Journal articles: 'Emile Zola'

1

Hemmings, F. W. J., and Roger Clark. "Emile Zola: 'L'Assommoir'." Modern Language Review 87, no. 2 (April 1992): 488. http://dx.doi.org/10.2307/3730735.

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Lethbridge, Robert, and David Baguley. "Emile Zola: 'L'Assommoir'." Modern Language Review 89, no. 4 (October 1994): 1013. http://dx.doi.org/10.2307/3733953.

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นาควัชระ, ทัศนีย์. "บทบาทของวรรณกรรมและพันธกิจของนักเขียน ในทัศนะของ Emile Zola." Journal of Letters 20, no. 2 (July 1988): 81–128. http://dx.doi.org/10.58837/chula.jletters.20.2.6.

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4

Wesseling, H. L. "The Paris of Emile Zola." European Review 7, no. 2 (May 1999): 219–28. http://dx.doi.org/10.1017/s1062798700003999.

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Emile Zola (1840–1902) was one of the best known novelists of his time. In his work he gives a vivid description of French social and political life during the second Empire (1852–1870) and, in particular, of Paris. In this paper the author analyses the topography of the Paris of Emile Zola as described in one of his famous novels.

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Lethbridge, Robert, and David Baguley. "Critical Essays on Emile Zola." Modern Language Review 84, no. 4 (October 1989): 993. http://dx.doi.org/10.2307/3731229.

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6

Rollins, Yvonne Bargues. "Emile Zola: Correspondance VIII, 1893–1897." Romance Quarterly 41, no. 1 (January 1994): 44–47. http://dx.doi.org/10.1080/08831157.1994.10545055.

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7

Lastinger, Michael. "Emile Zola: Notes From Exile (review)." Nineteenth Century French Studies 34, no. 1 (2005): 206–7. http://dx.doi.org/10.1353/ncf.2005.0061.

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8

Aguilar, Alma Rosa. "Heroínas naturalistas: Germinal de Emile Zola." LETRAS, no. 37 (January 31, 2005): 95–113. http://dx.doi.org/10.15359/rl.1-37.6.

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9

Guedes, Rosane Mavignier. "Carta de Emile Zola ao Capitão Dreyfus." Língua e Literatura 29 (December 6, 2009): 279. http://dx.doi.org/10.11606/issn.2594-5963.lilit.2009.114728.

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A carta de Émile Zola ao Capitão Dreyfus, cuja tradução é o tema deste trabalho, faz parte da coletânea de cartas organizadas pelo próprio Zola a respeito do caso Dreyfus, e publicadas no Jornal Aurore no período de 1897 a 1900. Acusado de traição à pátria, o jovem capitão de origem judaica foi julgado e condenado à degradação militar e à prisão em exílio. Tendo o processo corrido em segredo de justiça, na Justiça Militar, esse caso ganhou repercussão internacional. Assim, Émile Zola, então chefe da Escola Naturalista e presidente da Société des Gens de Lettres, tomou partido em favor do capitão e, engajandose no caso, publicou diversas cartas abertas. Esta carta foi escrita após o acórdão de revisão do processo, anulando o julgamento de 1894, e antes da instauração de um novo processo. Dreyfus é reenviado diante do Conselho de Guerra de Rennes. Nesse contexto de efervescência política, Zola fala a Dreyfus da atuação de seu irmão e de sua esposa na luta pela anulação do primeiro julgamento, de seu sentimento e da esperança de que a justiça, enfim, seja feita

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10

Schaffner, Martin. "Emile Zola – oder die Erfindung des Intellektuellen." Historische Anthropologie 12, no. 3 (December 2004): 434–40. http://dx.doi.org/10.7788/ha.2004.12.3.434.

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11

Kleeblatt, Norman L. "MERDE! The Caricatural Attack against Emile Zola." Art Journal 52, no. 3 (1993): 54. http://dx.doi.org/10.2307/777369.

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12

CAPITANIO, S. "Review. Emile Zola: 'La Curee'. Harrow, Susan." French Studies 53, no. 4 (October 1, 1999): 484. http://dx.doi.org/10.1093/fs/53.4.484.

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13

Raffi, Maria Emanuela. "Emile Zola, La Fabrique des Rougon-Macquart." Studi Francesi, no. 166 (I | LVI) (April 1, 2012): 176. http://dx.doi.org/10.4000/studifrancesi.4777.

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14

Raffi, Maria Emanuela. "Emile Zola, La Fabrique des Rougon-Macquart." Studi Francesi, no. 159 (LIII | III) (December 1, 2009): 657. http://dx.doi.org/10.4000/studifrancesi.7676.

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15

Lethbridge, R. "Emile Zola and the Artistry of Adaptation." French Studies 65, no. 3 (June 28, 2011): 398–99. http://dx.doi.org/10.1093/fs/knr114.

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16

Kleeblatt, Norman L. "MERDE! The Caricatural Attack against Emile Zola." Art Journal 52, no. 3 (September 1993): 54–58. http://dx.doi.org/10.1080/00043249.1993.10791524.

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17

Smethurst, C., Dolores A. Signori, and Dorothy E. Speirs. "Emile Zola dans la presse parisienne (1882-1902)." Modern Language Review 83, no. 1 (January 1988): 199. http://dx.doi.org/10.2307/3728603.

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18

HEMMINGS, F. W. J. "Review. Germinal. Translated by Peter Collier. Zola, Emile." French Studies 48, no. 4 (October 1, 1994): 481. http://dx.doi.org/10.1093/fs/48.4.481-a.

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19

NEWTON, L. J. "Review. L'Assommoir. Edited by Nicholas White. Zola, Emile." French Studies 51, no. 1 (January 1, 1997): 90. http://dx.doi.org/10.1093/fs/51.1.90-a.

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20

Rollins, Yvonne Bargues. "Emile Zola: Correspondance IV. Juin 1880-décembre 1883." Romance Quarterly 34, no. 1 (February 1987): 122–25. http://dx.doi.org/10.1080/08831157.1987.11000429.

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21

HEMMINGS, F. W. J. "Review. Emile Zola: D'un naturalisme pervers. Kaempfer, Jean." French Studies 44, no. 3 (July 1, 1990): 346. http://dx.doi.org/10.1093/fs/44.3.346.

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22

LETHBRIDGE, R. D. "Review. Emile Zola: Le realisme symbolique. Seassau, Claude." French Studies 45, no. 4 (October 1, 1991): 480. http://dx.doi.org/10.1093/fs/45.4.480.

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23

Cardy, Michael. "Beyound documentation: Emile Zola and D. H. Lawrence." Neohelicon 14, no. 2 (September 1987): 225–31. http://dx.doi.org/10.1007/bf02094687.

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24

BORGES, RILTON FERREIRA. "Émile Zola: a formação de um militante * Emile Zola: the making of a militant." História e Cultura 3, no. 1 (April 28, 2014): 253. http://dx.doi.org/10.18223/hiscult.v3i1.1197.

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Resumo: Este artigo tem como objetivo traçar uma biografia de Émile Zola do ponto de vista intelectual, buscando em sua formação, trajetória pessoal e profissional, os caracteres que possam ter contribuído para que sua obra, sobretudo a partir de Germinal, passasse a ser reconhecida por seus contemporâneos, e também posteriormente, como uma espécie de “militância”, termo que será utilizado em sentido amplo, como defesa de uma ideia ou causa. A partir de documentações de diferentes ordens, tentaremos demonstrar alguns itinerários possíveis para compreender esta questão, relacionando Émile Zola, o contexto histórico, social e intelectual em que viveu, e alguns traços de sua obra, sobretudo a série Os Rougon-Macquart. Para tanto, a trajetória de Zola será dividida em três momentos: a militância na arte, a militância pelo Naturalismo e a militância política.Palavras-chave: Zola – Militante – Intelectual. Abstract: This article aims to draw a biography of Emile Zola by an intellectual point of view, investigating his formation, personal and professional trajectory, the features that may contributed to his work, mainly from Germinal, started to be known by his contemporaries, and lately, as a kind of “militance”, term used meaning “the defense of an idea or a cause”. From distinct kinds of documents, we will try to demonstrate some possible ways to understand this point, relating Emile Zola's historical, social and intellectual context with some marks of his books, especially The Rougon-Macquart series. Therefore, the trajectory of Zola will be divided in three stages: militancy in art, militancy in the Naturalism and political militancy.Keywords: Zola – Militant – Intellectual.

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25

Raffi, Maria Emanuela. "Luca Della Bianca, Introduzione alla grandezza di Emile Zola." Studi Francesi, no. 157 (LIII | I) (May 1, 2009): 201. http://dx.doi.org/10.4000/studifrancesi.8336.

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26

LETHBRIDGE, R. "Review. Critical Essays on Emile Zola. Baguley, David (ed.)." French Studies 42, no. 4 (October 1, 1988): 483. http://dx.doi.org/10.1093/fs/42.4.483-b.

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27

Rogers, Jonathan P., and Jonathan Patterson. "Thérèse Raquin by Emile Zola: Surgical method in psychiatry." British Journal of Psychiatry 207, no. 1 (July 2015): 36. http://dx.doi.org/10.1192/bjp.bp.114.157982.

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There are several novels that pique our common interest, but Zola's ambition to put a ‘scientific aim above all others' in his 19th-century novel Thérèse Raquin provides a particularly interesting topic for collective reflection. After being criticised for vulgarity, in the preface to the second edition of his work Zola justified his portrayal of a gruesome ménage àtrois as being analogous to the ‘analytical work that surgeons conduct on cadavers'. Criticism of Zola's work often focuses on whether he achieves the degree of reductionism and determinism that he allegedly strove for or whether, in fact, his predilections for the gothic and fantastic overshadow the novel's scientific, ‘surgical’ veneer. Similarly, psychiatric case notes often begin with a highly formulaic scientific account, yet on closer inspection digress to read more like a tragic novel.

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28

Huebner, Steven. "Naturalism and supernaturalism in Alfred Bruneau' Le Rêve." Cambridge Opera Journal 11, no. 1 (March 1999): 77–101. http://dx.doi.org/10.1017/s0954586700005528.

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‘If forced to choose, I would prefer Monsieur Zola widi wings than Monsieur Zola on all fours.’ So groused Anatole France about the apparent new turn in Emile Zola's great Rougon-Macquart cycle taken by die publication of Le Rêve in 1888. Because the gritty surface of La Bête humaine (1890) followed closely upon the delicate folds of Le Rêve, France's critical quandary was soon resolved. Yet ever since the publication of Le Rêve even critics much more congenial to Zola than France have remarked upon the unusual place in die Rougon-Macquart of this tale about a virginal heroine set adrift in the small provincial town of Beaumont.

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29

Kaczmarek, Anna. "La désacralisation de l’église dans quelques romans des Rougon-Macquart." Quêtes littéraires, no. 3 (December 30, 2013): 93–100. http://dx.doi.org/10.31743/ql.4609.

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Being agnostic and believing in science only, Emile Zola perceived churches as simple buildings, monuments to a dead religion that would certainly lose the battle against nature and science. The paper gives some examples of this vision in four novels, parts of the Rougon-Macquart cycle.

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30

Chan-Kyu LEE. "La naissance du lieu: Emile Zola et le grand magasin." Etudes de la Culture Francaise et de Arts en France 57, no. ll (August 2016): 207–32. http://dx.doi.org/10.21651/cfaf.2016.87..207.

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31

NEWTON, L. J. "Review. L'Assommoir. A new translation by Margaret Mauldon. Zola, Emile." French Studies 50, no. 3 (July 1, 1996): 345. http://dx.doi.org/10.1093/fs/50.3.345-a.

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32

GUIEU, JEAN MAX. "Alfred Bruneau and Emile Zola: Naturalism on the Lyric Stage." Opera Quarterly 10, no. 2 (1993): 57–66. http://dx.doi.org/10.1093/oq/10.2.57.

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33

Merello, Ida. "Fabian Scharf, Emile Zola, de l’utopisme à l’utopie (1898-1903)." Studi Francesi, no. 167 (LVI | II) (July 1, 2012): 352. http://dx.doi.org/10.4000/studifrancesi.4152.

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34

Raffi, Maria Emanuela. "Emile Zola, La Débâcle, Œuvres complètes, Les Rougon-Macquart - XIX." Studi Francesi, no. 172 (LVIII | I) (April 1, 2014): 175–76. http://dx.doi.org/10.4000/studifrancesi.2244.

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35

Griffiths, K. "Memories in/of Therese Raquin: Emile Zola and Marcel Carne." French Studies 65, no. 2 (March 25, 2011): 188–99. http://dx.doi.org/10.1093/fs/knq250.

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36

Rabideau, Pascale. "A taste of his own medicine: analyzing Émile Zola’s interpretation of Claude Bernard’s experimental method." SURG Journal 4, no. 1 (October 5, 2010): 35–43. http://dx.doi.org/10.21083/surg.v4i1.1208.

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In 1880, Emile Zola (1840-1902) wrote Le Roman Expérimental. He believed that with the application of the scientific method, fictional novel writing could be a scientific field used to study human passions and psychology. Zola claims to take his method and arguments directly from French physiologist Claude Bernard’s (1813-1878) Introduction à la l’étude de médecine expérimentale (1865). But did Zola really understand Bernard’s experimental method? Comparing the experimental method outlined in Zola’s essay and Bernard’s book, it becomes apparent that although Zola understood the steps involved in Bernard’s method, his application of it to literature is flawed. He takes quotations out of context, he assigns contradictory values to the scientific validity of the experimental novel, and most fatally, Zola’s version of an experiment comes nowhere close to being what Bernard would consider a true scientific experiment.

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37

Durán Luzio, Juan. "Un caso de relación literaria: Emile Zola y Joaquín García Monge." Revista de Filología y Lingüística de la Universidad de Costa Rica 8, no. 1-2 (January 1, 2006): 37. http://dx.doi.org/10.15517/rfl.v8i1-2.16448.

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En una declaración autobiográfica Joaquín García Monge declaró con modestia que su "novelita" Hijas del campo se había inspirado "en las de Zola". Tal confesión resulta indudable puesto que en la breve narración hay escenas e imágenes que llevan a recordar otras tantas de La Tierra, Germinal, de El Sueño e incluso de Naná.

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38

Bell, David F., Jean-Max Guieu, and Alison Hilton. "Emile Zola and the Arts: Centennial of the Publication of "L'Oeuvre"." South Atlantic Review 54, no. 4 (November 1989): 135. http://dx.doi.org/10.2307/3199815.

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39

Ferrari, Nicola. "Enrica Salvaneschi, Giardini ospitali. Ambienti e momenti di Emile Zola poeta." Studi Francesi, no. 153 (LI | III) (December 1, 2007): 691–92. http://dx.doi.org/10.4000/studifrancesi.9643.

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40

이찬규. "La ville dans l'écriture - Emile Zola et la barbarie de Paris -." Etudes de la Culture Francaise et de Arts en France 38, no. ll (November 2011): 253–81. http://dx.doi.org/10.21651/cfaf.2011.38..253.

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41

Chan-Kyu LEE. "Etude sur le paysage sonore chez Emile Zola: Autour de Germinal." ASSOCIATION CULTURELLE FRANC0-COREENNE 42, no. 1 (September 2019): 89–116. http://dx.doi.org/10.18022/acfco.2019.42.1.004.

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42

Hemmings, F. W. J., and William J. Berg. "The Visual Novel: Emile Zola and the Art of His Times." Modern Language Review 89, no. 4 (October 1994): 1015. http://dx.doi.org/10.2307/3733955.

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43

Baguley, David, and Patrick Pollard. "Emile Zola Centenary Colloquium 1893-1993, London, 23-25 September 1993." Modern Language Review 92, no. 2 (April 1997): 474. http://dx.doi.org/10.2307/3734874.

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44

Wetherill, P. M., and William J. Berg. "The Visual Novel: Emile Zola and the Art of His Times." South Central Review 11, no. 3 (1994): 76. http://dx.doi.org/10.2307/3190255.

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45

NEWTON, L. J. "Review. Une page d'amour. Edition presentee par Henri Mitterand. Zola, Emile." French Studies 46, no. 1 (January 1, 1992): 88. http://dx.doi.org/10.1093/fs/46.1.88-a.

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46

Newton, Joy. "Emile Zola and Octave Mirbeau, with Extracts from Their Unpublished Letters." Nottingham French Studies 25, no. 2 (October 1986): 42–59. http://dx.doi.org/10.3366/nfs.1986-2.003.

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47

Griffiths, K. "Explosive Narratives: Terrorism and Anarchy in the Works of Emile Zola." French Studies 66, no. 1 (December 26, 2011): 99–100. http://dx.doi.org/10.1093/fs/knr232.

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48

Lethbridge, R. "EMILE ZOLA: La Fabrique des 'Rougon-Macquart': Edition des dossiers preparatoires." French Studies 63, no. 4 (October 1, 2009): 481–82. http://dx.doi.org/10.1093/fs/knp184.

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49

Merkle, Denise. "Émile Zola devant la censure victorienne." TTR : traduction, terminologie, rédaction 7, no. 1 (February 27, 2007): 77–91. http://dx.doi.org/10.7202/037169ar.

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Résumé Emile Zola devant la censure victorienne — Cette étude donne un aperçu sommaire de quatre formes prises par la censure victorienne — la ligue de moralité (« National Vigilance Association »), les bibliothèques de prêt (« circulating libraries »), la justice et l'autocensure (« bowdlerism ») — et leurs effets sur la traduction des romans de Zola. Les oeuvres de ce dernier ont connu un succès de scandale et ont provoqué un débat journalistique en France, mais Zola n'a jamais été traîné en justice à cause de ses écrits. Par contre, en Angleterre, les cercles littéraires établis honnissent les traductions victoriennes de ses oeuvres et la ligne de moralité appuyée par le moraliste Stead lance une campagne de censure des traductions de Zola. L'éditeur de ces traductions, Henry Vizetelly, a dû comparaître deux fois devant les tribunaux et les deux fois il a été condamné. Non seulement il dut payer une amende et passer trois mois en prison, mais encore Nana, Piping Hot! (Pot-Bouille) et The Soil (la Terre) ont été interdits, même si ces trois traductions avaient — comme les autres — été « autocensurées » par les traducteurs et l'éditeur avant la parution. Il est dès lors évident que ce sont les idées réformatrices de Zola et le lectorat visé (petite bourgeoisie et classes populaires) qui ont motivé l'opposition des pouvoirs constitués de l'Angleterre de l'époque aux romans de Zola.

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Paredes, Alberto. "La forma conveniente: destreza narrativa y pathos contenido en “El fardo” de Rubén Darío." Anales de Literatura Hispanoamericana 49 (December 18, 2020): 107–16. http://dx.doi.org/10.5209/alhi.73113.

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“El fardo” es un relato atípico de Rubén Darío; originalmente le causó satisfacción pero posteriormente decidió apartarse de ese modelo narrativo. El tema proviene de una realidad social inmediata. No obstante los juicios del autor, permanece como un cuento (en el sentido moderno) sumamente logrado en el que sobresale su “forma conveniente”. La huella de Emile Zola, en efecto pero también la de Victor Hugo están presentes.

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Journal articles on the topic 'Emile Zola'

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