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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The grotesque in Ocampo’s work appears frequently by way of the narra tor’s attitude: You are commenting using your WordPress. 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.
Some of its carved, wooden figures, however, were damaged: Editorial Losada,pp. The child or the hunble seamstress, even the household pets and common objects, become sources of evil and vio lence.
In “El vastago”12 there appear to be two doubles. Children are not the only sources of the grotesque perspective, of course. For the grotesque can not be portrayed from the vantage d satire, which is superior to 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.
These and other stories remind one of Kayser’s comment in the introduction of his study: As they talk, it becomes evident that he actually has died, but is somehow still waiting tables. 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. 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: Her most famous short stories fall within the realm of the reelojes, as may be surmised from her personal ocamp.
Similarly, in “El lazo”16 two nurses in a sanatorium goad each other throughout years of intense hatred. Q La furia, pp. But the entire tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness.
Notify me of new comments via email. This content downloaded from The reader is confronted with a completely non-judgmental perspective, Kay ser’s “unimpassioned view. Mariana no iras al cine dijo mi madre.
Their father and the younger brother’s little boy also act as another double, both having the same nickname, “Labuelo,” and the same extranely domineering personality. 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: The furies, after all, are not entirely wrong.
The Grotesque in Silvina Ocampo’s Short Stories
The narrator zilvina his brother act as one character, have the same basically passive personality characteristics, and even fall in love with the same woman.
To their surprise, Isidro Ebers appears as usual.
The theme of the fragmented personality appears in “La vida clandes tine. With that in mind, let us look at Ocampo’s grotesque themes. 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.
Theirs is the grotes que point of view: 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: Twitter Facebook Google Print.
Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia.
“La furia” and Other Stories | Posthegemony
Ocampo depicts daily life as constantly susceptible to the emergence of sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death. However, unlike Borges and Bioy Casares, who often send their readers into strange, imaginary worlds, Silvina prefers to deal in her cwn special way with elements of ordinary reality.
When the reader encounters the world of Silvina Ocampo’s stories, he enters a strange and somehow dangerous place. Post on Jan views. Latin American Women Writers Posthegemony.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo
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 grotes que. All this could be read as in part political allegory: February 19, at 7: Though 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. Fill in your details below or click an icon to log in: 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 around them, the tone that the stories take is frequently at odds with the uncanny horrors that they relate.
The child provides an ideal vantage point from which to project the estranged world.
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. Menu Skip to content. 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.
Carmen Martin Gaite and the Postwar Novel [pp. But what lessons are being learned when the whole world is apparently out of kilter and yet nobody quite seems to register ccasa disarray? Editorial Sud americana,pp. 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 silvin reader’s sense of horror.
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