociologie, cette thèse s’attache, dans un domaine habituellement réservé à la science politique, à comprendre la représentation politique comme une pratique sociale. / “Populism”, “abstaining”, “loss of trust”, “mistrust of politicians”, “mediacracy”, “weakening of the State”, “shallow citizenship” – and the list goes on. Such phenomena are sometimes mistakenly defined by the useful term of “crisis” – crisis of representation, crisis of democracy, crisis of the political institution – but they are complex, many-sided phenomena which can be analyzed through a variety of geographical places and subjects. The starting-point of this research is a situation – that of present-day Argentina. The country, which had known a period of relative political stability since 1983 (reflecting the basic rules of a “democratic regime”) experienced a critical phase in 2001 on a political, social and economic level. This event showed a deep rejection of the political community as expressed through the motto “que se vayan todos” (may they all go away) chanted in demonstrations. Special attention was then paid to neighborhood gatherings, recovered factories”, barter networks, and organizations of unemployed workers, because they represented a rupture with the past and appeared as places reinventing politics – but it also soon became clear that the “old” political institutions would be the actual means to “get back to normal”. The researcher then picks one angle of approach – the Parliament. This institution will be viewed as a sort of negative exposed to the changes of society. On the snapshot, reality is perceived, but as the focusing, the amount of light or the frame vary, such snapshot is only one possible representation of reality. The focus will thus be less on the institution than on the practice of representation – i.e. on the activity of the ones representing and on the Parliament seen as a “public space”. What is mainly highlighted is the action of representation itself – what is being built between the “inside” of the institution and the “outside” of society, because representation is above all a rupture between those representing and those being represented. When the represented show their presence and get organized, the practice of representation is disrupted. The representative government faces a contradiction – between voting disinvestment and overexposure in the public sphere, between lack of interest and interruption, between the logic of the police and democracy. The research carried out in this dissertation is sociology-based, even though its topic traditionally belongs to the field of political science, and intends to understand political representation as a social practice. / «Populismo», «abstencionismo», «quiebra de confianza», «desconfianza de los políticos», «mediacracia», «debilitamiento del Estado», «vaciamiento de la ciudadanía», la lista continúa. Todos estos fenómenos se reúnen a veces bajo el cómodo rótulo de crisis; crisis de la representación, crisis de la democracia, crisis de lo político. Fenómenos complejos y multiformes que pueden ser aprehendidos en múltiples lugares y por diferentes disciplinas. Esta investigación toma como punto de partida una situación, la de la Argentina contemporánea. Transcurriendo, desde 1983, un período de estabilidad política relativa según los criterios básicos del «régimen democrático», vivió un momento crítico en los planos político, económico y social en 2001. Este suceso se caracterizó por un profundo rechazo de la clase política expresado en la consigna «que se vayan todos» coreada en las manifestaciones. Si en esa época las asambleas de barrio, las «fábricas recuperadas», las redes de trueque, las organizaciones de desocupados atrajeron la atención por lo que significaban como ruptura con el pasado, apareciendo como lugares de reinvención de la política, muy pronto quedó claro que las «viejas» instituciones políticas serían las verdaderas protagonistas del «retorno a la normalidad». El investigador elije entonces un punto de entrada; será el Parlamento. Considerando a esta institución como una especie de negativo en el que se imprimirían los cambios de la sociedad. En la foto percibimos la realidad, pero según el enfoque, la cantidad de luz, el cuadro que se elija, la foto es una de las representaciones posibles de la realidad. A partir de allí, se trata menos de un interés por la institución que por la práctica representativa, es decir, por la actividad de los representantes y del Parlamento en tanto «espacio público». Concentramos la atención en la representación en acto, a lo que se construye entre una interioridad de la institución y una exterioridad de la sociedad, porque la representación es, ante todo, un corte entre el representante y el representado. Cuando los representados se agitan y se organizan, ello perturba la práctica representativa, habituada a representar a ausentes. El gobierno representativo enfrenta una contradicción; entre deserción de la urnas e sobrecarga de la esfera pública; desinterés e interrupción; entre lógica de la policía y democracia. Fundada en una investigación sociológica, esta tesis se empeña, en un dominio reservado habitualmente a la ciencia política, en comprender la representación política como una práctica social.

Esta dissertação promove uma leitura da obra Nadie nada nunca (1980), do escritor argentino Juan José Saer, em função das hipóteses sobre a morte do romance e a impossibilidade de narrar. Tomando o paradoxo como elemento fundamental de qualquer romance contemporâneo, identifica o paradoxo específico dessa obra na alternância entre impossibilidade de movimento e revolução contínua da matéria. Cada um desses preceitos assumidos pelo livro resulta em uma poética própria poética da imobilidade e poética da mobilidade ambas aliando-se para converter a obra em uma seqüência de enigmas e interrogações, prenhe de auto-referências e ambigüidades. Um universo próprio que se basta em sua infinidade complexa e obscura, e que desse modo ganha status de objeto autônomo do mundo, propondo uma possível resposta ao impasse em que se encontram a narrativa e a representação / This dissertation suggests an interpretation of the novel Nadie nada nunca (1980), written by the Argentine Juan José Saer, according to the multiple hypotheses about the death of the novel and the impossibility of narrative. Taking paradox as an essential element of any contemporary novel, the dissertation identifies the specific paradox of this work in the alternation between the impossibility of movement and the continuous revolution of matter. Each of these precepts assumed by the book results in a poetics a poetics of immobility and a poetics of mobility both of which combine in order to convert the novel into a sequence of enigmas and inquisitions, filled with selfreferences and ambiguities. A universe of its own that is self-sufficient in its complex and obscure infinity, and therefore achieves a status of an autonomous object of the world, offering a possible answer to the impasse confronted by narrative and representation

Os contos da escritora argentina Samanta Schweblin são peculiares. A partir da atmosfera densa de suas narrativas, podemos ver de outra forma a nossa relação com o mundo e entre (e como) sujeitos. Este trabalho visa, com a análise de contos selecionados dos livros El núcleo del disturbio (2002) e Pájaros en la boca (2009), indagar sobre como o modo de representação proposto pela autora explora o cotidiano e as relações sociais, muitas vezes marcadas por diferentes manifestações de violência, suscitando um efeito perturbador para o leitor ao problematizar o real. Para isso, interessa-nos analisar como a obra da autora dialoga com dois universos importantes da tradição literária hispano - americana em geral, e argentina em particular, ao retomar o gênero conto e aspectos da literatura fantástica e do insólito. Além disso, essa proposta de leitura volta-se ao uso de uma representação que preza pela verossimilhança, aspecto essencial à narrativa fantástica, uma vez que o leitor reconheceria a realidade representada nos relatos, ao mesmo tempo que percebe que há algo inusitado (mas não necessariamente irreal ou sobrenatural) ocorrendo nas situações limítrofes construídas pela autora. / Argentine writer Samanta Schweblin´s short stories are peculiar. From the dense atmosphere of her narratives, we can see in another way our relationship with the world and with others. This paper aims to investigate how the representation mode proposed by the author explores the daily life and the social relations, often marked by differe nt manifestations of violence, provoking a disturbing effect for the reader while turning the real into a problematic matter. For that, we are interested in analyzing how the author\'s work interacts with two important universes of the Hispano-American literary tradition in general, and in Argentine in particular, by returning to the short histories as a literary gender and working with aspects of fantastic literature and the fictional uncommon. In addition, this reading turns to the use of a representation that values verisimilitude, an essential aspect of the fantastic narrative, since the reader would recognize the reality represented in the narratives, while realizing that there is something unusual (but not necessarily unreal or supernatural) occurring in the borderline situations constructed by the author.

S’inscrivant dans le champ de l’histoire des relations culturelles internationales, cette thèse analyse de manière comparatiste l’élaboration d’une diplomatie culturelle par l’Argentine, le Brésil et le Chili dans la période de l’entre-deux-guerres, en s’appuyant sur des organismes de coopération intellectuelle à vocation internationale ou régionale. Notre but est de montrer comment, à partir des toiles tissées par les différentes structures et dynamiques de la coopération intellectuelle, internationale, continentale ou latino-américaine, l’Argentine, le Brésil et le Chili ont forgé les instruments d’une diplomatie culturelle et ont bâti une certaine image d’eux-mêmes sur la scène internationale. Cette thèse vise à montrer que les initiatives argentine, brésilienne et chilienne sur le terrain de la diplomatie culturelle ne prennent corps et sens que dans la mesure où elles s’insèrent dans des dynamiques qui dépassent leurs frontières.Dans le cadre d’une étude sur la diplomatie culturelle, qui implique que le pays qui en fait usage ait une image à proposer sur la scène internationale, la question de l’identité nationale est au cœur de la réflexion. Nous nous inscrivons donc dans une perspective qui relève tout autant de l’histoire des relations internationales que de l’histoire culturelle, aux confins des débats sur l’identité nationale et sur la définition de la politique étrangère. / Contributing to the field of history of international cultural relations, this thesis proposes a comparative analysis of the engagement in cultural diplomacy by Argentina, Brazil and Chile in the period between the two World Wars. This surge in cultural diplomacy relied upon organizations for intellectual cooperation, both on an international and regional level. The goal of this work is to show how, from various networks embedded in the structures and dynamics of international, continental and Latin American intellectual cooperation, Argentina, Brazil and Chile forged deliberate instruments of cultural diplomacy and constructed a certain image of themselves on the international scene. This thesis aims to show that these initiatives in cultural diplomacy could neither have happened nor acquired their importance without being part of larger dynamics transcending their own national borders. At the heart of any reflection on cultural diplomacy and its concern with projections of national images into international settings is the question of national identity. Therefore, the work takes a perspective that is as much part of history of international relations as it is cultural history, retracing the frontier of debates on national identity and the definition of foreign policy.

Submitted by Nara Lays Domingues Viana Oliveira (naradv) on 2015-07-01T15:43:04Z No. of bitstreams: 1 fernandoneto.pdf: 987891 bytes, checksum: b872ba927b56c8a8de37b93ae4e1e0b7 (MD5) / Made available in DSpace on 2015-07-01T15:43:04Z (GMT). No. of bitstreams: 1 fernandoneto.pdf: 987891 bytes, checksum: b872ba927b56c8a8de37b93ae4e1e0b7 (MD5) Previous issue date: 2013-03-21 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O texto possui como alicerce as questões histórico-sociais e culturais do cinema argentino, as questões identitárias de gênero e sexualidade envolvidas nas obras desse cinema e também os fatores comunicacionais dessas audiovisualidades que as configuram como um modo de expressão artística através da sétima arte. O estudo adota uma perspectiva pós-estruturalista, por meio de autores como: Michel Foucault, com seu método de analisar a procedência dos fenômenos de produção de subjetividade que constituem o meio social através dos jogos de verdade; Gilles Deleuze, que faz uma análise do dispositivo foucaultiano da sexualidade e do desejo, demonstrando a maneira com que as linhas de força realizam o atravessamento nesse objeto; e também Roland Barthes, através do estudo da crítica como um método interpretativo sobre o olhar. Com os processos históricos que configuraram o dispositivo cinema na Argentina já traçados, há a identificação dos modos de se realizar o audiovisual no país, o reconhecimento realizado de uma nova manifestação na sétima arte, na qual se realizou o recorte, além da pré-análise dos observáveis elaborada, analisando-se linhas de fugas que fazem os atravessamentos nesse dispositivo cinema, identificando um lugar no qual essas linhas articulam-se em direção à expressão de novas e outras subjetividades no âmbito do gênero, sexualidade e juventude. Esse ponto de convergência/emergência corresponderá a um resultado pelo qual se fará compreender a procedência da manifestação audiovisual no presente momento no país, que é rebatida num jogo de forças que rompem fronteiras pré-estabelecidas, num momento de ingresso na pós-modernidade, considerando essa etapa não apenas como um período histórico mas também como uma fase em que as grandes teorias, responsáveis pelas “certezas” da humanidade, não são mais suficientes para a compreensão dos fenômenos sociais. / The text has as base historical-social questions and cultural of argentine cinema, the identity questions of genre and sexuality involved in the cinematographic work, and also the communicational factors of these audiovisuality that set it up as a mode of artistic expression throught the seventh art. The study adopts a poststructuralist perspective, by authors such as Michel Foucalt, with his method of analyze the source of these subjectivity production phenomenons that constitute the social through games of truth; Gilles Deleuze, makes an analysis of the sexuality foucaultiano device and desire, showing the way that the lines of power perform the crossing on this object, and also Roland Barthes through the study of critical as a interpretative method about the look. With historical process that configures the cinema device on Argentina already definite, the identification of the ways to perform the audiovisual in the country, the realized recongnition of a new manifestation in the seventh art where it was performed the profile, besides the pre-analysis of the observables elaborated, identifies lines of escape that makes the crossing in this cinema device, identifying a place where these lines articulates in the direction of the expression of new and another subjectivities in the sphere of genre, sexuality and youth. These point of convergence/emergency will correspond to a result whereby it will understand the source of the audiovisual manifestation in the present moment in the country, that is controverted in a game of power that break pre-established borders, in a moment of entry into the post-modernity, considering these stage not as a historical period only, but also as a phase where the great theories, responsible for the ‘’certainties’’ of humanity, is no longer enough to the understanding of the social phenomenons.

Esta dissertação promove uma leitura da obra Nadie nada nunca (1980), do escritor argentino Juan José Saer, em função das hipóteses sobre a morte do romance e a impossibilidade de narrar. Tomando o paradoxo como elemento fundamental de qualquer romance contemporâneo, identifica o paradoxo específico dessa obra na alternância entre impossibilidade de movimento e revolução contínua da matéria. Cada um desses preceitos assumidos pelo livro resulta em uma poética própria poética da imobilidade e poética da mobilidade ambas aliando-se para converter a obra em uma seqüência de enigmas e interrogações, prenhe de auto-referências e ambigüidades. Um universo próprio que se basta em sua infinidade complexa e obscura, e que desse modo ganha status de objeto autônomo do mundo, propondo uma possível resposta ao impasse em que se encontram a narrativa e a representação / This dissertation suggests an interpretation of the novel Nadie nada nunca (1980), written by the Argentine Juan José Saer, according to the multiple hypotheses about the death of the novel and the impossibility of narrative. Taking paradox as an essential element of any contemporary novel, the dissertation identifies the specific paradox of this work in the alternation between the impossibility of movement and the continuous revolution of matter. Each of these precepts assumed by the book results in a poetics a poetics of immobility and a poetics of mobility both of which combine in order to convert the novel into a sequence of enigmas and inquisitions, filled with selfreferences and ambiguities. A universe of its own that is self-sufficient in its complex and obscure infinity, and therefore achieves a status of an autonomous object of the world, offering a possible answer to the impasse confronted by narrative and representation

Gene expression research is a valuable tool for investigating how gene regulation and expression control the underlying behaviors that structure a eusocial insect colony. However, labs that focus on ant research frequently keep ant colonies in the lab for ease of sampling. These laboratories typically do not attempt to completely emulate the ant's natural environment, and thus can expose the colonies to drastically different environmental conditions and food sources than they are used to in the wild. These shifts in diet and environment can cause changes in gene expression of the ants, affecting downstream behavioral and physiological systems. To examine the nature of these changes, colonies of the Argentine ant, <i>Linepithema humile, </i>(Mayr, 1868), were excavated from North Carolina and transferred to the lab, where they are sampled monthly. Illumina and qPCR analyses were conducted on forager samples to detect any changes in gene expression. Approximately six percent of the Argentine ant genome showed changes in gene regulation after six months in the laboratory environment. The subset of these genes examined via qPCR show that the expression of many genes are correlated with each other, indicating that these genes might be a part of a regulatory network. These findings showed that ant colonies kept in the lab experience changes in gene expression, resulting in downstream effects. Therefore, lab ant colonies are not necessarily representative of wild colonies when conducting experiments on the gene expression, behavior, and physiology of these colonies.<br>

Cette thèse articule le concept de « catastrophe » à l’esthétique du récit pour mettre en lumière des spécificités conceptuelles et narratives des récits littéraires et cinématographiques issus des périodes de violence de masse en Amérique latine. Elle a ainsi comme principal objet d’étude les narrations de la catastrophe. Pour ce faire, elle choisit comme étude de cas trois pays, l’Argentine, le Chili et le Mexique. À partir d’un corpus réduit de 12 œuvres, ce travail aborde, notamment, deux types de récits, le récit de la catastrophe et le récit catastrophiste, correspondant, chacun, à une période historique déterminée. Le premier se circonscrit aux périodes dites de « terrorisme d’État », donc à des moments d’extrême vulnérabilité citoyenne, et le second à celles dites « de transition », c’est-à-dire, à des moments où cette vulnérabilité est prise en charge par des gouvernements et des organismes de la société civile. Cette thèse a donc une double portée, à la fois d’analyse historique et d’analyse esthétique du récit. Elle s’applique notamment à préciser les rapports du concept de catastrophe avec le témoignage, les expériences de vulnérabilité propres aux périodes, la tentation du silence provoquée par ces états de vulnérabilité et le catastrophisme, autant de notions qui nourrissent et établissent les bases du rapport global entre récit et catastrophe. Elles permettent de proposer un outillage conceptuel facilitant la compréhension des narrations de la catastrophe et, par ce même biais, de proposer de nouvelles clefs de lecture des situations et des discours politiques propres à chaque période et à chaque pays étudié. / This study set out to describe, using the concept of “catastrophe” and its relationships with aesthetic narration, conceptual and narrative specificities of literary and cinematographic works derived from mass violence periods in Latin America. Thus, its main object of study is the narrative of catastrophe in three countries, Argentina, Chile and Mexico. It made use of a corpus composed by 6 films and 6 literary texts, classed by two main narrative configurations, the narrative of the catastrophe and catastrophism narrativity, and two main historical periods. The first period under discussion is circumscribed to the apparition of “state terrorism” and citizens’ vulnerability, and the second one taken into account is “transitional periods”, where this vulnerability is carried out by government policies and civil organizations’ initiatives. In this sense, this thesis has a double objective, the analysis of two historical periods through narrative configurations and the formulation of the two narrative configurations that highlight those two periods. These two formulations take into account the relationships between the concept of catastrophe with testimonial and fictional texts, with experience of vulnerability, silence or self-censorship and with catastrophism. These notions constitute the conceptual background that defines the narratives of catastrophe and that offer new readings on historical and narrative discourses from the two studied periods.