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This paper studies the lexical-semantic changes suffered by apechugar [undertake], atarantado [astounded, lightheaded, thoughless], baraja [quarrel], blanca [money], desayunarse [to get astonishing news], pelar [to get someone's money], pluma [money] in several Spanish-speaking American countries (e.g. Colombia, Argentina, Uruguay and others) with emphasis on Venezuela. These words were used by Juan de Castellanos in his Elegías de Varones Ilustres de Indias (1589). The study verifies the evolution of these voices through lexicographical important books. The investigation concludes that, after 500 years, (i) the examined lexis stay in America, (ii) new entities have been produced from these vocabularies, (iii) the terms have changed their meaning, what giving them character own to the American Spanish. [ABSTRACT FROM AUTHOR]

This paper analyzes the destabilization of the subject and writing in some poems by León de Greiff. It separates from analysis focused on its Latin-American modernist aesthetic and proposes other items to support its advanced aesthetic, such as the problem of subjectivity or the critique of modernity based on the relationship between autonomy and sovereignty of the art. It develops a perspective that justifies the participation of this poetry in an aesthetic far from modernism and focused on contemporary concerns about fragmented subject and its disintegration in writing. [ABSTRACT FROM AUTHOR]

Pizarnik is a writer whose work is highly interesting from the editorial point of view, for two particular situations. First, the published work is identified as "complete" when there is no complete edition of this author, because it bears the burden of censorship. Second, this gap causes the necessity of going to Princeton, where is the "original" work of Pizarnik in a more complete version. This paper tries to explore these points, starting from the experience of editing the unpublished work Otoño o los de arriba. [ABSTRACT FROM AUTHOR]

This paper comprehends an analysis of the characteristics given by Callimachus to Artemis in his Hymn III. On that account, I suggest and uphold the hypothesis that the poet presents in his mythical version a development or evolution of the goddess which leads her from one state of παῖς to a transformation into a δαίμων, subsequently into a θεά and finally into an ἄνασσα/πότνια. [ABSTRACT FROM AUTHOR]

Luis de Miranda, member of Pedro de Mendoza's fleet, wrote, probably around 1540, a composition in verse that is now known as Elegy Romance or simply Romance. Ricardo Rojas considered the poem to be the first literary composition of the Rio de la Plata in the early twentieth century. Since then, critics have read the Romance exclusively as a literary text. This paper proposes to read it taking into account its documentary context: the letter that Miranda himself sent to the King in 1545 and the Relación that Francisco Ortiz de Vergara sent to the Council of the Indies, at the end of which the Romance is copied. This reading, without excluding the literary dimension of the text, allows us to consider it integrating a discursive constellation whose purpose is eminently political. [ABSTRACT FROM AUTHOR]

This paper explores the relationship between Octavio Paz and Surrealism. It focuses not only on the vital relationship of the poet with the French Literary Group but also on his particular aproach to the aesthethics and ethics of Surrealism. For Paz, Surrealism implied a moral philosophy and that is why he used objective chance as a tool for knowledge, logic and poetic abstraction. [ABSTRACT FROM AUTHOR]

This article analyzes the poetry of three authors whose works are among the most attractive of the last thirty years of Peruvian poetry. They have brought a rich complexity to their lyric tradition. That is the reason why their poetry has expanded the horizons of Hispanic poetry. Therefore, the purpose of this paper is to investigate an area of contemporary poetry—the works of José Morales Saravia, José Antonio Mazzotti and Róger Santiváñez—that without a doubt will mark some of the future paths of poetry in Spanish. [ABSTRACT FROM AUTHOR]

The aim of this paper is to address the neobaroque poetry of Rio de la Plata. In this regard, I have selected the work of Susana Cella and Eduardo Espina. The cultures of the two banks of the great river produce semiotic representations and different deconstructions, where the river is vestige and joyful shine of the history of the South. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to recall from oblivion and analyze the translations of the Anacreontea that were published by some members of a literary group called the "Mexican Arcadia" at the start of the 19th Century in El Diario de México. In this journal a translation of Anacreontea 38 (Campbell) by Flagrasto Cicné (pseudonym of Francisco Manuel Sánchez de Tagle) was printed, as well as two different translations of Anacreontea 24, one probably due to Sánchez de Tagle himself, while the other was the one Luzán included also in his Poetic (Zaragoza, 1737); likewise, Moschus' erotic epigram included in the Greek Anthology (XVI, 200) was translated by Manuel Martínez de Navarrete and published twice within a couple of months in the same journal. [ABSTRACT FROM AUTHOR]

This paper analyzes the proem of Parmenides' poem to the scope of showing how it is skillfully constructed both at the level of the artistic finish and as regards the communicative frame, which is designed to pose a challenge to the intelligence of the hearer. Actually, the receiver is exposed to a bundle of stimuli quite often contradictory, ranging from expressive ambiguity to subtle insinuation, with effects that are indeed devised to strike very sensitive chords in his/her mind. On these assumptions, it is then argued that the contrast between the fascinating story narrated in the allegorical proem and the really philosophical section of Parmenides' poem may depend on their gestation at two different stages in this philosopher's life. It is on the first of them that the influence of the Homeric epos is inescapable. [ABSTRACT FROM AUTHOR]