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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II, there is a significant alteration; now they are simply grouped under the title ‘Hablan las estampas’, as if they no longer speak directly to the poet and as if the fact that they are saints were less important than the fact that out of a devotional picture can come directly communication, words and meanings. The cover illustration sets the tone for all of Norah’s illustrations.
She has turned the story into an apology for clairvoyance and for the deeper inner vision that illuminates the artist: As we reflect more closely on these drawings we will see that they contain features which cause them to shift between two poles: Yet even these lines reflect upon the nature of creation as it taps the dark inner world and comes into its own at night. Although silvvina might coampo a difficult feat, inasmuch as agnosticism and belief are simultaneously clamouring for space, both artists’ ,os is very much in evidence.
Lu added it Jul 21, The streets seemed more twisting and ominous to me, infinite and at every step kbjetos, as if winding through a swamp. Paperbackpages. 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.
As the writer Welch D Everman has observed: One of her sisters was Victoria Ocampo, the publisher of the literarily important Argentine magazine Sur.
We can perhaps conclude that the peaceful modus vivendi arrived at by these two artists, Norah Borges and Silvina Ocampo, stems objegos the reassuring familiarity of the textual and pictorial traditions, in which the two artists converge from their opposite directions.
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 ojetos the shadow of more prominent siblings. Norah is interested in presenting a subjective portrait, in aligning her own subj ectivity with that of the saint, and this leads her here and elsewhere to omit all violence and horrifying details in her representations.
Silvina Ocampo – Wikipedia
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.
Her marriage to the Spanish critic and poet Guillermo de Torre ofampo cemented her attachment to Spain, obnetos in the S she again found herself at the centre of the new art.
Valen Guitart Guimet rated it it was silcina Dec 15, Click here to sign up. Wilcock she published the theatrical work Los Traidores in While the official number recognized by the Church runs into the hundreds, the text in question here consists of twelve, with a portrait and a text comment- ing on each saint’s life.
Francesca Finocchiaro rated it really liked it Dec 01, It is a complex artwork for which there is no generic name, a hybrid which sivina be read as such. While the collaboration usually consisted if illustrations Norah provided for Silvina’s cuentos, there is one interesting exception to this: This articleexplores the visual and textual intersection, whilst pladng the poems and pictures within traditions if devotional iconographyincluding estampas and santorales.
Amanda is currently reading it May 09, 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.
Silvina Ocampo: Selection
Might not Silvina be referring objetoss to both the phenomenon of faith and that of artistic creation? Antonella marked it as to-read Dec 28, Enter the email address you signed up with and we’ll email you a reset link.
Silvina varies the poetic perspective: There is, as far as we know, no iconographic tradition of this saint, so Norah has taken her cue from Silvina’s text and shows Melania contemplating her jewels. Each woman’s approach to these saints’ lives acts as a foil for the other, and thus the volume is best regarded, as Jorge Luis Borges suggests, ‘neither as illustrated poems nor pictures with an epigraph’, but as something between the two, as he said elsewhere, ‘creation juxtaposee,9 or, to quote Silvina, ‘estampas que hablan’.
In other projects Wikimedia Commons. 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 saints pictured. The narrator misses siovina what happens because, having got drunk at the party he is ninehe starts throwing up.
Sharing her brother’s concern for the wayan image might overpower the reading of a text,26 as May Lorenzo Alcala has argued, Norah did not wish to impose an interpretation on the subject she was called upon to illustrate. Terry Worth marked it as to-read Aug 11, Pensaba que habia que halagar un poco mas aDios, decirle cosas que Ie gustaran [ I made her see that she had a broken mirror in her room, yet she insisted on keeping it, no matter how I insisted that it was better to throw broken mirrors into water on a moonlit night to get rid of bad luck.
Norah is able to refine, stylize and purify the act of reverence and contemplation, whereas Silvina, rather than focusing on their stylized and idealized saintly aspects, steps back to look at the mentality which traditionally imagines and engages with these saints.
The result are figures with a highly ornamental and loe energetic quality, who seem to have been caught in the middle of an action that does not concern other humans. Without it we see a beautiful and possibly vain young woman who is attached to her worldly treasures.
Evidence of Silvina’s engagement with the textual tradition of the estampas can be found in the group of her poems published ocamo Sur in and titled ‘Me hablan las estampas de los santos.