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Here we can link some similarities shared by the old form of serialized written dramas with the contemporary Telenovelas. Both genres share the suspense at the end of the episode that guarantees readers will buy the next newspapers or viewers will tune in the next day. Another commonality is the popularity that cuts through the social strata. Characterizing telenovelas Lopez (1995) affirms: “these are a prime-time entertainment for all audiences".

Martín-Barbero (1998, 1992) characterizes the feuilleton as a “cultural matrix” for the telenovela, along with the melodrama. Telenovelas include the episodic aspect of the feuilleton and the dramatic tension and emotional excess that were characteristic of the melodramas displayed in the “popular theatre” of the eighteen-century. Around this time, the high culture's "official theatre" was restrained and cold, in contrast to the representations of the popular theater, filled with an abundance of gestures and feelings. The authorities only allowed people to see representations without dialogue. People, on the other hand, wanted to see actions and great passions. Therefore, the exaggeration of visual cues was the answer to the people's desire.

Martín-Barbero (1995) includes the telenovela or soap opera genre into the realm of oral culture, which allows the stories to be permeated with the same characters and plots brought by popular forms of story telling. He cited the Mexican “corridos” and the Brazilian “cordel” literature as examples of this oral tradition. The “cordel” literature acquired its name by the cord that holds the pamphlets together. The stories are recited or sung and are sold at popular markets mainly in the northeast region of Brazil. At the core of these genres lies the melodramatic story line, permeated with secrecy, the son/daughter that ignores his/her real parent, or the struggles of good against evil. For Martín-Barbero (1995), the wide presence of the melodrama in the Latin American cultural history is a form of expression of resistance:

The melodrama speaks of a primordial sociality, whose metaphor continues to be the thick, censored plot of the tightly woven fabric of the family relationships. In spite of its devaluation by the economy and politics, this sociality lives on culturally, and from its locus, the people, by "melodramatizing" everything, take their own form of revenge on the abstraction imposed by cultural dispossession and the commercialization of life

 



 


Table of Contents

Acknowledgements / Dedication - Abstract

CHAPETER 1- INTRODUCTION

CHAPTER II - REVIEW OF THE LITERATURE
10-11-12-13-14-15-16-17-18-19-20-21-22-23-24-25-26-27-28-29-30-31-32-33-34-35-36-37-38-39





Acknowledgements / Dedication -

Abstract


CHAPETER 1- INTRODUCTION

CHAPTER II - REVIEW OF THE LITERATURE

CHAPTER III - THEORETICAL FRAMEWORK

CHAPTER IV - THE STUDY

CHAPTER V - THE RESULTS

CHAPTER VI - CONCLUSION

APPENDIX - MESSAGES STUDIED

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