La joven Parca: Un nouvel essai de traduction, in Cuadernos de Filología Francesa 1. (The original text, which collects fully and without making any changes the first Cuadernos de Filología, had already been printed - without legal register or ISBN - at the Artes Gráficas Varona workshop, in Salamanca, 1982). Faculty of Philosophy and Arts' Publishing House, University of Extremadura, Cáceres, 1984, pp.45- 103.

This study, written in French as well as other previous and further ones, is almost as long as a book, not only because it includes the sixty-page long 1982 original and two thirds of the contents of the journal where it was included two years later, but also because it gives an account of other books of verses belonging to the studied and translated author. This time we are talking about Paul Valéry and his Jeune parque, a tough and difficult composition, which could be defined as a poetic philosophical essay in which the wonder of art joins the psychological seek of the human being, of the poet's own existence in a totally supposed circumstance. This book, very rich in the formal aspect and deep and subtle in its content, is dedicated to André Gide, another great author at the time and a translator in addition to a translation critic, as we all know. The translation has the same number of verses written in distichs by Valéry (512), which means the translation has adjusted to the original. The translation has, in fact, a literal effect (talking about a truly literal translation never makes sense) and it could not have been done in another way: it tastes and smells of foreign things, of French, of Paul Valéry. In this sense it should be successful since it has managed to stay in a no man's land, in a transparent neutrality avoiding any kind of interpretation which could have lead to betrayal, avoiding the philosophical explanation and the poetic recreation in favour of the target reader, explanation and transformation which would have clearly lead to failure. The version itself fills the second and last part of the work. The other part, the first and exact half of the previous one, contains a double introduction referred to the way of translating poetry, the way of understanding the poem and the critique, once again, of the work of two of the most distinguished translators of Valéry and his book. Needless to say that, from the point of view of prosody and even more of the philosophical content, the book is a very hard nut to crack (I tend to chose the most difficult poets and their most arcane and complicated poems, for the sake and the ghoulish delight of the theoretical-practical seek for translation limits). Therefore, due to precaution, "transparent" translation imposes itself. However, the task is bearable regarding metrics and syntax, but not so much in what concerns rhythm and stylistics which, on the other hand, have been taken into account, as I usually do, to the last detail.

"Discurso y texto en el proceso de la Traducción", in Traduçao e Communicaçao journal, no.6, Facultade Ibéro-Americana de Letras e Ciencias Humanas, Sao Paulo, Editora Álamo (July, 1985).

This work, short but of great reach and deep content has caught the attention of theorists, critics and translation anthology experts. Some have called it "seminal". The reviewer, as a theorist and critic too, would like to believe that others are right when they consider that the study supports the pillars and covers the walls, the ceiling and the roof of what will be the building of a new mansion of translation, a mansion which matches that of language. This is the essential discovery, as it shows that translation is at the root and the explanation of any phenomenon of speech and writing. This phenomenon calls into question (following the great intuitions and visions of a Benveniste, a Jakobson, a Coseriu, a Meschonnic, etc who carry out a Copernican revolution in the focus of philosophy of language) the old, incomplete, unworkable and forged ideas conveyed by linguists and experts in semantics of language, as well as experts in stylists and metrics of literature and poetics.

"Traducción e Intercambio Cultural", Conference on Research held at the Nóesis French-Spanish Association, Teruel (September, 1985).

The French-Spanish centre Nóesis, belonging to the Universities of Pau and Zaragoza, as it was stated in the bio-bibliographic review of the author of this web site, has its summer headquarters in Calaceite, a favourable and quiet village in the region of Teruel. In the offices of what is known as "Foundation" all kinds of cultural activities take place. The idea and design of this Centre is to create a Renaissance-like atmosphere giving rise to a all kinds of gatherings of experts and curious amateurs of the world of human science and fine arts. The truth is that, in September 1985, one of the three monographic topics which used to be included for the summer season was devoted to poetry and translation of poetic works. Thus, in an ideal and pleasant atmosphere, similar to the one described in the Heptaméron of Marguerite d'Angoulême but in poetry - not in narrative prose - we discussed in morning, afternoon and night workshops the great - and not so great - problems which arise from the creation of this queen of arts, each one of us making a contribution with our favourite French and Spanish authors, giving our ways of translating their works from one language to the other, our own and other people's focus, presenting the recipes of a good translation and showing the wrong paths on which not always we agreed. The professor Didier Coste was in command. In the large house we recited our own verses and along the narrow and steep streets we sowed the fresh shadows with Baroque thoughts. The topic was never repeated in quite a few years. I do not know why, maybe because there were also many other affairs which also deserved being taken into consideration. If we had any notes prepared, its contents were overwhelming and, although the writing did not remain, no comment, presentation, fine-tuning or argumentation for or against fell on deaf ears. On the same lines, and returning to the bio-bibliographic review, I must say that in a similar atmosphere and way I have also enjoyed the courses which the ACEtt summons in May every year in Tarazona (Zaragoza). In this case, we can find common papers, learned papers, conferences and workshops featured in any cultural event, in this case about literary translation and translations done by the authors of literary works. However, these events are not like the ones which take place at the university because they do not belong to the university. They are more forthright, more fraternal, more corporate, more serious about the profession and even more passionate and thrilling. I attended and took part in the ninth ones as a literary and poetic translator, not as a professional which lives off that job, but as a "dilettante" theorist, as well as a critic who translates in his spare time just to please himself. I was the only theorist of translation in those last courses. In the same way, it is also true that translators do not attend symposiums of critics, historians or pedagogues or theorists of translation, something which should not happen, but it should be the opposite thing, as theory without practice and vice versa cannot be understood.

Representative attendance as an associate member of the E.S.I.T. of Paris (Sorbonne Nouvelle III), aimed, by D. Seleskovitch and M. Lederer, at the European Conference on Translation and Interpreting, University of Granada (May, 1986).

The reviewer attended these courses as a sympathising member (who did not belong to the group but was only attached to it "ideologically") of the E.S.I.T. (Sorbonne Nouvelle III of Paris) and specifically as a collaborator with doctor Mariano García-Landa, theoretical spokesman of the group called "The School of Paris", in which he had been working for five years on the "scientific" theory of translation mentioned before. Of all the gatherings presented in this web site it is the only one in which I did not give a speech: Doctor García-Landa did it for both of us. Members of the E.S.I.T. were guests of honour but representatives of the most popular Schools of translation in Europe - and some in America - attended too. Doctor Julio-César Santoyo also took part, under the title "The limits of translation".

"Reflexiones para una traductología del texto literario", in Cuadernos de Traducción e Interpretación, no.8/9, Autonomous University of Barcelona, Bellaterra, 1987.

This work was written quickly and informally and it tries to answer the questions that the assessment of poetic and literary translation has raised to the author of this web site since he started his meditation with the compared reading of Paul Verlaine's translations. The reviewer intends to give solutions to the everlasting questions in an attempt to draft the main lines of a possible theory of poetic translation grounded on the already explored field of art and its possible "mise en science

Precepto mental y estructura rítmica. (Prolegómenos para una traductología del Sentido), Publishing Service of the University of Extremadura, Salamanca, Artes Gráficas Varona, 1987.

This book starts off by giving a detailed description of translation as a physical-physiological-psychic process according to the selescovitchean triangle that enables it: verbalisation - deverbalisation - verbal reformulation in another language. It studies this triple phase of the context in the circumstance of parole, of general knowledge added to the knowledge shared by the speakers, plus their beliefs and their impulses or "unconscious" drives, etc. It goes through and explains the process of comprehension and re-expression, through the mediating task of the interpreter in the temporary section and in the brain processes of the memory, all this in a more intuitive than scientific way (science advances and the text of the book was contrived and written almost twenty years ago).

"La traducción literaria, parcela marginada por la teoría del sentido de la ESIT de Paris", in the First Symposium on Literary Translation (English-Spanish), University of Extremadura, Faculty of Philosophy and Arts, Cáceres (May, 1987).

This is the title of conference sponsored by the British Council in the Faculty of Philosophy and Arts of the University of Extremadura. I do not have the text but it can be summed up in the following words: the so-called School of Paris with its theory of Sense, founded on the discoveries of Danica Seléscovitch, has disclosed that words, sentences or linguistic principles with their lexical or grammatical meanings are not what is translated, but what the speaker wants to say through those words, sentences or principles. The intention to say is the key application in message transmission. This is an obvious as well as millenary idea for interpreters and translators of all time, something a systematised, abstract and empirically incorrect linguistics and semantics had whisked away from the researcher's mind, but could not hide from the appointed translator's experience and, in this case, from the conference interpreter.

"Paul Verlaine en lengua castellana: cien años de traducción poética", in Fidus interpres II, Actas de las primeras Jornadas Internacionales de Historia de la Traducción, Julio-César Santoyo (Ed.), University of León, Faculty of Modern Philology, 1989.

The author gives in this wide and detailed study a compte-rendu of his thesis bearing in mind that it was not published and aimed at an interested public. In fact, a hundred years have gone by since Mrs. Emilia Pardo Bazán translated for the first time one of Verlaine's poems. She did it in 1890, a version in prose on the "Colloque sentimental" (from the book Fêtes galantes -1869-) in prose, as it was fashionable and absolutely essential at the time. Fortunately, most translators did not follow this mistaken path, mistaken if we take into consideration that it is translated from a twinning language which is French. They did not do it because it was a custom and because it is easier to write in verse in Spanish, and they made the right decision.