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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Cecilia Mendez rated it liked it Oct 25, The cover and tide-page, which place Norah’s illustrations second to Silvina’s texts in defiance of Jorge Luis Borges’ remarkssuggest that Silvina took the lead in the selection.

Dutton,p. 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.

This is clearly one image that requires a knowledge of the textual tradition for interpretation. From Wikipedia, the free encyclopedia.

According to tradition, however, although this saint did not renounce her wealth or the privileges and prerogatives of high Roman birth she had many household servants whom she encouraged to live in devotion to Christ she used her immense wealth to do good deeds and found monasteries and convents. Goodreads helps you keep track of books you want to read. Occupying half of the field of the drawing, in white, is a simple colonnade limning classical architecture.

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.

Eugenia Hernandez rated it it was amazing Apr 03, Loading comments… Trouble loading? The lunar cycle is associated with the feminine, but cutting her hair would be a penance and a renunciation of the traditional glory of feminin- loe.

Norah Borges and Silvina Ocampo Collaborate. With the exception of the portraits of Santa Rosa de Lima and San Martin de Porres, her saints do not face the viewer as objects of veneration as if set in a niche or on a church wall. Perhaps the key here is the centrality of childhood to both the writer and the artist. The cover illustration sets the tone for all of Norah’s illustrations. German marked it as to-read Nov 20, Terry Worth marked it as to-read Aug 11, Thanks to Andrew Beresford for this observation.


In general, Norah does not portray specific elements in Silvina’s texts, nor does Silvina address specific features in Norah’s drawings.

Within the bounds of this collection, Bojetos utilizes quite a variety of forms of poetry, ranging from A-B-B-A rhyme schemes to blank verse. Only, this being Ocampo, by the time the story ends we are left with the suspicion, impalpable but present, that the narrator is herself a murderer. She was educated at home by tutors. It is a collection of saints venerated by the Catholic Church. An overview of her work is available in the catalogue Norah Borges, casi den afios de pintura Buenos Aires: Yet it may very well be that her overriding consideration was to use this palette, in which ochre predominates, to provide a ocamop equivalent of The Golden Legend, that is to present each of the saints through a gold prism, symbolizing their distance from the human realm.

J Lo mismo para la Virgen, tenia que cambiarle las oraciones. Thus, Norah and Silvina, referencing both traditions, have produced a hybrid in still another sense. 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. Just a moment while we sign you in to your Goodreads account. Soledad Blanco marked it as to-read Mar 03, Yet even then Ocampo plays games with this prayer.

Pablo rated it it was amazing Nov 01, Dibujaba 10 que no podia escribir y escribia 10 que no podia silfina. Her husband, who lied to her about the history of the house because he thinks her fears are delusional, narrates the story, and from its opening lines creates an opposition between his rationality and her irrationality.

Las invitadas

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. Nanu marked it as to-read Jun 08, There is no clutter or sign of agitated crowds in her work and no evidence of epic intent. 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.

However, her attach- ment to all these objects is tempered by ohjetos certain passivity in the face of their material decay; if they become broken or disfigured, she will not lament, nor seek to restore them.


Las invitadas by Silvina Ocampo

San Jorge Likewise, in her treatment of San Jorge, Ocampo deflects her meditation away from spiri- tual matters, this time towards visual details. Linda marked it as to-read Oct 16, The suggestion is that the figure of a saint is a palimpsest over a prostitute which is, of course, exactly the case of one of the Breve santoral, Santa Maria, la Egipdaca. In the illustration corresponding to the poem for Saint Agnes inside the text proper, the full dimensions of this building can be seen, indicating that the cover illustration had been cropped.

Hallazgos y suposiciones’, Proa, tercera epoca, no. She was never afraid if the lamps in the house went out all of a sudden; despite the objetls that it was definitely an omen of death, she would light any number of candles without thinking twice. After these experiences, my interest in living what was destined for me diminished. Silvina Ocampo, in a photo taken by her husband, Adolfo Bioy Casares.

Their ways of speaking and seeing the saints are complementary, combining for us the innocence of absolute silvinx and the experience associated with versions and reinterpretations of the saints’ lives down the centuries.

Silvina Ocampo: Selection

J Al mismo tiempo me deda: Yet there is a typical Ocampo twist – it is possibly implied in the following line that ‘la Bienaventuranza’, Beatitude, applies to the dragon, who ohjetos martyrdom at the hands of San Jorge: Here both artists have moved well beyond the version told in The Golden Legend, with Silvina taking the lead in presenting a wholly new interpretation of the meaning of the martyrdom. It bears an epigraph from 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.

But no sooner does this voice of reason make its case, than he lists another set of apparently acceptable superstitions.