Religious Symbolism and the Ideological. Critique in “El perseguidor” by Julio Cort?zar. El sentido esencial de este cuento existe en funci?n de un sistema de. In , the Argentine writer Julio Cortázar published a short story entitled “El Perseguidor” (“The Pursuer”) that vividly brought to life the bebop scene of s . This study aims to juxtapose two treatments of „time‟ in Julio Cortázar‟s short story, El perseguidor, to better understand how the concept challenges the.
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The right answer simply can’t be explained. Marcel is Johnny’s friend and fellow musician, likely a trumpet player from the United States. This is clearer in the original Spanish persegudor, since the translator Paul Blackburn has edited out some of the awkwardness in language.
The Pursuer |
Tica is both an enabler for Johnny’s drug addictionsince she is perseguiror person who most frequently supplies him with heroin, and a sophisticated and generous friend that often saves him in social situations.
He most frequently uses the present perfect verb tense, a verb form that is usually used to discuss events that happened at an uncertain point between the past and present. Their problem is that Johnny is still a living man, still capable of defying everything they think, or have written, about him.
For example, one of his chief interests is in the relationship between the critic and the artist; critics like Bruno persehuidor pursue and clarify the truth or the nature of the artist so that the art itself can be comprehended.
But unlike a writer of fiction, whose success or failure in portraying a character can be measured finally only in their own hearts, Bruno the critic has the opportunity, or the punishment, of coming face to face with the man he has tried to capture in his cortazxr biography.
Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language. And very often, like Johnny, these artists are tortured by their lack of success or severely misunderstood by other people. Since then she has given him money, sometimes slept with him, shot up heroin with him, and used her unique ability to perseguidot him down and provide comfort when he has needed it. As Bruno admits, “we’re a bunch of egotists; under the pretext of watching out for Johnny what we’re doing is protecting our idea of him.
Influenced by postmodern theorists such as the psychoanalyst Jacques Lacan, they were largely dissatisfied both with the conventions of the modernist era and the mainstream culture of their time. Bruno delays going to see him until the next day, but he finds out in the police reports the next morning that Johnny set his hotel room on fire and escaped, running naked through the halls.
Then Johnny falls asleep and Bruno observes that Johnny is not a genius “walk[ing] in the clouds,” but a man more real than anyone else. And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite.
Parker is present here and shows author and reader the possibility to imagine a world otherwise, in which time, language, and music escape the barriers imposed by an exclusionary system. In fact, many of his obsessive rants relate to some of the most pressing philosophical issues of the post— World War II era, particularly in the area of eo, the branch of philosophy that deals with the “nature of reality. Although Bruno admits that he is an “egoist” trying to protect his “idea” of Johnny, he later comes to recognize that Johnny is often the “hunter” chasing and tormenting his biographer.
Bruno goes to Johnny’s hotel room and listens to Johnny explode about his friends keeping the recording of Amorous. Jazz appears in ‘El Perseguidor’ both as one of its main themes and as the basis for its writing. They have to keep living in order to solve them, in order perseguidog get to the secret. Johnny’s suspicions and strife may be lost on his fictional critic, but, in the end, his struggle infects the actual writer who created both musician and critic.
Bernard, whom Johnny calls a “sad-assed idiot,” is the physician taking care of Johnny in Paris.
If improvisation is to be used as writing technique, the literary work must enclose a dialogue of juloo between author and reader. The author in this case does not impose an image or societal model upon its readership.
Remember me on this computer.
It is a problem that every writer who works with true characters, with the crazily unpredictable winds and sparks of real life, should have. That Bruno regards Corazar musical abilities as godlike is further expressed when he struggles to describe the awe-inspiring effect of Johnny’s live performance at a club one night, observing. Yet Bruno seems to be the only person aware that he is doing this, and Bruno also as becomes clear while he is listening to Amorous understands Johnny’s music, as well as his obsessions and philosophies, better than any of the other characters.
Ultimately, Bruno represents Johnny as a Christlike figure who suffers for the sins of mankind, and his own role as that of a preacher, whose task is to testify to the spiritually transcendent power of Johnny’s music. Alazraki, Jaime, and Ivar Ivask, eds.
Confusing reality with fiction, Bruno mentions an interview with Miles Davisthe famous jazz trumpeter who played with Charlie Parker during the peak of his career in New York. Although her name is Tica, Bruno often refers to Johnny’s jklio and sometime lover, the wife now separated of a marquis, as “The Marquesa.
It is involved in the very process of writing. Blackburn’s translation does shift into different tenses, but it avoids the repetitive use of the present tense of “haber,” or “to have,” “he, has, ha, hemos, han” perseguidkr is so striking in the original Spanish.