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1
Hinton, Marie-Laure. "Emile Zola photographe." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1555084531&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Turck, Christian. "Medizin und die Psychologie in zwei Werken Emile Zolas: Son excellence Eugène Rougon und Le Rêve." [S.l. : s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=974995355.
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Spieker, Annika. "Der doppelte Blick : Photographie und Malerei in Emile Zolas "Rougon-Macquart" /." Heidelberg : Winter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3066613&prov=M&dok_var=1&dok_ext=htm.
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Morel, Chantal Simone. "The fortune of Emile Zola in the United Kingdom." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424327.
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Macke, Jean-Sébastien. "Emile Zola - Alfred Bruneau : pour un théâtre lyrique naturaliste." Reims, 2003. http://www.theses.fr/2003REIML002.
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Le compositeur Alfred Bruneau fut, à la fin du XIXe siècle, l'un des musiciens les plus populaires. C'est à sa rencontre avec Emile Zola qu'il doit son premier succès, en 1891, avec le Rêve. Suivront alors plusieurs drames lyriques inspirés par l'oeuvre du romancier. Emile Zola s'intéresse de très près à cette démarche artistique et finit par écrire lui-même des livrets pour Alfred Bruneau. Cette colaboration fructueuse nous laisse un corpus littéraire tout à fait étonnant qui nous permet de donner une lecture nouvelle de l'oeuvre d'Emile Zola. C'est également un théâtre lyrique naturaliste qui se met en place avec ses codes et ses partis-pris théoriques. Le naturalisme lyrique occupe ainsi le devant de la scène jusqu'en 1907 et marque un profond bouleversement dans le monde musical français et européen. Pour étudier cet aspect peu connu de l'oeuvre d'Emile Zola il fallait une documentation originale et inédite. Ainsi, les riches collections conservées par Alfred Bruneau ont été largement utilisées : correspondance, lettres personnelles, notes inédites, manuscrits inédits. . . L'exploitation méticuleuse de ces documents permet ainsi d'apporter une matière nouvelle et indispensable aux spécialistes de la littérature et de la musique au XIXe siècleComposer Alfred Bruneau was one of the most popular musicians in the late 19th century. It is with its meeting with Emile Zola that it owes its first success, in 1891, with le Rêve. He then produced several lyric dramas inspired by the novelist's works. Emile Zola got interested in this artistic process and strated writing books for Alfred Bruneau. This fruitful association left quite a surprising literary corpus which alows us a new reading of Emile Zoal's works. Naturalistic opera house also emerged with its own codes and theoric bias. Lyric naturalism was thus in the foreground until 1907 and deeply changed the french and european musical world. An original documentation was needed to study this relatively unknown part of Emile Zola 's works. Therefore the rich collections kept by Alfred Bruneau were used a lot correspondences, private letters, original notes and manuscripts. . . The meticulous investigation of these documents give new and essential material to 19th century literature and music specialists
6
Küster, Sabine. "Medizin im Roman Untersuchungen zu "Les Rougon-Macquart" von Émile Zola." Göttingen Cuvillier, 2006. http://d-nb.info/991938798/04.
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MARSAL, JEAN. "Zola et lourdes etude historique et theologique." Université Marc Bloch (Strasbourg) (1971-2008), 1998. http://www.theses.fr/1998STR20070.
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Emile zola a decouvert a lourdes "un admirable sujet", qui lui fournit la matiere d'un roman, ou il entend demontrer que le culte rendu a la vierge marie devant la grotte repose sur "le mensonge et l'illusion". Lourdes contient d'abord un reportage objectif sur la ville et la domaine de la grotte en 1892. La division en cinq journees correspond a la duree du pelerinage national organise par les peres assomptionnistes : la premiere et la derniere relatent-le voyage des pelerins de paris a lourdes et retour; les trois autres se deroulent devant la grotte et dans l'hotel ou resident les personnages principaux, marie de guersaint, et l'abbe pierre froment. La jeune fille, paralysee, souffre d'une maladie nerveuse soudainement guerie. Zola veut demontrer que les pretendus miracles sont des phenomenes naturels : la foi de marie et l'exaltation de la foule qui l'entoure, ont cree les conditions suffisantes pour sa guerison. Les autres malades quittent lourdes sans etre definitivement gueris. Pierre est "l'incarnation" du romancier incroyant; il nie l'authenticite des apparitions de la vierge marie a bernadette; il considere la voyante comme une fillette hysterique, qui a pris ses reves pour des visions, reconnues veridiques par un clerge credule. La grotte est, pour zola, une tentative desesperee et infructueuse de l'eglise pour sauver le catholicisme moribond, qu'il entend remplacer par sa "religion nouvelle", annoncee a la fin de lourdes et presentee dans les cinq romans suivantsEmile zola discovered in lourdes a wonderful subject which gave him the matter of a novel in which he intends to prove that the worship to the virgin mary made in front of the grotto is based on "lie and illusion". Lourdes contains an objective reporting about the city and the domain of the grotto in 1892. The dividing in five days square with the lasting of the national pilgrimage organised by the assumption fathers : the first and the last day report the travel of the pilgrims from paris to lourdes and back; the three others days are being enacted in front of the grotto and in the hotel where the prominent characters are staying, marie de guersaint and pierre froment. The young woman is paralysed and suffers of a nervous illness of which she is suddenly healed. Zola wants to prove the alleged miracles are natural phenomena. Mary's faith and the crowd's excitement which surrounds her have created adequate conditions for the healing. The other sick people leave lourdes without being definitively healed. Pierre is the "incarnation" of an unbelieving novelist; he denies the authority of apparitions of the virgin mary to bernadette; he considers the seer as an hysteric girl who took their dreams for visions recognized as true by a credulous clergy. The grotto is for zola a desperate and unfruitful attempt made by the church to save the catholic religion which, in zola's thought and aim, will be replaced by his "new religion" announced at the end of lourdes and developed in the five next novels
8
Viboud, Alexandrine. "Poétique du désir dans les Rougon-Macquart d'Emile Zola." Villeneuve-d'Ascq : Presses universitaires du Septentrion, 2000. http://books.google.com/books?id=AxRdAAAAMAAJ.
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Durin, Jacques. "Le mal dans l'oeuvre d'emile zola." Paris 3, 1986. http://www.theses.fr/1986PA030087.
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A travers la decheance d'une famille, le desordre ineluctable des rapports collectifs, le detraquement des consciences emportees dans un processus existentiel dont elles tarderont a controler les effets, c'est l'experience du mal, que zola va mettre en lumiere; et les figures du mal seront chez lui, a l'image des niveaux d'existence et des degres de conscience de ses personnages. De la se degagera, non pas une conception du mal, tout d'une piece, massive, immuable, mais une multiplicite de figures, un carrefour d'interrogations, une diversite d'attitudes, auxquels fera echo en profondeur, le murissement de la conscience zolienne, que l'exigence de justice et de verite comme confirmation du depassement de la charite, viendra imposer a son heure, a la pesanteur du malheur. Cette these entreprend une lecture et une reflexion sur le mal, a travers la production d'une oeuvre litteraire percue dans son unite et sa globalite, et dont le rythme viendra recouvrir exactement les trois grandes etapes de l'oeuvre de zola. Temps des rougon-macquart, de la decheance, de la regression et de la chute, que ponctue la degenerescence d'une famille rendue contagieuse a son tour, par la decadence et le pourrissement de tout un empire. Temps des trois villes; moment de la conscience malheureuse, ou l'angoisse de la finitude et l'obsession de la liberte se heurtent dans le dechirement de pierre froment. Temps des quatre evangiles, de la redemptionet du salut; temps messianique qui s'achevera dans l'accession de l'humanite a la paix. Ni evenement passe, ni evenement a venir, mais fil qui relie les uns aux autres les evenements de l'histoire. Temps liberateur du mal, temps de la conscience eveillee et de l'amour, qui permet a la conscience zolienne pacifiee, de liquider enfin son vieux demon hereditaire, ses monstres interieurs. Lecture globale qui prend en compte pour la premiere fois, la totalite des ecrits du romancier naturaliste, en les confrontant aux ideologies de son tempsThrough the downfall of a family, the inescapable discorder of collective relations, the confusion inconsciences swept away in an existential process whose affects they will control with the greatest difficulty, it is the experience of evil that zola brings to lignt. And with him the form of evil are in accordance with the levels of existence end the degrees of awareness of his caractere. Hence there will arise, not one conception of eveil, as a whole, powerful, immutable, but numberless forms, numberless questions, a thousand attitudes. These will be profondly echoed by the maturing of zolian conscience witch the demands of justice and truth, confirming that they can go beyond charity, will in their own time lignten the weignt of misery. This thesis undertakes a study and a reflection on evil, through through a literary work understood by its unity and as a whole, and whose rythme will follow precisely the three main stages of zola's work. The time of les rougon-macquart, of the downfall, regression and ruin, punctuated by the decadence of a family which as been contaminated in its turn, by the decadence end the corruption of an entire empire. The time of les trois villes, an unhappy state of mind in which the divergent yarnings of pierre froment. The time of les quatre evangiles, of redemption, and salvation; a messianic time which will climax in mankind finding peace. Neither a past event not a futur event, but e thread which links all the events of history to each other. A time of liberation from evil, a time of awakened conscience and love, wich enables zola's pacified conscience to do away with its old hereditary demon, its interior monsters. This exhaustive study takes into account for the first time all the writings of this naturalist novelist by setting them against the ideologies of his age
10
Martin-Guay, Julie. "L'assommoir de Zola : du roman à la pièce de théâtre." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83126.
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This thesis deals with stage adaptation of Emile Zola's novel L'Assommoir. Adapted for the stage in 1879 by William Busnach, L'Assommoir was a hit, especially with the working class. Despite this, because of its supposed weak aesthetic value, the theatrical adaptation has not been recognized by literary history. Notwithstanding, the analysis of the characters and staging of this adaptation bring some interesting points to light. The representation of people at work, daily life, the clever transposition to stage of some of the novel's more daring passages, the use of slang and the choice of realist costumes and decor are novelties that signal a change in the established dramatic code and announce the realism of Andre Antoine.
11
Bender, Niklas. "Kampf der Paradigmen : die Literatur zwischen Geschichte, Biologie und Medizin : Flaubert, Zola, Fontane /." Heidelberg : Universitätsverlag Winter, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783825356224.
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Sandford, Luke Heston. "Aspects of eros in Emile Zola's Germinal." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29352.
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According to classical Greek mythology, Eros was one of the first beings to arise out of Chaos and represented the concepts of harmony and union necessary in creating the world and its creatures.
The primary fear that Zola addresses (and exploits) in Germinal is the fear of anarchy and of social chaos. This is accomplished thanks to a relentless textual insistency on eroticism. This emphasis on human sexuality, along with Zola's ground-breaking treatment of the working class, represents the breaking of the two greatest literary taboos in nineteenth century French literature: the vivid depiction of bodily urges and the minute examination of the proletariat.
Our thesis is that the revolutionary impact and the incontestable literary longevity of Germinal stem largely from Zola's successful shattering of these timorous traditions--the logical extension of reigning bourgeois morals--via his persistent depictions of the corporeal and the erotic. This essay, therefore, is an attempt to analyze, to describe, and to reconcile the diverse and contradictory elements which comprise the erotic subtext in Zola's most famous novel, that is to provide an erotic reading of Germinal.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
13
Zieger, Karl. "Die Aufnahme der Werke von Emile Zola durch die österreichische Literaturkritik der Jahrhundertwende /." Bern ; Frankfurt am Main ; New York : P. Lang, 1986. http://catalogue.bnf.fr/ark:/12148/cb34981536r.
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Scarpa, Marie Privat Jean-Marie. "LE VENTRE DE PARIS D'EMILE ZOLA. UNE LECTURE ETHNOCRITIQUE /." [S.l.] : [s.n.], 2000. ftp://ftp.scd.univ-metz.fr/pub/Theses/2000/Scarpa.Marie_Rose.LMZ0001.pdf.
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Biele-Wrunsch, Manuela. "Die Künstlerfreundschaft zwischen Édouard Manet und Émile Zola ästhetische und gattungsspezifische Berührungen und Differenzen." Taunusstein Driesen, 2002. http://d-nb.info/999238884/04.
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Cummins, Anthony. "The transmission of Emile Zola in English literary culture, 1877-1895." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487183.
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This thesis examines some aspects of the French writer Emile Zola's transmission in late-Victorian literary. culture. In suggesting that the translation of his fiction into English was not o~y linguistic, but cultural, the introduction argues that the commonly-used terms influence and reception do not adequately describe the transformative character of contemporary sex 'education. The thesis concludes by looking at some twentieth- and twenty-first-century instances of Zola's transmission in England. Zola's transmission in England. The first chapter uses evidence of English stage adaptations of L'Assommoir to argue that this transmission in England took place earlier and more widely than is commonly believed. The second chapter uses two case studies - a forgotten serialisation of Therese Raquin, and George Moore's novel Esther Waters - to suggest that Zola's influence on English fiction was refracted through the demands of publishing norms but also through the aesthetic aims of late-Victorian novelists. The third chapter looks at the debate 'surrounding Henry Vizetelly's translations of Zola's novels, arguing that the controversy both emerged from and contributed to the deepening division between mass and elite readerships in late nineteenth-century England after the 1870 Education Act. The final chapter uses the Vizetelly affair as a context in which to read Sarah Grand's The Heavenly Twins, suggesting that the New Woman novel appropriated Zola in order to highlight the inadequacy of
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Kim, Choon-Hee. "Roman et théâtre chez Emile Zola et Henry James : étude comparée." Paris 4, 1994. http://www.theses.fr/1994PA040197.
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Si l'esprit pretendument "moderne" du dix-neuvieme siecle nous revele une certaine exigence de l'evolution litteraire dans les idees des formes litteraires et de leurs caracteres, dont les cadres distincts tendent a se briser, cet esprit heterogene accompagne consciemment ou inconsciemment les activites litteraires, lesquelles se caracterisent par la creation hybride du roman et du theatre. Notre sujet d'etude sur zola et james a ete concu d'abord en partant de l'apparente difference des deux temperaments. Celle-ci nous offre un etonnant parallele de phenomenes litteraires, dans le domaine des genres litteraires de l'epoque. La creation hybride du roman et du theatre qui touche reellement les courants litteraires contemporains nous conduit a une reflexion sur les attitudes naturelles de mise en forme litteraire de james et de zola, menant a un melange conscient ou inconscient de la critique et de la creation litteraire. Comment pourrait-on caracteriser leur maniere de melanger les genres ou de melanger les caracteres des formes litteraires ? pour repondre a cet argument, nous adoptons les methodes suivantes : de quelle facon leur creation hybride se presnet-t-elle ?; dans quelle mesure les "cadres" du roman et du theatre se lemangent-ils ou se confondent-ils ? l'idee d'une transgression mot-clef de notre etude, se presente alors comme un essai de synthese litteraire pour faire s'interpenetrer et se rapporcher des formes differentesE. Zola emerges as problematic from james's literary criticism. Our starting point is : what was the problem in james's under standing of zola ? here, we examine the jamesian review of the key words of "naturalism", and consequently its aesthetic fallacy. "naturalism" as a common denominator for james and zola proves to be problematic because of a real incompatibility of the term "naturalism" as applied to both of these two authors in the aesthetic field. Here we try to establish a more pertinent criteria (which is not as monopolistic as "naturalism" with respect to zola) based on their general literary activities themselves. Drawing a paralled between e. Zola and h. James in order to establish a particular comparative approach leads us to contemplate the two authors from a common perspective. We will study the aspects of confusion of mixed forms of literary genres that will guide us towards a certain salient aspect of interpenetration of different kinds of literary forms. Here we will examine the characteristics of this vision of transgression; towards expension or towards restraint. It is the dynamic force of transgression which could be interpreted as vitally essential in expanding or restricting the framework of literary genres a priori defined as novel, drama, etc. Our main task is to evaluate these characteristic aspects of literary froms-collision, tension and intervention with respect to various types of transgression in the novels and dramas of e. Zola and h. James, and to suggest a new specific perspective in "comparative study" of h. James and e. Zola
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Sicotte, Geneviève. "Les pestilences du naturalisme : Zola descripteur des odeurs." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61102.
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The description of odour, frequent in Zola's work, has been little studied, most researchers having focused only on the visual description of this novelist. This dissertation, taking as its corpus Les Rougon-Macquart, explores this issue. The working hypothesis is that Zola reveals his impressionist tendencies in this type of description. The first chapter presents a brief history of the status of olfaction and description of odour in its philosophical, social as well as in literary context. The following chapter, after having defined a few concepts (notions from Hamon and Adam), presents the status of the description of odour in Zola's work. Four recurrent devices emerge: redundancy, multi-sensorial description, clausulae and turning points. The third chapter begins the study of the internal working of the description by examining the lexicon of odour. The lexicon of odour as used by Zola resorts mostly to the emotional and poetical functions of language. The final chapter continues the examination of modes of structuration, using Adam's notion of plan of text. The text concludes by maintaining that Zola's uniqueness is based on his marriage of impressionism and realism-naturalism. (Abstract shortened by UMI.)
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Spieker, Annika. "Der doppelte Blick Photographie und Malerei in Emile Zolas Rougon-Macquart." Heidelberg Winter, 2005. http://d-nb.info/987404709/04.
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Sayegh, Maria. "Lieux et mise en lieux dans Les Trois Villes d' Emile Zola." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA120.
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Cette thèse a pour objectif d'analyser dans un premier temps la mise en place de l'espace dans Les Trois Villes d'Emile Zola. Ainsi tenterons-nous de répondre aux questions suivantes:Selon quelle forme l'espace se met-il en place? Quelles sont les transformations et les manoeuvres qu'il subit d'un avant-texte à l'autre? Quelles sont les fonctions de cet espace et quel rapport y a-t-il entre sa mise en place et la mise en place des personnages et de l'intrigue? Cette étude vise aussi à examiner le problème du déplacement des personnages dans les textes définitifs des Trois Villes, déplacement qui a lieu sur différents plans (plan local, plan fictif...) et par différents moyens (le regard, la parole, la mémoire, l'imagination...). Enfin, cette thèse cherche à déterminer les différentes techniques de la description des lieux en examinant notammentles différents "mécanismes" de la description ambulatoire (les personnages mobiles, les figures de style, l'énumération...)This thesis analyses firstly the setting up of space in the preparatory files of Les Trois Villes by Emile Zola. Thus we try to answer these following questions:According to which form is place set up? What are the transformations that space undergoes from one pre-text to another? What are the functions of that space and what is the relation between its setting up and the setting up of the characters and the plot? This study also aims at examining the displacement of characters in the final text of Les Trois Villes. This displacement takes place on different levels (local level, fictive level...) and by different means (look,speech, memory, imagination...). Finally, this thesis seeks to determine the different techniques of discribing places by analyzing the different "mecanisms" of the ambulatory description (mobile characters, figures of speech, enumeration...)
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Lasseigne, Edward Joseph. "Marcel Proust, Emile Zola, and the sexual politics of the Dreyfus Affair mocking the tradition of melodramatic epic /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1120704693.
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Sunnerfjell, Emil. "Doften av ”Kvinna” : Symbolik och begär i Zolas Nana." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1587.
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An analysis of Zolas Nana focusing on male desire. Through a study of the narrtive structure and the polemic relation between the concepts of “Nature” and “Culture” it is shown that opposing ideologies are imbedded in the text. Nana is a symbolic character, in large, a myth created by male desire that eventually becomes a manifestation of that desire. At the same time, however, the character Nana evolves from being a mirrored image of male desire into a more stable and real individual and this process is also an answer to when and why she dies,underlining the fact that she initially was a creation emanating from male desire and in losing those symbolic functions she loses her function in the novel.
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Becker, Colette. "Emile zola : 1840-1867 : genese d'une oeuvre : essai de biographie intellectuelle et esthetique." Paris 3, 1987. http://www.theses.fr/1987PA030251.
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L'etude se propose de suivre le parcours qui a conduit zola a l'idee des rougonmacquart, d'expliquer comment le poete idealiste des annees 1858-1862 est devenu, en cinq ans, l'auteur de therese raquin et a pose, des 1868, les premieres pierres d'une vaste construction fondee sur l'observation exacte du monde contemporain et sur les dernieres decouvertes scientifiques en matiere de physiologie, de comprendre comment un jeune provincial, deracine a paris, a dix-huit ans, sans fortune, sans diplomes, sans relations, s'est fait, en quelques annees, un nom dans le journalisme et dans la litterature. Nous avons ainsi tente de retrouver les multiples conditions d'emergence d'une oeuvre qui se veut regard sur le monde contemporain, essaye de cerner cette vision des choses qui se fait a travers l'ecriture, ses choix, ses difficultes, ses derobades, en etudiant systematiquement les premieres oeuvres, premieres gammes plus revelatrices, peut-etre, que les grands textes de la maturite, plus maitrises: poemes, contes, nouvelles diverses, chroniques, esquisses, romans, articles de critique litteraire ou artistique, au fil desquels zola se forge, par une reflexion sur la litterature et sur la peinture contemporaines, une esthetique qui se definit par trois termes: temperament, modernite, verite. Pour suivre ce parcours, nous nous sommes aussi appuyee sur un certain nombre de documents inedits: archives diverses, lettres ecrites ou recues par zola, premieres oeuvres (publiees en annexes)This study purports to follow the way that has led zola to think of the rougonmacquart and to explain how the idealistic poet of 1858-1862 grew into the author of therese raquin within five years, and as early as 1868, laid the first stones of a huge building founded on the accurate observation of the contemporary world, and on the last scientific discoveries in physiology, to understand how a young provincial uprooted in paris at the age of eighteen, without any fortune, any degree, any acquaintance, achieved a name in journalism and literature in a few years. We have thus attempted at finding the multiple and complex conditions where from emerged a work that is meant as an outlook upon the contemporary world; we have tried to delimit this vision of things that is achieved through writing, its choices, its difficulties, its artfull tricks, by systematically studying the first works, as many first scales, perhaps, more revealing than the great texts of maturity, more controlled: poems, tales, various short stories, chronicles, novels, articles of literary or artistic criticism along which , through his reflection on contemporary literature and art, he contrived an aesthetic doctrine that can be defined by three terms: strong personality, modernity and truth. To follow this road, we have also relied on some unpublished documents: various archives, letters written or recieved by zola, first works quoted in appendix
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Becker, Colette. "Emile Zola, 1840-1867 genèse d'une oeuvre, essai de biographie intellectuelle et esthétique /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376027285.
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Branthomme, Michel. "Emile Zola Lettres de Paris du "Sémaphore de Marseille", 1er janvier-1er mai 1874." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb375964071.
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Tignani, Benedetta <1984>. "Tradurre il discorso riportato. Le versioni italiane di "Nana" di Emile Zola (1880-2010)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5999/1/Tignani_Benedetta_tesi.pdf.
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Il nostro lavoro si inserisce tra i contributi che si rifanno a quella branca di studi traduttologici nota come critica della traduzione; l’elemento di raccordo tra il testo di partenza e la successione dei testi di arrivo su cui baseremo l’analisi è il discorso riportato, un fenomeno complesso, che trova la sua naturale collocazione nei delicati rapporti che intercorrono tra orale e scritto.This work integrates Translation studies field as an example of translation criticism. Following Antoine Berman’s analytical path, Zola’s Nana has been compared to some of its Italian versions. Target texts comparison to the French source text concerns reported speech as novel’s constitutive part.
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Tignani, Benedetta <1984>. "Tradurre il discorso riportato. Le versioni italiane di "Nana" di Emile Zola (1880-2010)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5999/.
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Il nostro lavoro si inserisce tra i contributi che si rifanno a quella branca di studi traduttologici nota come critica della traduzione; l’elemento di raccordo tra il testo di partenza e la successione dei testi di arrivo su cui baseremo l’analisi è il discorso riportato, un fenomeno complesso, che trova la sua naturale collocazione nei delicati rapporti che intercorrono tra orale e scritto.This work integrates Translation studies field as an example of translation criticism. Following Antoine Berman’s analytical path, Zola’s Nana has been compared to some of its Italian versions. Target texts comparison to the French source text concerns reported speech as novel’s constitutive part.
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Ben, Jmaa Imen. "Figures de l'animalité et de la bestialité dans "La Bête humaine" d'Émile Zola et "L'Homme qui tue" d'Hector France." Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0006.
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Cette thèse de doctorat porte sur l’analyse du thème de l’animalité et de la bestialité dans L’Homme qui tue d’Hector France, roman écrit en 1878 et La Bête humaine d’Émile Zola, roman qui date de 1890. Ces œuvres constituent deux regards croisés sur la France, l’un sur un pays vu de l’intérieur et l’autre sur un pays diagnostiqué à la lumière de sa politique coloniale. L’enjeu est de mettre en relief jusqu’à quel point ces deux œuvres contemporaines l’une de l’autre, à la fois se répondent mutuellement et se séparent inéluctablement. Dans leurs parcours, dans leurs positions politiques et idéologiques, dans leurs rapports à la France, dans leurs modes d’intervention dans l’actualité brûlante de l’époque, tout sépare France et Zola. Mais à force de creuser dans les différences, des ressemblances peuvent surgir. Au-delà de la parenté thématique de leurs œuvres dans le récit qu’elles font de la condition humaine à l’aune de l’animalité et de la bestialité, des accointances qui se tissent, de près ou de loin, entre les figures auxquelles donne lieu la métaphore de la bête humaine, des destinées similaires sinon identiques de certains personnages, les écarts sont si importants pour oser les occulter par un simple recensement de motifs, de thèmes et de mythes communs aux deux auteurs. Ce sont ces écarts qui sont extrêmement précieux. Plus les disparités se distendent entre les deux écrivains, plus les motivations de ce rapprochement deviennent plus justifiées et plus fécondes. Lire Zola et France l’un par rapport à l’autre, et éventuellement l’un contre l’autre, c’est repenser une partie importante de la carte littéraire de la deuxième moitié du XIXe. Cette redéfinition passe par la nécessité de mettre face à face le centre et la périphérie, le blason et son ombre, le monument et son fantômeThe present doctoral thesis aims at the analysis of the theme of animality and bestiality in Hector France’s The Man who Kills (L’Homme qui tue), a novel written in 1878 and Emile Zola’s The Human Beast (La Bête Humaine) which dates around 1890. These two works represent two crossed visions on France, one on a country viewed from outside and the other on a state diagnosed in the light of its colonial politics. The purpose is to highlight the extent to which these two contemporaneous works at once mutually respond to and yet inescapably break off from each other. In their plots, in their political and ideological positions, their relationships to France, their modes of intervention in the blazing events of the time, everything separates France from Zola. However, digging deep into the differences, certain similarities can come up to the surface. Beyond the thematic link between their works that belies the narration they make of the human condition to either animality or bestiality, the more or less interwoven acquaintances, between the figures resulting from the metaphor of the human beast, or the similar if not identical destinies of certain characters, the gaps are too important to be overshadowed by a mere inventory of motifs, themes, and myths common to both writers. It is these very gaps which are extremely genuine. The more the disparities widen up between the writers, the more the motivations of this merging become more justified and fruitful. To read Zola and France in relation to each other, and eventually the one against the other, is to re-think over an important part of the literary map of the second half of the nineteenth century. This redefinition follows from the necessity of bringing face to face the centre and the periphery, the blazon and its shadow, the monument and its phantom
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Pusey, Elizabeth. "James Tissot's and Emile Zola's Shopgirl:The Working Girl as La Parisienne." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6119.
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This thesis argues for the cultural space of late nineteenth-century Parisian shopgirls as a position of power. The shopgirls' role in society is an ambiguous position connecting fashion consumer culture, class divides, gender and identity perceptions, and the workspace. Using James Tissot's Femme à Paris series, specifically the image Demoiselles de Magasin, and Emile Zola's novel Au Bonheur des Dames as primary sources, I examine the role of the shopgirl as a liminal position within the definition of the iconic 'La Parisienne' woman. By looking at women's work and the role of shopgirls in the boutique and department store world of fashion and consumerism, we can see how shopgirls' unique position gives historical significance to this kind of work. By looking at painting and literature as primary media, we can see how pervasive the shopgirl and La Parisienne imagery really at this time. Using a feminist approach, this thesis shows how the shopgirl occupies a particular social space for women in nineteenth-century France, perhaps even a somewhat influential position in Parisian culture, as she is a primary facilitator in the fashion world for transmitting 'taste'— a marketable branding tool of French fashion that permeates the iconic ideals of French fashion.
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Lamer, Annika. "Die Ästhetik des unschuldigen Auges Merkmale impressionistischer Wahrnehmung in den Kunstkritiken von Émile Zola, Joris-Karl Huysmans und Félix Fénélon." Würzburg Königshausen & Neumann, 2007. http://d-nb.info/991843614/04.
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Gomes, Mônica dos Santos. "As traduções e recepção de Germinal, de Émile Zola, no Brasil." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/13516.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2013.Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-07-05T14:44:55Z No. of bitstreams: 1 2013_MonicaSantosGomes.pdf: 2003837 bytes, checksum: 05e55265c49c66da6fc02bba4935ece9 (MD5)
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Esta dissertação tem por objetivo a realização da análise crítica das traduções brasileiras realizadas no século XX do romance Germinal, de Émile Zola, considerando as relações entre tradução e formação do sistema literário em nação periférica. A importância de se realizar esse estudo está na reflexão de como a tradução está inserida no contexto social, cultural e literário de uma nação, pois através de obras traduzidas, tem-se a possibilidade de se conhecer outras culturas, fato que, consequentemente, cria a oportunidade de realização de trocas literárias, com vistas ao enriquecimento da cultura local. A análise das traduções de Germinal no Brasil é relevante por se tratar de um romance canônico, peça-chave de um movimento literário que deixou marcas em importantes escritores brasileiros, como Aluísio de Azevedo. Esta dissertação busca demonstrar, à luz de estudos da crítica de tradução e da crítica literária, a importância da presença desse romance em nosso sistema literário. Para tal, analisaremos comparativamente as traduções e retraduções do romance em português, buscando estabelecer relações entre a primeira tradução portuguesa e as quatro brasileiras do século XX. Antes disso, verificaremos o processo de criação do movimento naturalista na França e sua recepção no Brasil. Analisaremos também os paratextos das obras traduzidas, com o objetivo de examinar a apresentação dessas obras aos leitores brasileiros. ______________________________________________________________________________ ABSTRACT
This dissertation aims to make a critical analysis of translation and a literary critical analysis of the Brazilian translations of Germinal, the novel written by Émile Zola, made in the 20th century, considering the relations between the translation and the formation of a literary system in a peripheral nation. The importance of this study is on lies in the reflection about how the translation is introduced in the social, economic, cultural and literary context of a nation because, besides the translation work, it is possible to get to know other nations, which consequently creates an opportunity for literary exchanges, aiming to enrich the local culture. Concerning the study of a French naturalist novel at the end of the 19th century, we can say that, even though it is a work produced a long time ago, it is important for the Brazilian literary context because of the influence France had on our literature especially at that period. The analysis of the translation of Germinal in Brazil is relevant because it is a canonic novel, which influenced many important Brazilian writers such as Aluísio Azevedo. This dissertation aims to demonstrate the importance of the presence of this novel in our literary system based on studies on translation critique and literary critique. In order to do this, we will analyze and compare a variety of translations into Portuguese, trying to establish a relation between the first translation into Portuguese and the four other Brazilian translations made in the 20th century. Before this, we will verify the creative process of the naturalist movement in France and how it was received in Brazil. We will also analyze paratexts of the translated works, aiming to examine the presentation of these works to Brazilian readers. ______________________________________________________________________________ RÉSUMÉ
Ce travail a pour objetctif l'analyse critique des traductions brésiliennes réalisées au XX siècle du roman Germinal, d´Émile Zola, dans le cadre des relations entre la traduction et la formation du système littéraire dans les nations périphériques. L'importance de la réalisation de cette étude est de penser la façon dont la traduction est intégrée dans le contexte social, culturel et littéraire d´une nation, car, à travers des œuvres traduites, nous avons l'occasion de rencontrer d'autres cultures, et la possibilité de mener des échanges littéraires en vue d'enrichir la culture locale. L'analyse des traductions de Germinal au Brésil est pertinente, car il s´agit d´un roman canonique, chef- d´oeuvre d´un mouvement littéraire qui a laissé des traces importantes dans l´oeuvre d´écrivains brésiliens tels qu´Aluísio de Azevedo. Ce travail cherche à démontrer, à la lumière des études critiques de la traductologie et de la critique littéraire, l'importance de la présence de ce roman dans notre système littéraire. Pour ce faire, nous allons analyser comparativement les traductions et retraductions du roman vers le portugais brésilien en essayant d’établir les relations entre la première traduction portugaise et les quatre traductions faites au Brésil au XX siècle. Avant cela, nous parcourons ce qui fonde le mouvement naturaliste en France et sa reception au Brésil. Nous analysons également le paratexte des oeuvres traduites dans le but d’examiner le mode de présentation des oeuvres aux lecteurs brésiliens.
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Habiyakare, Thaddée. "De l'assommoir aux bouts de bois de dieu le monde du travail vu par Emile Zola et Sembene Ousmane /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 1998. http://books.google.com/books?id=Ue9cAAAAMAAJ.
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Bender, Niklas. "Kampf der Paradigmen die Literatur zwischen Geschichte, Biologie und Medizin ; Flaubert, Zola, Fontane." Heidelberg, Neckar Universitätsverlag Winter GmbH Heidelberg, 2007. http://d-nb.info/994209169/04.
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Tremou, Catherine. "Le dialogue romanesque dans les Rougon-Macquart d'E. Zola." Paris 3, 1997. http://www.theses.fr/1997PA030122.
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Le dialogue romanesque est envisage comme un systeme independant avec une structure propre qui est regie par des regles particulieres qui commandent egalement le deroulement et le decoupage du dialogue. Dans le roman on degage divers types de dialogues qui ont une structure et une signification particulieres. Ce sont notamment le dialogue informatif, le dialogue argumentatif, pragmatique, deliberatif ainsi que la conversation. Or la particularite du dialogue romanesque est qu'il appartient a un cadre narratologique plus large. Par ailleurs il est capable de vehiculer une ideologie au meme titre que la narration. Il s'agit donc d'un systeme semiotique riche avec une fonctionnalite propre dans le romanThe fictif dialogue in "les rougon-macquart" il considered as an independant system with its. Own rules. In the novels we find different types of dialogue with their proper meaning. Such types are the informatif, the argumentatif, the debate and the conversation. The dialogue also belongs to the narrative system, and it is the domain for the expression of an ideology. It is therefore a semiotic system with its own significance in the novel
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Soares, Anabela Rodrigues. "Nana, de Emile Zola, e O Livro de Alda, de Abel Botelho : para uma poética do erotismo." Master's thesis, Universidade de Aveiro, 2008. http://hdl.handle.net/10773/2821.
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Mestrado em Estudos FrancesesNeste trabalho, partimos de uma leitura comparativa – elegendo, para o efeito, dois romances de filiação naturalista: Nana, de Emile Zola, e O Livro de Alda, de Abel Botelho – à luz de uma poética do erotismo. Assim, começámos por salientar a apetência realista-naturalista para a representação do erotismo, principalmente na sua versão patológica e transgressiva, para, de seguida, podermos analisar os pontos de contacto e/ou de divergência existentes entre os referidos textos na abordagem da representação do corpo e do desejo femininos. Ora, não nos era possível avançar para uma análise comparativa sem, primeiro, efectuarmos uma retrospectiva das narrativas do século XIX, essencialmente as produzidas na segunda metade de Oitocentos. Procurámos, pois, debruçar-nos sobre um conjunto significativo de obras de vários autores, que, inegavelmente, contribuiu para uma nova reflexão sobre a metafísica do amor, da sedução e da sexualidade, contestando, portanto, o ideal romântico que defendia uma visão oposta da mulher, figurando-a como um objecto intocável e assexuado. De seguida, tentámos tecer algumas considerações teóricas sobre os conceitos inovadores realistas-naturalistas,visando sempre a construção simbólica de um imaginário erótico, sendo este representado por um sujeito enunciador de desejo – a mulher. Tentámos, também, demonstrar que a supremacia do discurso científico da época viria a contribuir para uma desmistificação da sexualidade feminina. Assim, a mulher, detentora de uma sensualidade exacerbada, seria objecto de estudo científico e representação literária, abrindo caminhos para o reconhecimento da sexualidade feminina, sem, contudo, deixar de salientar o lado perverso, maléfico e doentio dessas mulheres. Contudo, em obediência ao substrato realista-naturalista, o comportamento sexual desregrado tem sempre origem na hereditariedade, no meio e na educação. Estudada a estética naturalista e a figuração do corpo erótico na primeira parte do nosso trabalho, passámos a analisar, na segunda parte, os romances Nana e O Livro de Alda, intentando demonstrar a centralidade da figuração erótica feminina, quer na própria construção da narrativa, quer na codificação da temática realista-naturalista. ABSTRACT: In this dissertation we carry out a comparative reading of two naturalistic novels (Emile Zola’s Nana and Abel Botelho’s O Livro de Alda) in the light of the construction of a poetics of eroticism. We have started by highlighting the realistic-naturalistic preference for the textualization of eroticism, especially in its pathological and disruptive aspects, and have pointed out the similarities and divergences between both texts regarding the representation of the female desire and the female body. We wouldn’t be able to lead a comparative analysis had we not heeded the 19th narrative tradition with a special emphasis on novels written during the second half of the century. We have focussed on a significant number of works that have brought about a new reflection on the metaphysics of love, seduction and sexuality, in explicit opposition to the romantic ideal of the asexual untouchable female. We have made a few theoretical considerations about the innovative concepts defining realistic-naturalistic aesthetics pertaining to the symbolic construction of an erotic imaginary, as formulated by a female subject that clearly states her desire. We have attempted to show that the hegemony of the scientific discourse at the time has decisively furthered the demystification of female sexuality. It has therefore become the object of scientific and literary investigation, opening new paths for the recognition of female exacerbated sexuality, shedding some lighton the perverse and pathological side of these women. According to the realistic-naturalistic principles, deviant sexual behaviour is a by-product of heredity, environment and education. In the second section, we have analysed the novels Nana and O Livro de Alda, so as to highlight the representation of female eroticism in terms of narrative techniques and their relation to the realistic-naturalistic thematic frame of reference.
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Giraud, Frédérique. "Ecrire pour résister au déclassement social : analyse sociologique de la carrière et des pratiques littéraires d'Emile Zola." Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0970.
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À l’intersection d’une sociologie des professions et d’une sociologie des œuvres, la thèse se propose de mettre au jour la manière particulière d’Émile Zola de théoriser et mettre en pratique la création littéraire. Le premier moment de ce travail démontre l’intérêt méthodologique d’une analyse de la singularité individuelle et définit le cadre théorique d’une appréhension des créations littéraires soucieuse de saisir dans l’espace littéraire et en amont dans la vie de l’auteur les éléments nécessaires à la compréhension des créations. La seconde partie de ce travail est consacrée à l’analyse des principes structurants des socialisations familiale, amicale et scolaire, puis professionnelle de Zola, qui permettent de rendre raison du besoin d’écrire qui précède et accompagne son immersion dans le jeu littéraire. La troisième partie de ce travail se propose de rendre raison des modes concrets d’engagement de l’écrivain dans l’espace littéraire. Cela suppose de s’intéresser à la manière dont celui-Ci mène sa carrière littéraire. Entrepreneur des lettres et de sa carrière littéraire, ne négligeant aucun terrain d’investissement susceptible de lui procurer un profit matériel, le romancier est pour autant engagé dans une lutte pour la reconnaissance de ses pairs. La quatrième partie examine la façon dont les événements biographiques se donnent à lire, sous des versions retravaillées et transformées, dans les fictions. Nous étudions les thématiques récurrentes dans l’œuvre de fiction, les types de mise en scène, les propriétés des personnages en nous efforçant de mettre en évidence la façon dont ils peuvent exprimer certaines expériences sociales particulières du romancierMidway sociology of professions and sociology of art, the thesis aims at uncover the particular way in which Emile Zola theorize and practice literature. The first moment of this work demonstrate the methodological interest of an analysis of individual specificity and defines the theoretical framework of an analysis of literary creations whose purpose is to look at events that have mattered to the author in order to understand his creations. The second part is devoted to the analysis of the structural principles of familial, friendly, educational and professional socialization of Zola that explain his need to write and which precedes and accompanies his immersion in the literary field. The third part of this work intends to describe the concrete mode of commitments in the literary field. That implies taking into account the way he manages his career. Looking for profits, including every activity likely to generate money, Zola is at the same time deeply invested in a struggle for recognition of legitimacy with its peers. The fourth part brings together the structuring features of Zola’s biography and the analysis of the schemes that structure his novels. We study the recurring themes of Zola’s novels, the different types of staging, the social properties of characters by striving to put into relief the way these figures express social experience of the writer
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Davies, D. J. "A comparative study of London and Paris in the works of Henry James and Emile Zola : With special reference to 'The Princess Casamassima' and 'L'Assommoir'." Thesis, London Metropolitan University, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.378969.
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Reymond, Adrien. "Zola et le droit public d'après son Excellence Eugène Rougon." Thesis, Paris 2, 2014. http://www.theses.fr/2014PA020033.
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Le but de ce travail de recherche est d’étudier la pensée politique et juridique de Zola dans Son Excellence Eugène Rougon et de comprendre dans quelle mesure l’auteur peut être considéré comme un historien du droit. Ce sixième roman du cycle Les Rougon Macquart, ne semble guère avoir été étudié que d’un point de vue littéraire ou purement historique. Or, en ouvrant pour la première fois ce roman, le juriste est surpris d’entendre l’écrivain lui parler si bien des notions et des institutions qu’il connait. Il s’aperçoit alors que la littérature naturaliste de l’écrivain fait revivre avec une grande perspicacité le Second Empire, époque fondamentale dans l’histoire des institutions, du droit administratif et des libertés publiques. Le romancier reconstitue ainsi sous ses yeux deux procès devant le Conseil d’Etat, au moment même où le recours pour excès de pouvoir est en pleine expansion et la théorie du « ministre-juge », en déclin. De même, près de trente ans avant les travaux de Moisei Ostrogorski, la« bande » de Rougon apparait, comme un « parti politique » avant la lettre et permet à Zola - au fil de ses descriptions - de montrer ses fines qualités d’analyste politique. Quant aux libertés publiques (la liberté de la presse notamment), elles n’échapperont pas à la critique acerbe d’un écrivain républicain. Ces critiques - qui ont longtemps laissé penser que Zola était l’auteur privilégié de la « légende noire du Second Empire » - sont en réalité, bien plus subtiles qu’il n’y parait. La clairvoyance de l’homme de Lettres permet ainsi plus que jamais d’éclairer l’homme de Droit désireux de comprendre son propre universThe purpose of this research work is to study the political and legal thought of Zola in Son Excellence Eugène Rougon and to understand to what extent the author can be considered as a historian of law.This sixth novel of the cycle Les Rougon Macquart, hardly seems to have been studied that from a literary or purely historic point of view. Yet, by opening for the first time this novel, the jurist is surprised hearing the writer to speak to him so well notions and institutions which he knows. He notices while the naturalistic literature of the writer makes relive with a big perspicacity the Second Empire, fundamental time in the history of institutions, administrative law and public liberties.The novelist so reconstitutes under the eyes two trials in front of the Council of State, at the very moment when the « recours pour excès de pouvoir » is growing and the « ministre juge » theory, in decline. Also, about thirty years before the works of Moisei Ostrogorski, the Rougon’s« bande » appears, as a « political party » before the term existed and allows Zola - in the course of its descriptions - to show its fine qualities of political analyst.As for the public liberties (the freedom of the media in particular), they will not escape the acerbic criticism of a republican writer.These criticisms - which let for a long time think that Zola was the privileged author of the « légende noire du Second Empire » - are in reality, more subtle than it countered there.The clear-sightedness of the man of letters allows so more than ever to light the man of right avid to understand its own univers
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Got, Olivier. "Construction et symbolique du paysage mythique chez zola : le jardin et la mer." Paris 3, 1986. http://www.theses.fr/1986PA030029.
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Le mythe est une donnee fondamentale dans l'univers de zola, bien connue des specialistes; par contre l'etude du paysage y est en general occultee, ou seulement envisagee sous l'angle des relations entre litterature et histoire de l'art (zola impressionniste ou expressionniste). Dans le sillage des declarations de l'auteur sur l'irruption de la nature dans ses oeuvres, "d'un elan si impetueux qu'elle les a emplies, noyant parfois l'humanite, submergeant et emportant les personnages au milieu d'une debacle de roches et de grands arbres", nous avons degage tout d'abord, dans les ecrits de jeunesse et les contes et nouvelles, sous le titre de "loci zoliani", un certain nombre d'archetypes (mer et rivage, campagnes, jardins, etc), associant des images feminines et masculines, des processus de l'affectivite, des impressions d'euphorie ou de malaise. Puis, dans une seconde partie intitulee "microcosmes", nous nous sommes attaches a l'etude detaillee d'un corpus plus restreint de sept paysages romanesques, dont les caracteristiques seraient, au niveau de la representation, la cloture, le role intense de la vegetation, le dessin complexe, et les parcours des personnages qui s'y lisent; et qui, au niveau symbolique, constitueraient des espaces d'interdiction, ou les personnages qui les traversent sont separes par la societe, la religion, le tabou de l'inceste, ou la mort. Analysant tour a tour la topologie et la signification de ces espaces dans l'inconscient, nous avons pour finir ordonne nos conclusions autour de quatre axes: fabrication, parcours, symbolique, et role de l'espace, a la fois comme actant, comme lieu de resolution mythique des conflits, et comme moyen de catharsis pour l'ecrivainMyth, an essential element in zola's world, is well known to specialists; on the contrary, the study of landscape is usually neglected, or intepreted only from the stand point of relationship between literature and the history of art (zola as an impressionnist or an expressionnist artist). Following on the writer's declarations about the irruption of nature in his work, we first noticed, in the early writings and in the contes et nouvelles, under the title of loci zoliani, some archetypes (sea and sea shores, country sides, gardens, etc), associating feminine and masculine images, affectivity processes, feelings of happiness or anxiety. Then, in a second part entitled microcosmes, we tried to study in detail a more limited corpus, vomposed of seven literary landscapes, of which the characteristics would be, on the representational level, enclosure, intense role of vegetation, complex design, and itinerary of the characters; and which, on the symbolic level, would constitute prohibitive areas, where those crossing them are separated from each other by society, religion, incest taboo, ordeath. After having analysed topology and signification of space in the inconscious, we have finally organized our conclusions around four themes: constitution of space, progression through space, symbolism of space, and role of space, not only as an "actant" and as a place of mythical resolution of conflicts, but also as a means of catharsis for the writer
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Viboud, Alexandrine. "Poétique du désir dans "Les Rougon-Macquart" d'Emile Zola." Paris 3, 2000. http://www.theses.fr/2000PA030141.
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Le desir est le moteur classique de tout recit de fiction, que ce desir soit presente comme une pulsion vers un objet dote de valeurs positives ou comme une repulsion d'un objet dote de valeurs considerees comme negatives. Il instaure l'axe et le sujet principal de toute intrigue (heros ou heroine) comme la plupart des personnages (l'opposant au desir, le rival, l'adjuvant, etc. ) qui vont graviter autour de lui. Par rapport a la << monomanie >> rectiligne et permanente du personnage balzacien, ou a la << passion >> devorante du personnage chez barbey d'aurevilly, le roman zolien va privilegier aussi bien les intermittences du desir que ses deviances ou ses pannes (personnages d'abouliques, de cyclothymiques, de velleitaires, d'obsedes, etc. ), et s'efforcer de decrire des desirs collectifs (desirs de foules notamment), ainsi que des desirs non strictement amoureux. Le desir, qu'il soit sexuel ou non, est souvent presente comme la resultante de plusieurs facteurs, comme mediatise par des influences diverses (tout particulierement, dans les rougon-macquart, par une tres forte heredite), et instaure chez le personnage par des acteurs naturels (la << nature >>, un paysage, une ville, une atmosphere) ou sociaux (un milieu, une communaute professionnelle, un voisinage) qui le declenchent ou en sont a l'origine. La philosophie de schopenhauer, comme plus tard les theories de g. Tarde, insisteront sur ces influences (celle de la nature, celle de la societe) qui sont a l'origine des desirs individuels. Nous nous attachons dans ce travail a etudier ces influences nous voyons par ailleurs comment zola conserve le cadre classique des grandes << libidos >> (libido sciendi, sentendi, dominandi), qu'il incarne en figures exemplaires (pascal pour le desir de savoir, nana pour le desir de jouissance, eugene pour le desir de pouvoir), mais qu'il decline en figures multiples et variees d'un desir a la fois multifonctionnel et multidirectionnel.
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Boumbé, Ndirimian. "La société traditionnelle et la société future dans les Evangiles de Zola." Orléans, 1989. http://www.theses.fr/1989ORLE1003.
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Zola a fait dans les évangiles une étude antithétique de la société. En effet, il a mis en parallèle la société décadente de la fin du 20e siècle et la cité idéale projetée dans le futur. Contre la dépollution causée en grande partie par l'application de la théorie de Malthus, il a prescrit l'agriculture scientifique, facteur régulateur de l'accroissement démographique. A l'exploitation de l'ouvrier par la classe possédante, il a opposé la réorganisation du travail sur la base de l'association du capital, de l'intelligence et du travail, adoptant ainsi le Fourierisme : le collectivisme et l'anarchisme lui paraissent inhumains. Mais pour que le peuple symbolisé par la femme soit totalement libéré de l'autorité civile et écclésiastique, il faudrait qu'il accède à l'instruction, qu'il ait une éducation libertaire. Enfin, Zola entend appliquer son plan de bonheur et de paix à l'humanité tout entière, d'où l'entente internationale instaurée à la fin des évangiles, grâce à l'équilibre par la terreur, mais aussi à la morale au nom de laquelle il est intervenu dans l'affaire DreyfusAs a matter of fact, he compared the decadent society of the turn of the 20th century with the ideal city planned in the future. Against depolluation largely caused by the application of mal hus'theory, he advocated scientific agriculture, a regulating factor of population increase. He opposed to the exploitation of the workers by the possessing class a reorganization of work based on the association of capital, intelligence and working, adopting thus fourierism; collectivism, anarchism look inhumane to him; but in order to grant total freedom from secular and ecclesiastical authority to society symbolized by woman, society should have access to education, to wide education. Eventually, Zola is wishing to apply his scheme for happiness and peace to the whole humanity, hence the international understanding set up at the end of the gospels, thanks to the balance of terror, but also to morals in whose name he intervened in Dreyfus'case
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Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
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Jeon, Hye-Jeong. "L'imaginaire d'Emile Zola autour du mythe du Paradis : à la recherche des étoiles du bourbier." Grenoble 3, 1994. http://www.theses.fr/1994GRE39034.
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Le mythe et le mythique sont les premiers modes de representation et d'apprehension du reel, de maitrise des dilemmes que se pose l'homme. Malgre la volonte mmetique, documentaire et scientiste du chef de fil du naturalisme qui est emile zola, l'oeuvre narrative de celui-ci se soumet a l'exigence du mythe et du mythique dont la presence permet d'emouvoir un lecteur de culture differente et d'historicite autre que le moment de la creation poetique. Le soubassement mythique chez zola qui a professe l'"effet de reel" se remarque d'abord par le recours au mythe du paradis agence d'une facon patente dans la faute de l'abbe mouret. En nous appuyant sur la methodologie de l'imaginaire fondee par gilbert durand, nous avons pu constater que la figure mythique du paradis est inseree non seulement dans le roman cite plus haut mais aussi qu'elle constitue d'une maniere latente une geographie imaginaire dans l'oeuvre de zola. A travers la confrontation des textes ecrits dans des periodes differentes, s'est revelee donc la thematique paradisiaque qui se rapporte au regime mystique, lequel met l'accent sur l'unite et la cohesion des elements, en accumulant des schemes d'integration, de concentration, et de compatibilite. Mais le pathos paradisiaque provient de la prise de conscience de la situation dechue de l'homme. En contraste avec la thematique paradisiaque sedresse donc chez zola l'univers catamorphe dont l'expression mythique transforme la scientificite du determinisme hereditaire en fatum des anciens et promeut le cadre historique des rougon-macquart au rang de cosmogonie. Mais la poetique paradisiaque dedramatise les relations dichotomisantes des reseaux de l'image qui regissent l'univers de la chute et en meme temps prepare le regime d'images mixtes par les materiaux symboliques que la topologie meme du paradis valorise : le vegetal, la terre, l'arbre. Ainsi, l'maginaire d'emile zola autour du mythe du paradis agence l'affrontement tantot conflictuel, tantot mystique, tantot encore disseminatoire avec le reelThe myth and the mythical are the first means of representing and perceiving the real, of overcoming the dilemmas which man postulates. In spite of the mimetics, documentative and scientistic will which permeates emile zola's naturalism, his narrative work is suject to the demands of the myth and the mythical, the existence of which can facilitate the emotional involvement of readers whose culture and historicity removed the time of the work's poetic genesis. The fundamental mythical underpinning by zola, who professed the "effect of the real", is apparent first of all through his recourse to the myth of heaven which is manifestly set out in "la faute de l'abbe mouret". Using the methodology of the imaginary estabished by gilbert durand, as a basis, we have been able to note how the mythical figure of heaven is incorporated not only into the novel mentioned above, but also how it constitutes, latently, an imaginary geography in zola's work as a whole. It is through a comparison of texts written at different times that the recurrent theme of heaven has emerged, relating to the mystical regime which itself emphasizes unity and cohesion of the elements, amassing schemata of integration, of concentration and of compatibility. But heavenly pathos stems from the realization of man's fallen state. With zola, therefore, in contrast to the themes of heaven, there looms the catamorphic universe whose expression through myth transforms the scientific nature of hereditary determinism into the fatum of the ancients, and raises the historical framework of the rougon-macquart to the rank of cosmogony. But the poetics of heaven plays down the dichotomic relations of the networks of the image that governs the world of the fallen and at the same time prepares the regime of combined images, by way of symbols which the very topology of heaven suggests : flora, the earth, the tree. Thus zola's imaginative world of the myth of heaven depicts the sometimes confrontational, sometimes mystical, sometimes even disseminative clash with real
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Ghirardi, Ana Luiza Ramazzina. "La Terre: paradoxos de uma recepção crítica." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-05032010-125602/.
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A publicação de La Terre, em 1887, provoca, na França, uma avalanche de ataques a Zola e ao Naturalismo. O romance, que dá continuidade à saga dos Rougon-Macquart, aborda não apenas a vida do campo e dos camponeses mas também questões sociais ligadas à realidade agrícola do país no final do século XIX. Ao ser lançado em capítulos, o romance é objeto de severas críticas, como o Manifesto dos Cinco, que ataca violentamente a obra e acusa o autor de obscenidade doentia. Críticos de renome como Anatole France e Brunetière também priorizam a dimensão moral em sua avaliação do romance e deploram o que qualificam de crueza naturalista. A crítica francesa utiliza o romance La Terre para decretar a bancarrota do Naturalismo . No Brasil, o prestígio de Zola e do Naturalismo encontra-se em momento de ascensão como parte do movimento mais amplo de adoção dos moldes literários franceses como recurso para consolidar a independência cultural em relação à literatura portuguesa. Romero, Veríssimo e Araripe Jr. se valem repetidamente do autor francês para discutir seus projetos para a literatura nacional. Araripe Jr. - que por certo período havia se afastado de Zola imputandolhe um pessimismo inadequado ao Brasil encontra, em La Terre, tema para trazer novamente Zola para o centro de suas reflexões. O presente trabalho busca refletir sobre o sentido dessa recepção diversa de La Terre na França e no Brasil, examinando o modo como Araripe Jr. transforma o romance em argumento para discutir questões relativas à formação da literatura brasileira.Zolas La Terre,(1887) causes an uproar in France and triggers a series of violent attacks against its author and Naturalism, the literary school he represented. The novel, part of the Rougon-Macquart saga, focuses not only on country life and peasants but addresses also the loaded social issues shaking rural France at the end of the 19th century. Published in episodes, the novel is the object of fierce criticism, epitomized by Le Manifeste des Cinq, a heavy invective against the novel and its author, who is accused of inexcusable obscenity. Major critics such as Anatole France and Brunetière also highlight the moral dimension in their censure, and most French critics denounce La Terre as proof that literary Naturalism was dead. In Brazil, however, Zolas prestige and that of Naturalism are on the rise, as they seem apt to help foster a national literature finally rid of Portuguese models. Romero, Veríssimo e Araripe Jr. repeatedly refer to Zola when discussing their projects for Brazilian literature. Araripe Jr., who had for a moment detached himself from Zola due to what he saw as the authors objectionable pessimism, finds in La Terre a good opportunity to reconcile himself with Zolas works. The present dissertation discusses these different responses to the novel, in France and in Brazil, focusing on the way Araripe Jr. makes the novel a powerful argument to buttress his views on the ideal path for Brazilian literature.
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Lioult, Jean-Luc. "La fortune de Plassans, (Aix-en-Provence et le pays d'Aix dans Les Rougon-Macquart et dans la vie d'Emile Zola) : recherche pour un scénario." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10039.
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La pregnance des souvenirs aixois, dans les romans de zola situes a plassans, est plus forte encore qu'on ne pensait : c'est ce qui ressort d'une etude systematique, recourant a des sources documentaires inedites, qui enrichit et modifie la connaissance des annees de jeunesse de l'ecrivain. Parallelement a cette etude est presente le scenario d'un film documentaire de creation ayant precisement pour theme les relations du cadre reel avec la fiction romanesque. A la lumiere des precisions apportees par la recherche, le mode de production textuelle apparait lie au modele du "roman familial", tout en organisant les amalgames figuratifs, d'abord nes d'associations fort libres, dans une rigoureuse fonctionnelle narrative. Certains "collages" ainsi effectues evoquent le "raccord d'espace" experimente par lev koulechov pour le cinema. L'ensemble des resultats de l'investigation historique et critique inspire le scenario du film sans le rendre didactique. La mise en images procede par choix d'episodes qui mettent en scene le texte et son ecriture l'ecrivain et ses heros, dans le cadre aixois contemporain ou dans des decors qui s'avouent artificiels. Un pastiche des emissions litteraires de television suggere ce que pourrait etre une "critique-fiction". L'etude se termine par une derniere reflexion sur le processus figuratif dans les textes du corpus et dans l'ensemble du cycleMemories of aix in zola's novels are even more impressive than one previously thought. That is what a systematical study, usine new documents, emphasizes. Our knowledge of the writer's early years of youth is thus enhanced and modified. Parallel to the study, a script is produced for a creative documentary film, based precisely on the relations between the real background and the fictitious one. The way of producing text material, as the research indicates, appears to be related to the "roman familial" pattern, figures are born from amalgams, free associations, before they are organized into narrative functionality. Certain effects of montage can be compared to what lev koulechov called "creative geography". The film script finds inspiration in the results of historical and critical investigations, without being made didactical. It is made from a choice of episodes featuring the writer as well as his characters, in the contemporary scene of aix as well as in obviously artificial sets. A take-off of television litterature programs suggests what a "fictional criticism" could be. The study concludes by considerations and proposals about the figuration process in the "aixois" novels and in the whole series
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Nuk, Myriam-Isabelle. "Émile Zola et la Russie, Histoire d'une conquête littéraire." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030079.
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Dans les années 1870, Émile Zola bénéficia d’une popularité exceptionnelle en Russie, comptant parmi les auteurs étrangers les plus lus. Nous nous proposons d’écrire précisément dans notre thèse l’histoire de cette extraordinaire rencontre franco-russe en nous appuyant sur des documents majoritairement inédits en français.Dans la première partie de cette étude, nous voyons que Zola se trouvait encore à l’heure difficile des débuts lorsqu’il fit la connaissance, en 1872, d’Ivan Turgenev. L’écrivain russe promit de lui trouver un engagement en Russie. Il négocia avec Mihail Stasulevič, le directeur de l’une des principales revues libérales de Saint-Pétersbourg. En 1875, au vu des premières critiques russes très favorables au romancier français, Stasulevič se laissa convaincre de recruter Zola au Messager de l’Europe comme correspondant parisien. Anna Engelhardt, la traductrice attitrée de Zola au Messager de l’Europe, joua un rôle clé dans son triomphe en Russie.Dans la seconde partie, nous analysons la correspondance échangée entre Zola, Turgenev et Stasulevič pendant près de dix ans, que nous avons intégralement reconstituée et traduite en français, pour établir précisément l’histoire de la collaboration d’Émile Zola au Messager de l’Europe. Les soixante-quatre textes que Zola composa à destination du lectorat russe – les Lettres parisiennes – sont présentés chronologiquement, rythmant notre lecture de la correspondance à trois voix. Régulièrement, les critiques russes émises en réaction aux écrits zoliens viennent enrichir notre réflexion.Cette approche nous permet d’évaluer objectivement quelle fut en son temps la réception de l’oeuvre d’Émile Zola en RussieIn the 1870’s, Émile Zola enjoyed exceptional popularity in Russia, counting among the most read foreign authors. In the context of this thesis, we propose to write the precise story of this extraordinary Franco-Russian encounter, relying on mostly unpublished documents in French.In the first part of this study, we see that Zola was in an awkward situation when he made Ivan Turgenev’s acquaintance in 1872. The Russian writer offered his aid, promising to find a commitment for him in Russia. He negotiated to this end with the director of one of the leading liberal reviews of Saint-Petersburg, Mihail Stasulevič. In 1875, in view of the first Russian critical appreciations which were very favourable to the French writer, Stasulevič was persuaded to recruit Zola in "Вестник Европы" [The Herald of Europe], as Parisian correspondent. Anna Engelhardt, who was one of the first Russian critics to focus on Zola, played a key role in his triumph by becoming his official translator at the Herald of Europe.In the second part, we analyze the correspondence exchanged between Zola, Turgenev and Stasulevič for nearly ten years, which we have entirely reconstituted and translated into French, to establish the detailed story of Emile Zola’s collaboration to the Herald of Europe. The sixty four texts which Zola composed for the Russian readership, the Parisian Letters, are presented chronologically, punctuating our reading of the tripartite correspondence. Regularly, the Russian critical appreciations ventured in response to Zola’s publications come to enrich our reflection.This approach allows us to estimate objectively which was the reception of Emile Zola's work in Russia at this time
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Wright, Barbara Irene. "La bête humaine : an examination of the problems inherent in the process of adaptation from novel to film." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26943.
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In this thesis the process of adaptation from novel to film is examined. La Bête humaine by Emile Zola and the film version by Jean Renoir provide specific examples. The starting point is the assumption, often made by cinema audiences, that the film should be "faithful" to the novel upon which it is based. A statement made by Renoir regarding his efforts to be true to what he describes as the "spirit of the book" is quoted to illustrate the prevalence of this attitude. Novel and film are then compared in order to test Renoir's claim to fidelity. What is revealed are the differences between the two. Through an examination of character, action, and space some of the reasons for the director's departure from the novel begin to emerge and it becomes increasingly clear that Renoir was obliged to adopt a different approach. Theme and form are then examined and the organic nature of their relationship suggested. Finally, the departure of the film from the novel is traced to the very different ways in which the two media function — linearity in the written medium as opposed to simultaneity in the cinematic medium — and the indelible nature of the association of theme and form is confirmed. In conclusion, the view that the media should and do correspond is found to be mistaken, and Renoir's statement is re-evaluated and assessed as an attempt, by a director sensitive to the public's insistence on fidelity, to disarm criticism.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Heinigk, Penelope Pearl. "The other side of the tracks : representations of gender in early railroad turmoil /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018370.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-207). Also available for download via the World Wide Web; free to University of Oregon users.
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Wengier, Sabrina Emilie. "The Politics and Poetics of Ekphrasis in Nineteenth-Century French Art Novels." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/383.
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This dissertation explores how literary descriptions of visual artworks affect the narrative and descriptive fabric of a text. The novels I examine operate on three textual levels: the painter's creative struggles, his amorous entanglements with his model and/or the painted women of his canvas, and his aesthetic claims to revolutionize painting. My project argues that ekphrasis is a translational mode that takes two forms: the traditional, "contained" description of a visual artwork; and a mode of writing that pervades the entire text and emulates the characteristics of painting. For example, Balzac's "Le Chef d'oeuvre inconnu" and the Goncourts' Manette Salomon successfully adopt the ekphrastic mode of writing, transforming the narrative into a canvas where the boundaries between the media are blurred. On the other hand, Zola's L'oeuvre exploits ekphrasis in order to advance the superiority of literature over painting. At the heart of these Realist and Naturalist texts, the fundamental adherence to the mimetic principle of art is confronted with the nonfigurative experiments of their fictional painters. The female body, as the embodiment of Art and the manifestation of the artist's desire, becomes the symptom of his incursion into abstract painting and the site of the resistance to ekphrasis.
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Wolter, Jennifer Kristen. "The Médan Matrix: Huysmans and Maupassant following Zola's model of naturalism." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054837827.
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