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 . 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 . Julio Cortázar: El perseguidor. El perseguidor. Falsa biografía del músico de Jazz Charlie Parker, representado por el personaje de Jonnhy.
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I think I understand why prayer demands instinctively that one fall on one’s knees. Through jazz Johnny is able to create a reality where he is found in dialogue with other musicians.
The reader, then, enters into the story as a co-creator and participant in the improvising process.
Bruno calls him a “teahead,” or a marijuana smoker, and he sometimes feels sorry for him because Johnny has let him down in Paris. The twenty-year-old beauty that goes back to New York with Johnny at the end of the story, Baby is one of Johnny’s admirers.
Brent holds a Ph. It is a tension that Johnny uses to torment him, even in this early conversation. Johnny cannot grasp the conventional conception of time that guides everyday reality: Central to ‘El Perseguidor’ is the episode in which Johnny records Amorous.
One can stay comfortably, and probably successfully, within the borders of one’s art as they have already been mapped. University of California Press, Berkeley and Los Angeles: Improvisation allows the musician to enter into a psrseguidor dialogue with other musicians, demonstrating their own abilities and creative skills. The right answer simply can’t be explained.
She lives in Chicago with her daughter Bee, who dies of pneumonia.
Julio Cortázar: El perseguidor by borja borja on Prezi
While he regards Johnny as a Christ-like figure, Bruno regards himself as a sort of priest or proselytizer, spreading the pperseguidor of Johnny Carter. In one part of the story, Bruno refers to the group of musicians and their friends who congregate around Johnny as “sick angles, irritating in their irresponsibility, but ultimately valuable to the community. Whereas in previous stories the characters followed the situation described by the narrator, in ‘El Perseguidor’ the characters create the story.
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. He uses the example of cutting a loaf of bread, which he cannot understand because it seems pefseguidor the bread must change into something else perseguisor he touches it or cuts it.
Inthe author published his most famous novel, Rayuela Hopscotchwhich employs a revolutionary narrative structure by way of chapters that are not read in chronological order but can be skipped through in at perseugidor two coherent sequences. Bruno struggles to express the essence of what makes Johnny and his music so awe-inspiring.
The most famous of the early bebop bands were those of Billy Eckstine and Dizzy Gillespieand their popularity was in no small part due to the fact that they had hired an alto saxophonist from Kansas named Charlie Parker. If anything, he was protecting Johnny. If improvisation is to be used as writing technique, the literary cortxzar must enclose a dialogue of equals between author and reader.
El perseguidor | work by Cortázar |
The most important stylistic technique of “The Pursuer” is its unique use of past, present, and future verb tenses to narrate the story. 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.
And as the story progresses, Bruno’s motives for helping Johnny express himself begin to appear more complicated. Or one can strike out into uncharted waters, unknown lands.
Log In Sign Up. It is involved in the very process of writing. Bruno, for example, describes Johnny and two of his friends who greet each other by “exchanging … a complicated onomatopoetic ritual which made everybody feel great.
Confusing reality with fiction, Bruno mentions an interview with Miles Davisthe famous jazz trumpeter who played with Charlie Parker during the peak of his career in New York. The change of position is a symbol of the prrseguidor in the tone of voice, in what the voice is about to articulate, in the diction itself. Although Bruno admits that he 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.