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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But “The Pursuer” uses a fictional medium to approach the famous jazz musician, and Johnny is presented as a fictional character, so in this sense the story is not strictly biographical fiction, but fiction inspired by real persons and events. 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.
Although Bruno seems to have less sympathy for the women in Johnny’s life, in many ways they seem to be hunted intensely, since Johnny has a tendency to abandon them once he has successfully caught them.
While Johnny is described variously as an angel, devil, or god, Bruno also describes Johnny’s followers as angels of a sort. 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 cortaaar.
Musicians such as Louis Armstrong soon became extremely popular with both white and black audiences, and by the time the “big band” era peaked in the s, jazz was the mainstream music of the United States. 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.
He most frequently uses the present perfect verb tense, a verb form that is usually used to discuss events that happened at an uncertain point between the past and present.
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.
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. Alazraki, Jaime, and Ivar Ivask, eds. Tica goes over to deal with Johnny while Bruno flirts with Baby and finds out from two musicians in Johnny’s new group that Johnny is “barely able to play anything.
Bruno, terrified by Johnny’s criticism, which, voiced to the wrong person, could ruin his career, retorts, “What more do you want? Bruno later suggests, however, that the theme of pursuit is more complex than this. By then I was fully aware of the dangerous perfection of the storyteller who reaches a certain level of achievement and stays on that same level forever, without moving on, I was a bit sick and tired of seeing how well my stories turned out.
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. The twenty-year-old beauty that cortazsr back to New York with Johnny at the end of the story, Baby is one of Johnny’s admirers.
However, as the story goes on, Johnny complains to Preseguidor that he does not understand his 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. Jazz appears in ‘El Perseguidor’ both as one of its main themes and as the basis for its writing.
An artist of great talent must, at some point, make a choice. The Shadow and the Act: Later in his life, he married the Canadian writer Carol Dunlap.
What did I forget? When he first brings up his own biography, Johnny refers to a clumsy metaphor he used in the story’s initial conversation, in which he described being perseguidof to see his own reflection in a mirror, and his sense that the man looking back could not possibly be him. Enter the email address you signed up with and we’ll email you a reset link.
But Johnny is also a unique genius whose understanding of life and psychological problems are inextricably connected to his philosophical and artistic insights. Although Bruno has a tendency persseguidor dismiss Johnny’s discussions of time after he is finished talking with him, these speculations are central to “The Pursuer. Black bebop musicians, although they were popular with many whites, were often antagonistic to critics and had little interest julil being a part of popular culture.
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. Marcel is Johnny’s friend and fellow musician, likely a eprseguidor player from the United States.
The Pursuer |
The most important stylistic technique of “The Pursuer” is its unique use of past, present, and future verb tenses to narrate the story. 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. 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.
Bruno is like Johnny’s lovers, friends, and fellow musicians who exploit Johnny for their own devices, since Bruno’s book and much of his career coetazar founded on Johnny’s genius.
While modernist writings tend to stress the unity of the work of art and frequently employ allegorical representation, postmodernist texts often call into question the very possibility of representation and highlight metaphysical problems, or problems that relate to the “nature of reality.
His genius although Bruno insists that he is not a “genius” is in the combination of his personal life, his music, and his philosophical theories, and Bruno’s racist caricature of him as a “chimpanzee who wants to learn to read” also, ironically, suggests that he is struggling to evolve and understand things that his species, the human race, has not understood before.
Throughout “The Pursuer,” Bruno makes frequent reference to both angels and devils in describing Johnny and his music.