In other words, the footnotes lose their hold as the characters become closer, sharing more personal facets of their lives, and eventually becoming sexual. This "unraveling" corresponds to the unraveling of the framing device (most importantly the telling of stories), which traditionally is a narrative structure that functions to hold sexual desire at bay. Secondly, although in the beginning they correspond to the story (in the tradition way that footnotes do - as elaboration on a point that cannot be contained in the narrative) they begin to loose their direct correspondence as the story continues. First, they mark a certain reception of psychoanalytic theory in Argentina. They are not mere postmodern flourish, nor are they superfluous.
"I am limiting my contribution to a few comments on the footnotes. All the same, I think reading it is worthwhile, as it is one of those books that tell a story that comes alive to the reader." Its subject is controversial, as it delves upon themes such as sexual identity, violence and torture. Through a reading of a literary corpus of transgender protagonists, particularly those taken from the works of the Brazilian author Wilson Bueno, a model for post-national identity emerges, one that may well hold special promise for renegotiating the role of hybrid, multilingual and transcultural conceptions of self and other into the twenty-first century.""Kiss of the Spider Woman" (1976) is a novel written by Manuel Puig (1932-1990), an Argentinian playwright, novelist and screenwriter. As these fluid conceptions of language and gender begin to transform the borders of the nation-state to create regional and even transoceanic spaces for identity construction and cultural representation, what are the chances for enhanced South-South transcultural contact, especially in the wake of the all-too-common legacies of military dictatorship, political oppression and state terrorism? After all, transgender performance can be seen to employ many of the same techniques as translation, as well as nuanced forms of cultural critique and social transformation. Against the backdrop of regional integration in South America, most notably in the form of the trading bloc Mercosur, this article explores the increasingly unavoidable phenomenon of fluid transnational identity in the context of other ‘trans’ terminologies: those of translation, both literal and cultural, and of transgender performance.
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