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Journal articles on the topic 'Julio Cortázar'

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Published: 4 June 2021
Last updated: 7 July 2024

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1

Schmidt, Donald L., and Terry J. Peavler. "Julio Cortázar." Chasqui 20, no. 1 (1991): 148. http://dx.doi.org/10.2307/29740354.

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2

Bartelle, Liane Broilo, and Gilberto Broilo Neto. "Julio Cortázar." Tematicas 27, no. 54 (December 5, 2019): 103–18. http://dx.doi.org/10.20396/tematicas.v27i54.12347.

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Este artigo apresenta, primeiramente, uma breve explanação sobre características do conto fantástico latino-americano em relação à estética modernista, tendo como arcabouço teórico os autores Arrigucci Junior (1998), Bessière (2012), Coutinho (2003), Piglia (1994), Roas (2010), Todorov (1979), dentre outros. Em seguida, analisa o conto “A autoestrada do sul”, do escritor argentino de Julio Cortázar, na sua caracterização fantástica de um congestionamento.
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3

Moran, Dominic. "Julio Cortázar." Hispanic Research Journal 4, no. 2 (June 2003): 185–86. http://dx.doi.org/10.1179/hrj.2003.4.2.185.

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4

Lichtblau, Myron I., and Terry J. Peavler. "Julio Cortázar." Hispania 74, no. 3 (September 1991): 688. http://dx.doi.org/10.2307/344223.

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5

Lindstrom, Naomi, and Karine Berriot. "Julio Cortázar, l'enchanteur." World Literature Today 64, no. 1 (1990): 82. http://dx.doi.org/10.2307/40145837.

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6

Wendorff, Anna. "El motivo de la transformación en el cuento Axolotl de Julio Cortázar." Sztuka Ameryki Łacińskiej 11, no. 1 (January 31, 2021): 137–49. http://dx.doi.org/10.15804/sal202105.

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The motif of transformation in Julio Cortazar’s short story Axolotl This paper aims to briefly tackle the issue of the alter ego and the metamorphosis in Latin American literature. For this reason, we shall take the story by Julio Cortázar entitled Axolotl as a reference point and evaluate the various interpretations of the myth and transformation in Cortázar’s work. Since we are not the very expression and measure of our thoughts (e.g. Julio Cortázar), our other self is always among us. The various existential relationships that we establish daily to confirm that we live our lives fulfilled by certainty and conviction, and that – staying in a permanent conflict with the world engulfed in an antagonistic relationship between the real and the unreal – they are a potent metaphor through which Cortázar evoques Thomas Mann or Franz Kafka, among others. Thus, the axolotl shall not be the only reason to analyze the story. We shall also see how this metaphor is rendered in literature.
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7

Gordon, Samuel. "Rayuela de Julio Cortázar." Revista Iberoamericana 58, no. 159 (June 10, 1992): 711–16. http://dx.doi.org/10.5195/reviberoamer.1992.5069.

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8

McMurray, George R., and Carlos J. Alonso. "Julio Cortázar: New Readings." Hispania 82, no. 3 (September 1999): 493. http://dx.doi.org/10.2307/346297.

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9

Adam, Alfred Mac. "Julio Cortázar and music." Review: Literature and Arts of the Americas 34, no. 63 (January 2001): 43–50. http://dx.doi.org/10.1080/08905760108594672.

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10

Mac Adam, Alfred. "Julio Cortázar 1914–1984." Review: Literature and Arts of the Americas 48, no. 2 (July 3, 2015): 239–43. http://dx.doi.org/10.1080/08905762.2015.1083299.

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11

Longhi, Ludovico, and Valerio Carando. "Antonioni reinterpreta “lo insólito” de Cortázar: investigación fotoquímica, mecanográfica y cinematográfica = Antonioni reinterprets "the incredible" by Cortázar: photochemical, mechanical and cinematographic research." Estudios Humanísticos. Filología, no. 38 (December 20, 2016): 117. http://dx.doi.org/10.18002/ehf.v0i38.1439.

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<p>Michelangelo Antonioni (Blow-Up, 1966) traduce las formas literarias de Julio Cortázar (Las babas del<br />diablo, 1959), extremadamente visionarias, en una interrogación sobre las posibilidades epistemológicas<br />del lenguaje cinematográfico.</p><p>Michelangelo Antonioni (Blow-Up, 1966) translated Julio Cortázar’s literary and visionary forms (Las<br />babas del Diablo, 1959) in a quest on the epistemological possibilities of movie language.<br /><br /></p>
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12

Nowak-Michalska, Joanna. "La traducción del argot: el lunfardo en las versiones polacas de Rayuela y Torito de Julio Cortázar." Romanica Cracoviensia 20, no. 4 (2020): 175–87. http://dx.doi.org/10.4467/20843917rc.20.017.13303.

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Translating slang: Lunfardo in the Polish translation of Julio Cortázar’s Rayuela and Torito The objective of this article is to study how selected Lunfardo words and expressions in the prose of Julio Cortázar have been translated into Polish by Zofia Chądzyńska. Lunfardo is an urban slang typical of the Río de la Plata region in Argentina. The works of Cortázar analysed for the purpose of this paper are: Rayuela (Hopscotch) and Torito, a short story which contains a comparatively large number of Lunfardisms. The paper examines how Lunfardo, a sociolinguistic phenomenon closely linked to Argentina and its culture, is reflected in the translation into Polish. It also identifies the strategies and techniques chosen by the translator and examines to what extent Chądzyńska allows the Polish reader to become aware of the existence of Lunfardo.
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13

Chen, Fanfan. "Julio Cortázar : fantastique et mysticisme oriental." Analyses 42, no. 2 (July 24, 2012): 161–79. http://dx.doi.org/10.7202/1011527ar.

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Résumé Cet article essaie de mettre en lumière la présence occulte du mysticisme oriental dans les récits de Julio Cortázar, lieux d’un équilibre délicat entre la littérature et le sentiment vécu de frisson fantastique. Pour commencer, je propose une vue générale sur le fantastique, le mysticisme et Cortázar. Je propose ensuite une exploration sur la structure formelle et spirituelle de trois schèmes avec l’hypersensibilité qui conduit au « non-je ». Enfin, je proposerai une lecture de l’absence de causalité logique qui débouche sur une rhétorique mystique et donne forme à l’écriture fantastique de Cortázar.
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14

BOLLIG, BEN. "‘Fantasies of Catastrophe’: Politics and Race in the Early Novels of Julio Cortázar." Bulletin of Hispanic Studies 99, no. 5 (May 1, 2022): 489–508. http://dx.doi.org/10.3828/bhs.2022.31.

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This paper examines politics and race in the early novels of Julio Cortázar - those written before Rayuela (1963), sometimes called his ‘Argentine trilogy’, and published after the author’s death. Despite Cortázar’s later public statements about the importance of an author’s engagement with politics, it is the analytical acumen in the realist aspects of these often fantastical novels, rather than a commitment to a stance, or a political message, that ensures the continued potency of his works as political fictions. Furthermore, recent critical investigations of race and racism in Argentina deepen our understanding of the author’s politics through reference to these questions. Cortázar admitted later in life that his former self shared many of the prejudices of his narrators and characters. We aim to nuance Beckman’s recent assertion that Cortázar displays ‘racist […] assumptions embedded within his vision of universality’ (2018) by setting these works against the background of race and politics in Argentina.
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15

Racz, Gregary J. "Julio Cortázar.Save Twilight: Selected Poems of Julio Cortázar." Translation Review 60, no. 1 (September 2000): 45–47. http://dx.doi.org/10.1080/07374836.2000.10524094.

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16

Filer, Malva E., and Julia G. Cruz. "Lo neofantástico en Julio Cortázar." World Literature Today 63, no. 3 (1989): 460. http://dx.doi.org/10.2307/40145350.

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17

Herráez, Miguel. "¿De dónde es Julio Cortázar?" Entornos 31, no. 1 (June 30, 2018): 127–30. http://dx.doi.org/10.25054/01247905.1777.

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Estoy apoyado en uno de los pretiles, el izquierdo, del Pont des Arts, recién llegado a París, e inevitablemente me asalta el recuerdo de la Maga y de Oliveira, como siempre ocurre si cruzo el puente desde el Louvre hacia la rive gauche, como siempre que camino sin rumbo fijo por París y que es lo que más me gusta (tras poner el podómetro a cero mientras desayuno en el hotel), lo que se debe hacer en esta ciudad.
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18

Standish, Peter. "El teatro de Julio Cortázar." Hispania 83, no. 3 (September 2000): 437. http://dx.doi.org/10.2307/346008.

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19

Abdala, Marisa. "Reseña de Julio Cortázar. Deshoras." Anuario de Letras Modernas 3 (September 30, 1990): 189–91. http://dx.doi.org/10.22201/ffyl.01860526p.1987.3.1004.

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20

Ramírez, Sergio. "Julio Cortázar and the Eagle." Index on Censorship 15, no. 10 (November 1986): 10–12. http://dx.doi.org/10.1080/03064228608534173.

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‘As for the humble democracy which will emerge from this bloody clay kneaded by countless hands, don't ask me before time what it will look like. I'll explain it to you once the clay is fired. Meanwhile, if you won't help shape it, at least don't get in the way.’
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21

Altamiranda, Daniel, and Mingón Domínguez. "Cartas desconocidas de Julio Cortázar." Chasqui 21, no. 2 (1992): 66. http://dx.doi.org/10.2307/29740486.

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22

Cortázar, Julio. "Three Texts by Julio Cortázar." Review: Literature and Arts of the Americas 28, no. 51 (January 1995): 37–42. http://dx.doi.org/10.1080/08905769508594450.

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23

Canfield, Martha. "Vientos alisios de Julio Cortázar." Cuadernos Literarios 2, no. 3 (December 1, 2004): 49–55. http://dx.doi.org/10.35626/cl.3.2004.189.

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Martha Canfield estudia el relato “Vientos alisios” a la búsqueda de los motivos recurrentes en Cortázar: el juego, el viaje y el erotismo, temas que se entrecruzan y arrojan un balance desestabilizador en la obra cortazariana. Canfield apelará en su análisis a textos de un mayor largo aliento como Los premios y Rayuela.
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24

Weiss, Jason. "Save Twilight, by Julio Cortázar." Review: Literature and Arts of the Americas 50, no. 1 (January 2, 2017): 143–44. http://dx.doi.org/10.1080/08905762.2017.1341182.

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25

Paulino, Maria das Graças Rodrigues. "A perfeição mortal." Cadernos de Linguística e Teoria da Literatura 7, no. 14 (December 30, 2016): 125. http://dx.doi.org/10.17851/0101-3548.7.14.125-132.

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Resumo: A partir de um conto de Julio Cortázar, questiona-se a busca da perfeição estética na medida em que esta se torna instrumento de uma absolutização fantasmática da identidade.Résumé: A partir d'un conte de Julio Cortázar nous mettons en question ici la quête de la perfection esthétique dans la mesure ou celle-ci devient instrument d'un absolu fantasmatique de l'identité.
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26

Martins, Celina. "Cortázar et Saramago : la représentation de la dictature et l’affirmation de l’engagement." Interlitteraria 22, no. 1 (September 7, 2017): 8. http://dx.doi.org/10.12697/il.2017.22.1.2.

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Abstract. Cortázar and Saramago: the Representation of Dictatorship and the Strength of Engagement. Julio Cortázar and José Saramago create the poetics of compromise focused on a critique of the Argentinian and Portuguese dictatorships as paradigms of oppression and censorship. With this study, based on a comparatist analysis approach, we intend to show how the short stories “The Second Time Around” and “The Chair” denounce the evils of dictatorship, shaping fictions that explore the experience of impoverishment of the self. Cortázar’s text explores the practice of disappearance during Videla’s dictatorship from a absurd Kafkaesque perspective whereas Saramago’s writing focuses on the decline of Salazar’s dictatorship as a carnival game. Cortázar and Saramago assume the relevance of compromise, the aim of which is political disalienation in order to shape consciences enabling reassessing the evil effects of disalienating dictatorial regimes.
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27

Valerio-Holguín, Fernando. "The Animal Gaze in Julio Cortázar´s “Axolotl”." Theory in Action 15, no. 4 (October 31, 2022): 103–17. http://dx.doi.org/10.3798/tia.1937-0237.2230.

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In his essay “Why Look at Animals?,” John Berger states that in the first encounter between a human and an animal, the latter's eyes are attentive and wary. The animal looks at the human from the abyss of incomprehension. The human becomes aware of himself by looking back at the animal, who is the radical Other. If the abyss of otherness between humans can be bridged through language, this is impossible between the human and the animal. The gaze is the only possibility for the human to “descend” to the animal. Julio Cortázar wrote “Axolotl,” which tells the story of a man who, fascinated by the axolotls, goes to the Jardin des Plantes aquarium in Paris every day to observe them and ends up becoming one of them. Already in the first paragraph of the story, the character-narrator states: “Now I am an axolotl.” Then he adds: “His eyes above all obsessed me. Next to them in the other aquariums, various fish showed me the simple stupidity of their beautiful eyes like ours. The eyes of the axolotls told me of the presence of a different life, of another way of looking.” The narrator manages to transcend the barrier of “space and time” through the gaze and, finally, becomes an axolotl. KEYWORDS: Cortázar, Animal Gaze, Axolotl, Metamorphosis, Transmigration, Radical Other.
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28

Ortega, Julio. "Julio Cortázar entre todos los juegos." Cuadernos Literarios 2, no. 3 (December 1, 2004): 11–18. http://dx.doi.org/10.35626/cl.3.2004.186.

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El reconocido profesor peruano, radicado largo tiempo en Estados Unidos, Julio Ortega, nos propone un balance crítico de la obra de Julio Cortázar. En realidad, se trata de una excelente introducción a nuestro autor, sopesando uno a uno sus principales libros, donde ocupa un lugar central la reflexión en torno al proyecto narrativo de Rayuela.
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29

Alazraki, Jaime. "Los últimos cuentos de Julio Cortázar." Revista Iberoamericana 51, no. 130 (June 20, 1985): 21–46. http://dx.doi.org/10.5195/reviberoamer.1985.3990.

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30

Cobo Borda, Juan Gustavo. "Octavio Paz, Julio Cortázar: dos centenarios." POLIANTEA 10, no. 18 (January 14, 2015): 313. http://dx.doi.org/10.15765/plnt.v10i18.529.

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<p>Este texto presenta un acercamiento a la trayectoria de vida de estos grandes en la literatura. Octavio Paz, de México, y Julio Cortazar, de Argentina son contemporáneos y su trayectoria tuvo corrientes similares, tales como el surrealismo, y gustos, como la pintura, a pesar de sus discrepancias políticas. Este texto abarca las diferentes obras, pequeños fragmentos de ellas y una descripción de sus afinidades, en un cierto paralelismo, al ubicarlos en un contexto similar en la literatura y en la vida latinoamericana.</p>
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31

Boldy, Steven. "Understanding Julio Cortázar by Peter Standish." Modern Language Review 98, no. 2 (2003): 489–90. http://dx.doi.org/10.1353/mlr.2003.0060.

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32

Aronne de Amestoy, Lidia. "Julio Cortázar de Terry J. Peavler." Revista Iberoamericana 57, no. 155 (September 4, 1991): 739–41. http://dx.doi.org/10.5195/reviberoamer.1991.4931.

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33

Jiménez Emán, Gabriel. "Encuentro con Julio Cortázar, cronopio mayor." Revista Surco Sur 5, no. 8 (March 2015): 26–27. http://dx.doi.org/10.5038/2157-5231.5.8.21.

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Abras Daneri, Araceli. "Julio Cortázar: el jazz y América." Catedral Tomada. Revista de crítica literaria latinoamericana 5, no. 9 (January 5, 2018): 536–50. http://dx.doi.org/10.5195/ct/2017.227.

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The Julio Cortazar`s literary corpus can be explained from the origin of his narrative in a context whose main feature it is the syncretic nature that it is grounded in the different origins and cultural influences that characterize the American cultural product. It is in music and literature where, to Cortazar, the different languages serve as a channel through which these influences of various kinds are transferred. This syncretic character by which others logical traditions are inherited from others, positions the american intellectual in the problem of identity, and in Cortazar case, in the field of commitment.
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35

Kohut, Karl. "Julio Cortázar y mayo del 68." America 21, no. 1 (1998): 343–50. http://dx.doi.org/10.3406/ameri.1998.1399.

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36

Monballieu, Aagje. "La vocación helenística de Julio Cortázar." Bulletin hispanique, no. 114-1 (June 1, 2012): 383–410. http://dx.doi.org/10.4000/bulletinhispanique.1913.

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37

Rios P. Passos, Cleusa. "Tradición e innovación en Julio Cortázar." Cuadernos Literarios 2, no. 3 (December 1, 2004): 57–69. http://dx.doi.org/10.35626/cl.3.2004.193.

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Cleusa Rios ofreció una charla sobre el famoso cuento "No se culpe a nadie" desde una perspectiva comparatista y psicoanalítica. Los comentarios y estupenda acogida que suscitó nos motivaron a incluirlo como artículo en este número. Entre los autores con los que sustentará su postura crítica, se encuentras importantes exponentes del psicoanálisis como Freud y Lacan.
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38

Cruz-Grunerth, Gerardo. "Desarticulación de la máquina antropológica en “Axolotl” de Julio Cortázar." Altre Modernità, no. 26 (November 29, 2021): 20–34. http://dx.doi.org/10.54103/2035-7680/16683.

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RESUMEN: La literatura de Julio Cortázar ha expresado en diversos momentos la cuestión animal, dando constancia de su habilidad para exponer la percepción del tiempo animal, su espacio, su campo visual, su umwelt, el medio del animal (vox Uexküll). En este artículo se analiza la obra “Axolotl” (1956), como pieza crucial de las preocupaciones de Cortázar en su búsqueda por confrontar la máquina antropológica, vista como la forma de negación de la animalidad humana y la subordinación de lo animal, según Giorgio Agamben. De ahí que la hipótesis de este artículo sostiene que “Axolotl”, más que expresar una confrontación humano-animal, incide en el devenir-animal (Deleuze y Guattari) como vía de acceso a una posibilidad ontológica. Con ello, el devenir animal conforma un dispositivo de oposición y desarticulación de la máquina antropológica, a través de líneas de fuga y desterritorializaciones; además, en el plano discursivo, esta ficción plantea la posibilidad para una zoo-autobiografía, una capacidad compartida para producir un discurso del yo, animal y humano, ambos como animales autobiográficos (Derrida). ABSTRACT: Julio Cortázar's literature has expressed the animal question on many occasions, giving evidence of his ability to expose animals' perception of time, space, and visual field, the umwelt, the medium of the animal (vox Uexküll). This article analyzes the work “Axolotl” (1956), as a crucial piece of Cortázar's concerns in his search to confront the anthropological machine, seen it as the form of denial of human animality and the subordination of what is animal, according to Giorgio Agamben. Consequently, this article's hypothesis maintains that Axolotl, rather than expressing a human-animal confrontation, affects the becoming-animal as a way to access an ontological possibility. Thus, the becoming-animal (Deleuze and Guattari) forms a device of opposition and disarticulation of the anthropological machine through lines of flight and deterritorializations. Furthermore, on the discursive plane, this fiction raises the possibility for a zoo-autobiography, which implies a shared capacity to produce a self, animal and human, discourse, considering both as autobiographical animals (Derrida).
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Bracamonte, Jorge. "Julio Cortázar and the Moments of Argentine Experimental Novel." Anclajes 19, no. 2 (July 1, 2015): 12–23. http://dx.doi.org/10.19137/anclajes-2015-1922.

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40

Ramírez, Cristian. "Sobre: Julio Cortázar y Adolfo Bioy Casares. Relecturas entrecruzadas, de Roland Spiller (Ed.)." El Taco en la Brea 2, no. 8 (October 31, 2018): 180–83. http://dx.doi.org/10.14409/tb.v1i8.7768.

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Nicolás, Violeta. "Andrés García Cerdán: "El árbol del lenguaje. Sobre la poesía de Julio Cortázar"." Diablotexto Digital 10 (December 24, 2021): 424. http://dx.doi.org/10.7203/diablotexto.10.22842.

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42

Abrego, Verónica. "Materiality in Julio Cortázar’s literature—rereading “Axolotl,” “No se culpe a nadie” and the almanac books." Neohelicon 47, no. 2 (September 21, 2020): 477–503. http://dx.doi.org/10.1007/s11059-020-00555-w.

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AbstractIn the light of the material turn in the Humanities some aspects of Julio Cortázar’s (1914–1984) work become very evident today as a laboratory of the future. For Cortázar, reading was a transforming impulse, part of a process of liberation from mental ties to which he contributed as an author, challenging the barrier between the fantastic and the real, the limit between the human and the animal, between the living and the inert. Thus, as a critic on blind Modernity, Cortázar, from his stories, questions anthropocentrism in a gesture that in the current crisis of the Anthropocene could not be more topical. Moreover, while he supported the transformation of people’s material conditions of life in Latin America, he innovated and celebrated literature in intermedial texts that are the decanted result of a creative performance, embedded in the strongly transcultural context of a diaspora that was first voluntary and then became exile.
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43

Báder, Petra. "Margherita Cannavacciuolo: El cuerpo cómplice. Los cuentos de Julio Cortázar. Madrid: Visor Libros, 2020." Lejana. Revista Crítica de Narrativa Breve, no. 15 (February 25, 2022): 147–50. http://dx.doi.org/10.24029/lejana.2022.15.3563.

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44

Relva, Lisandro. "Comunidades cronópicas: encuentros entre Julio Cortázar y la Acción Poética." Biblioteca de Babel: revista de filología hispánica 1 (December 1, 2020): 15–33. http://dx.doi.org/10.15366/bibliotecababel2020.1.002.

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El presente trabajo procura indagar desde una perspectiva archivística el intercambio sostenido entre Julio Cortázar y el Movimiento Nueva Solidaridad, con motivo del Encuentro de poetas celebrado en México D.F. en febrero de 1964, para estudiar ahí las formas de comunidad que tienen lugar. Mediante la reunión de ciertas cartas de la correspondencia de Cortázar, junto con el boletín Arte y rebelión , resultante del evento intelectual, este trabajo propone una vía de acceso poco visitada para releer la producción cortazariana en ese momento de convergencias poético-políticas en América Latina y el Caribe. La hipótesis principal plantea la emergencia de una cierta comunidad cronópica que tensiona y a la vez se conjuga con la comunidad intelectual latinoamericana nucleada en torno a Casa de las Américas , expresando así la ambivalencia y la complejidad del pulso comunitario que dinamiza la escritura de Cortázar.
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45

Yurkievich, Saúl. "Julio Cortázar: al calor de su sombra." Revista Iberoamericana 51, no. 130 (June 20, 1985): 7–20. http://dx.doi.org/10.5195/reviberoamer.1985.3989.

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46

Muñoz, Wiily O. "Julio Cortázar: Vértices de una figura comprometida." Revista Iberoamericana 56, no. 151 (June 2, 1990): 541–51. http://dx.doi.org/10.5195/reviberoamer.1990.4733.

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47

Ralón, Laureano. "Julio Cortázar y César Aira: Conexiones rizomáticas." MLN 134, no. 2 (2019): 382–411. http://dx.doi.org/10.1353/mln.2019.0023.

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48

Fares, Gustavo, and Carmen Ortiz. "Julio Cortázar. Una estética de la búsqueda." Chasqui 23, no. 2 (1994): 162. http://dx.doi.org/10.2307/29741145.

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49

Ribeiro, Patrick. "A estética da leitura em Julio Cortázar." Revista Leitura 2, no. 54 (2014): 7–20. http://dx.doi.org/10.28998/2317-9945.2014v2n54p7-20.

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50

O'Connell, Patrick L., María Dolores Blanco Arnejo, and Maria Dolores Blanco Arnejo. "La novela lúdica experimental de Julio Cortázar." Hispania 82, no. 2 (May 1999): 258. http://dx.doi.org/10.2307/346408.

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