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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Fill in your details below or click an icon to log in: Me dijo, como si hablara al perro: In Ocampo’s works a horrifying event, fre quently fantastic, is protrayed in a humorous, albiet, grimly humorous way.

Wolfgang Kayser’s book-length study of the grotesque stresses its para doxical nature: 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.

Notify me of new comments via email. My prolonged concern re the grotesque must not be taken as a sign of whole hearted enthusiasm for the subject. He goes off in a desperate search for his “real” visual and accoustic images, abandoning the woman he loves.

We use information technology and tools to increase productivity and facilitate new formsof scholarship. Editorial Sud americana,pp.

February 19, at 7: This content downloaded from The child provides an ideal vantage point from which to project the estranged world. 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.


Edición crítico-genética de cuatro cuentos de Silvina Ocampo

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. 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. Carmen Martin Gaite and the Postwar Novel [pp.

This is a fantastic story which implies reincarnation of the 51 This content downloaded from Some of its carved, wooden figures, however, were damaged: The furies, after all, are not entirely wrong.

Leave a Reply Cancel reply Enter your comment here Incongruous from the outset, this refrain becomes ever more out of place as events steadily turn to the weirder and the worse: 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.

Her most famous short stories fall within the realm of the fantastic, as may be surmised from her personal associations.

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.


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 – [email protected]

Latin American Relpjes Writers Posthegemony. For the grotesque can not be portrayed from the vantage of satire, which is superior to what it observes, 49 This content downloaded from Notify me of new posts via email. It is not satire or social criticism, but “a play with the absurd. 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. Ocampo depicts daily life as constantly susceptible to the emergence of sinister doubles, inexplicable cruelties, abrupt reversals, and sudden death.

Menu Skip to content. The guests become increasingly drunk rleojes, in a burst of enthusiasm, they conceive the idea of ironing a dilvina hunchbacked watchmaker’s wrinkled suit. 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.

Incredibly, this extremely macabre episode manages to be quite funny. Theirs is the grotes que point of view: