Добірка наукової літератури з теми "Nana (Zola, Émile)"

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.

One of the names in Marinetti’s ranks of futurism’s predecessors is Émile Zola. The author of the famous J’accuse is one of those read by the undisputed leader of the futurist avant-garde in his youth, and is, if not constantly, fairly frequently present in his writings. Zola serves Marinetti as a basis for self-staging, that is as a practice to build pieces of his own identity, as well as a not secondary intertextual reference. Like Zola’s texts, those of Futurism provoke. The aim of the following contribution is to reconstruct the Marinettian path in respect to the French writer, especially regarding the still missing tiles of a mosaic that presents itself as an extraordinary kaleidoscope not only on Marinetti’s production. This can be evidenced, for example, by reading Flora Bonheur’s Diario d’una giovane donna futurista where, alongside the name of the father of the Futurism, that of the author of Nana appears. Nella schiera dei predecessori del Futurismo compare in Marinetti anche il nome di Émile Zola. L’autore del famoso J’accuse rientra tra quelli letti già negli anni giovanili dal capo indiscusso dell’avanguardia futurista e diventa presenza, se non costante, abbastanza frequente dei suoi scritti. Zola serve a Marinetti come palcoscenico per la messa in scena di se stesso, come pretesto per costruire tasselli della propria identità e come rimando intertestuale. Alla pari dei testi di Zola poi, anche quelli del futurismo hanno spesso un intento provocatorio. Con il seguente contributo ci si pone di ricostruire il percorso marinettiano di fronte allo scrittore francese, riportando alla luce le tessere ancora mancanti di un rapporto sfaccettato e complesso che riguarda non solo la produzione di Marinetti, come testimonia, ad esempio, anche il Diario d’una giovane donna futurista di Flora Bonheur dove, accanto al nome del padre dell’avanguardia, compare ancora una volta quello dell’autore di Nana.

This article discusses Baz Luhrmann’s 2001 juke-box musical film Moulin Rouge! and its failure to re-think gender despite its clever remix of late-Victorian mass media. After introductions that consider the film’s postmodern mashups of high and low, commonplaces from nineteenth- and twentieth-century popular cultures, the article examines courtesan narratives rooted in two famous novels that the film plays with: La dame aux camélias (1852) by Alexandre Dumas fils and Nana (1880) by Émile Zola. It contrasts them with the lives of real, French celebrity courtesans in order to show the narrative paths of successful powerful women at the fin de siècle that Moulin Rouge! chose not to travel, preferring to endorse, however, ironically, the conservative gender stereotype of women as objects punished for attempting to take charge of their lives and destroyed by consumption in its double sense.

ÖZ Toplumlarda cinsiyet rollerinin dağılımı geçmişten bugüne geleneksel yapısını korumaktadır. Bireyler tarafından cinsiyet rollerinin algılanışı sosyolojik yapının getirisi olduğu gibi, özümsenen bu roller bireylerin psikolojik yapılarını da ilgilendirmektedir. Bu çalışmada Émile Zola’nın Nana eseri ile Hüseyin Rahmi Gürpınar’ın Mürebbiye eseri mercek altına alınacaktır. Metinlerdeki bilinen toplumsal cinsiyet rollerinin dışına çıkan karakterlerin, sosyolojik yapının etkisi altında kalan ruh halleri irdelenecektir. Toplumsal cinsiyet faktörünün yanı sıra karakterlerin olaylar karşısındaki ruhsal durumları da dile getirileceği için bu çalışmada eserlere, sosyolojik eleştiri ve psikanalitik eleştiri yöntemleri kullanılarak, eklektik inceleme yöntemiyle yaklaşılacaktır. Çalışmanın sınırlılığını, Nana ile Mürebbiye oluşturmaktadır. İki eser de, birbirine yakın dönemde yaşamış ve natüralist olan yazarlar tarafından kaleme alınmış olmakla beraber, bilindik toplumsal cinsiyet rollerine uymayan karakterlerin arasındaki ilişkileri ve gücün el değiştirmesi fikrini içermektedir. Zola, Fransız toplumunun modernleşme sürecindeki buhranını Nana’da, toplumsal cinsiyet rollerinin, bireyselliğin de ön plana çıkmasıyla kökten değişimi üzerinden aktarırken, Gürpınar, Mürebbiye’de yine benzer şekilde Türk toplumunun modernleşmeyi batılılaşmak olarak ele alışını ve bu durumun yarattığı mevcut toplumsal değerlere yönelik bir yabancılaşma halini ve toplumsal cinsiyet rolleri açısından değişimini göstermektedir. Çalışmada, eserlerin geçtiği dönemlerde, bireylerin toplumsal cinsiyet rollerine bir başkaldırısının söz konusu olduğu ve bunun yalnızca kadının değişimi değil, erkeğin de değişimini içermekte olduğu sonucuna ulaşılacaktır. ALIENATED OF FEMININ(ITY) MARGINALIZATED IN THE CONTEXT OF GENDER ROLES ABSTRACT The distribution of gender roles in societies has preserved its traditional structure from past to present. As the perception of gender roles by individuals is the outcome of the sociological form, these internalized roles also concern the psychological conditions of individuals. In this study, Émile Zola's Nana and Hüseyin Rahmi Gürpınar's Mürebbiye will be examined. The moods of the characters who go beyond the known gender roles in the texts, which are under the influence of the sociological structure, will be examined. In this study, the works will be approached with an eclectic analysis method, using sociological criticism and psychoanalytic criticism methods, as the psychological state of the characters in the face of events will be expressed and the gender factor. The limitation of the study is Nana and Mürebbiye. Although both works were written by naturalist writers who lived close to each other, they include the relations between characters who do not conform to the usual gender roles and the exchange of power. While Zola conveys the crisis of the French society in the modernization process in Nana, through the radical change of gender roles with individualism coming to the fore, Gürpınar, in Mürebbiye, similarly describes the Turkish society's approach of modernization as westernization and alienation towards the existing social values created by thissituation. The study will conclude that there was a revolt of individuals against gender roles during the periods in which the works were set, and this includes the change of the women and the men. Keywords: Gender, Mürebbiye, Nana, Comparative Method, Sociological Criticism Method, Psychoanalytic Criticism Method

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”

‘The man-eater’ turns to Nana, the ninth volume in the Rougon-Macquart cycle. Nana is the story of Gervaise Macquart’s daughter Anna/Nana, a street prostitute turned actress and courtesan. Her spectacular life, (she becomes the most celebrated courtesan in Paris, an almost mythical figure) is a metaphor for the hedonistic Second Empire; she humiliates and destroys all the men she encounters, and eventually dies of smallpox on the day of the outbreak of the Franco-Prussian War. Zola plays to remarkable effect on male fear (including his own) of the ‘natural’ woman, and in particular on fear that prostitutes might transgress established social boundaries and infiltrate the bourgeoisie and upper class.