{"id":6736,"date":"2016-07-10T00:06:03","date_gmt":"2016-07-10T05:06:03","guid":{"rendered":"https:\/\/21stcenturyartivism.sites.carleton.edu\/?p=6736"},"modified":"2023-03-15T18:07:16","modified_gmt":"2023-03-15T18:07:16","slug":"laura-casielles","status":"publish","type":"post","link":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/fictional-works\/laura-casielles\/","title":{"rendered":"Laura Casielles"},"content":{"rendered":"

Laura Casielles\u00a0<\/strong>es licenciada en periodismo y a veces ejerce el oficio. Estudia filosof\u00eda por la UNED y lenguas extranjeras por amor al habla. En los \u00faltimos a\u00f1os ha vivido en Madrid, Par\u00eds y Rabat.<\/p>\n

Ha publicado los poemarios Soldado que huye <\/em>(Hesperya, 2008) y Los idiomas comunes <\/em>(XIII Premio de Poes\u00eda Joven Antonio Carvajal, Hiperi\u00f3n,2010).\u00a0Ha participado en los libros colectivos El \u00e1rbol talado que reto\u00f1a: Homenaje a Marcos Ana <\/em>(El p\u00e1ramo, 2009), A pesar de todo. Poes\u00eda en Valdedi\u00f3s VII<\/em> (C\u00edrculo cultural de Valdedi\u00f3s, 2009) y 50 maneras de ser tu amante <\/em>(Puntos suspensivos, 2010); y en las antolog\u00edas de relato Dos orillas, un mismo mar. Antolog\u00eda de narradores cubanos y asturianos<\/em> (CICEES, 2006 ) y La Edad del \u00d3xido <\/em>(Laria, 2009).<\/p>\n

En 2007 obtuvo el premio La Voz + Joven de la Obra Social Caja Madrid y en 2010 el de Arte Joven La Latina.; en 2011, <\/em>Premio Nacional de Poes\u00eda Joven \u00abMiguel Hern\u00e1ndez\u00bb en su primera edici\u00f3n por Los idiomas comunes<\/em>.<\/p>\n

Realiza traducciones del franc\u00e9s, y ha colaborado con publicaciones como Hesperya<\/em>, La Madeja<\/em>, Nayagua<\/em>,\u00a0 Clar\u00edn<\/em>,\u00a0 Mordisco<\/em>, Minotauro Digital<\/em>, La Hamaca de Lona<\/em>, Lunula, Piedra de Molino <\/em>o la serie online Ellas dicen <\/em>de la revista MLRS.<\/p>\n

\n

Laura Casielles\u00a0<\/strong>received her bachelor’s in Journalism, which she sometimes uses. She studied Philosophy through the UNED and studied foreign languages for her love of talking. In recent years, she has lived in Madrid, Paris and Rabat.<\/p>\n

She has published books on poetry such as The Soldier Who Flees<\/em> (Hesperya, 2008) and The Common Languages<\/em> (Young Poetry Prize XIII Antonio Carvaja, Hyperion, 2010).\u00a0She has participated in collective books such as The Fallen Tree That Sprouted,<\/em> a tribute to Marcos Ana (El Paramo, 2009). Her poetry includes\u00a0Valdei\u00f3s VI<\/em>I (Cultural Circle of Valdedi\u00f3s, 2009), 50 Ways to be Your Lover<\/em> (Ellipsis, 2010), the anthology\u00a0Two Banks, One Sea,\u00a0<\/em>and\u00a0anthologies by Cuban and Asturian narratorsa, and\u00a0La Edad del \u00d3xido\u00a0<\/em>(Laria, 2009).<\/p>\n

In 2007 she won the Young Voice + Caja Madrid Social Work, and in 2010 received an award, the Young Latina Artist. In 2011 she received the National Youth Poetry Award \u00abMiguel Hern\u00e1ndez\u00bb in her first edition of\u00a0Common Languages. \u00a0<\/em><\/p>\n

Casielles translates from French, and collaborates with publications like Hesperya, The Skein, Nayagua, Clarin, Nibble, Digital Minotaur, The Hammock Canvas, Lunula, Stone Mill, or Online Series for the magazine MLRS.<\/p>\n

Source: http:\/\/www.portaldepoesia.com\/Biblioteca\/Laura-Casielles.htm<\/a><\/p>\n

 <\/p>\n

Other Resources<\/h3>\n

Blog<\/a>
\nOriginal Works
\n<\/a>Interviews
\n<\/a>YouTube<\/a>
\nTwitter
\n<\/a><\/strong>Google+<\/a>
\nBibliography<\/a><\/strong><\/p>\n

\u2b05\ufe0e Back to Home<\/a><\/p>","protected":false},"excerpt":{"rendered":"

Laura Casielles\u00a0es licenciada en periodismo y a veces ejerce el oficio. Estudia filosof\u00eda por la UNED y lenguas extranjeras por amor al habla. En los \u00faltimos a\u00f1os ha vivido en Madrid, Par\u00eds y Rabat. Ha publicado los poemarios Soldado que huye (Hesperya, 2008) y Los idiomas comunes (XIII Premio de Poes\u00eda Joven Antonio Carvajal, Hiperi\u00f3n,2010).\u00a0Ha […]<\/p>","protected":false},"author":1,"featured_media":6737,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-container-style":"default","site-container-layout":"default","site-sidebar-layout":"default","disable-article-header":"default","disable-site-header":"default","disable-site-footer":"default","disable-content-area-spacing":"default"},"categories":[6],"tags":[34],"acf":[],"_links":{"self":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/posts\/6736"}],"collection":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/comments?post=6736"}],"version-history":[{"count":2,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/posts\/6736\/revisions"}],"predecessor-version":[{"id":8645,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/posts\/6736\/revisions\/8645"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/media\/6737"}],"wp:attachment":[{"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/media?parent=6736"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/categories?post=6736"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/21stcenturyartivism.sites.carleton.edu\/en\/wp-json\/wp\/v2\/tags?post=6736"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}