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
|Country:||Antigua & Barbuda|
|Published (Last):||17 May 2013|
|PDF File Size:||3.19 Mb|
|ePub File Size:||13.70 Mb|
|Price:||Free* [*Free Regsitration Required]|
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. 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.
Edición crítico-genética de cuatro cuentos de Silvina Ocampo
Notify me of new posts via email. This brings us to the obsessed or mad characters, a grotesque theme which appears in a great many of Ocamo’s stories. Such is the case in “La casa de los relojes,” in which a little boy begins by describing a party at his parents’ house.
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. These stories must also meet Kayser’s loos definition: With that in mind, let us look at Ocampo’s grotesque themes.
They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye. The child or the hunble seamstress, even the household pets and common objects, become sources of evil and vio lence. You are commenting using your Twitter account. Ocampo depicts daily life as constantly susceptible to the emergence of sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death.
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.
The child provides an ideal vantage point from which to project the estranged world. 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. My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject.
The Grotesque in Silvina Ocampo’s Short Stories – [PDF Document]
A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no indication of his own feelings. Carmen Martin Gaite and the Postwar Novel [pp. Best known for her short stories, she is also the prize-winning author of seven volunes of poetry.
Menu Skip to content. Incredibly, this extremely macabre episode manages to be quite funny. The tragicomedy is a quite generalized element of the grotesque.
The Grotesque in Silvina Ocampo’s Short Stories
More specifically, there also exist grotesque thanes, of which Ocampo makes ample use. Vamos a pregunatarle si es cierto que ha muerto o si es una calumnia. This wry child’s perspective appears in story after story by Ocampo: February 19, at 7: This content downloaded from Theirs is the grotes que point of view: Leave a Reply Cancel reply Enter your comment here In “El vastago”12 there appear to be two doubles.
My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Post on Jan views. Indiana University Press, 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. In Ocampo’s works a horrifying event, fre quently fantastic, is protrayed in a humorous, albiet, grimly humorous way.
With the employment of the tragicomedy, the tone of the ocampp is central to the appearance of the grotesque. Their father cawa the younger brother’s little boy also act as another double, both having the same nickname, “Labuelo,” and the same extranely domineering personality. Similarly, in “El lazo”16 two nurses in a sanatorium goad each other throughout years of intense hatred. Me dijo, como si hablara al perro: 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 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 theme of the double has been present almost from the beginning in Ocampo’s works, and is nearly always associated with ocapo accompanying thane of the shattered or diminished personality, and even with that of madness.
All this could be read as in part political allegory: He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves.