 @mastersthesis {3008,
	title = {Les {\'e}ditions fran{\c c}aises de l{\textquoteright}oeuvre de Jane Austen (1815-2007) : l{\textquoteright}apport de l{\textquoteright}histoire {\'e}ditoriale {\`a} la compr{\'e}hension de la r{\'e}ception de l{\textquoteright}auteur en France},
	volume = {Th{\`e}se de doctorat : Langue et cultures des soci{\'e}t{\'e}s anglophones : Paris 7 : 2008},
	year = {2008},
	pages = {874},
	abstract = {<p>L{\textquoteright}histoire des {\'e}ditions fran{\c c}aises de Jane Austen, de 1815 {\`a} 2007, apporte un {\'e}clairage essentiel pour appr{\'e}hender la r{\'e}ception de l{\textquoteright}{\'e}crivain en France. En effet, bien que ses six romans aient {\'e}t{\'e} publi{\'e}s en fran{\c c}ais tr{\`e}s t{\^o}t, de 1815 {\`a} 1824, et n{\textquoteright}aient jamais cess{\'e} de l{\textquoteright}{\^e}tre, il existe un grand d{\'e}calage entre sa renomm{\'e}e en France et en Grande-Bretagne, o{\`u} elle est consid{\'e}r{\'e}e comme l{\textquoteright}un des plus grands {\'e}crivains britanniques. Ici, elle est plut{\^o}t repr{\'e}sent{\'e}e comme une romanci{\`e}re {\guillemotleft} sentimentale {\guillemotright}. Ceci peut s{\textquoteright}expliquer par la m{\'e}diocre qualit{\'e} des {\'e}ditions fran{\c c}aises publi{\'e}es, qui, bien que nombreuses, surtout dans les trente derni{\`e}res ann{\'e}es, donnent une image d{\'e}form{\'e}e de l{\textquoteright}{\oe}uvre. Cette th{\`e}se ne s{\textquoteright}attache pas {\`a} examiner la qualit{\'e} des traductions, mais {\`a} resituer les {\'e}ditions fran{\c c}aises dans un contexte historique et litt{\'e}raire, {\`a} tenter de savoir pourquoi Jane Austen a {\'e}t{\'e} traduite, par qui, quand, {\`a} l{\textquoteright}initiative de quels {\'e}diteurs, dans quel but, {\`a} c{\^o}t{\'e} de quels autres auteurs, dans quelles collections, et surtout pour quel public. Tout ceci permet de cerner l{\textquoteright}image de Jane Austen dessin{\'e}e par le monde de l{\textquoteright}{\'e}dition fran{\c c}ais, {\`a} destination de ses lecteurs. A cette fin, on examine notamment les {\guillemotleft} objets-livres {\guillemotright}, {\'e}tudiant l{\textquoteright}ensemble du paratexte qu{\textquoteright}ils offrent. Une {\'e}volution s{\textquoteright}est-elle produite dans la perception fran{\c c}aise des romans de Jane Austen, en particulier depuis la fin du XX{\`e}me si{\`e}cle, qui a vu la {\guillemotleft} red{\'e}couverte {\guillemotright} de cet auteur par certains {\'e}diteurs et la part du paratexte critique universitaire augmenter ?</p><div>The history of Jane Austen{\textquoteright}s French editions brings essential light to the writer{\textquoteright}s reception in France. Indeed, although her six novels were published very early, from 1815 to 1824, and have never stopped being in print since then, there is a huge gap between her fame in France and in Great-Britain, where she is considered as one of the greatest British writers. Here she is rather presented as a {\guillemotleft} sentimental {\guillemotright} novelist, therefore primarily appreciated by the feminine readership. This can be explained by the inferior quality of the French editions published in the XIXth and XXth centuries, which, though numerous, especially in the last thirty years, give a distorted vision of Jane Austen{\textquoteright}s work. This thesis does not attempt to examine the quality of the translations, but to re-place the French editions in their historical and literary context, to try to find out why Jane Austen was translated, by whom, when, on which publishers{\textquoteright} initiative, to what purpose, next to what other authors, in what collections, and especially for which public. Ail this may help define Jane Austen{\textquoteright}s figure as drawn for its readers by the French publishing world. To this end, we notably examine the books as objects, studying the whole {\guillemotleft} paratext {\guillemotright} they offer, covers, prefaces and other texts likely to present the novelist and her work. Has an evolution occurred in the French perception of Jane Austen{\textquoteright}s novels, in particular since the end of the XXth century, which saw the {\guillemotleft} rediscovery {\guillemotright} of this author by some publishers, and the increasing part played by academic criticism ? The inflation of poor quality paperbacks seems to demonstrate that Jane Austen{\textquoteright}s reception in France is still to be built.</div>},
	author = {Lucile Trunel},
	editor = {Fr{\'e}d{\'e}ric Og{\'e}e and Marie-Fran{\c c}oise Cachin}
}
