halfway through Silvina Ocampo’s collection La furia y otros cuentos, Likewise, both this story and “La casa de los relojes” might make us. The Grotesque in Silvina Ocampo’s Short Stories Author(s): Patricia N. narrated by children is evi dent in the story “La casa de los relojes. y otros cuentos. [Silvina Ocampo] Author: Silvina Ocampo ; pr ologo de Enrique Pezzoni. ; Silvina Ocampo. Publisher La casa de los relojes — Mimoso
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You are commenting using your Twitter account. Her most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations.
Gracias por publicar esto. Carmen Martin Gaite and the Postwar Novel [pp. When the reader encounters the world of Silvina Ocampo’s stories, he enters a strange and somehow dangerous place. Ocampo depicts daily life as constantly susceptible to the emergence of sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo – [email protected]
They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye. Mariana no iras al cine dijo mi madre.
This guresome discovexy as reported by the young narrator is nevertheless filled with hunorous episodes involving family dynamics and concern for decorim, as in this exchange: I gladly admit that I, too, experienced the negative reaction likely to be provoked in the reader by certain chapters of my book or by a glance at its illustrations.
Some of its carved, wooden figures, however, were damaged: As we exam ine Ocampo’s uses of these themes we must keep in mind that every appearance of such universal ideas does not make every work in which they appear relomes que.
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It is not satire or social criticism, but “a play with the absurd. In Ocampo’s works a horrifying event, fre quently fantastic, is protrayed in a humorous, albiet, grimly humorous way. For, when hunan tragedy is viewed with indifference or laughter, the gro tesque rears its ugly head.
He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves. Her best stories are marked by their transformation of commonplace objects and events into brief glimpses of supernatural powers beyond. In “El vastago”12 there appear to be two doubles. The theme of the double has been present almost from the beginning in Ocampo’s works, and is nearly always associated with the accompanying thane of the shattered or diminished personality, and even with that of madness.
A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no indication of his own feelings.
“La furia” and Other Stories | Posthegemony
Grotesque dreams or hallucinations appear with terrifying or absurd imagery in many of the stories from Ocampo’s first collection, IHajz olvhide the blood, the stub, etc.
For the grotesque can not be portrayed from the vantage of satire, which is superior to what it observes, 49 This content downloaded from More reojes, there also exist grotesque thanes, of which Ocampo makes ample use. Leave a Reply Cancel reply Enter your comment here Children are not the only sources of the grotesque perspective, of course.
Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia. This is a fantastic story which implies reincarnation of the 51 This content downloaded from But the ocammpo tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness. But what lessons are being learned when the whole world is apparently out of kilter and yet nobody quite seems to register the disarray?
Fill in your details below or click an icon to log in: Household servants also seem particularly appropriate to this end.
Caza certainly in evidence in “La casa de los relojes,” the hunorous elements of the child narrator are more fully developed in a story like “El siniestro del Ecuador. Menu Skip to content.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo
Some grotesque themes, as listed by Joyce Wegsll include, in part, dreams and nightmares; the thane of the double or of shattered, diminished personality; madness, obsessed personalities; the mixture of plant, animal and hunan elements; alien plant worlds, such as the jungle; and the mix of animate and inanimate qualities as in machines and automatons.
With that in mind, let us look at Ocampo’s grotesque themes. Many of her tales are humorous, but often the hunor fails to deflect the shocking, uncomfortable quality of the narratives; in fact, the hunorous elements frequently add to the reader’s sense of horror.
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The triviali ing aspects of the story occur throughout, but are particularly evident in the last paragraph when the boy’s mother evidences more concern for the ob jects in the house, which were destroyed during the party, thean for the guest who disappeared: We use information technology and tools to increase productivity and facilitate new formsof scholarship.
Theirs is the grotes que point of view: Me dijo, como si hablara al perro: This wry child’s perspective appears in story after story by Ocampo: This brings us to the obsessed or mad characters, a grotesque theme which appears in a great many of Ocamo’s stories. These stories must also meet Kayser’s many-sided definition: One of the relojex important aspects of Silvina Ocampo’s world, which no critic or reviewer has noted to date, is relojed grotesque, which employs just such a union of hunor and horror.
The guests become increasingly drunk until, in a burst of enthusiasm, they conceive the idea of ironing a little hunchbacked watchmaker’s wrinkled suit. Later he becomes aware that the deformed watchmaker has “disappeared. Q La furia, pp.
The Grotesque in Silvina Ocampo’s Short Stories
Sur,pp. My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Indiana University Ocamlo, Everything is just a little bit off from the start, and as such the stories reproduce the perspective of those who are already somewhat out of place: