El Significado De Las Pel Culas En El Beso De La Mujer Ara A

Ensayo del año 2011 en eltema Romanística - Español, literatura, cultura general, Nota: 1,3, Universität Bremen (Hispanistik), Materia: Thematische Einheit II – Literaturwissenschaft, Idioma: Español, Resumen: Argentina en los 70' – Un libro sobre dos presos que comparten la celda en una cárcel. ¿Qué se puede esperar de tal libro? ¿Descripciones detalladas de las torturas? ¿Un narrador interviniendo todo el tiempo para explicar las duras condiciones de vida? ¿Y finalmente un intento de fuga espectacular? En la novela El beso de la mujer araña de Manuel Puig, el lector no va a encontrar nada parecido. En lugar de eso, la novela centra en la amplia caracterización psicológica de los dos caracteres principales – sin que intervenga el narrador. Un ingrediente fundamental de las caracterizaciones son las películas que el homosexual Molina suele contar a su compañero de celda – el joven preso político Valentín. Por consiguiente expongo el papel importante de las seis películas que cuenta Molina. Primero explicaré el significado de cada una y después las contemplaré en su conjunto.

After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masculinities and sexualities and their relationship to national identity from 1950 to 2004. He focuses on three traditional genres (the revolutionary melodrama, the cabaretera [dancehall] prostitution melodrama, and the musical comedy "buddy movie") and one subgenre (the fichera brothel-cabaret comedy) of classic and contemporary cinema. By concentrating on the changing conventions of these genres, de la Mora reveals how Mexican films have both supported and subverted traditional heterosexual norms of Mexican national identity. In particular, his analyses of Mexican cinematic icons Pedro Infante and Gael García Bernal and of Arturo Ripstein's cult film El lugar sin límites illuminate cinema's role in fostering distinct figurations of masculinity, queer spectatorship, and gay male representations. De la Mora completes this exciting interdisciplinary study with an in-depth look at how the Mexican state brought about structural changes in the film industry between 1989 and 1994 through the work of the Mexican Film Institute (IMCINE), paving the way for a renaissance in the national cinema.

“Elizabeth Blackwell is a story-telling genius. Her mesmerizing writing weaves a spell that will enchant you. While Beauty Slept breathes new life into the fairytale genre with a historical twist that will take your breath away.” —Meg Cabot, #1 New York Times bestselling author of The Princess Diaries and Heather Wells mystery series I am not the sort of person about whom stories are told. Those of humble birth suffer their heartbreaks and celebrate their triumphs unnoticed by the bards, leaving no trace in the fables of their time… And so begins Elise Dalriss’s story. When she hears her great-granddaughter recount a minstrel’s tale about a beautiful princess asleep in a tower, it pushes open a door to the past, a door Elise has long kept locked. For Elise was the companion to the real princess who slumbered—and she is the only one left who knows what actually happened so many years ago. As the memories start to unfold, Elise is plunged back into the magnificent world behind the palace walls she left behind more than a half century ago, a labyrinth where the secrets of her real father and the mysterious fate of her mother connect to an inconceivable evil. Elise has guarded these secrets for a lifetime. As only Elise understands all too well, the truth is no fairy tale.

Signifying "others" or signs of life? This book critically examines the ways in which crossing sex and gender is imagined in key cultural texts from contemporary Latin America. Unlike previous studies, Crossing Sex and Gender in Latin America does not hold that sexually diverse figures are always and only performative or allegorical and instead places the accent on questions of the presence or absence of an account of subjectivity in contemporary representation. Via analysis of selected films and literary works of Reinaldo Arenas, Mayra Santos-Febres, Pedro Lemebel, among others, the author reflects on the political implications of recent visions (1985-2005).

Winner of the Montserrat Ordóñez Prize 2018 This book provides an original and exciting analysis of Colombian women’s writing and its relationship to feminist history from the 1970s to the present. In a period in which questions surrounding women and gender are often sidelined in the academic arena, it argues that feminism has been an important and intrinsic part of contemporary Colombian history. Focusing on understudied literary and non-literary texts written by Colombian women, it traces the particularities of Colombian feminism, showing how it has been closely entwined with left-wing politics and the country’s history of violence. This book therefore rethinks the place of feminism in Latin American history and its relationship to feminisms elsewhere, challenging many of the predominant critical paradigms used to understand Latin American literature and culture.