Abstract:
The present paper studies the treatment of temporality in Julio Cortázar’s 1957 nouvelle The Pursuer, and Osías Wilenski’s 1962 homonymous film. In both works, travelling stands as a turning point in Johnny’s quest: through the sense of strangement provided by the subway wagon, spatial-temporal coordinates acquire a fluctuant quality. In Cortázar’s narrative, the use of discursive fragmentation concerning the facts points directly to the saxophonist’s own obsession for temporality. In Wilenski’s flick, the utilization of the cinematic assembly based on correlations reveals a formal treatment matching Johnny’s pursue of simultaneity.
