Academic literature on the topic 'Zola Émile 1840-1902'
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Journal articles on the topic "Zola Émile 1840-1902"
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Martins, Eduarda Araújo da Silva. "Cartas de brasileiros em apoio a Émile Zola durante o Caso Dreyfus." LaborHistórico 7, no. 2 (August 28, 2021): 261–72. http://dx.doi.org/10.24206/lh.v7i2.40004.
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O presente texto propõe a transcrição paleográfica de duas cartas escritas por brasileiros em 1898 e dirigidas ao escritor naturalista francês, Émile Zola (1840-1902), em apoio a sua atuação no famoso Caso Dreyfus que dividiu a França e ganhou repercussão internacional, sendo acompanhado de perto pela imprensa brasileira e seus leitores. A existência dessas cartas revela não só a importância da intervenção de Zola no caso, como também o modo como os brasileiros reconheciam os valores de verdade e de justiça promovidos pelo escritor através de sua obra no campo literário e transferidos ao campo político em busca da revisão do processo que condenara injustamente Alfred Dreyfus (1859-1935). As cartas transcritas estão disponíveis no site CORREZ - Édition des lettres internationales adressées à Émile Zola que conta com um acervo de cartas enviadas de diferentes partes do mundo a Zola no momento de sua atuação no Caso Dreyfus.
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Ficarelli, Thomas Ribeiro A. "Percepção Ambiental em três Contos da Obra de Émile Zola." Anagrama 3, no. 1 (June 28, 2009): 1–13. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2009.35476.
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Émile Zola (1840-1902), romancista francês, inaugurou em seu país uma corrente literária chamada Naturalismo, em 1880. Verifica-se em sua obra a constante e profunda descrição da manifestação de agentes naturais em diversas narrativas, criando palco essencial para dar base às emoções e ações dos personagens. Ao resgatar seu contexto histórico-cultural, o artigo se aprofunda nas causas desta preocupação, identificada em três contos diferentes, que contribuem e remontam ao conceito de “percepção ambiental”, categoria formulada pelo Ambientalismo contemporâneo que busca compreender as novas perspectivas da relação “ser humano – natureza”
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Venegas Pérez, Ricardo. "EL NATURALISMO LITERARIO EN LA POESÍA MEXICANA." REVISTA CIENTÍFICA DE EDUCACIÓN DE KOLPA EDITORES KOLPA 3, no. 3 (February 24, 2023): 1–23. http://dx.doi.org/10.47258/rceke.v3i3.110.
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Naturalism as a literary current has been associated with Émile Zola (Paris, 1840-1902), who, after publishing the saga Les Rougon Macquart, was the main promoter of the "experimental novel", a narrative seen as a sociological experiment, to the which is not interested in projecting reality, as happened with the realistic novel. On the contrary, the objective was to identify the root of social problems based on the principles of positivism: the medium, progress, in order to collaborate in their conversion and restoration.
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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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Carvalho, Rodrigo Janoni. "CONSTRUINDO UM PROJETO DE PESQUISA: PAISAGENS INDUSTRIAIS EM GERMINAL DE ÉMILE ZOLA." Para Onde!? 8, no. 1 (September 16, 2014): 52–59. http://dx.doi.org/10.22456/1982-0003.44130.
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A produção do escritor naturalista francês Émile Zola (1840-1902) é considerada um marco na literatura por sua tentativa de aproximar a arte do saber científico vigente, conforme os preceitos de seus romances experimentais. A repercussão do autor, sobretudo no mundo ocidental, não se deu somente às suas obras: seu destaque se revela no elevado engajamento político como figura libertária. Germinal (1885) constitui um exemplo de sua maestria escritural, em que os mundos burguês e proletário e seus planos ideológicos, sociais e culturais se embatem num romance enervante. Zola tece um retrato da atmosfera pesada e suja que presenciou, relevando ao leitor imagens tão fortes e vivas que extrapolam sua característica de ficção. A presente investigação visa analisar a paisagem urbano-industrial representada pelo autor e seus conteúdos geográficos, promovendo um resgate do fenômeno industrialismo e suas inter-relações com as transformações sociais e espaciais. Nosso escopo central abarca a coexistência da miséria humana e da riqueza material, tomando a produção literária enquanto denúncia social. Essa discussão é fruto da nossa pesquisa para a construção de um projeto de mestrado.
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MARTI, AINA. "Forms of Building, Forms of Living: Viollet-Le-Duc’s Entretiens sur l’architecture and Zola’s Pot-Bouille." Australian Journal of French Studies: Volume 58, Issue 3 58, no. 3 (December 1, 2021): 248–61. http://dx.doi.org/10.3828/ajfs.2021.21.
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This article examines the historical and theoretical connections between architect Eugène Viollet-Le-Duc (1815-1879) and Émile Zola (1840-1902). By analyzing the ways in which Viollet-Le-Duc’s theory on domestic architecture in his Entretiens sur l’architecture (1863-1872) resonates in Zola’s Pot-Bouille (1882), this study illustrates how Zola’s text depicts the correlation between architectural form and ways of living. In light of the work of Viollet-Le-Duc, the particular characteristics of domestic architecture in Pot-Bouille are imagined to mould the personalities of the inhabitants, thereby shaping their domestic values. First, the ways in which Viollet-Le-Duc’s theory overlaps with naturalism are introduced. Then Zola’s own interest in architecture and his knowledge of Viollet-Le-Duc are documented. Finally, the article argues that, in Pot-Bouille, domestic architecture has an influence on the characters’ domestic lives and that a study of Entretiens provides a better cultural understanding of Pot-Bouille and the ways in which architecture was imagined to impact on people’s personalities.
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Martins, Eduarda Araújo da Silva, and Pedro Paulo Garcia Ferreira Catharina. "Narrativas curtas de Émile Zola: aspectos da recepção da obra do escritor no Brasil entre 1860 e 1914." SOLETRAS, no. 40 (September 3, 2020). http://dx.doi.org/10.12957/soletras.2020.51401.
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Neste artigo, ao mapearmos as narrativas curtas de autoria do escritor francês Émile Zola (1840-1902), entre 1860 e 1914, publicadas em periódicos das regiões Norte e Nordeste do Brasil, buscamos destacar, no âmbito da obra do escritor, um conjunto de textos geralmente colocados em segundo plano em relação à sua produção romanesca naturalista, estética e simbolicamente mais valorizada pela crítica e pela pesquisa acadêmica. Este artigo apresentará, portanto, uma análise das características estéticas de parte desses contos e novelas, frequentemente associados a uma fase romântica e juvenil do escritor, no intuito de destacar seu lugar como parte constitutiva da obra de Zola. Através da pesquisa de fontes, pela recuperação de textos literários do passado inseridos nos modos de funcionamento da imprensa brasileira oitocentista, acrescentamos novos dados sobre a recepção de Zola no Brasil, trazendo à luz traços dos gostos e preferências dos leitores brasileiros do século XIX e início do século XX.
Dissertations / Theses on the topic "Zola Émile 1840-1902"
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Zoghlami, Sabeh. "Etude stylistique de la métonymie chez Zola : l'Assommoir, Nana, Une page d'amour et Pot-bouille." Toulouse 2, 2001. http://www.theses.fr/2001TOU20015.
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Dans cette thèse, nous avons procédé à une étude stylistique de la métronymie dans les quatre œuvres suivantes : L’Assommoir, Nana, Une page d'amour et Pot-Bouille. Pour ce faire, nous avons sélectionné parmi les différents champs d'étude que connaît la stylistique ceux qui nous permettent d'examiner cette figure dont le texte de Zola regorge. L'objectif en cela est de démontrer que cette dernière constitue une dominante ; qui plus est, elle rend compte d'une créativité discursive incessante. La métonymie que nous avons découverte tout au long de ces textes se manifeste sous différentes formes typologiques, grammaticales et énonciatives. En outre, insérée dans un texte littéraire, elle fait l'objet d'un travail pragmatique considérable sur le plan romanesque, sur le plan thématique et symbolique et aussi sur le plan esthétique et littéraire. Nous nous sommes rendu compte qu'une véritable dimension poétique émane du texte grâce à cette figure nommée métonymie. D'abord, du point de vue thématique, et grâce à cette figure, Zola a pu dire tout le ridicule de la société du Second Empire. Ainsi, littérature et science se joignent pour expliquer le rapport de l'homme avec son milieu. Ensuite, nombre de qualités lyriques et poétiques animent le texte grâce à la métonymie. Si la métaphore est le procédé de l'imaginaire, la métonymie est celui de « la vérité et de la lumière », donc aussi bien du réel que de l'imaginaire. Cette caractéristique fait de la métonymie un trope original et du texte zolien un véritable « roman-poème »In this thesis, we have undertaken a stylistic study of metonymy in Emile Zola's following four works : L'Assommoir, Une Page d'Amour, Nana and Pot-Bouille. In so doing, we have selected among the various study fields in stylistics those that allow to examine this figure which is permeating Zola's text. Our aim is to demonstrate that the figure constitutes a prevalence. Moreover, it accounts for the author's ceaseless discursive creativity. The metonymy we have found out throughout these texts shows itself under various typological, grammatical and enunciative forms. Besides, inserted into a literary text, it is the object of considerable pragmatic work on the fictional, thematic and symbolic levels and also on the aesthetic and literary plan. We have realised that a real poetic dimension emanates from the text thanks to the figure called metonymy. First, from the thematic point of view, and thanks to this figure, Zola was able to expose the ridicule of society under the Second Empire. He thus made use of this device in a remarkable way in order to relate literature to science and try to explain the relationship of man with his milieu. Second, thanks to metonymy, a number of lyric and poetic qualities animate the text. If metaphor is the device of imaginary, metonymy is that of “truth and light”, therefore of reality as well as of the imaginary. This characteristic makes metonymy an original trope of the “zolian” text, an actual “novel-poem”
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Barjonet, Aurélie. "Zola romancier et intellectuel." Paris 3, 2007. http://www.theses.fr/2007PA030022.
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Par son engagement dans l’Affaire Dreyfus, Zola pose un réel problème pour l’étude de sa réception. Sa postérité se déploie en effet à la fois dans le champ littéraire et dans le champ politique. De surcroît, le contenu social et critique de ses œuvres a encouragé de tout temps une politisation des réactions. C’est ce phénomène que nous étudions en Allemagne, en gardant constamment à l’esprit ce qui se passe au même moment en France. Dans les deux pays, l’histoire de la réception critique du chantre du naturalisme est marquée par différentes tentatives de révision de son œuvre et de son projet littéraires, rarement motivées par des raisons purement littéraires. C’est toujours l’œuvre de la gauche. À partir des années 1950, la RDA, par l’action de Victor Klemperer puis de Rita Schober, entame un processus de réhabilitation de l’écrivain français, tandis que la RFA ne s’y intéresse guère. En République fédérale, de nouvelles lectures ne voient le jour que dans les années 1970, à la faveur d’une repolitisation de la critique universitaire. À la fin de l’étude, il est possible de dégager de grandes étapes dans la réception critique allemande mais aussi française de Zola, en fonction des images dominantes successives de l’écrivain, et de les comparer les unes aux autres, dans leurs différences, leurs convergences et leur fonctionnement. L’étude de la réception critique à la fois dans le pays d’origine et à l’étranger permet une relecture originale de l’auteur. Elle dégage les points de résistance constants de la critique à son égard et trace les grandes lignes de force de son esprit et de son actionDue to Zola’s engagement in the Dreyfus Affair, his critical reception is problematic, for it comprises both literary and political fields. In addition, the socially critical content of his works has always encouraged politicized reactions. It is this phenomenon we shall be investigating in Germany whilst bearing in mind contemporary occurrences in France. In both countries the history of the reception of Naturalism’s leading figure is marked by various revisionary readings of his oeuvre and literary project. Rarely are these revisions motivated by purely literary concerns—they always come from the left wing. From the 1950s onwards the German Democratic Republic began to re-evaluate and rehabilitate the French author through the initiative of Victor Klemperer and later of Rita Schober, while the Federal Republic of Germany showed only limited interest in Zola until the 1970s, a phenomenon initiated by the re-politicization of academic criticism. This study allows us to distinguish the principle stages of Zola’s French and German reception based on the predominant understandings of the author and his work, and it enables us to compare the stages of his critical reception in order to highlight their structures and convergences, as well as to bring out their differences. As a result, it offers an original re-reading of Zola’s œuvre: by uncovering recurring points of resistance to Zola in critical approaches, this study retraces the most powerful aspects of the author’s mind and action
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Seassau, Claude. "Zola, le réalisme symbolique : lectures de L'Assommoir, Germinal et La Bête humaine." Nice, 1987. http://www.theses.fr/1987NICE2012.
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L'objet de cette recherche est de démontrer que le concept de réalisme symbolique est une clef de lecture fondamentale pour pénétrer l'univers zolien et particulièrement "L'Assommoir", "Germinal" et "La Bête humaine". Trois domaines privilégiés sont analysés : celui des systèmes qui structurent l'oeuvre, le système des personnages (leurs noms, leurs attitudes et leurs relations), le système des lieux (les décors réalistes transformés en décors mythologiques), le système des objets (domestiques ou techniques) ; celui du thème sur lequel se fonde la vision du monde du romancier, la violence (celle de la machine et celle de l'homme, leurs ritualisations) ; et enfin celui de l'écriture et de ses modalisations spécifiques. Dans ce dernier domaine, il apparait que l'écriture zolienne est sur-modalisée et fondée sur une tension entre deux intertextualités, à l'origine d'un texte palimpseste et d'un discours doublé,à la fois réaliste et symbolique, dont les principales modalités sont la dramatisation épique et la dramatisation tragique.
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Tritz, Claude. "Du personnage à la personne : contribution à l'étude psychologique de la personne dans les romans de Zola : les Rougon-Macquart de L'Assommoir à Pot-Bouille." Paris 5, 1992. http://www.theses.fr/1992PA05H038.
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Branthomme, Michel. ""Lettres de Paris du Sémaphore de Marseille (1er janvier-1er mai 1874) : Texte présenté et annoté." Aix-Marseille 1, 1986. http://www.theses.fr/1986AIX10003.
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Vivant a paris, emile zola a fourni, de facon continue, de 1871 a 1877, une correspondance quotidienne anonyme au semaphore de marseille, journal republicain modere. Un echantillon de quatre mois (janvier a mai) de l'annee 1874, contenant 97 lettres de paris, a ete retenu pour faire l'objet d'une publication de cette collaboration, encore inedite. Cette production, sous forme de chroniques assez regulierement structurees, aborde de nombreux sujets :actualite parlementaire,politique et mondaine, mais aussi de critique litteraire, theatrale et artistique, que l'on peut rattacher a l'ensemble de la production journalistique de zola. L'auteur des rougon-macquart, a cette epoque, est en quelque sorte "interdit" dans la presse parisienne. Ces lettres sont donc son unique moyen d'expression. Occupe par son oeuvre romanesque, il gagne un temps precieux et s'inspire presque integralement du rappel pour fournir sa copie quotidienne au journal marseillais. Completee d'une introduction et de notes explicatives, cette publication tente de situer ces textes dans l'ensemble de l'oeuvre journalistique et critique d'emile zola.
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Vardon, Dolorès. "Avant-texte, écriture et réécritures : les personnages dans le cycle d'Octave Mouret chez Zola : Pot-Bouille et Au bonheur des dames." Paris 3, 2004. http://www.theses.fr/2004PA030074.
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La thèse porte sur le "micro-cycle" d'Octave Mouret dans Les Rougon-Macquart d'Emile Zola : Pot-Bouille et Au Bonheur des dames. L'analyse est basée sur deux thèmes majeurs : la genèse de chaque œuvre avec les opérations de réécritures, de transpositions et d'adaptations de l'avant-texte au roman achevé et la problématique des personnages, en particulier celle de la figure du "héros" dans les écrits zoliensThe thesis is about Octave Mouret's "micro-cycle" in Emile Zola's The Rougon-Macquart series (Pot-Bouille and Au Bonheur des dames). The first theme is concerned with the genesis in the two above-mentioned novels : re-writing, adapting and transforming the "avant-texte" to the achieved novel. The second theme deals with characterisation, especially the hero in Zola's works
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Belgrand, Anne. "La structure oppositionnelle dans l'œuvre romanesque d'Emile Zola." Paris 4, 1996. http://www.theses.fr/1996PA040051.
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Étudier la notion d'opposition dans ce vaste corpus romanesque suppose un point de vue thématique, narratif, formel. Si l'organisation globale de la production zolienne impose de constater deux grands cycles qui, après les romans de jeunesse moins significatifs, s'éclairent mutuellement à travers les familles Rougon-Macquart, puis Froment, il faut examiner comment l'opposition (contraste ou antithèse) se ramifie, et devient un principe d'organisation à l'intérieur de chacun de ces cycles, et aussi, de chacune des œuvres. Le contenu des oppositions narratives, idéologiques et esthétiques est très riche, et à partir du couple mangeur mangé qui est la base, se multiplient les oppositions secondaires. Mais quel sens donner à cette structure ? Une dernière partie envisage quelques influences scientifiques, philosophiques ou littéraires, qui révèlent les conceptions de Zola, en même temps que les échecs stylistiques des dernières productions engendrés par une systématisation caricaturale du procédéTo study the notion of opposition in this large fiction corpus implies formal, narrative and thematic points of view. Even if the general organization of Zola’s production is obviously divided into two large cycles that, after some less significant youth novels, throw light upon each other first through the Rougon-Macquart family, then through the Froments, we must however examine how opposition (contrast or antithesis) ramifies and becomes a rule of organization within each cycle and each work. The content of aesthetic, ideological and narrative oppositions is very rich and, starting from the eater eaten pair, which is the basic opposition, secondary oppositions develop. But which meaning can we assign to this structure? The last part will consider some scientific, philosophical or literary influences, which reveal Zola’s ideas, together with the stylistic failures of his last works, due to the exaggerated systematization of the process
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Lauraine, Françoise. "Le système des éléments dans l'oeuvre de Zola." Paris 3, 1997. http://www.theses.fr/1997PA030086.
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Cette these a pour objectif d'etudier le systeme des quatre elements : eau, air, terre et feu, particulierement presents dans l'oeuvre de zola, et remontant aux premiers philosophes stoiciens de l'antiquite. On etudie d'abord la genese du systeme et sa structure propre, puis le role qu'il joue dans les phases de la creation litteraire de l'avant-texte au texte, et, ceci dans toutes les composantes de l'oeuvre romanesque. Ainsi : les fonctions structurelle, actantielle et referentielle du systeme. De plus le systeme genere aussi sa stylistique, l'emploi figure des elements qui le composent apparait sous forme de metonymies, de metaphores et de synesthesies. Par ailleurs, des syntagmes globilisants du "tout", "c'etait. . Tout. . Un", "c'etait. . Tout", y abondent en compagnie de la figure recurrente du dieu pan, dieu universel. De la surgit la semiologie du systeme, en relation avec la conception bachelardienne de l'imaginaire et de la matiere en relation encore avec l'anthropologie qui relie les archetypes de l'imaginaire a la science. La philosophie stoicienne fait entendre dans le texte zolien les echos de son pantheisme et de sa pensee globalisante. La predominance du "feu artiste", purificateur et createur, la mort vecue comme un retour "dans la vie universelle", le mal et la souffrance maitrises par l'ideal d'une vie en harmonie avec la nature, et "l'elan vital" temoignent d'une sagesse reposant sur la notion "d'eternel retour" la "palingenesie" des stoiciens grecs et latins et sur l'amour de la vie qu'il convient d'accomplir dignement pour le bien du plus grand nombrePrimary elements system in zola's works the object of this dissertation is to study the system of the four primary elements : water, air, earth and fire, specially used in zola's works and dating back to the first stoician philosophers of the antiquity. We have first examined the system genesis and its own structure, then the part it plays at every stage of the literary creation, from the fore-text to the final text, in all the parts of the fiction work ; for example the structural, dramatical, and referential function of the system. Moreover the system also generates its stylistics, the figurative use of the elements composing it, produces metonymies, metaphors and synestesises. Besides, global syntagms like "all", "it was. . All. . One", "it was. . All", are profuse and in company with the recurrent character of pan, a universal god. From this comes out the semiology of the system, in relation with bachelard's concept of imagination and matter, and still in relation with anthropology that links imagination archetypes to science. The stoician philosophy echoes, in the text, zola's pantheism and globalizing thought. The predominance of the "artist fire", a fire of purification and creation, death felt like a return "to the universal life", evil and pain dominated by the ideal of life in harmony with nature, and "the vital energy", give evidence of a wisdom based, on the idea of an "eternal return", on the greek and latin stoicians' "palingenesis", and also on love for life, a life that should be accomplished with dignity, for the good of people
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Anfray-Plantureux, Clelia. "La Bible de Zola : mythocritique des Rougon-Macquart." Paris 4, 2003. http://www.theses.fr/2003PA040243.
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À travers les Rougon-Macquart, Zola propose la réécriture de mythes intemporels, pai͏̈ens ou bibliques. Alors que la première moitié du cycle traite de récits mythologiques ou hérités de la Genèse, la seconde s'appuie essentiellement sur l'Ancien et le Nouveau Testaments, sur des mythes chrétiens, des récits hagiographiques et légendaires. Au récit du péché originel qui s'étend sur trois romans, succèdent les croyances anciennes, les idoles pai͏̈ennes : Diane, Vulcain, Vénus etc. La deuxième partie du cycle met en scène des figures sacrées, saints ou prophètes, Esther, saint Étienne, saint Paul ou Jacob. Le cycle s'achève enfin sur le récit eschatologique de l'Apocalypse. Afin d'expliquer les origines et la débâcle du Second Empire, l'auteur bâtit donc une " Bible moderne " et en respecte en partie la chronologie et l'unité. La méthode adoptée est celle que propose Pierre Brunel. La " mythocritique " repose sur trois principes : l'émergence, la flexibilité et l'irradiation. Toute interprétation repose sur la nécessité de l'émergence d'une occurrence mythique explicite : un nom, un objet ou une phrase peut porter à lui seul l'empreinte d'un mythe. Ces éléments mythiques ne sont d'ailleurs pas reproduits tels quels dans l'œuvre. Le romancier les module et les adapte : le texte littéraire les infléchit. Et notre étude va tenter de les faire irradierIn the Rougon-Macquart, Zola suggests the rewriting of pagan or Christian, timeless myths. While the first half of the series is about stories inherited either from classical mythology or from the Genesis, the second half borrows essentially from the Ancient and the New Testament, Christian myths, hagiographic stories, or legends. The story of the Original Sin, which is stretched throughout the first three novels, is followed by ancient beliefs about pagan idols: Diana, Vulcan, Venus, etc. Sacred characters, saints, or prophets, like Jacob, Esther, St. Stephanus, or St Paul. Finally the cycle ends with the eschatological story of the Apocalypse. Thus, in order to explain the origins of the collapse of the Second Empire, the author builds a "modern Bible", and partly respects its chronology and unity. In this work, we adopt Pierre Brunel's method, "mythocritique". It rests on three principles: emergence, flexibility, and irradiation. Any interpretation necessarily rests on the emerging of some explicit, mythical occurrence: a single name, a single object or a single sentence can manifest by itself the mythical print. In addition, these mythical elements are not reproduced as such inside the work. They have to be modulated and adapted by the novelist; literary text inflects them. Our study aims at letting them irradiate
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Lemarié, Yannick. "Ventre et manducation dans l'œuvre de Zola." Angers, 1996. http://www.theses.fr/1996ANGE0023.
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Partant des conceptions platonicienne et cartésienne qui fondent la philosophie du corps dans la France du XIXe, cette thèse propose de montrer comment Zola rompt avec ces courants de pensées pour mieux appréhender la réalité corporelle et faire de l'homme un être dévorant. Il s'agit ensuite de voir en quoi le ventre et la manducation constituent les socles de la création romanesque : portraits, espace, structures sociales sont donc analyses à l'aide de cette grille de lecture. Enfin, le personnage féminin est replacé dans ce nouveau contexte. La femme-mère n'est plus réduite à son sexe mais joue, à nouveau, un rôle de premier plan dans le cycle mangeur-mangéStanding from the conceptions of plato and descartes that lay the fondations of the philosophy of the body in 19th century France, this thesis aims to point how Zola turns his back on these trends of thoughts in order to have a better understanding of bodoly reality and turn man into devouring being. The next point is to settle in what way the stomach and manducation constitute the basis of fiction creativeness : portraits, space, social structures are thus analysed on this basis. Lastly, the female character is replaced in this new context. Even, the woman is no longer reduced to her sex but she plays a prominent role again in the cycle eater-eaten
Books on the topic "Zola Émile 1840-1902"
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Zola, Emile. Germinal ; extraits avec une notice sur la vie et l'oeuvre de Zola, une étude de Germinal, des notes, des questions, des documents et un glossaire. Paris: Bordas, 1985.
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Rosen, Michael. Disappearance of Émile Zola: Love, Literature and the Dreyfus Case. Faber & Faber, Limited, 2017.
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Rosen, Michael. Disappearance of Émile Zola: Love, Literature, and the Dreyfus Case. Pegasus Books, 2017.
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Rosen, Michael. Disappearance of Émile Zola: Love, Literature and the Dreyfus Case. Faber & Faber, Limited, 2018.
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Rosen, Michael. Disappearance of Émile Zola: Love, Literature and the Dreyfus Case. Faber & Faber, Limited, 2017.
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The disappearance of Émile Zola: A story of love, literature and the Dreyfus case. Pegasus Books, 2017.
Find full textBook chapters on the topic "Zola Émile 1840-1902"
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Nelson, Brian. "Émile Zola (1840–1902): Naturalism." In The Cambridge Companion to European Novelists, 294–309. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.019.
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Zola, Émile. "Naturalism (1881)." In Modern Theories of Drama, 80–88. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0011.
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Abstract Émile Zola (1840-1902), now primarily remembered as a great novelist, also left his mark on the theatre-principally as the passionate advocate of the naturalist drama which was in process of being born in the latter part of the nineteenth century, in the face of much opposition. When he worked as a theatre critic for L’Avenir national (1873), Le Bien public (1876-8), Le Voltaire (1878-80), and Le Figaro (1880-1 and again 1895-6), he went beyond merely reviewing current productions of the Parisian stage and engaged in widely noticed theoretical arguments that attacked the old style of drama and called for something new.
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Craske, Helen. "Writing Murder." In Complicity in Fin-de-siècle Literature, 79–121. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198910220.003.0004.
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Abstract This chapter considers how fin-de-siècle writers appropriated the burgeoning genre of crime fiction to critique the judicial status quo and to valorise an alternative literary aesthetic. The first part compares three novels about complicity in murder, by Rachilde (1860–1953), Émile Zola (1840–1902), and Hector Malot (1830–1907). It examines how description and structural parallelism creates a haunting sense of guilt in the novels’ crime scenes, how confession scenes establish bonds of complicity between characters and incite further crimes, and how trial scenes displace blame and undermine received ideas about criminality. The second part demonstrates how avant-garde writers transformed criminal complicity into a source of literary solidarity. Analysing spoof journal articles and fictional works by Rachilde, Octave Mirbeau (1848–1917), Maurice Beaubourg (1859–1943), and Romain Coolus (1868–1953), it examines the meta-literary implications of aligning criminal association with literary endeavour.
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Brogan, Una. "Liberation on Two Wheels: Class, Gender and the Bicycle in Literature." In The Alternative Modernity of the Bicycle in British and French Literature, 1880-1920, 69–139. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474488600.003.0003.
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Chapter 2 focuses on the bicycle’s revolutionary role in class and gender relations. Close readings of three of Wells’s social novels allow us to appreciate the evolving symbolism and narrative function of a vehicle that seemed capable of eroding strict Victorian class and moral structures. Secondly, I examine the bicycle’s relationship to the changing status of women in society, asking whether the bicycle really was a ‘freedom machine’. By exploring texts from a range of British, Irish and French authors such as Grant Allen (1848–99), Mary E. Kennard (1850–1936), Matthias Mc Donnell Bodkin (1850–1933) and Émile Zola (1840–1902), I seek to complicate the picture of the bicycle’s role in women’s emancipation by shedding light on the machine’s ambivalent role in a society that remained decidedly patriarchal. A study of the role of bicycles in A la recherche du temps perdu (In Search of Lost Time) by Marcel Proust (1871–1922) closes this chapter, where I highlight the object’s crucial role as a feminist and queer symbol in literature. The bicycle emerges from these texts as a subversive technology that allows its users to transgress and blur gender and social boundaries.