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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Johnny is repeatedly described by Bruno as a sort of angel or a god.
As Bruno admits, Johnny’s moments of true artistic genius, as reflected in the recording of Amorousoccur not when he is technically accurate but when he is most desperately fighting against convention and searching for an “outlet” in time and existence. One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped. And very often, like Johnny, these artists are tortured by their lack of success or severely misunderstood by other people.
Jazz began in the early years of the twentieth century as a combination of Western classical music and African American folk and blues music. Late in the story, Bruno describes Johnny’s role among his friends and listeners as that of a religious martyr, who provides a spiritual cleansing of the world by suffering for the sins of mankind.
Bruno’s relationship with Johnny is quite complex. Delaunay is from Paris and seems to be a manager or producer of some kind, since he runs things in the studio but does not play an instrument. 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.
He has abandoned his wife, children, and an unknown number of other lovers, he continually loses or sells his saxophone, he fails to come to performances or refuses to play while there, he has a tendency to be suicidal, and it is sometimes necessary to confine him to a psychiatric hospital because he is a danger to himself or other people.
He continued to read foreign literature and published a book of sonnets entitled Presencia Presence inunder the pen name Julio Denis. And unlike Bruno, in his future work he breaks free from the stifling perfection of his early successes, and takes his readers with him into the outer reaches of literature’s unmapped borderlands.
cortazarr Later le his life, he married the Canadian writer Carol Dunlap. Their problem is that Johnny is still a living man, still capable of defying everything they think, or have written, about him. Incapable of satisfying itself, useful as a continual spur, an infinite construction, the pleasure of which is not its highest pinnacle but in the exploratory repetitions, in the use of faculties which leave the suddenly human behind without losing humanity.
Marcel is Johnny’s friend and fellow musician, likely a trumpet player from the United States. If improvisation is to be used as writing technique, the literary work must enclose a dialogue of equals between author and reader.
The twenty-year-old beauty that goes back to New York with Johnny at the end of the story, Baby is one of Johnny’s admirers. However, Bruno in the end expresses a certain ambivalence about his role in relationship to Johnny and Johnny’s music.
Since then she has given him money, sometimes slept with him, shot up heroin with him, and used her unique ability to calm him down and provide comfort when he has needed it. Alazraki, Jaime, and Ivar Ivask, eds. He is every reader who ever depended on a writer to express for him the one thing he has never known how to put into words, the only thing he has ever really wanted to say, the only thing that means anything.
Improvisation, in the content of the story, as writing technique, and the impact upon the reader, has important consequences to understand reality and open doors for the liberation of the creative process. Bruno struggles to express the persefuidor of what makes Johnny and his music so awe-inspiring.
By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time. 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. According to this metaphor, Bruno’s biography of Johnny may be regarded as a biblical text, describing the religious message he derives from Johnny’s music. Print this article Print all entries for this topic Cite this article.
The Pursuer |
In the process, he explores a number of different explanations of the phenomenon of Johnny. ByFrance had finally lost a costly war in colonial Indochina, and in a rebellion in Algeria by a combination of colonials and militarists effectively toppled the French government, resulting in Charles de Gaulle being called ckrtazar to power as president of France.
Two months before the opening of “The Pursuer,” Johnny had a falling-out with Tica, which is why Bruno is the one to pay for a new saxophone when Johnny loses his on the metro. His analysis of jazz music, originally published in French inis most corfazar for the light it sheds on Charlie Parker.
The capitalist individual moves according to the clock and due dates, as in the case of Bruno, the jazz critic writing for the newspaper.
He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it. Bruno later suggests, however, that the theme of pursuit is more complex than this. In fact, many of his obsessive rants persegukdor to some of the most pressing philosophical issues of the post— World War II era, particularly in the area of metaphysics, the branch of philosophy that deals with the “nature of reality.
Next comes a brief section of Bruno’s thoughts during the intermission of that night’s concert, about Johnny and the music he uses “to explore himself, to bite into the reality that escapes every day.
Skip to main content. At the same time, Cortazxr struggles with his own limits, always catching glimpses of a revelation he can never fully fathom, playing music that carries him far beyond the boundaries of conventional forms but into a land that he can only stutter about brokenly upon his return.
Lan is Johnny’s wife, cortaza they seem to have been separated for a long time. While the three of them drink rum and coffee, Johnny talks about time, one of his “manias,” or intense obsessions, using the subway and an elevator as examples of time not working in a rational way.