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The controversy surrounding Gabriela Mistral's nomination for the coveted position in Santiago influenced her decision to accept an invitation to work in Mexico in 1922, under the guidance of Mexico's Minister of Education, José Vasconcelos. There, she contributed to the nation's plan to reform libraries and schools and establish a national ...
Storni often expressed controversial opinions. [3] She criticized a wide range of topics from politics to gender roles and discrimination against women. [3] In Storni's time, her work did not align itself with a particular movement or genre. It was not until the modernist and avant-garde movements [6] began to fade that her work seemed to fit in.
Sonetos de la Muerte (Sonnets of Death) is a work by the Chilean poet Gabriela Mistral, first published in 1914. She used a nom de plume as she feared that she may have lost her job as a teacher. [1] The work was awarded first prize in the Juegos Florales, a national literary contest.
Gabriela Mistral All four poets were actually linked to each other or met each other at some point in their lives. For example, while Gabriela Mistral was head teacher at the Girls’ High School in Temuco , Chile , and already recognized as an outstanding poet, a teenage boy came to her with his own poems, asking for her opinion.
The 1945 Nobel Prize in Literature was awarded to the Chilean poet Gabriela Mistral (1889–1957) "for her lyric poetry, which inspired by powerful emotions, has made her name a symbol of the idealistic aspirations of the entire Latin American world." [1] [2] She is the fifth female and first Latin American recipient of the literature prize. [3 ...
The Sociedad Gabriela Mistral was founded to campaign for women's rights, and named after Gabriela Mistral. It was founded by a woman who was denied the right to study at the university, and initially worked for women's rights to university education. The Sociedad succeeded with its campaign to achieve women's access to university in Guatemala.
From 1937 to 1940, he directed and illustrated the magazine "Revista Vida", which became the main outlet for cultural media at the time. It featured interviews of world-renowned artists like Joan Miró and writers like his longtime friend Gabriela Mistral. [7] He also made various illustrations for the America, Anarkos, Cromos and PAN Magazines.
As a poet Clara Lair inserts herself in the tradition of feminine writing inaugurated by Juana de Ibarbourou, Alfonsina Storni, Delmirab Agustini and Gabriela Mistral within the postmodernism of the first decades of the 20th century and cultivated shortly after in Puerto Rico by Julia de Burgos, a figure influenced largely by Lair herself.