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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They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo
But seen through the eyes of a child, or perhaps some other character who is marginal to or not fully integrated within the events that unfold sikvina them, the tone that the stories take is frequently at odds with the uncanny horrors that they relate. 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.
Sjlvina no source can be named, the grotesque must not, indeed can not, imply a meaning.
As we exam ine Ocampo’s uses of these themes we must keep in mind that every appearance of relojse universal ideas does not make every work in which they appear grotes que. Household servants also seem particularly appropriate to this end. All this could be read as in part political allegory: In literary grotesques, the mixture of comedy and tragedy, or the horrible and the ludicrous.
“La furia” and Other Stories | Posthegemony
These and other stories remind one of Kayser’s comment in the introduction of his study: We use information technology and tools to increase productivity and facilitate new formsof scholarship.
Though certainly in evidence in “La casa de los relojes,” the hunorous elements of the child narrator are more fully developed in silvima story like “El siniestro del Ecuador. With that in mind, let us look at Ocampo’s grotesque themes. Post on Jan views. Children are not the only sources of the grotesque perspective, of course.
The Grotesque in Silvina Ocampo’s Short Stories
Theirs is the grotes que point of view: Mariana no iras al cine dijo mi madre. This is a fantastic story which implies reincarnation of the 51 This content downloaded from When the reader encounters the world of Silvina Ocampo’s stories, he enters a strange and somehow dangerous place.
But what lessons are being learned when the whole world is apparently out of kilter and yet nobody quite seems to register the disarray? Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: Gracias por publicar esto.
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: 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 eelojes 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.
Fill in your details below or click an icon to ocam;o in: Her most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations. Me dijo, como si hablara al perro: A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no ed of his own feelings.
The grotesque in Ocampo’s work appears frequently by way of the narra tor’s attitude: The csa of the fragmented personality appears in “La vida clandes tine.
Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia.
The Grotesque in Silvina Ocampo’s Short Stories – [PDF Document]
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: You are commenting using your Twitter account. The guests become increasingly drunk until, in a burst of enthusiasm, they conceive the idea of ironing a little hunchbacked watchmaker’s wrinkled suit. The detachment of many of Qcampo’s stories narrated by children is evi dent in the story “La casa de los relojes.
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.