In this dissertation I study Ball Cancelled, Summer Indoors and La tajada, the three early screenplays by Argentine writer Manuel Puig, who wrote these before his first novel and dismissing “copies of old movies”. My thesis investigates and refutes this harsh self-judgment and tries to show—through theories of the “copy” —, that the three screenplays establish a dialogue with one another as well as with the “old Hollywood movies”, through a subtle critique, a transgressive distance and complacency towards the model they represent. The first section examines Puig’s relationship to the conditions under which they were composed, and those films produced in Hollywood in the 1930s and 1940s, in particular those classified as melodramas and “women’s films” under the genre system of that time, as well as with movie reception and the theories elaborated around the audiences, especially the female spectator. The second section is dedicated to the analysis of the three screenplays, from their conception as films to be made under the “Hollywood system” to their impossibility to adherence to the models required by that system, since they reelaborate and alter them, sometimes subtly, and on occassions openly. These three screenplays permit a comprehensive understanding of Puig's narrative, which is why they should be integrated as autonomous texts in the complete works of Manuel Puig.

In this dissertation I study Ball Cancelled, Summer Indoors and La tajada, the three early screenplays by Argentine writer Manuel Puig, who wrote these before his first novel and dismissing “copies of old movies”. My thesis investigates and refutes this harsh self-judgment and tries to show—through theories of the “copy” —, that the three screenplays establish a dialogue with one another as well as with the “old Hollywood movies”, through a subtle critique, a transgressive distance and complacency towards the model they represent. The first section examines Puig’s relationship to the conditions under which they were composed, and those films produced in Hollywood in the 1930s and 1940s, in particular those classified as melodramas and “women’s films” under the genre system of that time, as well as with movie reception and the theories elaborated around the audiences, especially the female spectator. The second section is dedicated to the analysis of the three screenplays, from their conception as films to be made under the “Hollywood system” to their impossibility to adherence to the models required by that system, since they reelaborate and alter them, sometimes subtly, and on occassions openly. These three screenplays permit a comprehensive understanding of Puig's narrative, which is why they should be integrated as autonomous texts in the complete works of Manuel Puig.

In this dissertation I study Ball Cancelled, Summer Indoors and La tajada, the three early screenplays by Argentine writer Manuel Puig, who wrote these before his first novel and dismissing “copies of old movies”. My thesis investigates and refutes this harsh self-judgment and tries to show—through theories of the “copy” —, that the three screenplays establish a dialogue with one another as well as with the “old Hollywood movies”, through a subtle critique, a transgressive distance and complacency towards the model they represent. The first section examines Puig’s relationship to the conditions under which they were composed, and those films produced in Hollywood in the 1930s and 1940s, in particular those classified as melodramas and “women’s films” under the genre system of that time, as well as with movie reception and the theories elaborated around the audiences, especially the female spectator. The second section is dedicated to the analysis of the three screenplays, from their conception as films to be made under the “Hollywood system” to their impossibility to adherence to the models required by that system, since they reelaborate and alter them, sometimes subtly, and on occassions openly. These three screenplays permit a comprehensive understanding of Puig's narrative, which is why they should be integrated as autonomous texts in the complete works of Manuel Puig.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura. / El presente informe tiene como objeto de estudio “El beso de la mujer araña” de Manuel Puig, novela estructurada de forma dialógica, integrada por tres niveles: un nivel narrativo básico (diálogos entre los personajes y diálogo acotado entre el Director de la cárcel y Molina) uno intratextual (narración de películas de clase B) y uno subtextual (notas al pie de página). Dicha novela relata la vida de Molina y Valentín –el personaje homosexual y el guerrillero- durante el tiempo que permanecen juntos en la misma celda y la muerte de ambos, la de Molina en el exterior y la de Valentín en la enfermería de la cárcel. El análisis se centrará en la figura de Molina, específicamente en su conformación como heroína romántica; el concepto de heroína romántica no es abordado desde la concepción canónica de la literatura, sino desde la cultura de masas, por tanto, se postula una resemantización del concepto de héroe y heroína. Para ello, se realizará el análisis crítico de cada una de las ‘capas’ o niveles de los cuales está compuesto el texto, para, de esta manera, comprobar que entre ellas se establece una retroalimentación que, por una parte, es dialéctica y, por otra, dependiente. Esta retroalimentación permite el afianzamiento y validación de una heroína nacida desde la cultura de masas, una heroína romántica que tuvo su génesis en las películas sentimentales de los años ’50. Como consecuencia inmediata a la conformación de Molina en heroína se establece el que éste se constituye, a la vez, como un homosexual heroico. Ambas ópticas no son excluyentes entre sí, sino que el constituirse como un homosexual heroico es sólo la consecuencia inmediata de su ser-heroína, y, como tal, sólo es posible gracias a la instauración y validación de ella. En conclusión, se configura un homosexual heroico en la novela, que sin la institución de Molina en heroína romántica, no podría haber existido jamás.

In this dissertation I study Ball Cancelled, Summer Indoors and La tajada, the three early screenplays by Argentine writer Manuel Puig, who wrote these before his first novel and dismissing “copies of old movies”. My thesis investigates and refutes this harsh self-judgment and tries to show—through theories of the “copy” —, that the three screenplays establish a dialogue with one another as well as with the “old Hollywood movies”, through a subtle critique, a transgressive distance and complacency towards the model they represent. The first section examines Puig’s relationship to the conditions under which they were composed, and those films produced in Hollywood in the 1930s and 1940s, in particular those classified as melodramas and “women’s films” under the genre system of that time, as well as with movie reception and the theories elaborated around the audiences, especially the female spectator. The second section is dedicated to the analysis of the three screenplays, from their conception as films to be made under the “Hollywood system” to their impossibility to adherence to the models required by that system, since they reelaborate and alter them, sometimes subtly, and on occassions openly. These three screenplays permit a comprehensive understanding of Puig's narrative, which is why they should be integrated as autonomous texts in the complete works of Manuel Puig.

No romance Boquitas Pintadas, de Manuel Puig, encontramos conversações literárias que se aproximam de conversações espontâneas dadas as diversas marcas do registro oral coloquial encontradas. Entre as características de um texto conversacional, notamos que há um jogo de preservação de faces, no qual os participantes fazem usos de estratégias para que não ameacem a liberdade de ação ou a auto-estima de seus interlocutores, para que mantenham o equilíbrio da interação. Estas são as estratégias de cortesia, que serão o foco desta dissertação. Nosso objetivo é analisar as manifestações de cortesia nas conversações literárias selecionadas. Para tanto, apoiando-nos na teoria dos Atos de Fala, em Estudos da Cortesia e em conceitos da Análise da Conversação, buscamos examinar como a distância social entre os participantes, o poder entre eles, e o grau de imposição do ato de fala influencia o uso da cortesia em cada diálogo literário. Os resultados demonstram que nas conversações literárias analisadas a variável que mais motiva o uso de estratégias de cortesia é a relação de poder entre os personagens. / In the Novel wrote by Manuel Puig (1932-1990) firstly published in 1969, we are able to find out literary conversations. These literary conversations are similar to spontaneous conversations in spite of the variety of colloquial oral registers. In their midst characteristics of a conversational text, we are able to figure out that there is a strategic of the face-saving view, in which the speakers exploit strategies that can not be treated their freedom of action or their self-steam, for these reason and with these abilities they can maintain the interaction balance in the conversation. Those are the main strategies of politeness which is the main goal of this dissertation. Our main goal is the analyse of politeness manifestation in the seven literary conversation selected by the novel Boquitas Pintadas. Therefore, based on the Theory of Perlocutionary Acts or Speech acts, in the Politeness studies and in concepts of the Conversation Analysis, we try out to analyze how the social distance between the participants of a conversation (orality), the Power between them, and the level of imposition of the speak acts influence the use of politeness in each of the seven literary dialogue studied. The results developed in this research can demonstrate that in those literary conversation analyzed was found three main varieties: Social Distance, Level of Imposition and Power. And among these varieties, the most important and significant strategy of politeness is the power relation found between the characters inside the conversations.

No romance Boquitas Pintadas, de Manuel Puig, encontramos conversações literárias que se aproximam de conversações espontâneas dadas as diversas marcas do registro oral coloquial encontradas. Entre as características de um texto conversacional, notamos que há um jogo de preservação de faces, no qual os participantes fazem usos de estratégias para que não ameacem a liberdade de ação ou a auto-estima de seus interlocutores, para que mantenham o equilíbrio da interação. Estas são as estratégias de cortesia, que serão o foco desta dissertação. Nosso objetivo é analisar as manifestações de cortesia nas conversações literárias selecionadas. Para tanto, apoiando-nos na teoria dos Atos de Fala, em Estudos da Cortesia e em conceitos da Análise da Conversação, buscamos examinar como a distância social entre os participantes, o poder entre eles, e o grau de imposição do ato de fala influencia o uso da cortesia em cada diálogo literário. Os resultados demonstram que nas conversações literárias analisadas a variável que mais motiva o uso de estratégias de cortesia é a relação de poder entre os personagens. / In the Novel wrote by Manuel Puig (1932-1990) firstly published in 1969, we are able to find out literary conversations. These literary conversations are similar to spontaneous conversations in spite of the variety of colloquial oral registers. In their midst characteristics of a conversational text, we are able to figure out that there is a strategic of the face-saving view, in which the speakers exploit strategies that can not be treated their freedom of action or their self-steam, for these reason and with these abilities they can maintain the interaction balance in the conversation. Those are the main strategies of politeness which is the main goal of this dissertation. Our main goal is the analyse of politeness manifestation in the seven literary conversation selected by the novel Boquitas Pintadas. Therefore, based on the Theory of Perlocutionary Acts or Speech acts, in the Politeness studies and in concepts of the Conversation Analysis, we try out to analyze how the social distance between the participants of a conversation (orality), the Power between them, and the level of imposition of the speak acts influence the use of politeness in each of the seven literary dialogue studied. The results developed in this research can demonstrate that in those literary conversation analyzed was found three main varieties: Social Distance, Level of Imposition and Power. And among these varieties, the most important and significant strategy of politeness is the power relation found between the characters inside the conversations.

Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Earl Weaver. Includes bibliographical references (p. 95).

Identity, who we are, is at the core of every human being, thus at the core of every character from every play. How the character identifies his self through gender and sexual identity will shape both physical and emotional choices that an actor will make through the rehearsal process. As an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. As more characters in modern drama are openly gay, there is an increasing urge for an actor to fall into campy stereotypes. Through a performance of the role of Molina in Manuel Puig's Kiss of the Spider Woman, this thesis will examine the blurring line of gender identity of the leading man in contemporary drama and explore the challenges of portraying a feminine man in a non-stereotypical way, remaining true to the identification of the character. A thorough historical analysis presents a look at the evolution of the homosexual throughout modern drama, from self-loathing party boys of the seventies to ordinary fathers, husbands, and sons in modern households. A structural analysis of Puig's text will aid in the choices made by the actor. Lastly, a complete character analysis will examine the psychological motivations behind Molina's actions as well as the changes in his gender and sexual identity throughout the piece. This thesis will culminate in a comprehensive development, rehearsal and performance journal, which will document and address challenges, discoveries, failures and victories during the production process.

La novela El beso de la mujer araña del escritor argentino Manuel Puig es una novela que trata dedos presos en una cárcel bonaerense durante la dictadura militar argentina. Esta tesina se centrará enla identidad femenina de Molina. El objetivo de esta tesina es examinar la celebración de lafemineidad de Molina, y su construcción de una identidad femenina. Esta identidad se conectarácon la idea de la identidad femenina como socialmente construida, opuesto a la noción de génerocomo algo innato. Es decir, la identidad femenina de Molina y sus ideas de lo femeninocorresponden a la idea de la identidad femenina como socialmente construida. Apoyándonos enteoría feminista y teoría queer, estableceremos la conexión que existe entre la identidad femeninacomo la ve Molina, y la identidad femenina como construcción social. / The kiss of the spider woman, novel written by Argentinian novelist Manuel Puig, is the story oftwo prisoners in a prison in Buenos Aires during the military dictatorship. This thesis will focus onthe feminine identity of protagonist Molina, a homosexual man who choses to regard himself as awoman. The aim of this thesis is to examine his construction of the feminine identity, and connectthat construction with feminist and queer theories of gender as socially constructed, opposed toinnate or given by biological gender.