Ese es el modo de demostrarme su cariño cuando pasamos varios días sin vernos. Tío Gustavo me tiró de las trenzas y luego me hizo girar a su alrededor sosteniéndome de un brazo y de una pierna. Del libro: 'Un elefante ocupa mucho espacio'. Key Words: Hoffmann, Poe, magical, portrait, sinister, common. Cuento: CUANDO FALLAN LOS ESPEJOS, de Elsa Bornemann. In the present study we analyze the main circumstances which allowed the permutation of this motif on the occasion of Edgar Allan Poe’s bicentennial anniversary, focusing on how each of these authors introduces variations from within the aesthetics of the supernatural in Romantic short stories. As a complement or substitute to the individual, the portrait/mirror leads the observer to feelings of horror and uncanniness (das Unheimliche, in Freudian terms), since the animation of the portrait means the supernatural transformation of a common object. The enchanted portrait was adopted by the Romantics as a sign of their interest in the duality inherent in human beings, which they discovered. Hoffmann, and “The Oval Portrait” (1842), by E.A. The works selected in order to highlight the expression of this element in different cultures and literatures are: “The Jesuit Church in G.” (1816), by E.T.A. encima, colgaba un perchero con espejo que reflejaba la luz de la luna. This article aims to summarize, from a comparative standpoint, the evolution of the motif of the magical portrait in the short narrative of Romanticism in Germany and North America. Jem ley un libro en el que yo era una Bullfinch en lugar de una Finch1.
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