El Beso De La Mujer Araña Flashcards

1
Q

Author

A

Manuel Puig

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2
Q

published in

A

1976, la editorial seix barral de Barcelona

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3
Q

It was banned by the argentinian dictatorship

A

1970

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4
Q

Premis

A

Two prisoners share their solitude and their fear of torture in a jail cell in Buenos Aires

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5
Q

There is no traditional narrative voice!

A

This is one of the principle characteristics of fiction; But this novel is written mostly in dialogue, without any indication of who is speaking, other than a dash to demonstrate a change in speaker.

This contributes to the magical real element of the novel

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6
Q

stream of consciousness

A

The other key part of the narrative voice; sometimes it is unclear if it is spoken out loud or thought

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7
Q

What isn’t recorded as dialogue or stream of consciousness

A

is written as metaphysical governmental documentation

When conversations are not happening in that moment between people; are retellings of films that Molina has seen, which provide a form of escape from their environment.

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8
Q

Molina and Valentin

A

Very different people!

Molina: homosexual, transgender woman? which at the time was very illegal. The main narrator as he talks the most and tells the stories of films he has watched. He was arrested for “corromper a un menor”

  • depicted as the nice guy, in some ways more easy to identify with than valentin! But he gets carried away with his expression.
  • He acts more on nature than education
  • his motivations are not as innocent as they seem
  • stream of consciousness.

Valentin: The listener to Molina’s stories, a revolutionary, imprisoned for his relation to a left wing organisation which intended to overthrow the government

-Lacking in sense of humour, very serious and educated; often referring to texts he is educated in.

they have opposing points of views on most things

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9
Q

The mayor / el alcalde

A

Antagonist: He places Molina in the cell to spy on and obtain information from Valentín.

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10
Q

Gabriel

A

The waiter that makes friends with Molina. He is Molina’s principal love interest for most of the novel.

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11
Q

Marta

A

Valentín’s love interest, he lost her as a result of a serious compromise with his revolutionary organisation.

She only appears in his memories and the streams of consciousness in the novel.

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12
Q

Molina

A

Open and communicative

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13
Q

Valentín

A

Studious and stern,

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14
Q

The 1st film which Molina tells Valentín about

A

woman’s fears are confirmed when she finds out her husband is seeing another woman

Throughout the story Valentín intervenes with his own opinions. He is generally cynical about what Molina says of the characters and their motivations.

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15
Q

Later Molina tells another story

A

Valentín finds it offensive due to its obvious elements of propaganda.

A young french girl in nazi occupied germany (during ww2) falls in love with a Nazi Lieutenant.

Valentín expresses that he is only interested in the story as an example of propaganda; it is clear that he is interested in discovering if the protagonist succeeds!

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16
Q

Molina gets ill after dinner

A

he continues with the story in order to distract himself from the pain.

The woman demonstrates incredible bravery in her attempt to help her lover capture rebel forces who intend to extort her in order to obtain secret information. But she is mortally injured in the shooting that followed

At the end of the story the two men sleep

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17
Q

The following day (1) Molina is already feeling unwell.

A

Valentín says that he needs to study and ignores him.

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18
Q

3rd story; Molina tells himself

A

A story about a young person who accompanies his fiancee to a house in the forest where they would like to live, where they find an ugly maid.

The man becomes injured and disfigured in the war and so he decides to live there alone. With time, he falls in love with the maid, and the two, thanks to the power of love, are transformed and become beautiful in the eyes of the other, although the outside world still sees them as physically unattractive.

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19
Q

The following day (2) the bad feeling between Molina and Valentín has passed

A

but now Valentín is ill with the same symptoms as Molina. To distract him, Molina tells him another story;

A young person supports the revolution of a latinamerican country but lives in europe. His dad is kidnapped by the guerrillas that the son supports. In an attempt to rescue him his father is assassinated.

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20
Q

Valentín refuses to ask to use the bathroom out of fear of being sent to the infirmary

A

He has an accident in the cell. Molina Helps to clean him without worrying about him.

Valentín confesses that the woman he had described before as his girlfriend is in fact, Marta; a woman which he had been in love with for years but now they are not in contact.

Valentín recieves a letter from his actual partner, who is also involved in the rebel cause, in which she tells him of the death of one of their comrades.

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21
Q

2) Valentín does not make it to the bathroom once again,

A

Molina helps to clean him again.

Valentín crumbles and and admits his despair about the death of his friend and rebel soldier companion. After, he sleeps.

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22
Q

Molina finishes the story 3) in hi own interior monologue

A

The son discovers that his mother played a decisive roll in the plan to assassinate his dad.

He goes crazy, killing her and her lover, and later trying to kill the same guerrillas that he was recently united with.

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23
Q

Next (4) A conversation between the prison guard and Molina

A

Reveals that Molina is working as a double agent, trying to get information from Valentín about his comrades and plans. The food has been poisoned which is why they are both sick.

Molina convinces the Mayor to give him food to save them? which he returns to share with Valentín who is already ill.

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24
Q

Molina begins another story (5)

A

A woman discovers that her new husband, the owner of a plantation. uses zombies to work in his fields.

Valentín throws a tantrum, destroys some of the food and belongings of Molina in the process.

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25
Q

The next day, (6) Molina meets again with the Mayor and informs him that he hasn’t discovered any new information.

A

He asks for permission to lie to Valentín and tell him that he will soon be pardoned, in order to pressure him to share the information that he wants.

The mayor agrees.

26
Q

When Molina returns to the cell; valentiín apologises for his tantrum and Molina says that he understands that Valentin is trying to avoid becoming attached to people by any means necessary.

A

Later, Molina expresses a great sadness at his imminent pardon; and Valentín offers him comfort. The two finish making love? idk if thats true..

27
Q

Molina’s final story; (7)

A

A young wealthy woman, and well known/ loved journalist – at the end of the story she dies

28
Q

A second time; Molina says to the mayor that he has no new information for him.

A

The mayor says he will be freed the following day. That night, after Molina finishes telling the story to Valentín, they make love again.

29
Q

Molina agrees to contact Valentín’s comrades in order to transmit a message

A

un informe de vigilancia del gobierno’ – details Molina’s activities after he is released.

He tried to contact the rebels and is shot by a car driving past whilst he waits for them.

Presumably by the rebels in anticipation of being arrested and tortured in order to gain information about their cause.

30
Q

The last chapter

A

Valentiín is given a dose of morphine by a doctor and his torture ends. Whist he is dismayed, he dreams of being reunited with marta again.

31
Q

Key theme (1)

A

The idea that a political ideology can act as a method of control is central to the novel.

a source of fear and intolerance

There are many references to marxism and it is directly in conflict with the rule of the Dictator.

Nazi propaganda features in one of molina’s stories.

32
Q

The meladramatic and romantic depiction of love that Molina portrays reflects his lack of interest in reality

A

He chooses to believe / live in fantasies and dreams that he finds in films/ Valentín sympathises with Molina

33
Q

Valentín fears that he will be put in a drug induced state whilst in jail, and that he is at risk of losing his sanity.

A

Fears becoming completely alienated from society

the cell has put this isolation into motion

34
Q

The films represent an escape from masculinity for Molina

A

Molina longs to be a woman, or at least in their position in literature/ culture where they can participate in love / romance with men.

35
Q

In the final chapter Valentín is brutally beaten

A

he finally succumbs to pain relief in the form of drugs.

His worst fear is realised, but it is simultaneously a relief.

At this point the reader takes on the conscious of Valentín. In his dream Valentín escapes prison to an exotic island with his lost love Marta.

36
Q

According to freudian ideology, a dream is a representation of a desire

A

This idea can be applied to Valentiín’s dream.

Not only does it represent his desire to escape prison but also his desire to find true love, or rediscover it with Marta, and also to escape the political factors that have created problems in his life.

A dream is capable of escaping the boundaries and confines of life. Even if it is only this; a dream.

“el sueño es corto pero el sueño es feliz”

37
Q

contrast between marxist philosophy / politics and dreams

A

Valentín transitions between the two throughout the course of the novel.

Life inherently includes both? human impulse to satisfy personal desires

38
Q

For molina the films function as dreams

A

his association with feminine characters reflects his intense desire to be a woman

39
Q

Estoy encerrado en esta celda y es mejor que piense en cosas buenas… déjame escapar de la realidad de vez en cuando

A

Molina uses his memories of films to escape from his cell as well as a form of escapism from oppressive society.

40
Q

The novel highlights the disparity between

A

The romanticised, unregulated version of life and the unattractive, rigid reality.

41
Q

Valentín exposes the underlying reality of the illusions in Molina’s story

A

but it is clear that at the same time he is invested and enthralled by the love story

shows his true desire to find true love.

Everyone is equally attracted to escapism and indulging in escapism!

42
Q

p.14

A

reminders of reality; they need to collect water when they go to the toilet once a day

43
Q

p.20

A

Don’t talk about food! another reminder of the harsh reality in which they find themselves.

44
Q

the constant interplay between the film and reality itself

A

Popular culture can be an indulgent pleasure/ method of escapism but it can also be a dangerous force which encourages a perception of reality which is a lie.

Are they really bad influences or is evasion of reality an integral part of life?

45
Q

Molina’s crime is in relation to sex acts

Valentín’s crime is related to politics

A

these are BOTH means of escape.

Sex ties into love and politics ties into hope of improvement.

46
Q

Molina’s romantic ideal is exactly the same as the traditional hollywood archetypal love stories wehre women must find the right men.

A

His dream of living alongside the waiter, side by side for the rest of his life.

Valentín shoots down this idea and says that it would be impossible for him to do so.

47
Q

Marxist theory and politics provide an escape for valentín

A

his dream for a better world.

due to a lack of faith in the current one.

Even when he thinks he is facing reality he is avoiding it / or investing in escapism in his own way.

48
Q

The reader is lead to

A

confront their own habits of escapism,

habits of avoidance

and the harsh reality of living confined, in a dark, lightless prison cell, under an oppressive regime.

49
Q

Post boom novel–

A

there is a high level of cultural complexity in the novel

addresses socio-political issues in a more direct way

social commentary about sexual/political repression./revolution

50
Q

Molina as sacrifice

A

Molina is killed; his life sacrificed by the system and a casualty of waring ideologies.

Dies kind of similarly to the woman in the nazi propaganda film

51
Q

Nazi propaganda film

A

French resistance are painted as villains (not very far from home from Valentín’s identification.) Woman leads the nazis to the french.

foreshadowing of Molina’s betrayal of Valentín? leading the mayor to the rebels?

52
Q

“Pero si se salgan” when Molina is nursing Valentin thinks of stories of kind nurses with obedient patients

A

“the nurse is secretly concerned that the patient may leave.”

Molina doesn’t want his patient to get better and leave. In fact he has been poisoning Valentin and making him ill so that he will be dependent on him

Like a spider trapping their prey?

53
Q

Appearance of Naive innocence

A

is actually seduction and sabotage.

When molina believes he will meet with the rebels they actually shoot him

54
Q

Ambiguity

A

there is a lot of ambiguity around the central characters which is indicative of the new age novel.

55
Q

Novel suggests that popular culture is

A

dangerous because we mimic role models

56
Q

Film is seen as more accessible and popular as literature.

A

Molina is aligned with film and Valentín with Literature.

The novel explores the issues with both traditions; the role of film and of literature. One reacts against the other.

57
Q

Molina acknowledges the nazi propaganda

A

but for him it is not what is important in the film!

Analysis vs watching and reacting

58
Q

Are Molina’s narratives trustworthy?

A

he admits that he has made up some things for the purpose of the story

p.24; adding details makes the film more accessible and rounds out the details

and the reader discovers for themself that that Molina is deceiving Valentín

Omniscient style of narration is not necessarily trustworthy; he says things he couldn’t possibly know.

In some ways these narratives are straight forward and realistic; but in other ways they are not.

59
Q

Where do these pseudorealist narratives lie in Puig’s novel

A

Is there a distinction between Molina’s narratives and the narrative as a whole?

the lines are blurred; as is characteristic of boom / magical realism

there actually isn’t a narrator, narration comes from the dialogue!!

60
Q

The narrative constantly reminds us of the questionability of academic and narrative authority

A

Invented theorist; Puig uses this to demonstrate this point!