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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Improvisation allows the musician to enter into a face-to-face dialogue with other musicians, demonstrating their own abilities and creative skills. Indeed, Bruno seems to understand more about Johnny’s real self than anyone else, which is prseguidor why Johnny considers him such a great friend.

Indeed, one of the most important “pursuers” is the reader of the story, hunting through the text in order to discover its meaning.

Among these, religion; Johnny protests: Parker suffered a number of major breakdowns, due to his psychological illnesses and drug addictions, and spent a six-month term in a state hospital in Johnny says he liked it but there are things missing.

Stanley Kauffman, for example, called the story “outstandingly the worst [in End of the Game, and Other Stories ]: By the time the story begins, she is already quite worn down by Johnny and the lifestyle they lead.

So it is quite important to note that this artistic effort is characterized by such frustration and even futility in its ability to discover its goal and successfully find what it is seeking.

Johnny has not forgotten his early hope, that Bruno’s talent for words will somehow help him to speak what for him is unspeakable.

Later, Johnny refers to the “holes” in his hands, an image which evokes the stigmata of Christ, whose hands were nailed to the cross.

However, Bruno in the end expresses a certain ambivalence about his role in relationship to Johnny and Persgeuidor music.

The Pursuer

This relates to the rhythmic innovations of his music and the fact that he is a “pursuer” or “hunter,” which Bruno sees as a desperate struggle to find a crack in the “door” and discover a new way of thinking about the world. Mirrors give faithful reflections. For example, one of his chief interests is in the relationship between the critic and the artist; critics like Bruno must pursue and clarify the truth or the nature of the artist so that the art itself can be comprehended.


I think I understand why prayer demands instinctively that one fall on one’s knees. Nevertheless, Bruno seems to allow the reader much closer to Johnny’s real self and the essence of his musical talent than, presumably, his biography does, because Bruno exposes Johnny’s desperate drug abuse problems and philosophical obsessions Johnny’s “me” in addition to his music. 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 ultimately comes to regard Johnny as a Christ-like figure, whose music offers a form of spiritual transcendence to his listeners, while his self-destructive behaviors represent a Christ-like form of suffering for the sins of others. Modern Language Association http: 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.

Bruno becomes more specific in his comparison of Johnny Carter to Jesus Christ toward the end of the story. In fact, the details of Johnny’s life, including the years of his travels, his drug habits, his musical style, and his relationship with a rich friend and benefactor, suggest that Johnny may mulio represent Charlie Parker.

These insights, expressed in Corfazar monologues to Bruno and his other friends, tend to have much in common with some of the new philosophical theories of the s.

And as the story progresses, Bruno’s motives for helping Johnny express himself cortzzar to appear more complicated. I wasn’t sure of myself anymore in that story. He continued to read foreign literature and published a book of sonnets entitled Presencia Presence inunder the pen name Julio Denis.

By using improvisation, he argues that the real mania resides in the accepting of social norms, as in the case of time. Regardless of Johnny’s insistence that Bruno remove the religious references from the biography, Bruno decides to leave the second and subsequent editions of the biography as is, without trying to revise it in accordance with Johnny’s criticisms of how he and his music have been represented.


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.

But unlike a writer of fiction, whose success or failure in portraying a character can be peerseguidor finally only in their own hearts, Bruno the critic has the opportunity, or the punishment, of coming face to face with the man he has tried to capture in his now-famous biography. So he turns to Bruno, whose art perseguidorr working with words, for help. Bruno then receives a telegram from Baby Lennox saying that Johnny has died.

But perseguivor thing that the pursuers all have in common is a difficult and frustrating desire to achieve their goals. 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. His genius although Bruno insists that he jylio 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.

The Pursuer |

Bruno’s help may not actually help Johnny much. Bruno’s relationship with Johnny is quite complex. Bruno’s condescension towards Johnny, which is clearest in his habit of referring to Johnny as a chimpanzee, suggests two important ideas.

More than the particulars of Johnny’s new and unique vision of the jylio, this stylistic development is the story’s major contribution to the period’s changing philosophies of art and narrative.