shǒuyè>> wénxué>>màn niǔ 'ěr · Manuel Puig
  《 zhī zhū zhī wěnshì de xiǎo shuō , zhè shì de xiǎo shuō zhōng yǐng xiǎng zuì de zài 1976 nián biǎo hòu , zài bǎn , bèi chéng duō zhǒng wén , bìng gǎi biān chéng diàn yǐng
     zài 'ā gēn tíng shǒu nuò 'ài jiān de jiān láo fáng guān zhe liǎng qiú fàn , shì zhèng zhì fàn lún dīng , lìng shì tóng xìng liàn zhě xiǎo shuō men liǎng rén de duì huà wéi zhù xiàn suǒ , zhú zhǎn xiàn chū men de nèi xīn shì jiè , dòng liǎo mái cáng zài men shí shēn chù de xīn xián , cóng miàn pōu liǎo 'ā gēn tíng shè huì de xiàn shízuò zhě zhù rén gōng shù diàn yǐng shì de fāng , fāng miàn jiē shì liǎo gǎi biàn shè huì de mìng zhě de de nèi xīn shì jiè , lìng fāng miàn yòu cóng shè huìxīn shēng zhū fāng miàn duō céng pōu liǎo tóng xìng liàn zhè yǐn rén men zhòng shì de shè huì wèn
     duì tóng xìng liàn de chǎn shēng cún zài , zuò zhě yán de tài jìn xíng liǎo de fēn cǎi yòng xīn yíng de biǎo xiàn shǒu , jiàng xīn jiāng duō shù qiǎo qiǎo miào róu zài , jīng xīn gòu zhù liǎo xiǎo shuō de jié gòu , cǎi fēn chéng de diàn yǐng shì , xiǎo shuō zhèng wén xiāng yìng de lùn zhù shí , chuān chā zài duì huà dāng zhōng de shí liú , hái yòu jiǎn jié míng kuài de xíng shū gōng wén , ràng rén lái xīng wèi 'àng rán , duàn , zhēn wèi yán wén xué tōng xiǎo shuō shēn , yòu yǐn rén shèng de shì qíng jié , yòu yòu duì shè huì xué xìng xīn xué děng wèn de shēn tàn qiú , hái yòu nài rén zhuó de wén xué mèi zhè zhǒng jiāng wén xué xìng wèi xìngshè huì xìng xué xìng róng zài de diǎn shì zhè xiǎo shuō chéng gōng de zhù yào yuán yīn
     zhè xiǎo shuō zhōng yùn yòng zuì wéi chū de shǒu jiù shì zài liǎng rén de duì huà zhōng shù diàn yǐng shìshēn 'ān diàn yǐng shù de qiǎo miào jiāng liù diàn yǐng de qíng jié guàn chuān zhěng xiǎo shuō de shǐ zhè xiē diàn yǐng shì de gòu qiǎo miào , ān pái dāngměi diàn yǐng suī rán chéng piān , què yòu zhe gòng tóng de shēn suì de nèi hán , cóng tóng de jiǎo yǐn tóng xìng liàn de tóng de biǎo xiàn fāng shì xīn zhēngzuò zhě cǎi yòng méng tài de shǒu , jiāng diàn yǐng diàn yǐng , diàn yǐng liǎng qiú fàn de xiàn shí shēng huó jiǎn qiē duì míng 'àn , xiàng duō lēng jìng bān zhé shè chū yòu qíng yòu nài rén suǒ de huà miàn


  Kiss of the Spider Woman (Spanish: El beso de la mujer araña) is a novel by the Argentine writer Manuel Puig. It is considered his most successful. The novel's form is unusual in that there is no traditional narrative voice, one of the primary features of fiction. It is written in large part as dialogue, without any indication of who is speaking, except for a dash (-) to show a change of speaker. There are also parts of stream of consciousness. What is not written as dialogue or stream of consciousness is written as metafictional government documentation. The conversations that the characters engage in, when not focused on the moment at hand are focused on films that Molina has seen, which act as a form of escape from their environment. Thus we have a main plot, all of the subplots that are involved in that, and four additional mini stories that comprise the novel. The author includes a long series of footnotes on the psychoanalytic theory of homosexuality. These act largely as a mini representation of Puig's political intention in bringing an objective opinion of homosexuality. The footnotes end up including both factual information with that of the fictional Anelli Taub. The footnotes tend to appear at points of the greatest misunderstanding between both Molina and Valentin.
  
  The novel can be read as an indictment of a disengaged aesthetic perspective in the context of a world where people have to take sides. Valentin, the Marxist protagonist, has risked his life and willingly endured torture for a political cause and his example helps transform his cell-mate into a citizen, someone who will enter the world. Likewise, the other protagonist, Molina's love of aesthetics and cultural life teaches Valentin that escapism can have a powerfully utopian purpose in life; escapism has the potential to be just as subversive and meaningful as actual political activity.
  
  The novel was adapted into a stage play by Puig in 1983 (English translation by Allan Baker). It was also made into a film (1985) and a Broadway musical (1993).
shǒuyè>> wénxué>>màn niǔ 'ěr · Manuel Puig