Download Rayuela free in PDF & EPUB format. Download JULIO CORTÁZAR's Rayuela for your site, tablet, IPAD, PC or mobile. Translated by Gregory Rabassa, winner of the National Book Award for Translation, Horacio Oliveira is an Argentinian writer who lives in Paris with. . , English, Spanish, Book edition: Hopscotch / Julio Cortázar ; translated from Rayuela. English. Author. Cortázar, Julio. Other Authors. Rabassa, Gregory.

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International Journal of English Literature and Social Sciences (IJELS) Vol-4, Issue-1, Jan - Feb, hypmarevlimist.tk ISSN: . SANTIAGO JUAN-NAVARRO Un tal Morelli: Teoria y practica de la lectura en Rayuela, de Julio Cort?zar La finalidad del pr?sente estudio es comentar la. Documents and Fiction in Julio Cort?zar s RAYUELA. I would like to begin this paper with two general observations. First, it has become commonplace for.

Horacio and his friend Etienne visit an old man whom Horacio had witnessed being struck by a car on one of his solitary walks. He turns out to be Morelli, an iconoclastic writer and literary critic much beloved of the Serpent Club. That night, the Club goes to Morelli's flat to assemble his new work, a novel that can be read in any order. The Club disbands. Horacio retreats to a bridge, where he meets a homeless woman, Emmanuele. The police arrest Emmanuele and Horacio for lewd behavior.

It opens with a brief introduction to the life of Manolo Traveler, Horacio Oliviera's friend from childhood, who lives in Buenos Aires with his wife Talita.

Although Traveler is restless, the marriage appears to be on solid ground until Gekrepten, Horacio's old Argentinian lover, informs him that Horacio is due to arrive by boat. The news fills Traveler with a dark sense of foreboding; nonetheless, he and Talita greet Horacio at the docks, where Oliveira momentarily mistakes Talita for La Maga.

Horacio then settles with Gekrepten in a hotel room located directly across the street from the flat Traveler and Talita share, where his mind slowly begins to unravel.

Traveler and Talita work for a circus, and when Horacio's temporary employment falls through, Traveler arranges for his old friend to be hired on there as well, though not without misgivings. Oliveira's presence has begun to disturb him, but he is unable to determine why.

He wishes to ascribe it to Horacio's flirtations with Talita, but cannot do so, as there seems to be something more going on. And anyway, he has no doubts about his wife's remaining faithful to him. Unable to decipher the mystery, and unable to tell Horacio to leave them alone, he begins to sleep less and less, and his sense of restlessness increases.

Horacio, meanwhile, observing the relationship between Traveler and Talita, who more and more reminds him of La Maga, endeavors to enter more intimately into their lives, but he is unable to do so.

His frustrations increase, and he begins to show signs of impending mental breakdown. One hot afternoon, he spends hours on the floor trying to straighten nails, although he has no particular use in mind for them. He then convinces Traveler and Talita to help him build a makeshift bridge between the windows of the two buildings over which Talita can cross.

Traveler indulges his friend's eccentric behavior, but Talita is frightened and must be prodded into participating. She feels it is a test of some sort. In the end, Talita does not cross between the buildings. Soon after this incident, the owner of the circus sells the operation to a Brazilian businessman and invests in a local mental institution.

Traveler, Talita and Horacio decide to go to work there despite the irony of the situation, or perhaps because of it.

Horacio jests that the patients in the hospital will be no more mad than the three of them, anyway. On the day the ownership of the hospital is to be transferred, they are told that all the inmates must agree to the deal by signing a document, and that the three of them must act as witnesses.

They meet a good-natured orderly named Remorino as well as a Dr. Ovejero, who manages the facility.

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The former owner of the circus and his wife, Cuca, are also present. One by one the inmates are led in to sign the document, a procedure that lasts well into the night. Talita becomes the resident pharmacist at the hospital, while Horacio and Traveler act as either orderlies or guards at night. The place is dark and eerie in the long hours before dawn, with the three often seeking refuge in alcohol and conversation in the pharmacy's warmer atmosphere.

Remorino shows Horacio and Traveler the basement, where dead bodies are kept and cold beer can be had.

One night Horacio is smoking in his room when he sees Talita crossing the moonlit garden below, apparently heading to bed. A moment later, he thinks he sees La Maga appear and begin a game of hopscotch in the same general area; but when she looks up at him, he realizes it is Talita, who had turned and recrossed the garden.

A kind of guilt, fed in part by the institution's gloomy atmosphere, begins to steal into his musings, and it is not long before he conceives of the idea of someone's trying to murder him while he is on duty—perhaps Traveler.

Later in the night, while Oliveira is on the second floor pondering over the symbolic implications of the mental institution's elevator, Talita approaches and the two talk about holes, passages, pits, and La Maga, of course, and as they do, the elevator comes to life, ascending from the basement.

One of the mental patients is inside. After sending the man back to his room, Horacio and Talita decide to go down, ostensibly to see what he was up to.

Alone with Talita and the dead bodies, Horacio finds himself talking to her not as if she reminded him of La Maga, but as if she were La Maga. Returning to her room, Talita tells Traveler about it, who surmises that something may be seriously wrong with his friend. Meanwhile, having retreated to his own room, Horacio is now convinced that Traveler is coming to kill him. He begins to construct a kind of defense line in the dark room that is intended to confuse and irritate an attack, rather than deter it: water-filled basins placed on the floor, for example, as well as threads tied to heavy objects which are in turn tied to the doorknob.

Horacio then sits in the dark on the opposite side of the room, near the window, waiting to see what will happen. The hours pass slowly and painfully, but finally Traveler does try to come in, and the tumult that results brings Dr.

Ovejero and the others out into the garden, where they find Oliveira leaning out the window of his room as if intending to let himself fall. Traveler tries to talk Horacio out of doing what he, for his part, insists he doesn't intend to do, though at the conclusion of this part of the book, he suddenly muses that maybe he does mean to do such a thing after all, that maybe it is for the best, and the end of the passage is wholly open to this interpretation.

Only by proceeding to read the "Expendable Chapters" will the reader be able to place Horacio firmly back inside mental institution, where, after being sedated by Ovejero, he succumbs to a lengthy delirium.

The "Expendable Chapters"[ edit ] The third section of the book, under the heading "From Diverse Sides", does not need to be read in order to understand the plot, but it does contain solutions to certain puzzles that arise during the perusal of the first two parts.

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La que tiene lugar siguiendo el orden cronol? Here, after leaving Adamite ideal, a utopia that existed before humanity gained La Maga alone with her dead child, Rocamadour, he drifts knowledge and experience.

Frente al modelo narrativo de la preceptiva realista modelo cuya ordenaci? Para los personajes de Cort? Amsterdam, Blood, death, and sacrifice swan being born from its mythological role in the rape of contain several interpretations from the primal act of Leda and from the phallic value assigned to its powerful childbirth and death to Christian concepts of resurrection neck in modern Freudian terminology. From this standpoint the Minotaur ceases to appear grotesque and becomes a harmonious being who reveals ideal ancient Greek qualities.

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