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Manuel Puig
Secondary reading and theory
| Question | Answer |
|---|---|
| Arriola on characters' reliance on popular culture | "artificial narratives...seemingly pointing to their banal existence" |
| Norton on emotions provoked by cinema | “the novel is threaded with the cinephilia of escapism and longing" |
| Puig in Wheaton on the effect of film | “what interests me more about those films is examining the effect they had on people" |
| Arriola on dreams | "Dreams are the only reality known to Puig's characters" |
| Arriola on betrayal | "betrayal takes place as the people pin their hopes on pipe dreams" |
| Jameson on popular culture and identity | People "incorporate [it] into their very substance” |
| Puig with Corbatta on parody | “Yo no tengo intención paródica. . .parodia significa burla, y yo no me burlo de mis personajes” |
| Onetti, Puig, and Valenzuela on women and popular culture | “These women merely mimic the only possible roles that the dominant discourse allows” |
| Onetti, Puig, and Valenzuela on appearances | "Appearances are all" |
| McCracken on dependency | “the extreme dependency this mass cultural form [film] creates across class lines” |
| McCracken on the copy and past forms | “In presenting mass cultural forms of the past, Puig allows us to see these forms at a distance and therefore more critically” |
| Amícola on redefining the popular | “juega con la misma categoría de nobleza o depreciación de los materiales utilizados para su recontextualización,” |
| Pauls on the main subject | “la vida desnuda. Es la vida del otro,” |
| Pauls on Puig's role | “Puig es el gran desenmascarador” |
| Bacarisse on intertextuality | “help the reader to discern more clearly the nature of the preoccupations of the main texts” |
| Bacarisse on high and low culture | "for Puig there was no vital difference between highbrow and lowbrow art” |
| Bacarisse on the universal feeling among protagonists | “A sense of the isolation of all Puig's protagonists cannot be avoided” |
| Kantaris and O'Bryen on the relationship between popular and political | Giving the popular a voice "must be accompanied by careful reflection on...its status as a political product” |
| Kantaris and O'Bryen on appropriation of popular forms by the State | “hegemony has always been intimately bound up with the capture of affect” and “libido in order to mobilize the desire for consumption” |
| Jameson on public and private spheres | the “outside” (global, social, and economic world) has invaded the “inside” (private sphere of the individual) |
| Jameson on postmodern loss of self | Fragmented sense of self and ability to experience profound emotion -> "waning of affect" |
| Jameson on the role of postmodern art | New “cognitive mapping” which assists in the visualisation of an individual’s place in the vast postmodern world |
| Bürger on the avant-garde | Combined art and real life in order to provide a critique on the institutions of art, breaking down the boundaries of taste |
| Bürger on the neo-avant-garde | The “apolitical”, commercialised repetition of the forms, without the revolutionary quality |
Created by:
izzirowell