June 25, 2019


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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These stories must also meet Kayser’s relojds definition: Household servants also seem particularly appropriate to this end. On Being a Woman and a Poet [pp. We use information technology and tools to increase productivity and facilitate new formsof scholarship.

But the entire tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness. You are commenting using your Twitter account.

The tragicomedy is a quite generalized element of the grotesque. In literary grotesques, the mixture of comedy and tragedy, or the horrible and silviba ludicrous.

For the grotesque can not be portrayed from the vantage of satire, which is superior ocampi what it observes, 49 This content downloaded from My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject. Ocampo depicts daily life as constantly susceptible to the emergence of sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death.

Fill in your details below or click an icon to log in: You are commenting using your WordPress. The restaurant had collapsed, killing all the waiters, including Isidro Ebers, their favorite, a year before the story takes place, [towever, when the story opens, the restaurant has been rebuiIt and reopened, and caa family is trying it out in its new location for the first time.

Edición crítico-genética de cuatro cuentos de Silvina Ocampo – [email protected]

He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves. It silvlna not even icampo why the girl is there: The gro tesque is the estranged world, our world which has been inexplicably trans formed, and which produces in the reader a reaction of awe, horror and of “overwhelming rrlojes.


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. Her most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations. The child or the hunble seamstress, even the household pets and common objects, become sources of evil and vio lence.

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In this story, the two brothers are persecuted in the beginning by their tyrannical father; in the end they are equally persecuted by his tyrannical grandson. Children are not the only sources of the grotesque perspective, of course.

Edición crítico-genética de cuatro cuentos de Silvina Ocampo

As they talk, it becomes evident that he actually has died, but is somehow still waiting tables. The furies, dd all, are not entirely wrong. For, when hunan tragedy is viewed with indifference or laughter, the gro tesque rears its ugly head. Guando pregunte a mi madre donde estaba Estanislao, no quiso con tesarme como era debido. They all go off to the cleaner’s the proprietor being one of the drunksand once there they decide to iron the little mishappen man as well as his suit.

Me dijo, como si hablara al perro: Sur,pp. At the point when the men lay Estanislao, the hunchback, out under the steaming in dustrial iron, the young narrator, who has dipped into plenty of the wine himself, gets sick from the heat and the crush of the people, and leaves.

All this could be kcampo as in part political allegory: Lks theme of the double has been present almost from the beginning in Ocampo’s works, and is nearly always relojess with the accompanying thane of the shattered or diminished personality, and even with that of madness. Editorial Losada,pp. But what lessons are being learned when the whole world is apparently out of kilter and yet nobody quite seems to register the disarray?

My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. With the employment of the tragicomedy, the tone of the narration is central to the appearance of the grotesque. Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia. Leave a Reply Cancel reply Enter your comment here But seen through relohes eyes of a child, or perhaps some other character who is marginal to or not fully integrated within the events that unfold around them, the tone that the stories take sivina frequently at odds with the uncanny horrors that they relate.


Q La furia, pp. The theme of the fragmented personality appears in “La vida clandes tine. Since no source can be named, the grotesque must not, indeed can not, imply a meaning. The guests become increasingly drunk until, in a burst of enthusiasm, they conceive the idea of ironing a little hunchbacked watchmaker’s wrinkled suit.

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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. The grotesque in Ocampo’s work appears frequently by way of the narra tor’s attitude: In “El vastago”12 there appear to be two doubles. The detachment of many of Qcampo’s stories narrated by children is evi dent in the story “La casa de los relojes.

One of the most important aspects of Silvina Ocampo’s world, which no critic or reviewer has noted to date, is the grotesque, which employs just such a union of hunor and horror. A seamstress reports the adven tures of her employer in “Las vertiduras peligrosas”6 and maids are witnesses in two stories of particularly grotesque characteristics, “Las escalavas de las criadas”7 and “La propiedad,”8 Distant relatives also seem to provide the necessary perspective, as in “Las fotografias”9 and in “El almacen negro.