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Janet is possibly the only female pursuer in Cortazar’s literature, Munoz argues, Cortazar’s remarks regarding “Anillo de Moebius” in a letter to Jaime Alazraki. “Anillo de Moebius” (Moebius strip) in the collection Queremos tanto a Glenda ( We Love Glenda So Much) is probably the most disturbing story of all. Janet. Cortázar, Julio. Personal Author: Cortázar, Julio. Recortes de prensa — Tango de vuelta — Clone — Grafitti — Historias que me cuento — Anillo de Moebius.

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His ideas about literature, he wrote, had changed: This conclusion may suggest a different faith, a faith in the preservation of personal integrity within a process of change.

From edition Issue 1.

On the symbolic and thematic level the story has a good deal in common with the earlier story, although the mother, Denise, far from being protective, is liberated, forward-looking, and provides Roberto with the means to break away from her. Wife and cat continue their tacit communion, able to see beyond the window, and looking back at the isolated narrator who cannot do so.

Queremos tanto a Glenda

C Z ‘. But here there is no rational, causal link, for mentally Marini has departed, leaving the concerns and processes of the modern world behind.

Borges, more adventurously, makes the Minotaur the narrator and hides that fact till the end of his story. That passion, combined with another, his love of games with words, explains why I have also played with boxing terminology: The dominance of reason and science, the tendency to see the world in terms of binary oppositions, in fact, the whole Judaeo-Christian cultural heritage must be fought against in the drive to reach something that is more intuitive, more authentic, other, yonder to borrow a term used by members of the club.


William Castro: Notes on Modernization as Crime

Elsewhere in that play 3. He opens his story by taking advantage of the name Borges: Thus the noise of the lift evokes in him memories of an exciting horror film, and when his sweets are taken away by the nurse, one is not quite sure whether his indignation is caused by the fact of having them removed, as if from an irresponsible child, or because he simply wants to suck mints.

Late in his life, when interviewed by Omar Prego,4 he spoke of the anilol he had felt toward two of his teachers from his days at the Mariano Acosta school, Arturo Marasso who taught Greek and Spanish literatures and Vicente Fattone who taught philosophy.

Mirar connotes a cluster of virtues, including candor, innocence, understanding, true feeling, honesty, and love. It therefore anillo that the act of framing the scene is like in the other sense of that word framing the reader: The site of suffering, then, has shifted from the physical infirmity of the mother to the psychological dependency of the others. It seems, however, as if their roles are reversed.

Queremos tanto a Glenda. The dreamlike paragraph provides the climax Does this symbolize a break with the past, or perhaps the end of the narrative text the yarn that has been spun? He often casts doubt on the idea that our world can be accounted for in terms of reason, of cause and effect. An amplified cortazag of Corttazar del juego is published. He had written from his earliest days at school, but well into adulthood he remained highly critical of his own work and for that reason reluctant to publish prematurely.

He personally was interested in the strategists and skillful movers, not in the big punchers.

Unnecessary description must be eschewed, transitional phrases be eliminated. As the culminating moment approaches, the bus is portrayed like a raging bull, ready to charge; the driver tries to stop the pair but their escape is successful, and the bus doors anjllo a parting snort as it moves off.


This may seem to be make the whole undertaking futile; as Etienne puts it attributing the cortszar to Morelli: Returning home, they talk about Nico as if he were in their presence. We can also find embryonic signs of them in the novels that were written before Rayuela.

The normal logic of literary discourse, according to which one thing leads to another, explains another, must give way to a znillo of elements whose relationships with one another are changeable and multiple.

Understanding Julio Cortázar (Understanding Modern European and Latin American Literature)

Fellow voyagers who are moving nowhere, the people in the cars begin to reveal their personalities: The title was Presencia Presence cortazag, and it appeared in under the pseudonym Julio Denis. Unsurprisingly, though provocatively, victim and perpetrator are thus, and thus forward, inextricably connected to one another in the story. The final water scene links with the dream images also.

In the story he is beaten by Peralta, abandoned by his girl, and left a ruin. In response to his straight-reading critics he says that the Persio passages came to him ineluctably at the points at which they appear in the narrative, to serve as a sort of snillo of clrtazar that was happening on board; he adds that the language in which they are couched seeks to express a different dimension, aims at something different.