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This paper analyses in Warsan Shire's poem Home why refugees have to leave their home. In so doing, it first explores the root causes behind particularly the displacement of Somalians, which becomes an inspiration for the poem and also argues that these causes may actually be similar ones which could be seen one way or another behind any act of the displacement anywhere across the world. Secondly, the paper responds to the criticisms which accuse refugees of leaving at once their home when they face any difficulties in life. In this sense, the poem becomes the voice of "refugees" and tells the world that "refugees" will not take all the risks in very dangerous and difficult journeys without any reasonable causes. As the paper discusses, what is also equally important is that "refugees," though exposed to very hard conditions of living during the journey and in the host country, are also labelled as "Other," which immediately brings about a negative condition, in which they are humiliated, discriminated and categorised as "us" and "them, making it difficult for refugees to integrate and eventually belong to the indigenous society. Finally, the paper debates that it is not the guilt of refugees who leave their home but the ones who create intolerable causes for their displacement from their home. The paper suggests that we are all responsible - United Nations, politicians, world leaders, writers, intellectuals, and academics and so on all over the world - not only for revealing the root causes behind the displacement of people from their home but also for annihilating them all together for a humanely world and living. [ABSTRACT FROM AUTHOR]

The term posthumanism does not come readily to mind in discussions of the modernist writer T.S. Eliot, but the present article argues that applying a posthumanist lens to readings of Eliot might offer up new ways of approaching his work. Critiques of humanism, the de-centering of the human, the notion of the subject as an empty center, and the re-configuration of consciousness are thematic axes where posthumanism and Eliot's Four Quartets can be seen to converge. These convergences show how Eliot might be considered as anticipating certain aspects of posthumanist thought. This paper argues that these posthumanist strategies serve the broader scope of Eliot's project in Four Quartets, by pointing the way toward the creation of a morally and socially responsible consciousness. It is this consciousness, envisioned by Eliot in response to the devastations of war and social unrest, that, I argue, could be applied to addressing the social upheavals of our own present-day global society. [ABSTRACT FROM AUTHOR]

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]