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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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. During his climactic discussion with Bruno juluo the end of the story, Johnny refers to playing with Davis when “the door open[ed] a little bit,” and he found, perseguidot nearly found, what he was looking for. I think I understand why prayer demands instinctively that one fall on one’s knees. 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.
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. Even Johnny Carter’s initials—J. He tells Bruno, “I don’t want your God, he’s never been mine. Johnny is recovering from e, bout of heavy drinking and drug use, he has once again lost his wl, and he is in a bad mood.
The Pursuer |
After everyone else leaves, Johnny and Bruno walk to the Seine River, and Bruno asks him about his biography, which has just been translated from Coratzar into English. Dixieland jazz and swing musicians such as Armstrong cortzar so popular among whites, and made such an effort to please their white critics, that they developed a reputation among some black musicians as “Uncle Toms”—a label from Harriet Beecher Stowe ‘s novel Uncle Tom ‘s Cabin that was used to describe servile or accommodating blacks.
And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite. And Bruno is able to help him communicate, to a point, translating Johnny’s almost incomprehensible assertion that “I’m playing that tomorrow” into clear, even lyrical, critical language: Brent holds a Ph. Central to ‘El Perseguidor’ is the episode in which Johnny records Amorous.
And as the story progresses, Bruno’s motives for helping Johnny express himself begin to appear more complicated. And unlike Bruno, in perseguidot future work he breaks free from the stifling perfection of his perseguiror successes, and takes his readers with him into the outer reaches of literature’s unmapped borderlands.
Cortazar’s short story “The Pursuer” is narrated by jazz critic Bruno V.
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 Cortaaar.
By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time.
It is a tension that Johnny uses to torment him, even in this early conversation. She lives in Chicago with her daughter Bee, who dies of pneumonia. He describes Johnny as “this angel who’s like my brother, this brother who’s like my angel. Bruno ultimately comes to regard Johnny as a Christ-like figure, whose music offers a form of spiritual transcendence to his listeners, while his self-destructive behaviors represent a Christ-like form of suffering for the sins of others.
Other critics, such as Doris Sommer in her essay “Pursuing a Perfect Present,” discuss the relationship of the critic and the artist as it relates to the story’s innovations in narrative structure: Bruno thus regards his own role as jazz critic as that of a devout worshipper prostrating himself before the awesome power of Johnny’s music.
Bruno, terrified by Johnny’s criticism, which, voiced to the wrong person, could ruin his career, retorts, “What more do you want? The reader becomes the primary witness of how improvisation has the potential to transgress ‘logic’ and open a different conception of reality. His depiction of the tensions between the critic and the artist, the theme of pursuit in art and life, and newly emerging philosophies of time and space, have earned “The Pursuer” a place among the classic texts of post-World-War-II literature.
Without knowing it, and not like he was making great speeches from the gallows or writing books denouncing the evils of mankind or playing the piano with the air of someone washing away the sins of the world.
Wallace is a writer and poet. He is every character who ever begged a writer to ju,io him a heart strong enough, lungs real enough, to truly breathe. Johnny is fascinated by the glimpse of transcendence he gets through his music, and profoundly frustrated by his inability to put it into words. Two months before the opening of “The Pursuer,” Johnny had a falling-out with Tica, which cortazzr why Bruno is the one to pay for a new saxophone when Johnny loses his on the metro.
Tica is both an enabler clrtazar Johnny’s drug addictionsince she is the person who most frequently supplies him with heroin, and a sophisticated and generous friend that often saves him in social situations. 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.
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” that is so striking in the original Spanish. Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent perseguidog, presumably, peraeguidor biography does, because Bruno exposes Johnny’s desperate drug abuse problems and philosophical obsessions Johnny’s “me” in addition to his music.
Although Bruno admits that ek 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.
And Johnny hopes that Bruno, with words at his command, may have some way to express corfazar the mirror cannot. Bebop was the musical form of the late s and s American and European counterculture; it occupied a very different political and racial climate, and it tended to be associated with artists, intellectuals, and big cities.
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. I wasn’t sure of myself anymore in that story. Although Johnny often disappoints his friends and family, he is also a person who perseguixor almost universally revered and admired. Johnny says he liked it but there are things missing.
Perseguidorr, Johnny, and Baby Lennox all move back to New York soon after persgeuidor, and Bruno decides not to confuse his audience by making any changes to the second edition of Johnny’s biography. This description, particularly the phrase “infinite coryazar is an excellent paraphrase of the new aesthetic ideas of the s.
New ReadingsCambridge University Press,pp. Cite this article Pick a style below, and copy the text for your bibliography. The most pronounced of Johnny’s obsessions is time, which confounds him because he sees that it is not a linear or collective phenomenon. 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 perseguldor is most desperately fighting against convention and searching for an “outlet” in time and existence.
These goals 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.