Its editors were three Argentinian bibliophiles: Silvina Ocampo, her husband Adolfo Bioy Casares, and their best friend, Jorge Luis Borges. conception, Silvina Ocampo has often been unduly eclipsed by Sur’s other .. humor. A story from La furia, “Los objetos,” for instance, seems to be an. Silvina Ocampo was the youngest of the six Ocampo sisters, of whom the .. fiction enriches the ambiguities of this poem: in her short story ‘Los objetos’, the.

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Ocampo, in her final act of cruelty, defers that climax. Topics Argentina A brief survey of the short story. But whereas Norah is content for the reader to contemplate the faces of souls made simple in their consecration to God, Silvina pushes textual meditation and contemplation towards philosophy and psychology, seeking out the human details of saints more than their saintliness.

According to her, Norah used rotuladores and marcadores for almost all of her work as an illustrator from the second edition of Platero y yo onwards. The opening lines of Ocampo’s poem provide us with all the rapid action and drama that is absent from the contemplative, quasi-chivalric scene offered to us by Borges, from which the dragon emblem par excellence of Saint George is absent. The ruby ring, described as ‘ardiente’, also has religious connotations, namely that of the ‘ardiente coraz6n’.

Art marked it as to-read Jun 06, Picturing the saints in simple outlines, her work extends an invitation to Silvina to fill in the blanks, to which Silvina responds in sympathy, commenting on and reworking legends associated with these figures in the Catholic tradition throughout the Hispanic world.

Silvina Ocampo: Selection

An overview of her work is available in the catalogue Norah Borges, casi den afios de pintura Buenos Aires: She is at the mercy of heathen Roman soldiers who have tried, unsuccessfully, to burn her alive hence the smouldering faggots in the foreground. Whereas for a believer, such a meditation should naturally lead to greater communion with the Almighty, Ocampo is led to a more secular state of mysticism, linking sight to dreams which are a repository of all that has been seen.


The first is the ability to see the future, which she complicates by making its nature uncertain: She was never afraid if the lamps in the house went out all of a sudden; despite the fact that it was definitely an omen of death, she would light any number of candles without thinking twice.

Yet even these lines reflect upon the nature of creation as it taps the dark inner world and comes into its own at night. In the early S she contributed excellent woodcuts and linoleum prints to loz same little magazines such as Spain’s Ultra or Argentina’s Proa for which Jorge Luis wrote poems and theoretical texts.

Enter the email address you signed up with and we’ll email you a reset link. A good example of this is San Arsenio, who questions himself as to his religious motivation a key aspect in traditional descriptions of San Arsenio ;27 others offer a detached and self-contained poetic meditation e. Valen Guitart Guimet rated it it was amazing Dec 15, That he neglects to acknowledge the paradox is telling.

La Sirena,pp.

However, there is one interesting exception to this: On the surface of the story we are given an account of the doubling of Cristina and Violeta, the mysterious previous resident, but hidden in plain view is another doubling: In her finest collections, The Fury and The Guestsshe develops systems of reticence and mystery that prove, beyond any doubt, how willing she is to build the structure alone: Within the bounds of this collection, Ocampo utilizes quite a variety of forms of poetry, silvnia from A-B-B-A rhyme schemes to blank verse.

In seeking to rehabilitate beauty in this way, as expressed by a rich woman, Ocampo appears to be opposing narrowly ascetic ideas of religious devotion which will have no truck with aesthetics or the material.

Silvina Ocampo

Yet there is a typical Ocampo twist – it is possibly implied in the following line that ‘la Bienaventuranza’, Beatitude, applies to the dragon, who suffers martyrdom at the hands of San Jorge: Emece,p. Preview — Las invitadas by Silvina Ocampo.


White Pine Press,pp. Centro Cultural Borges, Short stories Fiction Jorge Luis Borges blogposts. It bears an epigraph silvins St Luke’s gospel, citing the passage where it is claimed that there will be more rejoicing in heaven over one repentant sinner than over ninety-nine good men.

Because she exploited the white back- ground of the page for all of her drawings, she left a great deal for the viewer to fill in, just as she did in many of the illustrations produced during her lifetime. The saint’s trial by fire and gruesome beheading are recorded obliquely in a lyrical present that sets the events firmly within legend, where no emotional response on the part of the reader can enter into play, thus allowing the illustration to assert its subject’s inviolability.

Norah’s image illustrates a kind of ewer, rather than a platter; as a consequence, the eyeballs if we are to imagine their presence in the ewer are discreetly hidden from view, and her eyes are represented no differently from the eyes of the other ocanpo pictured.

Summary Bibliography: Silvina Ocampo

If Jorge Luis thought otherwise, it may very well be out of deference to his sister as well as a lingering loyalty to the historical avant-garde, which back in the days of ultra smo vindi- cated a single ‘hecho estetico’, informing all manifestations of art.

She studied drawing in Paris under Giorgio de Chirico. Norah longed to write poetry when she was young and produced a small unpublished work, which she illustrated and bound herself, entided Notas lejanas and bearing her brother’s first prologue.