Saturday, April 20, 2019

Gender Roles in Manuel Puig's The Kiss of the Spider Woman Essay

Gender Roles in Manuel Puigs The Kiss of the roamer Woman - Essay ExampleSo, the author continues,En cambio, un homophile(prenominal), con fijacin femenina, si, todava, puede defender esa ideologa, porque, como de sea ser mujer, pero no puede realizar la experiencia de sea mujer, no puede llegar a desengaarse y sigue el engavio, en el sueiio de que la realizacin de la mujer esta en encontrar un computerized axial tomography que la va a guiar y que se va a ocupar de ella, lo cual es buscar un padre y no un compaero (Osario, p. 53).Puig subtly unfolds another aspect of his project writing about a homosexual. It does not stop surprising us how or why this aspect of his writing has to be grounded with an explanation beforehand That is, by framing the homosexual character of the novel, Molina, first, as a feminine character who still believed in the existence of a tops(predicate) man and, then, as a homosexual, with feminine fixations, Puig is showing us a certain anxiety regarding q uirk in his writing. Puigs presentation of Molina is an excuse. It is important to highlight this particular moment in the authors explanation (or excuse) for the homosexual cognitive content because, after presenting such a brilliant feminist narration of the homosocial valorisation of the superior macho, he almost compulsively and un slenderly positions the homosexual within the heterosexual matrix as produced by the Oedipal manifold--the Freudian structure of which he is critical in the footnotes of El beso. How do we reconcile both of the authors positions--on the one hand, his more challenging eyeshot that informs the construction of masculinity as the fantasy of the homosocial on the other hand, a reductive and misogynist watching of male homosexuality as a desire to become and appropriate .the feminine Moreover, how do we read homosexuality outside the Oedipal complexWhen we consider the question of sexuality in the text, we must look not simply at writing about homosex ual themes or a homosexual character in a popular novel, but--and more importantly--the authors own gayness. A consideration of sexual difference as epistemology illuminates our critical reading of a text (Sedgwick, 1991). Along these lines, a reading of El beso de la mujer araa must not only focus on the construction of Molinas sexual identity, the homosexual with feminine fixations as a mover of transvestism but, also, analyze the transvestitic performance of Valentin as a Marxist. This essay will show that ideology--in this case, oppositional revolutionary politics-signals a transvestitic performance and, that this ideological transvestism necessarily sublimates the homoerotics of any heterosexual male encounter. That is, every male incident connotes a hidden homosexual embrace. The politics of denying this embrace shamelessly produce the language of sexism and homophobia.The structure of the El beso de la mujer araa is simple Valentin, a political prisoner, and Molina share a cell where Molinas retelling of B-movies make the time worn-out(a) there easier. Before looking at some of the stories told by the prisoners, I would like to evaluate the immenseness the prison takes as a site of narration. One cannot help thinking of an Arcipreste de Hita or a Cervantes who wrote his chef-doeuvre in/from prison. The architectural design of a prison influences Molinas fantastic story-telling the close walls must be transcended with complex narratives and performances (Merrim, 1981).If spaces can be labelled heterosexual, lesbian, educational,

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