Abstracts
Abstract
This article addresses the ways in which Thomas Hawkins, a translator engaged in the cultural and literary activities of early Stuart court culture, but also in the transnational, Anglo-French Catholic networks of the time, appropriates certain Odes of Horace to assert his cultural, literary, and ideological values at the courts of Charles I and Henrietta Maria. Focusing in particular on the paratexts of the printed volume in its various editions (1625-1638), which include a translator’s preface as well as a number of commendatory poems from contemporary writers and courtiers, this article revisits Theo Hermans’s (2014a [1985]) and André Lefevere’s (2006 [1992]) seminal methods for analyzing the ‘manipulation of literary fame’ in early modern England. While confirming Hermans’s and Lefevere’s attention to issues of patronage and cultural norms, as well as the pivotal importance of paratexts as markers of such factors, I argue that the strategies of ideological and political encoding at work in the productions of English seventeenth-century court culture are best understood when approached from an “enlarged” (Tymoczko, 2005, 2007) methodological stance. This means complementing well-established analyses of literary manipulation in terms of patronage and cultural norms with specific attention to the material conditions in which translations were produced and circulated; their significance to the complex and ideologically conflicted milieu of the early Stuart court; and the social, political, and religious networks in which translators operated, well beyond the immediate circles of courtly patronage and influence.
Keywords:
- translation,
- manipulation,
- cultural approach,
- historical network analysis,
- early modern England
Résumé
L’article examine les différentes modalités de l’appropriation de certaines Odes d’Horace par le traducteur Thomas Hawkins, actif dans les milieux de cour anglais sous le règne de Charles Ier et Henriette-Marie (1625-1649), mais aussi dans les réseaux catholiques anglo-français de l’époque. On montre comment le traducteur inscrit ses prises de position culturelles, idéologiques et littéraires dans le paratexte des éditions successives du volume imprimé (1625-1638), en particulier dans la préface et les poèmes d’éloge composés par divers poètes de cour qui ouvrent le volume. L’étude revisite les méthodes fondatrices proposées par Theo Hermans (2014a [1985]) et André Lefevere (2006 [1992]) pour étudier la « manipulation de la renommée littéraire » dans l’Angleterre de la première modernité (voir aussi Lambert et Van Gorp, 2014 [1985] et Toury, 1995). Tout en confirmant l’importance de documenter les pratiques de mécénat et les normes culturelles en vigueur dans les milieux de cour, on montre ici qu’afin de saisir dans toute leur complexité les stratégies d’encodage idéologique et politique des traductions imprimées dans le contexte de l’époque, il convient d’adopter une démarche méthodologique plus « vaste » (« enlarged », Tymoczko, 2005, 2007). Il s’agit donc de compléter l’approche critique traditionnelle associant la manipulation littéraire à la logique du mécénat et des normes culturelles, en portant une attention renouvelée aux conditions matérielles de production et de circulation des oeuvres traduites; leur signification dans le contexte de tensions politiques et idéologiques à la cour des Stuart; et la place des traducteurs dans des réseaux d’appartenance sociale, politique et religieuse s’étendant bien au-delà de l’influence politique et littéraire de la cour.
Mots-clés :
- traduction,
- manipulation,
- approche culturelle,
- analyse historique des réseaux,
- première modernité anglaise
Appendices
Bibliography
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