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Que raconter, c'est apprendre à mourir : essai d'analyse de "El Beso de la mujer araña" de Manuel Puig /Ezquerro, Milagros. January 1981 (has links)
Texte remanié de: Thèse--Lettres--Paris IV, 1981. / Thèse soutenue sous le titre : "Théorie et fiction, le nouveau roman hispano-américain"
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Transformational metaphors in the narrative of Manuel PuigPaul, Marcie L. January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 233-238).
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Geschlechterkonstruktion im argentinischen Roman "El beso de la mujer araña"Eichin, Nadja. January 2005 (has links) (PDF)
Bachelor-Arbeit Univ. St. Gallen, 2005.
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Representation of masculinity in postmodern writings : sexuality and madness in Puig's Buenos Aires affair /Lo, Wai-chun. January 2000 (has links)
Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 40-43).
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Representation of masculinity in postmodern writings sexuality and madness in Puig's Buenos Aires affair /Lo, Wai-chun. January 2000 (has links)
Thesis (M.A.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 40-43). Also available in print.
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Fragmentation and narrative levels in Manuel Puig's Boquitas pintadas computer-assisted analysis of an experimental novel /Ordóñez de Parra, Montserrat, January 1900 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1976. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 182-192).
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Like a woman playing the feminine homosexual as truth in Kiss of the spider woman /Beaman, Michael C. January 2009 (has links)
Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Earl Weaver. Includes bibliographical references (p. 95).
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Los guiones del "ciclo hollywoodense" de Manuel Puig : copias, reescrituras y apropiacionesPollarolo, Giovanna R. 05 March 2012 (has links)
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.
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Los guiones del "ciclo hollywoodense" de Manuel Puig : copias, reescrituras y apropiacionesPollarolo, Giovanna R. 05 March 2012 (has links)
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.
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Los guiones del "ciclo hollywoodense" de Manuel Puig : copias, reescrituras y apropiacionesPollarolo, Giovanna R. 05 March 2012 (has links)
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.
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