de Julio Cortázar» el-perseguidor-y-otros-cuentos-de-cine-ebook- el-perseguidor-y-otros-cuentos-de-cine-ebook-. 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 . 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.

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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. Hodeir, a biographer and critic largely grouped with the s Parisian literati, is in many ways a model for Bruno.

Perhaps this is one reason Johnny continually loses his saxophone; he desires to be taken not simply && his music but for himself. Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny. Similarly, artists like Johnny are constantly engaged in pursuing some of the basic values and assumptions of a society, trying desperately to open the door to a new understanding of the world.

One of the prodigious musicians of the twentieth century, Parker is often considered to have cortaazar single-handedly created the style of bebop. The author may be suggesting cortxzar such racist judgments and simplifications are delusional.

In describing the effect of Johnny’s music on him, Bruno asserts, “he played like I imagine only a god can play an alto sax, given that they quit using lyres and flutes.

Johnny perzeguidor not forgotten his early hope, that Bruno’s talent for words will somehow help him to speak what for him is unspeakable. And Johnny hopes that Bruno, with words at his command, may have some way to express what the mirror cannot.

Bruno then receives a call from Tica who says that Johnny’s youngest daughter, Bee, has died in Chicago.

Bruno is overtly racist towards Johnny, calling him a “crazy chimp” and even a “savage,” yet he also admits that “what I’m thinking is on a lower level” than Johnny. Would you like to tell us about a lower price? The s was a decade of great turmoil in the French colonial world, as well as a decade of major political changes in the Hispanic world. If anything, he was protecting Johnny. But this unique style is more than simply an emulation of bebop; it is a method of expressing a variety of philosophical and intellectual concepts for which bebop music serves as an excellent metaphor.


As Sommer notes her article in “Pursuing a Perfect Present,” “The Pursuer” constantly draws attention to its departure from typical past tense narrative by using a “clumsy,” “redundant,” and “anxious present perfect tense. Bruno, embarrassed by this public display, tries to get Johnny to sit down in a chair. He died of leukemia and heart disease in Paris on February 12,three years after becoming a French citizen.

Bruno becomes more specific in his comparison of Johnny Carter to Jesus Christ toward the end of the story. Y no es culpa tuya no haber podido escribir lo que yo tampoco soy capaz de tocar. Regardless of Johnny’s insistence that Bruno remove the religious references from the biography, Bruno decides to leave the second and subsequent editions of the biography as is, without trying to revise it in accordance with Johnny’s criticisms of how he and his music have been represented.

Further, the onlookers seem to derive some comfort or satisfaction from Johnny’s display of suffering, and thus resent Bruno’s efforts to end this display, just as, the narrator suggests, people derive a kind of comfort from the religious martyrdom of Jesus Christ.

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Bruno’s help may not actually help Johnny much. Inafter traveling back to New York City, Parker had an ulcer attack in the room of his friend and benefactor Baroness “Nica” Ponnonica de Koenigswarter, and died three days later of complications due to heroin and alcohol abuse. New ReadingsCambridge University Press,pp. Share your thoughts with other customers. His biography focused on Johnny’s music, he tells himself, and not on the failings of the man himself, his lunacy, his addictions, his promiscuity, his ridiculousness.

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While he regards Johnny as a Christ-like figure, Bruno regards himself as a sort of cortzzar or proselytizer, spreading the gospel of Johnny Carter.


Visit our Help Pages. Bruno’s narration, which eventually falls into a clear past tense during the last section, continues to remind the reader that the critical and biographical eye is the sole access to imagining Johnny.

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The layers between the outside observer and the inner reality and the distinct reading experience involved in sifting through these layers in order to find meaning are the chief innovations of “The Pursuer. Bruno does not follow any commonly cortxzar standard of dramatic unity or narrative structure and insists on using awkward verb structures.

Yet Bruno seems to be the only person aware that he is doing this, pfrseguidor 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. As the title of the story suggests, he is interested jullio the idea of a “pursuer,” which could refer to any number of characters, seeking a variety of goals.

The Pursuer

But he became associated with an international elite, and he never actually lived in Argentina after his departure for Paris in But he is always left with the sense that he has, perhaps, lost something in the translation, that he has not gone with Johnny over the boundaries, merely brought him back. Bernard, whom Johnny calls a “sad-assed idiot,” is the physician taking care of Johnny in Paris.

Bruno enters, calculating that they have not seen each other in a month. These pereeguidor include the essence of the prodigious artist, the artistic object itself, the truth or reality through the “door” that Johnny continually mentions, the “prestige” Bruno covets, or simply the story itself.