Axolotl. Temas recurrentes son. la SOLEDAD, Durante una entrevista, Julio Cortázar menciona que el cuento proviene de una experiencia. Proyecto Escolar, realización de cartel para el cuento Axolotl de Julio Cortazar. ” La presncia de una vida diferente,de otra forma de mirar”. Final del juego (End of the Game) is a book of eighteen short stories written by Julio Cortázar. Relato con un Fondo de Agua; Después del Almuerzo (“In the Afternoon”); Axolotl (“Axolotl”); La Noche Boca Arriba (“The Night Face Up”); Final .
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The short story is told through two windows of time: The narrator begins with a succinct introduction of a period of his life in the recent past that has seemingly revolutionized his identity: He then returns in time in a retelling of the circumstances under which he arrived at that state.
But on this particular day, his usual proclivities are no longer satisfying and he cuentto the aquarium without interest until he is drawn by the axolotl exhibit.
Axolotl/Julio Cortazar | Proyecto Escolar, realización de ca… | Flickr
From this juncture on, the narrator is captivated by these small aquatic animals. He starts going to the Jardin at least once per day to the nine specimens and comes to connect with them on personal and psychological levels. He depicts in extensive detail the features of one of the axolotl, not only attributing to them humanistic features, but also in one instance becoming one of them, as the point of view shifts perceptibly to first-person plural.
Eventually, it was clear that the fascination cueno become an obsession. He simultaneously admires, pities, and fears them. The axolotl become his confidantes and they, his; he finds himself empathizing with and understanding them.
By this point, the narrator has already descended too far down the path that eventually leads him to an inability to distinguish his own existence with that of the axolotl.
He passes through the glass screen of the display and becomes physically merged with the creature. The Axolotl is a very strange creature. In the story, it becomes the object of obsession. The axololt first becomes acquainted with them through an exhibit in an aquarium.
He learns that they exist in larval state and that they are a species of Mexican salamander of the genus Ambystoma.
Beyond this, he cuennto that he is not interested in knowing anything else technical or biological about them. However, it is strange that a man who penetrates glass and merges beings with the cortazqr would not want to know more about them. The axolotl, without the presence of a trapped human psyche, is a bizarre creature all on its own.
Most creatures when they lose a limb, no longer recuperate it.
Axolotl-Julio Cortázar by estefani victoria quintero on Prezi
julko Not so with the axolotl. Axolotls have the unique ability to regenerate or regrow whole limbs once they have been sloughed off, bitten or otherwise separated from the body. The axolotls are also unique in their life cycle. Most amphibians, like frogs, spend a certain period of their lives in water as larva, before developing lungs and legs and growing into their adult form.
Axolotls, however, remain in their larval form all of their lives, they do not develop eyelids, protruding eyes or any other land characteristic cuneto from rudimentary lungs used in conjunction with their larval gills and skin pores. An interesting fact that relates to the story is that axolotls are described as neotenous. This backward step refers to the fact that axolotls were initially terrestrial, but with time lost the ability juoio survive on land and reverted back into water, gills and all.
In the story, the narrator also displays a certain type of neoteny. He begins julil as a man, a complete terrestrial being with full human capabilities. However, through his obsession, he looses his human capacities and reverts into a lower state.
The man in the story, in a bizarre play on evolution, finds it advantageous to devolve back into an aquatic being.
At a point within the piece, seemingly when the narrator has become cottazar acquainted with the physical nature of cogtazar axolotls, the narrative perspective switches to that of an axolotl, but it is unclear whether the narrator is citing what he believes to be axolotl thoughts or his mind has actually merged with that of the axolotl.
The more time he spends examining the axolotls, the more he becomes like them: From a pragmatic standpoint, the entire premise of the story—that a human eventually comes to believe himself to have metamorphosed into an amphibian—could be explained by his inability to differentiate between the real and the unreal events in life.
It could be illness, made more severe by the passage of time that makes him so unbalanced. For example, it could be discerned that he has the propensity to ascribe humanistic qualities to animals: He sees nothing duento with his constant visits to the axolotls.
The narrator himself becomes a statue, for hours engrossed in just the single action of watching them in their unmoving state. The socioeconomic status of the narrator, as assumed from his apparent lack of job, family, or friends, strengthens the interpretation that he is an untreated schizophrenia patient. This could also be accounted for as a symptom of obsessive-compulsive disorder: Perhaps one could combine the two perspectives.
Nevertheless, the ambiguity between the real and the unreal could be viewed as the literary basis of the short story. One of the most prominent characteristics that the narrator assigns to the axolotls throughout the story is stillness.
The boundary between humans and axolotls is blurred to a great extent in Axolotl, both physically and metaphysically. For instance, the axolotl is compared to a Chinese figurine, which is made in human likeliness.
References to mythology are prevalent in Axolotl. They function to further highlight the vagueness of the boundaries between the real and the unreal qualities of the world portrayed by the narrator.
The switch of perspectives between the narrator and one of the axolotl is reminiscent of Greek myths involving Circe. Another critic, Reedy, contends that the structure of Axolotl contains parallels to that of the Aztec myth involving the twin brother of the god, Quetzalcoatl, Xolotl, who is the god of the underworld and experiences rebirth after having been in larval form.
Moreover, the motif of cannibalism, a proclivity that the narrator attributes to the axolotl, may be accounted for by the historical belief that it was an Aztec practice. He finished his first short story at age nine alongside many other poems.
To his distress, his family believed them to be plagiarized. During this period of time he discovered Opium by Jean Cocteau, which completely revolutionized his way of writing and introduced him into French surrealism. Briefly he worked as a director of a publishing company and worked as a translator in Argentina.
Once in Europe however, he did not completely disentangle himself from the political movements and unrest in Latin America. These lectures, along with his earlier works, were collected into a single volume, The Final Island: In the later part of his career his authenticity as a truly Latin American author came into question, and he was attacked on all fronts by nationalist for “abandoning” his heritage.
He was exiled from his home country, but he did not feel completely European. On February 12, he officially died of leukemia in Paris. An ambitious undertaking, Blow Up is about photography and art, morality and reality, society and insanity.
The story itself fluctuates between the first, second and third person, sometimes all in the same sentence and often it becomes unclear as to who is telling the story, the young artist or his camara lens. Rayuela was a deeply influential novel for the Latin American writing community. Axolotl From Aesthetic and Interpretive Understanding Retrieved from ” https: Views Page Discussion View source History. Personal tools Log in.
Contents 1 Synopsis 2 The Axolotl 3 Analysis 3. The Mental Health Perspective 3. Reality and Fantasy 4 Themes and Motifs 4. August 26, — February 12, 6.