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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Chronological Bibliography: Silvina Ocampo

Perhaps the key here is the centrality of childhood to both the writer and the artist. Silvina may also have drawn her inspiration for the actual choice of saints from the ‘Santorales’ published daily in the newspapers see for example the ‘Culto cat6lico’ section of La Nadon.

Centro Editor de America Latina,pp. She was educated at home by tutors.

Silvina Ocampo: Selection

They were married in Once again, in contrast, Norah’s image like that of Ines and the lamb is one of peaceful repose, with Teodora holding the child, facing one another in profile yet looking curiously lost in reverie, each touching the other’s head in a caring gesture. All but the guardian angel – who is not, of course, a saint – are storied in one way or another, featuring either in The Golden Legend, a medieval sourcebook for the saints which artists and writers from a Catholic background were likely to know, or in various collections of saints’ lives Buder, Baring-Gouldyet not all have an iconographic tradition behind them.

Whereas for a believer, such a meditation should naturally lead to greater communion with the Almighty, Ocampo is lo to a more secular state of mysticism, linking sight to dreams which are a repository of all that has been seen. Respectful as he is of his sister’s faith, it is evident that he will have no truck with it, for while he goes on to justifY writers’ and artists’ fascination with hagiography – a fascination that many of his generation felt – he closes his prologue almost ocampp, as if thinking of his own Historia universal de la infamiaby remarking that nowadays ‘nos interesan los criminales’ p.


Help Center Find new research papers in: It follows the com- position of the central figure of Saint Agnes and the lamb in Macip so closely that it could be considered a sketch of the earlier figures. One of her sisters was Victoria Ocampothe publisher of the literarily important Argentine magazine Sur.

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A brief survey of the short story: Silvina Ocampo

They were married in Santa Melania Whereas in the representation of Santa Ines, Silvina perhaps deferred to Norah’s belief and to iconographic precedents, in the picture-poem of Santa Melania we witness the primacy of the textual tradition.

Part of the pleasure of reading Ocampo — or rather the thrill, as some of her work is far from pleasurable — is never knowing what the next sentence will bring.

On their re-publication in the poetry collection Amarillo celeste Buenos Aires: Cecilia C is currently reading it May 18, While the collaboration usually consisted if illustrations Norah provided for Silvina’s cuentos, there is one interesting exception to this: Florencia rated it liked it Dec 11, She asks for Saint Christopher’s aid when travelling on an eclectic variety of modern transport, and her comic delight in enumerating sleighs or helicopters subverts the prayer as ‘genre’, where specific naming is usually focused on people or areas of the world in particular need.

Melisa is currently reading it Dec 22, Her simple geometrical shapes and post-cubist flouting of perspective produced figures such as those a child or, metaphorically speaking, a child of the faith might have produced. Though she is herself the picture of vulnerability in her thin toga, she hugs the lamb to her body as if to protect it from harm, providing a visual definition of martyrdom: We will consider these precedents briefly.

Books by Silvina Ocampo.

Silvina Ocampo – Wikipedia

Vir rated it really liked it Jun 02, As with Santa Rosa who opens the collection, and of whom the poet pcampo ‘La sofie’ p. Thus, unlike Melania, she has upset the delicate balance of attraction and indifference to material objects. Indeed, as a child she was very interested in religion, but in a highly personal and idiosyncratic manner, shunning the strictures of catechism or official prayers and preferring to invent her own ways of addressing God.


Vanessa Leal Soto rated it it was ok Jun 06, Laura rated it it was amazing May 09, Victorina marked it as to-read Mar 17, Yet it is what Norah omits that is telling. Antonella marked it as to-read Dec 28, Norah and Silvina were old friends, but they came to their project with different poetic visions.

San Jorge Likewise, in her treatment of San Jorge, Ocampo deflects her meditation away from spiri- tual matters, this time towards visual details. A Literary Biography New York: Soledad Blanco marked it as to-read Mar 03, From Wikipedia, the free encyclopedia.

With these dual emblems, Norah seems to have met Obketos more than halfway in using the drawing as a means of effectively turning Saint Lucy into the patron saint of both verbal and visual artists. The poem in the first person opens with Melania’s appreciation of the aesthetic loa symbolic qualities of an opal medallion, a gold bracelet, or a ruby ring.

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. This articleexplores the visual and textual intersection, whilst pladng the poems and pictures objeetos traditions if devotional iconographyincluding estampas and santorales.

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