EL PERSEGUIDOR DE CORTAZAR PDF

This article purports to cast new light on the sources of inspiration for Julio Cortázar’s pivotal story ‘El perseguidor’. In particular, it aims to. El perseguidor: Julio Cortázar: The main character of “El perseguidor” (“The Pursuer”), one of the stories in Las armas secretas, embodies many of the traits of . Brenes Reyes, p. 1 Improvisation and Writing: Julio Cortázar’s ‘El Perseguidor’ and the Pursuit for Freedom Jaime R. Brenes Reyes In the words of Argentine.

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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.

Like Tica, Nica separated pereguidor her rich husband because of “dope and other, similar, reasons,” and moved to New York and then Paris in pursuit of the bebop scene.

The Pursuer |

Johnny pursues a new definition and realm of possibility in art, and he pursues his friends as well; in his struggle to find what he is looking for with his prodigious music, he hunts and exposes his friends’ weaknesses. One important new style that flowered in the s and s and was particularly Latin American in origin was “magical realism,” or a fusion of fantasy and myth with realistic fiction.

Bruno then receives a telegram from Baby Lennox saying that Johnny has died. Indeed, one of the most important “pursuers” is the reader of the story, hunting through the text in order to discover its meaning.

Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny. Among these, religion; Johnny protests: El primero, el dos, el tres, el veintiuno. Bruno next sees Johnny while sitting at a cafe with Cortaazr and Baby Lennox, another woman that adores Johnny.

It is an almost universal moment: Parker suffered a number of major breakdowns, due to his psychological illnesses and drug perseguidog, and spent a six-month term in a state hospital in Brent holds a Ph. 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.

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El perseguidor

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. When he recovered, however, he made what are generally considered his best recordings, with musicians such as the trumpeter Miles Davis and the drummer Max Roach.

Improvisation, then, transcends the barriers that language creates in the author- reader relationship. He helps Johnny, in part, in order to make sure that his biography is successful, and he tries to keep Johnny off of drugs, in part, so that Johnny will remain famous for his music and not for his incredibly complex psychology, which Bruno’s biography completely omits.

His depiction of the perseeguidor 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 perseguidr among the classic texts of post-World-War-II literature. Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent than, presumably, his persegguidor does, because Bruno exposes Johnny’s desperate drug abuse problems and philosophical obsessions Johnny’s “me” in addition to his music.

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 metaphysics, the branch of philosophy that deals with the “nature of reality.

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. Black bebop cortazxr, although they were popular with many whites, were often antagonistic to critics and had little interest in being a part of popular culture.

Berkeley and Los Angeles: Other critics, such as Doris Sommer in her essay “Pursuing a Perfect Present,” discuss the relationship of the peseguidor and the artist as it relates to the story’s innovations in narrative structure: By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time.

Bruno thus regards his own role as jazz critic as that of a devout worshipper prostrating himself before the awesome power of Cortzar music. One of the most perseguidro examples of this practice is the fact that Miles Davis, the famous jazz trumpeter who played with Parker, is a character mentioned in the story.

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The Pursuer

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

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. More than the particulars of Johnny’s new and unique vision of the world, this stylistic development is the story’s major contribution to the period’s changing philosophies of art and narrative.

cortaxar

Improvisation, in the content of the story, as peseguidor technique, and the impact upon the reader, has important consequences to understand reality and open doors for the liberation of the creative process. Bruno is a prestigious music critic who has recently published a very successful biography of Johnny. Many persegyidor musicians began to be dissatisfied with the strict forms of big band or “swing” music during the s, however, and bands with a new sound known as “bebop” began to earn a reputation because of their radical rhythms and experimental tonality.

They have to keep living in order to solve them, in order to get to the secret. Bruno calls her stupid and promiscuous, cortxzar she seems to know how to handle Johnny despite Bruno’s suspicion that she would readily shoot up heroin and become “lost” with him.

This description, particularly the phrase “infinite construction,” is an excellent paraphrase of the new aesthetic ideas of the s. This is clearer in the original Spanish version, cortazae the translator Paul Blackburn has edited out some of the awkwardness in language. As Johnny tells Bruno, “what you forgot to put in is me.