The Vigencia y nuevas interpretaciones del 'Cántico espiritual', de san Juan de la Cruz article by Lola Josa explores the relevance and new interpretations of the spiritual poem by Saint John of the Cross. Josa's extensive knowledge of the subject allows her to uncover the Hebrew wisdom underlying the Canticle, positioning its author among the Christians of his time who sought to immerse themselves in biblical sources. By shedding new light on the text, Josa frees it from Catholic censorship. She explains why the Canticle should be read in times of literary exploration, highlighting its ontological significance as a poetic tool that sharpens our minds, liberates us, and allows us to tap into our unlimited creative and imaginative capacity.

The Vigencia y nuevas interpretaciones del 'Cántico espiritual', de san Juan de la Cruz article by Lola Josa explores the relevance and new interpretations of the spiritual poem by Saint John of the Cross. Josa's extensive knowledge of the subject allows her to uncover the Hebrew wisdom underlying the Canticle, positioning its author among the Christians of his time who sought to immerse themselves in biblical sources. By shedding new light on the text, Josa frees it from Catholic censorship. She explains why the Canticle should be read in times of literary exploration, highlighting its ontological significance as a poetic tool that sharpens our minds, liberates us, and allows us to tap into our unlimited creative and imaginative capacity.

Furthermore, Josa emphasizes the importance of reading the work of the most charismatic mystic of the West as a way to familiarize ourselves with the genius of a music born from the perfect word, harmonizing imperceptibly. To read Saint John of the Cross is to open ourselves to an encounter with someone who was undoubtedly exceptionally wise and who experienced the possibility of experiencing God firsthand.

One of the remarkable observations made by Lola Josa is the parallelism between Saint John and Casiodoro de Reina regarding the translation of the book of Ezekiel. This convergence reveals to what extent the former's work could be considered a sublimated translation exercise of the Bible and, specifically, the Song of Songs. Saint John of the Cross could not fully interpret the mysticism present in his work, as it emerged from the confident and secret interaction between Hebrew and Christian scholars. This is why certain words and concepts introduced by Saint John in his verses and commentaries could not be understood by his contemporaries, as they were unique to Hebrew wisdom.

Josa's work delves into the confusing distribution of the categories of 'Bride' and 'Bridegroom' in the Canticle, which can only be understood from the moment the first nuptials are celebrated. Through her research, she has been able to differentiate and identify the interlocutors as the fruitful encounters between the lovers and future spouses unfold in the stanzas. Additionally, she has identified a third voice that was previously unidentified. This voice does not belong to the interlocutors but rather serves as a narrator, testifying to what the spouses experience in their intimacy. This discovery helps clarify the poem's temporal jumps and sudden changes in pronoun usage that previously confused readers and forced certain interpretations.

In a different vein, the article explores the life and work of José Kozer. Kozer is a Cuban writer born to Jewish immigrants from Poland and Czechoslovakia. He has resided in New York City since 1960 and has been teaching language and literature at Queens College since 1965. Kozer's writing spans various literary genres, including translation, essays, and diaries. He has written nearly three thousand poems, although only a small portion has been published.

Kozer's early works, influenced by Nicanor Parra, showcase his use of irony, self-mockery, and linguistic wit to dismantle traditional literary models. However, his later works push the boundaries even further, experimenting with language at astonishing levels. This experimentation involves extremely long verses, unconventional syntax, and a preference for contiguous and associative language that favors synecdoche.

For Kozer, writing is the central activity of his life, and it is through writing that he obtains a record of his existence. His poetry is rooted in the belief that without writing, there is no testimony of life. This conviction drives him to use language as a total instrument for perceiving and apprehending the world. His poetry is characterized by profusion, inventiveness, and discovery. Each day, Kozer seeks to reinvent himself and impose new order in his poetic work.

In conclusion, both articles shed light on the relevance and interpretation of literary works. Lola Josa's analysis of the 'Cántico espiritual' highlights the importance of understanding the Hebrew wisdom underlying Saint John of the Cross's poem. By connecting the Canticle to the Bible and the Song of Songs, Josa unravels its deeper layers and clarifies previously misunderstood concepts.

On the other hand, the exploration of José Kozer's work showcases the evolution of his poetry and his innovative use of language. Kozer's writing is characterized by linguistic experimentation and a constant drive to reinvent his poetic approach.

Three actionable advice arising from these articles are:

1. Dive deep into the cultural and historical context of literary works to fully grasp their meaning and significance.
2. Embrace experimentation and challenge traditional models to push the boundaries of language and expression.
3. Continuously reinvent and explore new approaches to writing, allowing for personal growth and the discovery of new creative possibilities.