EL PERSEGUIDOR CORTAZAR PDF

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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According to this metaphor, Bruno’s biography of Johnny may be regarded as a biblical text, describing the religious message he derives from Johnny’s music. Brent holds a Ph.

Bruno later suggests, however, that the theme of pursuit is more complex than this. When Johnny descends into another round of addiction and debauchery, his fellow musicians, patrons, and critics gather round, ostensibly to protect cortszar from himself. As Johnny tells Bruno, “what you forgot to put in is me. Bruno thus implies that Johnny, brought to his knees with suffering, is akin to Christ on the cross, suffering for the sins of humanity.

Hodeir, a biographer and critic largely grouped with the s Parisian literati, is in many ways a model for Bruno. Log In Sign Up. University of Chicago Press, In describing the effect of Johnny’s music on him, Bruno asserts, “he played like I imagine only a god can play an alto sax, given that they quit using lyres and flutes. One of the first barriers the reader encounters, as well as one of the most important, is the divide between the fictional world of the story and the real world of the s Parisian bebop scene, particularly the real life of Charlie Parker.

But, he adds, Bruno’s book is missing something. Remember me on this computer.

El perseguidor

It is a problem that every writer who works with true characters, with the crazily unpredictable winds and sparks of real life, should have.

Whereas in previous stories the characters followed the situation described by the narrator, in ‘El Perseguidor’ the characters create the story. 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.

Their problem is that Johnny is still a living man, still capable of defying everything they think, or have written, about him. Johnny Carter’s character is in many ways meant to refer to the alto saxophonist Charlie Parker.

El perseguidor | work by Cortázar |

Tica goes perxeguidor 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. 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.

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The creative abilities of author and reader are combined and liberated from language’s barriers. Cite this article Pick a style persetuidor, and copy the text for your bibliography. Bruno’s condescension towards Johnny, which is clearest in his habit of referring to Johnny as a chimpanzee, suggests two important ideas.

The right answer simply can’t be explained. It is an almost universal moment: Bruno’s entire career is, in perseguidog sense, based on “pursuing” Johnny and Johnny’s musical talent.

He describes Johnny as “this angel who’s like my brother, this brother who’s like my angel. Johnny, after a moment, is ready to let the discussion of Bruno’s book cortazxr, but Bruno cannot let it go at that.

Johnny has not forgotten his early hope, that Bruno’s talent for words will somehow help him to speak what for him is unspeakable. After all, if he were to die in the street, “Johnny would die carrying with him what he doesn’t want to tell me eel. 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. 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 shocked to see his own reflection in a mirror, and his sense that the man looking back could cogtazar possibly be him.

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. 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. His analysis of jazz music, originally published in French inis most famous for the light it sheds on Charlie Parker.

When he recovered, however, he made what persetuidor generally considered his best recordings, with musicians such as the trumpeter Miles Davis and the drummer Max Roach. Bruno then receives a call from Tica who says that Johnny’s youngest daughter, Bee, has died in Chicago. Because each style has its own formatting nuances that evolve over time and not all information is available for persrguidor 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. 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. Taking the final months in the life of the prodigious jazz musician Johnny Carter as its subject, the story is in many ways an exploration of coryazar career and personal life of persdguidor famous alto saxophonist Charlie Parker, the most influential musician of the style of jazz music known as bebop.

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Bruno’s narrative is an attempt to make up for the element that was “missing” from his published biography of Johnny. He enjoys joking with Tica, and he takes away Johnny’s saxophone after a recording session so Johnny does not sell or destroy it.

He continued to read foreign literature and published a book of sonnets entitled Presencia Presence inunder the pen name Julio Denis. So he turns to Bruno, whose art is working with words, for help.

Two months before the opening of “The Pursuer,” Johnny had a falling-out with Tica, which is why Bruno is the one to pay for a new saxophone when Johnny loses his on the metro. Through jazz Johnny is able to create a reality where he is found in dialogue with other musicians.

Dixieland jazz and swing musicians such as Armstrong were so popular among whites, and made such an effort to please their white critics, that they developed a reputation among some black musicians as “Uncle Toms”—a label from Harriet Beecher Stowe ‘s novel Uncle Tom ‘s Cabin that was used to describe servile or accommodating blacks.

He most frequently uses the present perfect verb tense, a verb perseguidr that is usually used to discuss events that happened at an uncertain point between the past and present.

Bernard, whom Johnny calls a “sad-assed idiot,” is the physician taking care of Johnny in Paris. Learn more about citation styles Citation styles Encyclopedia. These goals include the essence of the prodigious artist, the artistic object itself, the truth or reality through the “door” that Johnny continually mentions, the “prestige” Bruno covets, or simply the story itself.

The Pursuer

Art is a musician, perhaps a bassist, and a friend of Johnny. They have to keep living in order to solve them, in order to get to the secret. 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. And very often, like Johnny, these artists are tortured by their lack of success or severely misunderstood by other people.