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Aesop and the Ferryman; The Ant and the Grasshopper; The Ape and the Fox; The Ass and his Masters; The Ass and the Pig; The Ass Carrying an Image; The Ass in the Lion's Skin; The Astrologer who Fell into a Well; The Bald Man and the Fly; The Bear and the Travelers; The Beaver; The Belly and the Other Members; The Bird-catcher and the Blackbird ...
A sequel, Esope à la cour [69] (Aesop at Court), was first performed in 1701; drawing on a mention in Herodotus 2.134-5 [70] that Aesop had once been owned by the same master as Rhodopis, and the statement in Pliny 36.17 [71] that she was Aesop's concubine as well, the play introduced Rodope as Aesop's mistress, a romantic motif that would be ...
Brownhills alphabet plate, Aesop's Fables series, The Fox and the Grapes c. 1880. Sharpe's limerick versions of Aesop's fables appeared in 1887. This was in a magnificently hand-produced Arts and Crafts Movement edition, The Baby's Own Aesop: being the fables condensed in rhyme with portable morals pictorially pointed by Walter Crane. [94]
Rosa María Cid López (born 1956), academic specializing in gender and women's studies; Victoria Cirlot (born 1955), non-fiction literary writer; Mercè Company (born 1947), writer in Spanish, Catalan and French languages; Flavia Company (born 1963), Argentine-born Spanish novelist, poet, children's writer, writes in Catalan and Spanish
This is a non-diffusing subcategory of Category:17th-century Spanish writers. It includes Spanish writers that can also be found in the parent category, or in diffusing subcategories of the parent. See also: Category:17th-century Spanish male writers
Spanish women short story writers (35 P) Spanish women songwriters (1 C, 11 P) Pages in category "Spanish women writers" The following 89 pages are in this category ...
The academic discipline of women's writing is a discrete area of literary studies which is based on the notion that the experience of women, historically, has been shaped by their sex, and so women writers by definition are a group worthy of separate study: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
In addition there was an English-language version set by Bob Chilcott as the fourth in his Aesop's Fables for piano and choir (2008); [54] [55] and a purely musical interpretation for small orchestra by Matt Fernald as the first part of his musical thesis composition, performed under the title An Evening with Aesop in 2013. [56] [57]