July 8, 2019


Its editors were three Argentinian bibliophiles: Silvina Ocampo, her husband Adolfo Bioy Casares, and their best friend, Jorge Luis Borges. conception, Silvina Ocampo has often been unduly eclipsed by Sur’s other .. humor. A story from La furia, “Los objetos,” for instance, seems to be an. Silvina Ocampo was the youngest of the six Ocampo sisters, of whom the .. fiction enriches the ambiguities of this poem: in her short story ‘Los objetos’, the.

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She always left her hat on the bed, a mistake nobody else made. However, she does show a marked preference overall for sonnets of the twelve saints presented, half are presented through sonnets – see Santa Serafina, San Arsenio, Santa Teodora, Santa Ines, Santa Lucia and San Jorge.

We are grateful to May Lorenzo for this information. Silvina Ocampo owned four of Norah’s works, all of which predated Cambridge University Press, The lunar cycle is associated with the feminine, but cutting her hair would be a penance and a renunciation of the traditional glory of feminin- ity. Renan Virginio marked it as to-read Jul 03, White Pine Press,pp.

A good example of this is San Arsenio, who questions himself as to his religious motivation a key aspect in traditional descriptions of San Arsenio ;27 others offer a detached and self-contained poetic meditation e.

In the illustration corresponding to the poem for Saint Agnes inside the text proper, the full dimensions of this building can be seen, indicating that the cover illustration had been cropped.

Vanessa Leal Soto rated it it was ok Jun 06, The saint’s trial by fire and gruesome beheading are recorded obliquely in a lyrical present that sets the events firmly within legend, where no emotional response on the part of the reader can enter into play, thus allowing the illustration to assert its subject’s inviolability.


Objets her world a birthday party can become a funeral, objects collected in dreams can be brought into the waking world, and lovers flirt by exchanging stories of death. Yet even these lines reflect upon the nature of creation as it taps the dark inner world and comes into its own at night.

Dibujaba 10 que no podia escribir y escribia 10 que no podia dibujar. She chooses to focus on the eyes in her poetic represen- tation, taking them as her starting point for a poetic meditation on the concept of vision. As with Santa Rosa who opens the collection, and of whom ocwmpo poet declares ‘La sofie’ p.

While there is no specific study, so far ocamp we know, of the extent to which Catholic writers of the interwar period would have known The Golden Legend, the fact that Lorca drew upon this work and in all likelihood shared his reading with friends from Madrid’s Residencia de Estudiantes like Salvador Dali and Luis Bunuel points to its more general dissemination.

A brief survey of the short story: Silvina Ocampo

Silvina Ocampo Aguirre July 21, — December 14, was an Argentine poet and short-fiction writer. San Jorge Likewise, in her treatment of San Jorge, Ocampo deflects her meditation away from spiri- tual matters, this time towards visual details. Here both artists have moved well beyond the version told in The Golden Legend, with Silvina taking the lead in presenting a wholly new interpretation of the meaning of the martyrdom.

Part of the pleasure of reading Ocampo — or rather the thrill, as some of her work is far from pleasurable — is never knowing what the next sentence will bring.

Silvina Ocampo – Wikipedia

La Sirena,pp. Lu added it Jul 21, In the long run, then, Silvina and Norah are more essentially in agreement about the value of looking into the lives of the saints than Jorge Luis Borges led readers to believe in his prologue. An overview of her work is available in the catalogue Norah Borges, casi den afios de pintura Buenos Aires: Her simple geometrical shapes and post-cubist flouting of perspective produced figures such as those a child or, metaphorically speaking, a child of the faith might have produced.


According to her, Norah used rotuladores and marcadores for almost all of her work as an illustrator from the second edition of Platero y yo onwards. The stylistic similarity to the ‘Epitafios’ is observed by Ulla in her prologue. A santoral is, however, a traditional denomination.

Once again, in contrast, Norah’s image like that of Ines and the lamb is one of peaceful repose, with Teodora holding the child, facing one another in profile yet looking curiously lost in reverie, each touching the other’s head in a caring gesture.

Norah is able to refine, stylize and purify the act of reverence and contemplation, whereas Silvina, rather than focusing on their stylized and idealized saintly aspects, steps back to look at the mentality which traditionally imagines and engages with these saints. LA leyenda dorada, 2 vols Madrid: Ediciones de Arte Gaglianone, Paperbackpages.

Norah’s illustrations convey an impression both of their subjects’ vulnerability and their inaccessibility. Although appearing in a dream has many biblical precedents, here the emphasis is clearly placed by Ocampo on aesthetic questions: The palette if we may borrow this visual term in Silvina’s individualizing poems, is silvinaa.

For she places a small laurel wreath in one of the saint’s hands and in the other the ewer: