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Platero and I, also translated as Platero and Me (Spanish: Platero y yo), is a 1914 Spanish prose poem written by Juan Ramón Jiménez. [1] The book is one of the most popular works by Jiménez, and unfolds around a writer and his eponymous donkey, Platero ("silvery"). Platero is described as a "small donkey, a soft, hairy donkey: so soft to ...
Bronze statue of Platero. Work from sculptor Leon Ortega; Moguer, Spain.. Platero is the eponymous donkey of the 1914 story Platero and I (English for Platero y yo).The book is one of the most popular works by Spanish poet Juan Ramón Jiménez, the recipient of the 1956 Nobel Prize in Literature.
English and French translations by MCT, for voice and piano (or harp), arranged for voice and orchestra (1960) ... Platero y yo para narrador y guitarra, Op. 190 ...
Although he was primarily a poet, Jiménez' prose work Platero y yo (1917; "Platero and I"; Platero is a donkey) sold well in Latin America and in translation won him popularity in the USA. [citation needed] He also collaborated with his wife in the translation of the Irish playwright John Millington Synge's Riders to the Sea (1920). His poetic ...
Baltasar Lobo was one of the artists who contributed to the Ciudad Universitaria de Caracas project and did the illustrations for the English translation of Platero y Yo by Juan Ramón Jiménez. In 1984, he received Spain's National Award for Plastic Arts. [3]
In 2017, Lavernier first met the actor Ugo Dighero [8] with whom he began a collaboration for the show "Platero y Yo" [9] by Juan Ramon Jimenez and music by Mario Castelnuovo-Tedesco. [10] The following year, master luthier Carlos Gonzalez Marcos created La Soñada (a new eleven-strings guitar) for contemporary music and he gave it to Christian ...
Okay, you know English and mathematics, let's say. But we want to move education back to the states. If you look at the states, if you look at some of the individual countries, Norway is a very ...
The rotting donkeys are a reference to the popular children's novel Platero y yo by Juan Ramón Jiménez, which Buñuel and Dalí both hated. [ 18 ] French filmmaker and anthropologist Jean Rouch has reported that after filming was complete, Buñuel and Dalí had run out of money, forcing Buñuel to edit the film personally in his kitchen ...