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Jose Julian Marti Perez (January 28, 1853 - May 19, 1895) was a Cuban National Hero and an important figure in Latin American literature. During his life, he worked as a poet, essayist, journalist, translator, professor, and publisher. He was very politically active, and is considered an important revolutionary philosopher and political theorist. Through his writings and political activity, he became a symbol of Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence."
Jose Marti is usually honored as a great poet, patriot and martyr of Cuban Independence, but he was also a translator of some note. Although he translated literary material for the sheer joy of it, much of the translating he did was imposed on him by economic necessity during his many years of exile in the United States. Marti learned English at an early age, and had begun to translate at thirteen. He continued translating for the rest of his life, including his time as a student in Spain, although the period of his greatest productivity was during his stay in New York from 1880 until he returned to Cuba in 1895. In New York he was what we would call today a "freelancer" as well as an "in house" translator. He translated several books for the publishing house of D. Appleton, and did a series of translations for newspapers. As a revolutionary activist in Cuba's long struggle for independence he translated into English a number of articles and pamphlets supporting that movement. In addition to fluent English, Marti also spoke French, Italian, Latin and Classical Greek fluently, the latter learned so he could read the Greek classical works in the original. There was clearly a dichotomy in Marti's feeling about the kind of work he was translating. Like many professionals, he undertook for money translation tasks which had little intellectual or emotional appeal for him. Although Marti never presented a systematic theory of translation nor did he write extensively about his approach to translation, he did jot down occasional thoughts on the subject, showcasing his awareness of the translator's dilemma of the faithful versus the beautiful and stating that "translation should be natural, so that it appears that the book were written in the language to which it has been translated".
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Did he translate any other important documents?

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Maurice Merleau-Ponty (French: [moRis meRlo poti]; 14 March 1908 - 3 May 1961) was a French phenomenological philosopher, strongly influenced by Edmund Husserl and Martin Heidegger. The constitution of meaning in human experience was his main interest and he wrote on perception, art, and politics. He was on the editorial board of Les Temps modernes, the leftist magazine established by Jean-Paul Sartre in 1945. At the core of Merleau-Ponty's philosophy is a sustained argument for the foundational role perception plays in understanding the world as well as engaging with the world.
Merleau-Ponty distinguishes between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p. 207, 2nd note [Fr. ed.]) and is sometimes repeated in terms of spoken and speaking language (le langage parle et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parle), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense. It is speaking language, that is to say, primary expression, that interests Merleau-Ponty and which keeps his attention through his treatment of the nature of production and the reception of expressions, a subject which also overlaps with an analysis of action, of intentionality, of perception, as well as the links between freedom and external conditions. The notion of style occupies an important place in "Indirect Language and the Voices of Silence". In spite of certain similarities with Andre Malraux, Merleau-Ponty distinguishes himself from Malraux in respect to three conceptions of style, the last of which is employed in Malraux's The Voices of Silence. Merleau-Ponty remarks that in this work "style" is sometimes used by Malraux in a highly subjective sense, understood as a projection of the artist's individuality. Sometimes it is used, on the contrary, in a very metaphysical sense (in Merleau-Ponty's opinion, a mystical sense), in which style is connected with a conception of an "uber-artist" expressing "the Spirit of Painting". Finally, it sometimes is reduced to simply designating a categorization of an artistic school or movement. (However, this account of Malraux's notion of style--a key element in his thinking--is open to serious question.) For Merleau-Ponty, it is these uses of the notion of style that lead Malraux to postulate a cleavage between the objectivity of Italian Renaissance painting and the subjectivity of painting in his own time, a conclusion that Merleau-Ponty disputes. According to Merleau-Ponty, it is important to consider the heart of this problematic, by recognizing that style is first of all a demand owed to the primacy of perception, which also implies taking into consideration the dimensions of historicity and intersubjectivity. (However, Merleau-Ponty's reading of Malraux has been questioned in a recent major study of Malraux's theory of art which argues that Merleau-Ponty seriously misunderstood Malraux.) For Merleau-Ponty, style is born of the interaction between two or more fields of being. Rather than being exclusive to individual human consciousness, consciousness is born of the pre-conscious style of the world, of Nature.
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Are there any other interesting aspects about this article?

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It is speaking language, that is to say, primary expression, that interests Merleau-Ponty