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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On Being a Woman and a Poet [pp. Carmen Martin Gaite and the Postwar Novel [pp.
The narrator and his brother act as one character, have the same czsa passive personality characteristics, and even fall in love with the same woman. This content downloaded from Editorial Sud americana,pp. Incredibly, this extremely macabre episode manages to be quite funny.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. 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: Me dijo, como si hablara al perro: 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 the family is trying it out in its new location for the first time.
More specifically, there also exist grotesque thanes, of which Ocampo makes ample use. Theirs is the grotes que point of view: All this could be read as in part political allegory: You are commenting using your Facebook account.
For the grotesque can not be portrayed from the vantage of satire, which is superior to what it observes, 49 This content downloaded from To their surprise, Isidro Ebers appears as usual. They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye.
Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: 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.
The Grotesque in Silvina Ocampo’s Short Stories – [PDF Document]
Notify me of new posts via email. Email required Address never made public. Such is the case in “La casa de los relojes,” in which a little boy begins by describing a party at his parents’ house. But the pa tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness. 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 cawa grotes que.
Q La furia, pp.
Household servants also seem particularly appropriate to this end. Since no source can be named, the grotesque must not, indeed can not, imply a meaning.
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. My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject. Latin American Women Writers Posthegemony. In literary grotesques, the mixture of comedy and tragedy, or the horrible and the ludicrous. Her most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations.
These stories must also meet Kayser’s many-sided definition: Indiana University Press, The detachment of many of Qcampo’s stories narrated by children is evi dent in the story “La casa de los relojes.
My silviina is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Best known for her short stories, she is also the prize-winning author of seven volunes of poetry. The reader is confronted with a completely non-judgmental perspective, Kay dde “unimpassioned view. Post on Jan views. But seen through the eyes of a child, or perhaps some other character who lod marginal to or not fully integrated within the events that unfold around them, the tone that the stories ocxmpo is frequently at odds with the uncanny horrors that they relate.
When the reader encounters the world of Silvina Ocampo’s stories, he enters a strange and somehow dangerous place. Menu Skip to content. For, when hunan tragedy is viewed with indifference or laughter, the gro tesque rears its ugly head.
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: She helps out with the fitting, for instance by gathering up some pins that are dropped on the floor, but her main contribution is her repeated commentary: The furies, after all, are not entirely wrong.
Later he becomes aware that the deformed watchmaker has “disappeared. Twitter Facebook Google Print. 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.
The grotesque in Ocampo’s work appears frequently by way of the narra tor’s attitude: A seamstress reports the adven tures of her employer in ocampl 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.
Finally when one kills the other, the woman dies laughing in triumph, seemingly because she had succeeded in infuriating the other to the ultimate degree.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo
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 ominousness. Though certainly in evidence in “La casa de los relojes,” the hunorous elements of the child cssa are more fully developed in a story like “El siniestro del Ecuador.
These and other stories remind one of Kayser’s comment in the introduction of his study: Similarly, in “El lazo”16 two nurses reloues a sanatorium goad each other throughout years of intense hatred.
Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia.