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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Remember me on this computer. 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.

In the years following World Juliio 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.

Help Center Find new research papers in: I wasn’t sure of myself anymore in that story. During Johnny’s description of the moment when, as he was playing a solo, “time” began to “open out,” he remembers Lan’s red dress, and he also tells Bruno that Lan’s persefuidor dress is one of the things Johnny’s biography is “missing.

Although he never learned music formally, he practiced the alto saxophone constantly, emulated the tenor saxophonist Lester Young, and played in various groups in Kansas CityChicago, and New York.

Modern Language Association http: New ReadingsCambridge University Press,pp. Other references to spirituality, religion, and god within the story are less direct. Bernard, whom Johnny calls a “sad-assed idiot,” is the physician taking care of Johnny in Paris. Bruno is a prestigious music critic who has recently published a very successful biography of Johnny.

Lan is Johnny’s wife, although they seem to have been separated for a long time. Parker, later known as “Bird” or “Yardbird” throughout the jazz world, grew up in an abusive family and developed severe drug habits by the time he dropped out of school at fifteen.

During his climactic discussion with Bruno near the end of the story, Johnny refers to playing with Davis when “the door open[ed] a little bit,” and he found, or nearly found, what he was looking for.

The Pursuer

In many ways, Tica’s character is based on the Baroness Pannonica “Nica” de Koenigswarter, a benefactor and socialite who befriended and financially perseeguidor many jazz musicians, including Charlie Parker and Thelonious Monk.

As the writer advances through improvisation, words, faces, beginnings, and ends, start to emerge and take form.


Bruno calls pedseguidor a “teahead,” or a marijuana smoker, and he sometimes feels sorry for him because Johnny has let him down in Paris. Inthe author published his most famous novel, Rayuela Hopscotchwhich employs a revolutionary narrative structure by perseguiodr of chapters that are not read in chronological order but can be skipped through in at least two coherent sequences. 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.

They perseguidod to keep living in order to solve them, in order to get to the secret. However, as the story goes on, Johnny complains to Bruno that he does not understand his music: Also, Bruno is one of the people who is always taking care of Johnny and giving him what he needs.

One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped.

While he regards Johnny as a Christ-like figure, Bruno regards himself as a sort of priest peeseguidor proselytizer, spreading the gospel of Johnny Carter. 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. Many black 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 jlio earn a reputation because of their radical rhythms and experimental tonality.

And as the story progresses, Bruno’s motives for helping Johnny express himself begin to appear more complicated.

Inafter traveling back to New York City, Parker had an ulcer attack in the room juliio his friend and benefactor Baroness “Nica” Ponnonica de Koenigswarter, and died three days later of complications due to heroin and alcohol abuse. 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.

The Birth of Bebop: Considering his decision not to include Johnny’s psychological and physical abnormalities and illnesses in the biography, Bruno asks him again about the book and Johnny responds, “what you forgot to put in is me.

ByFrance had finally lost a costly war in colonial Indochina, and in a rebellion in Algeria by a combination of colonials and militarists effectively toppled the French government, resulting in Charles de Gaulle being called back to power as president of France.

After heavily criticizing Bruno’s references to religion in his biography, Johnny ironically refers to the biography as “the good book,” which is a phrase generally used in reference to the Bible.


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 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 has enough time to include an obituary notice in the second edition of his biography, which perseguidod feels is now “intact and finished. University of Chicago Press, 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.

Bruno, for example, describes Johnny and two of his friends who greet each other jupio “exchanging … a complicated onomatopoetic ritual which made cogtazar feel great.

He perseguidoor the validity and value of his own methods of preaching the message delivered by Johnny through his music, when he asks himself, “What kind of preacher am I? He is every character who ever begged a writer to give him a heart strong enough, lungs real enough, to truly breathe. Bruno feels that Marcel, like Art, fails to understand Johnny as well as he does.

Johnny is emaciated, or extremely thin from illness, but his temperature is normal, and he talks to Bruno about his visions of fields with urns that contain the ashes of dead people, as well as his conviction that the doctors and scientists that are so coftazar of themselves hulio not understand the world at all.

The right answer simply can’t be explained. El primero, el dos, el tres, el veintiuno.

The Pursuer |

Bruno is able, again and again, to translate Johnny’s speech, which often borders on nonsense, back into comprehensible language. What was wrong with the book? Her death is quite a blow to Johnny, who later says about his music: Bruno cannot rise to Johnny’s challenge.

As Bruno admits, “we’re a bunch of egotists; under the pretext of watching out for Johnny what we’re doing is protecting our idea of him.