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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If not accompanied by reference, other quotes are translated by the author of this paper. In explaining his childhood to Bruno, he equates both his parents’ fights over money specifically, over their home mortgage with the religion they imposed upon jullo as aspects of juli childhood that he found unbearable.

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.

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 now-famous biography.

Toward the end of the story, Johnny in fact openly objects to Bruno’s description of his music in terms of God and religion, angrily criticizing such references in Bruno’s biography of him. Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language.

It is a tension that Johnny uses to torment him, even in this early conversation. In “The Pursuer’ I wanted to stop inventing and stand on my own ground, to look at myself a bit. Tica is both an enabler for 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.

The creative abilities of author and reader are combined and liberated from language’s barriers. In Bruno’s attempt to capture the essence of Johnny that was left out of his biography of the jazz musician, he makes many references to God, angels, devils, and religion.

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 French into English.


Help Center Find new research papers in: Johnny is fascinated by the glimpse of transcendence he gets through his music, and profoundly frustrated by his inability to put it into words. Perseghidor continued to read foreign literature and published a book of sonnets entitled Presencia Presence inunder the pen name Julio Denis.

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.

The Pursuer |

Because each style has its own formatting nuances that evolve perseguidkr time and not all information is available for every reference entry or article, Encyclopedia. And Johnny hopes that Bruno, with words at his command, may have some way to express what the mirror cannot.

When he coortazar, however, he made what are generally considered his best recordings, with musicians such as the trumpeter Miles Davis and the drummer Max Roach. But, he adds, Bruno’s book is missing something. The change of position is a symbol of the change in the tone of voice, in what the voice is about to articulate, in the diction itself. The Shadow and the Act: In the years following World War IIFrench critical theorists such as the psychoanalyst Jacques Lacan were publishing their most influential theories, and the literary and cultural elite were rapidly moving away from the standards of modernism.

Bruno goes to Johnny’s hotel room and listens to Johnny explode about his friends keeping the recording of Amorous. Black bebop musicians, although they were popular with many whites, were often antagonistic to critics and had little interest in being a part of popular culture.

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. This description, particularly the phrase “infinite construction,” is an excellent paraphrase of the new aesthetic ideas of the s.

The Pursuer

The fact that Johnny loses his saxophone on the Metro, where he can fit fifteen minutes of life into a two minute journey, supports this claim and suggests that Johnny’s genius does not consist of the music itself, but what the music enables him to uncover about philosophy and art. Bruno can feel better about himself and his “prestige” by convincing himself that because Johnny is a black man his “mental age does not permit him to understand” the biography’s profundity.

So he turns to Bruno, whose art is working with words, for help.


It is vital to recognize the distinction between the literal Spanish version of the verb usage in “The Pursuer” and the version presented by the translator. 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. The capitalist individual moves according to the clock and due dates, as in vortazar case of Bruno, the jazz critic writing for the newspaper.

Cortwzar help may not actually help Johnny much. A Social and Musical History.

Johnny’s youngest daughter with Lan, Bee dies of pneumonia in Chicago. The narrator of the jylio, he is a Parisian intellectual who, although he is close friends with Johnny and the jazz crowd, does not take drugs or mix in much with their social life. He most frequently uses the present perfect verb tense, a verb perseguiddor that is usually used to discuss events that happened at an uncertain point between the past and present.

In addition to references to Johnny as an angel or devil, Bruno regards him as a kind of god. 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.

Bruno, embarrassed by this public display, tries to get Johnny to sit down in a chair. He is every character who ever begged a writer to give him a heart strong enough, lungs real enough, to truly breathe. Bruno has enough time to include an obituary notice in the second edition of his biography, which he feels is now “intact and finished.

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. Bebop bands were notable for their new style and distinct instrumentation, which they soon found worked better in small ensembles; they also were associated with a number of wider artistic and cultural movements, particularly after the big band era came to an end.