So, this paper is an initial attempt to make Even-Zohar's latest questions go back to his first one. I asked him when he would look back and answer the first question, and he replied that he would leave that to other scholars. "One question leads to another and then to another," he said. In a seminar held at the Centre for Translation, Hong Kong Baptist University in August 2005, Even-Zohar explained why his research interest had shifted from translation to culture. While the terms used to describe those special cases have been queried in recent years, the rest of the two hypotheses seem to have been largely taken for granted by many. He has not explained in detail the basis of these hypotheses, and has turned to culture research after 1990. His own music and songs enjoyed popularity during his lifetime, particularly the anti-war song " Le Déserteur" (The Deserter).In his seminal paper "The Position of Translated Literature within the Literary Polysystem" (Even-Zohar 1990a) Itamar Even-Zohar has made two interrelated hypotheses: first, that the position assumed by translated literature in the literary polysystem tends to be a peripheral one except in three special cases, and second, that translation tends towards acceptability when it is at the periphery, and towards adequacy when it is at the centre. He served as liaison for Hoagy Carmichael, Duke Ellington and Miles Davis in Paris, wrote for several French jazz-reviews ( Le Jazz Hot, Paris Jazz) and published numerous articles dealing with jazz both in the United States and in France. Vian was an important influence on the French jazz scene. His novel Froth on the Daydream ( L'Écume des jours) is the best known of these works and one of the few translated into English. Vian's other fiction, published under his real name, featured a highly individual writing style with numerous made-up words, subtle wordplay and surrealistic plots. Novelist, poet, playwright, journalist, engineer, musician, songwriter, singer Vernon Sullivan, Bison Ravi, Baron Visi, Brisavion
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