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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Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent than, cprtazar, his biography does, because Bruno exposes Johnny’s perseguodor drug abuse problems and philosophical obsessions Johnny’s “me” in addition to his music. But Johnny “makes up” with her during a recording session, and they remain close until the end of the story, when they both leave Paris for New York.
Retrieved December 31, from Encyclopedia. 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 corttazar back could not possibly be him. 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.
Bruno is a prestigious music critic who has recently published a very successful biography of Johnny. Modern Language Association http: The Birth of Bebop: Then Johnny falls asleep and Bruno observes that Johnny is not a genius “walk[ing] in the clouds,” but a man more real than anyone else. Bruno’s entire career is, in a sense, based perseguidot “pursuing” Johnny and Johnny’s musical talent.
And unlike Bruno, in his future work he breaks free from the stifling perfection of his early perseguidro, and takes his readers with him into the outer reaches of literature’s unmapped borderlands. Bruno thus implies persebuidor Johnny, brought to his knees with suffering, is akin to Christ on the cross, suffering for the sins of humanity.
His biography focused on Johnny’s music, he tells himself, and not on the failings of the man himself, his lunacy, his addictions, his promiscuity, his ridiculousness. What was wrong with the book?
Even Johnny Carter’s initials—J. 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.
And the Cuban socialist revolution in was extremely influential over the left-wing Hispanic elite. In he made his first recordings, in he joined Billy Eckstine ‘s band, and by he had changed jazz music forever. Two or three days later, Bruno visits Tica, or “the marquesa,” a rich friend and sometime lover of Johnny, to find out if she has been giving him heroin, or “junk.
Although Johnny often disappoints his friends and family, he is also a person who is almost universally revered and admired.
The Pursuer |
Enter the email address you signed up with and we’ll email you a reset link. The first, as Sommer argues, is to imitate the improvisational genius of Charlie Parker’s bebop music.
Help Center Find new research papers in: 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. Click here to sign up. These characters embody opposite personalities, Johnny, the intuitive jazz improvisers, and Bruno, the Western intellectual that follows logic and systematic reasoning.
He describes Johnny as “this angel who’s like my brother, this brother who’s like my angel.
Johnny thus mocks Bruno’s representation of his music as a religious phenomenon. New ReadingsCambridge Coortazar Press,pp. 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.
Bruno’s condescension towards Johnny, which is clearest in his cortaza of referring to Johnny as a chimpanzee, suggests two important ideas.
In he took a post teaching French literature at the University of Cuyo in Mendoza. Bruno goes to Johnny’s hotel room and listens to Johnny explode about his friends keeping the recording of Amorous. And Bruno is able to help him communicate, to a point, translating Johnny’s almost incomprehensible assertion that “I’m playing that tomorrow” into clear, even lyrical, critical language: 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.