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AbstractThis paper will examine the role of the late-Victorian Lutetian Society translators (Alexander Teixeira de Mattos, their leader, Ernest Dowson, Havelock Ellis, Percy Pinkerton, Victor Plarr, Arthur Symons) as translating subjects and cultural agents, united by the “cause” of providing British readers with unexpurgated translations of some of Émile Zola's maligned, if not banned, masterpieces so that they might be able to form an unbiased opinion of the literary merits of the works. Furthermore, the paper will explore what motivated these translators to join in this clandestine translation project and try to give some insight into the effect of their (re)translation activity on their personal appreciation of Zola and the novel translated. The paper concludes that the act of (re)translation served to expand the cultural horizons of the Lutetian Society translators. Their translations would, in turn, expand the cultural horizons of those who read them.
Keywords: late-Victorian England, Lutetian Society, translating subject, cultural agent, Émile Zola, fin de l'ère victorienne, Société Lutétienne, sujet traduisant, agent culturel, Émile Zola
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174.More information
This article is rooted in the firm belief that Marcel Aymé was given the very first Populist Novel Award for his June 1930 novel La Rue sans nom. We believe this notion, much echoed by academic and literary critics, to be proof enough of the populist nature of the novel. However, Marcel Aymé was never labelled a populist, despite having won some literary awards, including the 1929 Renaudot Prize for La Table-aux-Crevés. This article seeks to clarify the origins of this misunderstanding, for which Aymé himself may be partly responsible. Indeed, the author, populist by default, edged increasingly closer to a broad-ranging sensibility, the ambiguous nature of which gave him the significant advantage of being able to write in a popular fashion without being pinned down by a defining label.
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