Lo bello, lo enfermo y lo terrible: el cuerpo como un texto neobarroco en la narrativa de Silvina Ocampo

7KLVSDSHUZLOORXWOLQHDGH¿QLWLRQRIQHRĥEDURTXHDVDGLVFXUVLYHWRRODQGDQDO\VH IURPWKLVperspective some of Silvina Ocampo stories that explore the use of bodies as texts.7KHGHFRQVWUXFWLYLVWDQGXQVWDEOHSDUDGLJPRIWKHWZHQWLHWKFHQWXU\LVFDOOHGE\VHYHUDODXWKRUV1HRĥ%DURTXH FKDUDFWHULVHG E\ DFFHSWLQJ WKH QHZ K\EULGLW\ DQG QRXULVK LWVHOI IURP LW$OWKRXJK WKH1HRĥ%DURTXHLVUHFRJQLVHGDVDWRRORIVXEYHUVLRQDJDLQVWLPSRVHGRɷFLDOGLVFRXUVHVLWLVVWULNLQJKRZVRPHUHVHDUFKV\VWHPDWLFDOO\OHDYHVRXWIHPDOHZULWHUV6LQFHWKH1HRĥ%DURTXHLVDXVHIXOWRROWRFRQWH[WXDOL]HDQGTXHVWLRQWKHRɷFLDOWUXWKLGHQWLW\DQGJHQGHULVVXHVKDYHDSODFHLQLWĪ1GLDOLDQLVī,WLVWKHUHIRUHsurprising that in anthologies and studies Silvina Ocampo has been excluded, whose fantastic narrativePRYHVLQDPELJXLW\DQGTXHVWLRQVXQLYRFDOLGHQWLWLHVIXOO\1HRĥ%DURTXHIHDWXUHVThis work will focus on the bodies that refuse to submit to an invisible external authority, the leitmotif ofthe analysed stories. These characters do not seek to challenge the established order, but to survive in it.7KHIHPDOHERG\UHL¿HGDQGUHGXFHGWRDPHUHV\PEROZLOOEHXVHGDVDVXUYLYDOVWUDWHJ\WKHEHDXW\DQGinnocence are used as masks, and at the same time, weapons. It is a quiet and constant rebellion seeking toexpand the periphery of the acceptable; however, it always ends uo with the death of the character, whichis actually a way to prove how the system needs to control anomalies and parallel narratives in order tolegitimise itself