Kiss of the Spider Woman

The recent Interactive Oral on Manuel Puig’s Kiss of the Spider Woman was pivotal in that it deepened my understanding of how the cultural context of the novel discloses several of its less exposed facets. Based on preliminary knowledge on the writer -- that he was suspected of homosexuality, a transgressive phenomenon in 1970s Argentina -- I assumed he reflects himself in the novel through Molina, a male character which displays a feminine behavior. One of the most enlightening insights a peer

The ending of Kiss of the Spider Woman was very interesting and a surprising twist. Molina’s death was surprising after being shot by Valentín’s revolutionary group, but the most surprising was actually Valentín’s predicament. He is brutally beaten which he turns to find pain relief that sends him into a drug-induced mind. The reader gets a glimpse of his consciousness and his dream-state mind, which revolves, back to the theme of escapism. Valentín dreams of escaping prison to an exotic island where

[Title] The Kiss of the Spider Woman tells us of the story of Molina, a transgender male in jail for perversion of a minor, and Valentin, a political prisoner. As the novel progresses, both characters change through their shared experiences, quarrels, ideology, compassion, care, and eventually, their relationship. Molina’s blatant gayness is evident, while Valentin’s sexuality eventually proves contingent in spite of his apparent masculinity. Despite Valentin’s love for a bourgois, Marta, Molina

Love politics: Friendship as a means to critique rebellion in Kiss of the Spider Woman During the Brazilian military dictatorship, which lasted from 1964 to 1985, many Marxists, students, and unemployed workers formed coalitions to oppose authoritarian regime. Those who protested or pursued armed conflict were incarcerated and subsequently tortured. The film Kiss of the Spider Woman, based on the novel with the same name by Manuel Puig and directed by Héctor Babenco, explores the relationship between

Can someone be truly selfless their entire lives? To answer this, I will be analyzing the warden scene in both the book and the film adaptation of the Kiss of the Spider Woman. In pages 149 to 153 of the Kiss of the Spider Woman strong language is used to show that Molina is an example of a completely selfless person. On page 150 the warden utters the word “crying” this word is used after he tells Molina that his mother is feeling better. This is also one of the few occasions that language draws

Danielle Hall Dr. Dale Bailey Think Piece 3 November 1, 2017 In the book Kiss of the Spider Woman the author Manuel Puig I eventually notice a conviction after reading some of the book and also listening to the classroom discussions. Although I personally could not fully follow and understand the text and what Puig was saying to my full capability I also thought deeper into what was said and involved the two main characters Valentin and Molina. The author writes about two very different people

creating the woman figure. In Manuel Puig’s Kiss of Spider-Woman and Clarice Lispector’s “The Buffalo,” the woman, and therefore femininity, is characterized in two different ways using the animal as an interpretative medium. However, in utilizing the animal, the authors also demonstrate that, by conforming to this idealized femininity, the process of becoming-woman ultimately leads to

Valentin’s feebleness in prison can be compared to Demetrio Macias’s defenselessness when he was wounded early in the revolutionary group’s excursion to the city of Zacatecas. At the time, the 60 revolutionaries had an insufficient 20 rifles, so bullets from the enemy showered them. After manipulating shirts into tunics to hinder bleeding in Demetrio’s leg, the rebel group relayed him on a makeshift stretcher, and rejuvenated at a quaint Indian village. Demetrio had symptoms such as daily chills

government. In Mexico and Argentina, an overbearing government was the chief cause of their corresponding revolutions. These events resulted in creative inspiration in the writing of two novels: Mariano Azuela’s The Underdogs and Manuel Puig’s Kiss of the Spider Woman. Enclosed in each novel is a revolutionary leader ascribed a motivation for fighting against what they perceive as an oppressive government. Demetrio Macias, the lead protagonist in The Underdogs, leads a coalition of countrymen during the

media to create a conformist society and to label any outsider as “strange” or “other.” Although media about the marginalized exists, they are few and far in between, leaving them to appropriate other forms of expression. In Manuel Puig’s “Kiss of Spider Woman,” Molina, an effeminate gay man, recounts the storyline of Jacques Tourner’s film, “Cat People,” through a queer perspective. By identifying with a nonhuman figure and distorting a heteronormative plotline, Molina recognizes the animality,