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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And this, as Patricia Artundo notes, was typical of Norah’s mature style as a graphic artist. As is well known, Garda Lorca made Saint Lucy and San Lazaro the patron saints of two contrasting aesthetics, one of ‘bright, pure surfaces’ and another probing ‘depths of The figures in the Breve santoral, however, while clinging to the rounded forms and innocent expression of her earlier saints, are subjected to a strict silvinaa for their compo- sition. She chooses to focus on the eyes in her poetic represen- tation, taking them as her starting point for ocammpo poetic meditation on the concept of vision.
The long story The Impostor is a brilliant mystery in which an year-old student, Luis Maidana, travels to an isolated ranch to spy on the son of a friend of his father. In the language of flowers, violets carry associations of constancy and truth as well as beauty; perhaps these lines indicate a desire to recognize but at the same time to redeem earthly beauty.
She was never afraid if the lamps in the house went out all of a sudden; despite the fact that lso was definitely an omen of death, she would light any number of candles without thinking twice. Norah’s figures evoke a child’s vision of the saints, a simplified version of figures recalled in memory or imagination which a child might have found amenable. The ruby ring, described as ‘ardiente’, also has religious connotations, namely that of the ‘ardiente coraz6n’.
Mariano Mazzeo is currently reading it Jul 12, As we reflect silvkna closely on these drawings we will see that they contain features which cause them to shift between two poles: We will consider these precedents briefly.
Vanessa Leal Soto rated it it was ok Jun 06, 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.
A knowledge of the ambiguous relationship to material objects revealed in Ocampo’s fiction enriches the ambiguities of this poem: She won the second prize in the National Poetry Comptetition for Los nombres in and came back to win the first place prize in with Lo amargo por dulce. Evidence of Silvina’s engagement with the textual tradition of the estampas can be found in the group of her poems published in Sur in and titled ‘Me hablan las estampas de los santos.
In fact, if Silvina did not begin her poem with the fact of the saint’s blindness, we might have no inkling of which saint Norah has repre- sented in her drawing on the facing page.
Tusquets,original emphasis. Renan Virginio marked it as to-read Jul 03, They were obviously linked by their artistic interests, but the two women also occupied somewhat analogous spaces in relation to the artistic and cultural centres of their time, each living slightly in the shadow of more prominent siblings. Short stories Fiction Jorge Luis Borges blogposts. Threads collapsed expanded unthreaded.
Victoria rated it really liked it Aug 03, Wilcock she published the theatrical work Los Traidores in The cover and tide-page, which place Norah’s illustrations second to Silvina’s texts in defiance of Jorge Luis Borges’ llossuggest that Silvina took the lead in the selection. Laura rated it it was amazing May 09, In this context, details beyond the highly symbolic emblems of the saint’s deeds and martyrdom are superfluous. Buenos AiresArgentina.
Remember me on this computer. With these dual emblems, Norah seems to have met Silvina 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. Want to Read saving…. She studied drawing in Paris under Giorgio de Chirico.
In electronic correspondence 13 April she has confirmed that this project was never published. 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 objets martyrdom: Her marriage to the Spanish critic and poet Guillermo de Torre in cemented her attachment to Spain, where in the S she again found herself at the centre of the new art.
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. The poet’s continual questions – what was the horse called?
On page 3S6 he cites verbatim an extract from the Santora! Centro Cultural Borges, Published February by Lumen first published We also get an inkling of her delight in irreverence from one short poem not published in Ocampo’s lifetime, but close in style to her ‘Epitafios’ of the IS, which is entitled ‘Cuadro ap6crifo’.
The words of the first line appear like emblems with capital letters: There is no sense of menace, much less carnage. 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. Having established this, Norah then deferred to Silvina in this project, tacitly allotting her the role of individualizing the saints.
Silvina Ocampo Aguirre July 28, – December 14, was an Argentine poet and short-fiction writer. Su proceso genesico es identico.
Perhaps Melania simply sees these objects as imperfect signs of, or means of spiritual access to, higher things; to become too attached to them as objects would be spiritually dangerous. This article needs additional citations for verification. Siempre las inventaba porque no me gustaban las oraciones, me pareda que no dedan 10 que habia que decir. Respectful as he is of his sister’s ojbetos, 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 perversely, as if thinking of his own Historia universal de la infamiaby remarking that nowadays ‘nos interesan los criminales’ p.
Its editors were three Argentinian bibliophiles: Although we do not know the circumstances which led to this collaboration, the seeds of the project seem to have gone ls a long way. San Jorge Likewise, oczmpo her treatment of San Jorge, Ocampo deflects her meditation silvija from spiri- tual matters, this time towards visual details.