Émile Zola, página 6 de 34

En el París febril y deslumbrante del Segundo Imperio todo el mundo habla de Naná, la nueva estrella del Teatro de Variedades. Su atractivo es irresistible, su ambición, enorme; pero más allá del brillo de la vida mundana se ocultan tambien la miseria, el sufrimiento y las tragedias personales. Simbolo de la decadencia de la Francia de su epoca, Nana es tambien el prototipo de la mujer fatal y de la cortesana sin escrupulos sentimentales.

Con" Naná" , Zola se propuso hacer un estudio verdadero de las cortesanas de lujo, hastiado por el tratamiento engañoso que del tema se había estado haciendo. Consiguió, sin embargo, crear una nueva divinidad, un nuevo tipo de mujer fatal y una nueva belleza diabolica. En" Nana" , Zola liga estrechamente los avatares de la existencia individual de una cortesana a los de las clases hegemonicas, en una etapa historica intencionadamente acotada, el Segundo Imperio.

La Joie de Vivre, here translated as The Joy of Life, was written by M. Zola in 1883, partly at his country house at Médan, and partly at Bénodet, a little seaside place in Brittany. The scene of the story is laid, however, on the coast of the neighbouring province of Normandy, between the mouth of the Orne and the rocks of Grandcamp, where the author had sojourned, more than once, in previous years. The title selected by him for this book is to be taken in an ironical or sarcastic sense. There is no joy at all in the lives of the characters whom he portrays in it. The story of the hero is one of mental weakness, poisoned by a constantly recurring fear of death; whilst that of his father is one of intense physical suffering, blended with an eager desire to continue living, even at the cost of yet greater torture. Again, the story of the heroine is one of blighted affections, the wrecking of all which might have made her life worth living. And there is a great deal of truth in the various pictures of human existence which are thus presented to us; however much some people, in their egregious vanity, may recoil from the idea that life and love and talent and glory are all very poor and paltry things.

Alegato en favor del capitán Alfred Dreyfus, dirigido por Émile Zola mediante una carta abierta al presidente de Francia, M. Félix Faure, y publicado por el diario LAurore el 13 de enero de 1898 en s

That morning Jean, with a seed-bag of blue linen tied round his waist, held its mouth open with his left hand, while with his right, at every three steps, he drew forth a handful of corn, and flung it broadcast. The rich soil clung to his heavy shoes, which left holes in the ground, as his body lurched regularly from side to side; and each time he threw you saw, amid the ever-flying yellow seed, the gleam of two red stripes on the sleeve of the old regimental jacket he was wearing out. He strode forward in solitary state; and behind him, to bury the grain, there slowly came a harrow, to which were harnessed two horses, driven by a waggoner, who cracked his whip over their ears in long, regular sweeps.

Pauline Quenu, the daughter of shopkeepers in the Parisian business district Les Halles (see The Fat and the Thin, aka The Belly of Paris), is taken in by relatives on the coast of Normandy following the death of her parents. There, Pauline - kind and open-minded - is confronted with a gout-plagued host, his avaricious wife, and their lazy son, a morbid hypochondriac, whom she is expected to marry. While the family takes advantage of Pauline, using up the inheritance her parents left to her, Pauline is gradually transformed into a dejected and resigned young woman. Death and accident soon hang over the small house on the Norman coast...

Les Rougon-Macquart doivent se composer d’une vingtaine de romans. Depuis 1869, le plan général est arrêté, et je le suis avec une rigueur extrême. L’Assommoir est venu à son heure, je l’ai écrit, co

His Masterpiece is the tragic story of Claude Lantier, an ambitious and talented young artist who has come from the provinces to conquer Paris but is conquered instead by the flaws of his own genius. Set in the 1860s and 1870s, it is the most autobiographical of the twenty novels in Zolas Rougon-Macquart series. It provides a unique insight into Zolas career as a writer and his relationship with Cezanne, a friend since their schooldays in Aix-en-Provence. It also presents a well-documented account of the turbulent Bohemian world in which the Impressionists came to prominence despite the conservatism of the Academy and the ridicule of the general public.

Thérèse Raquin is a novel by Émile Zola, first published in 1867. It was originally published in serial format in the journal LArtiste. It was published in book format in December of the same year. I

Como prostituta de lujo, gran conocedora de los bajos fondos parisinos, Nana es un gran espejo de aumento de todos los males de aquel París mundano, vicioso y contradictorio. El maestro del naturalismo llevo a cabo un minucioso retrato de una mujer de belleza arrebatadora y voracidad sin limites. Del fin una heroina tragica. Inolvidable para la literatura, Nana morira dejando tras de si una corte de hombres que en su dia perdieron la cabeza y el bolsillo por ella. Pero al fin su muerte no le importara a nadie.

Nana is a novel by the French naturalist author Émile Zola. Completed in 1880, Nana is the ninth installment in the 20-volume Les Rougon-Macquart series, which was to tell "The Natural and Social History of a Family under the Second Empire."The novel was an immediate success. Le Voltaire, the French newspaper that was to publish it in installments from October 1879 on, had launched a gigantic advertising campaign, raising the curiosity of the reading public to a fever pitch. When Charpentier finally published Nana in book form in February 1880, the first edition of 55,000 copies was sold out in one day. Flaubert and Edmond de Goncourt were full of praise for Nana. On the other hand, a part of the non-reading public, spurred on by some critics, reacted to the book with outrage. While the novel is held up as a fine example of writing, it is not especially true to Zolas touted naturalist philosophy; instead, it is one of the most symbolically complex of his novels, setting it apart from the earthy "realism" of LAssommoir or the more brutal "realism" of La Terre (1887). However, it was a great deal more authentic than most contemporary novels about the demimonde.Nana is especially noted for the crowd scenes, of which there are many, in which Zola proves himself a master of capturing the incredible variety of people. Whereas in his other novels -- notably Germinal (1885) -- he gives the reader an amazingly complete picture of surroundings and the lives of characters, from the first scene we are to understand that this novel treads new ground.Flaubert summed up the novel in one perfect sentence:Nana tourne au mythe, sans cesser detre reelle.(Nana turns into myth, without ceasing to be real.)

Nana is a novel by the French naturalist author Émile Zola. Completed in 1880, Nana is the ninth installment in the 20-volume Les Rougon-Macquart series, which was to tell "The Natural and Social History of a Family under the Second Empire."The novel was an immediate success. Le Voltaire, the French newspaper that was to publish it in installments from October 1879 on, had launched a gigantic advertising campaign, raising the curiosity of the reading public to a fever pitch. When Charpentier finally published Nana in book form in February 1880, the first edition of 55,000 copies was sold out in one day. Flaubert and Edmond de Goncourt were full of praise for Nana. On the other hand, a part of the non-reading public, spurred on by some critics, reacted to the book with outrage. While the novel is held up as a fine example of writing, it is not especially true to Zolas touted naturalist philosophy; instead, it is one of the most symbolically complex of his novels, setting it apart from the earthy "realism" of LAssommoir or the more brutal "realism" of La Terre (1887). However, it was a great deal more authentic than most contemporary novels about the demimonde.Nana is especially noted for the crowd scenes, of which there are many, in which Zola proves himself a master of capturing the incredible variety of people. Whereas in his other novels -- notably Germinal (1885) -- he gives the reader an amazingly complete picture of surroundings and the lives of characters, from the first scene we are to understand that this novel treads new ground.Flaubert summed up the novel in one perfect sentence: Nana tourne au mythe, sans cesser detre reelle. (Nana turns into myth, without ceasing to be real.)

Este ebook presenta "Yo acuso" con un sumario dinámico y detallado. En 1894, el caso Dreyfus sale a la luz, y se acusa al capitán Alfred Dreyfus, de treinta y cinco años, judío y alsaciano, de alta traicion. Pese a las declaraciones de inocencia del acusado, declaraciones que no se hacen publicas, se lo condena a cumplir cadena perpetua en la isla del Diablo, en la Guayana francesa. En marzo de 1896, el nuevo responsable del Servicio de Informacion (Service de Renseignements), el coronel Picquart, descubre un telegrama que no deja dudas de que Dreyfus no es el informador de los alemanes en el Estado Mayor frances, sino que el verdadero traidor habia sido el comandante Ferdinand Walsin Esterhazy. Picquart informa a sus superiores y expresa su conviccion de que fue un error atribuir el escrito a Dreyfus. No obstante, el Estado Mayor destina a Picquart a la frontera del este y, posteriormente, a Tunez. Los tribunales militares se niegan a revisar el caso Dreyfus y tratan de sofocar el escandalo, pero no logran evitar que algunos rumores alerten a personalidades de la izquierda. En 1897, con la ayuda del periodista Bernard Lazare, del senador Scheurer-Kestner y del diputado Joseph Reinach, Mathieu Dreyfus, hermano de Alfred, promueve una campaña en Le Figaro para exigir que se investigue a Esterhazy y se revise el juicio de 1894. Los conservadores reaccionan de inmediato. Indignado, Emile Zola, proximo a la izquierda radical y a grupos socialistas, entra en liza. La campaña de Le Figaro rompe la conspiracion de silencio. En diciembre de 1897, Esterhazy, cuya letra es identica a la de los facsimiles del escrito que la prensa ha reproducido, es inculpado y comparece ante un tribunal militar; los jueces lo absuelven en enero de 1898....

«París es un estudio humano y social de la gran ciudad. En el marco dramático de una conmovedora historia de ayer y de hoy, se agitan la inmensa muchedumbre, los dichosos y los hambrientos, todos los

La figura de ÉMILE ZOLA (1840-1902) ha pasado a la historia de la literatura no sólo como fundador y teórico del naturalismo, sino también como vigoroso narrador del ambiente social y político de su epoca. En la extensisima serie denominada Los Rougon-Macquart recrea el clima historico y social del Segundo Imperio frances de Napoleon III, utilizando como hilo conductor las vidas de los diferentes miembros de dos ramas familiares, determinados por los rasgos fisiologicos de un linaje comun. Tercera entrega de esta serie tras La fortuna de los Rougon (L 5685) y La jauria (L 5694), EL VIENTRE DE PARIS que, al igual que las demas, mantiene el caracter de obra autonoma tiene como bullicioso y palpitante escenario el gran mercado de Les Halles, proyectado para proveer de alimentos a la gran ciudad. Huido del penal de Cayena, el republicano Florent va a parar a el, acogido por su hermanastro Quenu. Mas su practica y ambiciosa cuñada Lisa Macquart no vera con tan buenos ojos esta nueva situacion.

Émile Zola quiso escribir en Germinal una novela social que describiese la lucha del trabajo frente al capital, pero, además, el gran autor francés logró una asombrosa epopeya en la que el simbolismo y el mito se elevan hasta lo sobrenatural.