poéticas - Synonyms for poéticas | Synonyms Of poéticas

Examples of "poéticas"
• "Consuelo Hernández. Razones Poéticas." Veinte veces luna es poesía. Ed. Rei Berroa. Santo Doming: Editorial Búo, 2012. 133-156.
The Grupo Poéticas Digitais (Digital Poetics Group) is a multidisciplinary center that promotes the development of experimental projects and the reflection about the impact of the new technologies in the field of arts.
He retired as an active Bishop in 1970, but his spiritual activity never ended. Afterwards he dedicated himself to lecturing, preaching and writing. In 1987 he received an award for his participation in a poetical contest in his own country. He presented a handful of poems under the title of “Pinceladas Poéticas”
Boix wrote "El encubierto de Valencia" in 1852 and earlier he wrote "Historia de la ciudad y reino de Valencia" in three volumes in 1845. His "Obras poéticas" appeared in two volumes in 1850 and 1851, "Poesías históricas y caballerescas" and "Poesías líricas y dramáticas". A much broader selection of his work is in "Obras literarias selectas" which was written in 1880.
Umpierre has published six books of poetry and two chapbooks or "hojas poéticas". She has received critical attention, particularly from women, feminist and queer scholars. Her work has not received the same kind of attention in Puerto Rico, where she is not commonly included in leading anthologies or mentioned in literary histories due to hatred on the island toward all Diasporican writers and scholars.
The accumulated works of Tolentino de Almeida include sonnets, odes, memorials and satires, among other genres. In 1801 the poet collected his works into one volume, titled "Obras poéticas", published by the state. After his death, some more complete collections were published, including texts unknown until then.
From them on his poems began to be published with great success. In 1848 a volume of "Obras Poéticas," a collection revised and corrected by Olmedo, was released in Valparaiso months before his death. The second edition was issued in Paris in 1853, with 214 pages. There are later publications as well.
His work has been studied by American professors interested in Afro-Hispanic literary production, and has been included in anthologies of poetry ("Literatura de Guinea Ecuatorial", de Donato Ndongo-Bidyogo y Mbare Ngom Faye, 2000; "La voz y la escritura 2006: 80 nuevas propuestas poéticas", 2006). He also authored such works as "Panorama de la Literatura en español en Guinea Ecuatorial" published in "El español en el mundo. Anuario del Instituto Cervantes", 2005.
She also took part of numerous anthologies such as: "Inéditos: 11 poetas" (2002), "33 de Radio 3" (2004), "Todo es poesía menos la poesía. 22 poetas desde Madrid" (2004), "11-M. Poemas contra el olvido" (2004), "Poesía pasión" (2004), "Deshabitados" (2008), "Fuga de la nada. 16 propuestas poéticas" (2009), "El poder del cuerpo. Antología femenina contemporánea" (2009), "Palabras sobre palabras: 13 poetas españoles jóvenes" (Chile, 2010) and "Contrabando: una antología de la poesía española actual" (Argentina, 2011).
D. Alexandre wrote or published little during his life, but did leave an incomplete manuscript of his public works. Of his known works, one of his acolytes anonymously published "Devoção das Dores da Virgem Mãe de Deus "("Devotion of Sorrows of the Virgin Mother of God"), in 1782, reedited in 1817. There is also a reference in the "Obras Poéticas", by the Marquess of Alorna, that is inserted a poem of his authorship, entitled "Epístola a Alcipe", and signed with the pseudonym "Sílvio".
On the death of her uncle in 1824 she prepared her first published work, "The Life and Correspondence of Major Cartwright", published in 1826. An uncritical account, it had no competitors until 1972. She retired with Major Cartwright's widow to live at Worthing, and published her poems there anonymously, in a little volume, "Poems, chiefly Devotional", dated 13 November 1835. Her translations of Riego's poems appeared, with her initials, in the poet's "Obras Póstumas Poéticas" (1844). She died at Brighton on 13 January 1863, aged 83.
One of Umpierre's books is "The Margarita Poems" (1987), where she discusses her lesbianism and offers highly erotic poems about lesbian love. The book also discusses issues of feminist sisterhood, Puerto Rican independence, and immigrant experience. In the 1990s, she published her book "For Christine" (1995). In the 2000s, she published two chapbooks or "hojas poéticas": "Pour toi/For Moira" (2005) and "Our Only Island—for Nemir" (2009). A volume of her complete works edited by Carmen S. Rivera and Daniel Torres was published in 2011.
La iniciativa de formar el Ramillete y editarlo es a no dudarlo de Evia. El Ramillete marcó una época en la historia de las letras de este país y apareció bajo el nombre de Evia para ahorrarle a Bastidas el engorro de obtener las Licencias necesarias, dada su condición de jesuita. En el Proemio, dedicado a la juventud estudiosa, Evia ofreció algunas Flores poéticas cultivadas de su ingenio, los versos que pudo recoger de su maestro Bastidas y otros pocos que adquirió después que salió de su escuela, por darle este breve honor y gloria y pagarle, siquiera esta vez reconocido, lo que debió tantas veces a su doctrina.
The 1950s saw an increasing expansion of the global interest in Hispanic literature. Looking for a way to further open up Spanish literature markets, Carlos Barral organised, through the publishing house Seix Barral, a series of annual meetings of publishers, novelists and critics. These 'Coloquio Internacional de Novela' ('International Colloquium of the Novel') were held in Formentor on the island of Majorca, Spain between 1959 and 1962, and were paid for by international publishers. The first meeting happened directly after celebrations for the 'Conversaciones de Poéticas de Formentor' '(The Conversations of the Poets of Formentor') 18–25 May 1959, inspired by novelist Camilo José Cela, and brought together a wide variety of multilingual poets.
El 20 de Mayo de 1657 se doctoró en la Universidad de San Gregorio y tomó el estado sacerdotal. En 1662 fue designado en Guayaquil Patrono de ciertas Capellanías de misas, por nombramiento ante el Escribano Lorenzo de Bances y León. En los años 70 cuidaba en Madrid la impresión de un libro que contenta ciento ochenta poesías, entre suyas, de su Maestro Bastidas, de un jesuita innominado y de Domínguez Camargo, que recién logró editar en 1675, en la Imprenta de Nicolás Jamares, mercader de Libros, bajo el título de "Ramillete de varias Flores poéticas, recogidas y cultivadas en los primeros abriles de sus años por el Maestro Jacinto de Evia, natural de la ciudad de Guayaquil en el reino del Perú, dedicado al Lic. Pedro de Arboleda Salazar, con Licencia".
Another prominent firm was the Swiss Leuzinger, founded by Georg Leuzinger (1813-1892), who arrived in Rio de Janeiro in 1832, and until 1840 had saved enough to buy the oldest stationery outlet of the city, "the Red Book" of Jean Charles Bouvier, at Rua do Ouvidor, 31. In 1852, Leuzinger acquired Typographia Franceza, founded by Jean Soleil Saint Amand in 1837, and in 1841 published the first poems of Joaquim Norberto, "Modulações Poéticas", and the first two editions, in 1844 and 1845, of "A Moreninha", by Joaquim Manuel de Macedo. Under the direction of Leuzinger, this became one of the best equipped printing houses in the country. Leuzinger had much involvement in the development of wood engraving (woodcut) in the country, and in 1843, brought from Germany two talented engravers wood, Eduard Hüslemann and R. Rollenberger. In 1850, Rollenberger died of yellow fever and Hüslemann returned to Germany, but left behind many apprentices in Brazil. Leuzinger was responsible, among other things, for the introduction of illustrated postcards in the country, and ventured into photography too. The 54 woodcuts that illustrate the book of Louis and Elizabeth Agassiz, "Journey in Brazil", 1868, are by Leuzinger. As a press, the Leuzinger survived under the name "Gráfica Ouvidor".
By 1861 his book "La soledad" had appeared in print. The first part of the book reproduced several popular songs of traditional lyricism, and the second part featured original work that imitate their style and inspiration. Recurring themes are a search for solitude in which to flee from a hostile world, the struggle between rich and poor, the passage of time, existentialism, and love. The book received enthusiastic support from Gustavo Adolfo Bécquer, and his words were added as a prologue in subsequent editions. He helped create a popular genre of song-based poetry that owed much to Heine; around the same time as Antonio de Trueba's "Libro de los cantares" (1852), fellow Heine translator Eulogio Florentino Sanz and friend Gustavo Adolfo Bécquer were producing very similar work. Other examples of authors moved by the same "Volkgeist" include Terencio Thos y Codina ("Semanario Popular", 1862-1863), Rosalía de Castro ("Cantares gallegos", 1863), Ventura Ruiz Aguilera ("Armonías y cantares", 1865), Aristides Pongilioni ("Ráfagas poéticas", 1865), Melchor de Palau ("Cantares", 1866), and José Puig y Pérez ("Coplas y quejas", 1869). This genre would ultimately lead to the Neopopularist school of the Generation of 27.