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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We use information technology and tools to increase productivity and facilitate new formsof scholarship. This brings us to the obsessed or mad characters, a grotesque theme which appears in a great many of Ocamo’s stories. Notify me of new posts via email.

“La furia” and Other Stories | Posthegemony

Indiana University Press, 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 relljes. 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.

Menu Skip to content. The detachment of many of Qcampo’s stories narrated by children is evi dent in the story “La casa de los relojes.

My prolonged concern with the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject. With the employment of the tragicomedy, the tone of the narration is central to the appearance of the grotesque. Vamos a pregunatarle acsa es cierto que ha muerto o si es una calumnia.

On Being a Woman and a Poet [pp. Incongruous from the outset, this refrain becomes ever more out of place as events steadily turn to the weirder and the worse: Grotesque dreams or hallucinations appear with terrifying or absurd imagery in cas of the stories from Ocampo’s first collection, IHajz olvhide the blood, the stub, etc.


Later he becomes aware that the deformed watchmaker repojes “disappeared. These stories must also meet Kayser’s many-sided definition: Carmen Martin Gaite and the Postwar Novel [pp. Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: But what lessons are being learned when the whole world is apparently out of laa and yet nobody quite seems to register the disarray?

February 19, at 7: Email required Address never made public. I gladly admit that I, too, experienced the negative rekojes likely to be provoked in the reader by certain chapters of my book or by a glance at its illustrations. 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.

The child provides an ideal vantage point from which to project the estranged world. Guando pregunte a mi madre donde estaba Estanislao, no quiso con tesarme como era debido. They, like children, are kept at a distance from adult life in a household, and view events with a dispassionate eye. Household servants also seem particularly appropriate to this end.

A strange, frightening or fantastic event occurs, reported by an observer or participant, who gives no indication of his own feelings. 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.

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: He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves. 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: 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.

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.


Edición crítico-genética de cuatro cuentos de Silvina Ocampo

It is not even clear why the girl is there: To their fe, Isidro Ebers appears as usual. Sur,pp. 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,” ocampoo the same extranely domineering personality.

But the entire tale is told in such a matter-of-fact manner, and simply to explain a moment of social awkwardness. The theme of the double has been present almost from the beginning in Ocampo’s works, and is nearly always associated with the accompanying thane of the shattered or diminished personality, and even with that of madness. The triviali ing ocajpo 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 silvins the house, which were destroyed during the party, thean for the guest who disappeared: Gracias por publicar esto.

This is a fantastic story which implies reincarnation of the 51 This content downloaded from You are commenting using your Facebook account.

The Grotesque in Silvina Ocampo’s Short Stories

My paragraph is essentially a sunmary of Kayser’s first chapter, “The Word and its Meaning,” especially pp. Editorial Sud americana,pp. Q La furia, pp. You are commenting using your WordPress.

Children are not the only sources of the grotesque perspective, of course. Latin American Women Writers Posthegemony. Ocampo depicts daily life as constantly susceptible to the emergence silvinx sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death.