Poema a manuela saenz biography
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Chapter 3: Reception in the Eighteenth to Twenty-First Centuries
Marino, Nancy. "Chapter 3: Reception in the Eighteenth to Twenty-First Centuries". Jorge Manrique's Coplas por la muerte de su padre: A History of the Poem and its Reception, Boydell and Brewer: Boydell and Brewer, 2011, pp. 95-134. https://doi.org/10.1515/9781782040033-005
Marino, N. (2011). Chapter 3: Reception in the Eighteenth to Twenty-First Centuries. In Jorge Manrique's Coplas por la muerte dem su padre: A History of the Poem and its Reception (pp. 95-134). Boydell and Brewer: Boydell and Brewer. https://doi.org/10.1515/9781782040033-005
Marino, N. 2011. Chapter 3: Reception in the Eighteenth to Twenty-First Centuries. Jorge Manrique's Coplas por la muerte de su padre: A History of the Poem and its Reception. Boydell and Brewer: Boydell and Brewer, pp. 95-134. https://doi.org/10.1515/9781782040033-005
Marino, Nancy. "Chapter 3: Reception in the Eighteenth to Twenty-First Centuries" In Jorge Manri
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Works
Fanny Carrión de Fierro (1936) is an Ecuadorian poet, literary critic, essayist and university professor. She is a 4-time winner of Ecuador’s Gabriela Mistral National Poetry Award. She has published essays on a variety of topics, including politics, culture, and society. Her poems have also appeared in English-language anthologies such as “These Are Not Sweet Girls: Poetry by Latin American Women” (1994) and “Eye to Eye-Women: Their Words and Worlds” (1997). She has taught at several universities in Ecuador and the United States. She is currently a professor at Ecuador’s Pontifical Catholic University (Quito). She has also been a visiting professor and Fulbright Scholar at Keene State College in New Hampshire, Willamette University in Oregon, and several other universities in Ecuador. Her work has been translated into English.
Family
Fanny Carrión de Fierro’s parents were Luis Enrique Carrión Carvajal and Leonor Acosta from Ibarr
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The Political Life of Statues
Por Tomás Straka
Monumento a Cristóbal Colón.
El pedestal, vacío del monumento que alguna vez lo coronó, habla de un reino que ya no existe; el busto caído a sus pies y hundido en la arena, es el de un soberano al que ya nadie recuerda; la inscripción habla de un poder que se proclamó eterno, pero que ahora demuestra la fugacidad de las cosas humanas: el famoso poema de Percy Shelley sobre Ozymandias es, entre otras muchas cosas, una metáfora del poder. Así como los monumentos, y de ellos en especial las estatuas, se erigen como una simbolización del poder, cuando se derriban (o se caen solos) también lo son de su pérdida. En momentos en los que en el mundo acaba de vivir una ola de derribamientos o remociones de estatuas, de héroes que de un día para otro parecen seguir el destino de Ozymandias, vale la pena detenerse en todo lo que encierra este fenómeno.
No se trata, por supuesto, de un fenómeno nuevo (aunque sí, hasta do